| 473 | https://historysoa.com/items/show/473 | The Author, Vol. 10 Issue 11 (April 1900) | <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.+10+Issue+11+%28April+1900%29"><em>The Author</em>, Vol. 10 Issue 11 (April 1900)</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> | 1900-04-02-The-Author-10-11 | | | | | 229–252 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=10">10</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1900-04-02">1900-04-02</a> | | | | | | | 11 | | | 19000402 | Che Muthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. X.—No. 11.]<br />
<br />
APRIL 2, 1900.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the<br />
collective opinions of the Committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
<br />
<br />
<br />
Pes<br />
<br />
<br />
<br />
Se Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
<br />
important communications within two days will write to him<br />
<br />
without delay. All remittances should be crossed Union<br />
<br />
Bank of London, Chancery-lane, or be sent by registered<br />
<br />
letter only.<br />
<br />
<br />
<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
<br />
<br />
<br />
tetas<br />
<br />
GENERAL MEMORANDA.<br />
<br />
<br />
<br />
<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. ‘There are four methods of dealing<br />
with literary property :—<br />
<br />
I, THAT OF SELLING IT OUTRIGHT.<br />
<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, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A PROFIT-SHARING AGREEMENT (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to :<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs: or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<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 />
<br />
<br />
<br />
Ill. THE ROYALTY SYSTEM.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in The Author.<br />
Readers can also work out the figures themselves from the<br />
‘Cost of Production.”<br />
<br />
IV. A COMMISSION AGREEMENT.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
GENERAL.<br />
<br />
‘All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<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 />
<br />
eo<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
i EVER sign an agreement without submitting it to<br />
the Secretary of the Society of Authors or some<br />
competent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 yer cent. An author should obtain a<br />
<br />
<br />
<br />
<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (1.€.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one act plays should<br />
be preserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that American rights may be exceedingly<br />
valuable. They should never be included in * English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
g. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information are<br />
referred to the Secretary of the Society.<br />
<br />
<br />
<br />
<——<—— —_—_—_<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
<br />
advice sought is such as can be given best by a solici-<br />
tor, the member has a right to an opinion from the<br />
<br />
Society’s solicitors. If the case is such that Counsel’s<br />
<br />
<br />
<br />
opinion is desirable, the Committee will obtain for<br />
him Counsel’s opinion. All this without any cost to the<br />
member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publisher’s agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts with the loan of the books represented. The<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thng<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society you —<br />
<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen.<br />
dence of the writer.<br />
<br />
6. The Committee have now arranged for the reception of<br />
members’ agreements and their preservation in a fireproof<br />
safe. The agreements will, of course, be regarded as con-<br />
fidential documents to be read only by the Secretary, who<br />
will keep the key of the safe. The Society now offers :—(1)<br />
To read and advise upon agreements and publishers. (2) To<br />
stamp agreements in readiness for a possible action upon<br />
them. (3) To keep agreements. (4) To enforce paymenta<br />
due according to agreements.<br />
<br />
<br />
<br />
THE READING BRANCH.<br />
<br />
EMBERS will greatly assist the Society in this<br />
<br />
N branch of their work by informing young writers of<br />
its existence. Their MSS. can be read and treated<br />
<br />
as a composition is treated by a coach. ‘The Readers are<br />
writers of competence and experience. The fee is one<br />
<br />
guinea.<br />
<br />
<br />
<br />
<br />
<br />
NOTICES.<br />
<br />
HE Editor of The Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
<br />
Communications for The Author should be addressed to<br />
the Offices of the Society, 4, Portugal-street, Lincoln’s-inn<br />
Fields, W.C., and should reach the Editor not later than the<br />
2ist of each month.<br />
<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 />
<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 />
<br />
<br />
<br />
<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
stated that the announcement in “The<br />
Literary Year Book,” mentioned in Mr.<br />
Thring’s letter in The Author for March, was<br />
wholly unauthorised. A correct announcement<br />
appeared in “ The Literary Year Book ” for —<br />
<br />
1897.<br />
<br />
r \HE Authors’ Syndicate desires it to be<br />
<br />
<br />
<br />
|<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
I—Tue New Copyricut.<br />
(By G. HerBeRT THRING, Secretary of the Society of<br />
Authors.)<br />
By kind permission of the Editor of the Daily Chronicle.<br />
<br />
N the piping times of peace it is with the<br />
greatest difficulty that the politician is<br />
persuaded to turn his thoughts to legislation<br />
<br />
concerned with literary property. Is it possible<br />
that when the trumpet of war is sounding the<br />
author and copyright owner will receive any<br />
attention? Perhaps not. Yet there will come<br />
shortly before Parliament a Bill which cannot fail<br />
to be full of interest to many of the literary<br />
readers of the Chronicle, namely, Lord Monks-<br />
well’s Copyright Bill, as approved by the Select<br />
Committee of the House of Lords.<br />
<br />
In 1897 that militant body, the Incorporated<br />
Society of Authors, thought, no doubt, that the<br />
question of copyright law reform had been<br />
slumbering too long, and drafted a short amending<br />
Bill, which dealt with the following subjects :—<br />
<br />
1. Translations; 2. Magazine Copyright; 3.<br />
Copyright in Lectures; 4. Abridgments; 5.<br />
Dramatisation of Novels, &c.; 6. Summary<br />
Remedy for Infringement of Dramatic Copyright.<br />
<br />
All of which points were, under the existing law,<br />
in serious need of amendment.<br />
<br />
This Bill was put under the charge of Lord<br />
Monkswell. The Copyright Association, not to<br />
be outdone by the younger and more active<br />
society, went one better and produced a full con-<br />
solidating and amending Bill, embracing both<br />
artistic and literary copyright. In its first draft<br />
the Bill was impossible, but it finally was knocked<br />
into presentable shape and put under the charge<br />
of Lord Herschell. During 1898 these two bills<br />
yan side by side. A Select Committee of the<br />
House of Lords was appointed to consider them,<br />
anda large amount of evidence was taken. Lord<br />
Hlerschell’s sudden and unexpected decease at this<br />
time was lamentable, and much to be regretted,<br />
as his support of the cause made the copyright<br />
owner’s chance of success exceedingly good. Lord<br />
Thring, however, the well-known Parliamentary<br />
draftsman, who was sitting on the Select Com-<br />
mittee, volunteered to take the matter up and to<br />
draft a Bill to submit to their lordships. This<br />
was about the beginning of 1899. As soon as it<br />
was known that the question was going to receive<br />
the serious attention of so excellent a lawyer and<br />
draftsman, the Incorporated Society of Authors<br />
and the Copyright Association agreed to with-<br />
draw their Bills and allow the matter to proceed<br />
under such trustworthy guidance.<br />
<br />
The first step taken was to separate literary<br />
copyright from artistic copyright, as the property<br />
<br />
231<br />
<br />
was distinct in character, and must be legislated<br />
for on distinct lines. This was a good sign. It<br />
showed that the question was to be treated<br />
methodically, and gave assurance of some satis-<br />
factory order being evolved out of the chaos of<br />
existing laws. It was decided to deal with a<br />
Bill relating to literary property first. The<br />
alterations made in the existing law were based<br />
mainly on the report of the Copyright Commission<br />
which, appointed in 1875, reported in May, 1878.<br />
It is not proposed to discuss the various drafts,<br />
but that draft only which, approved by the<br />
Select Committee, was ordered to be printed on<br />
July 24, 1899. Literary copyright was divided<br />
into three parts, as stated in the memorandum<br />
accompanying the Bill:<br />
<br />
1. Copyright properly so-called, or the right of<br />
multiplying copies of books ;<br />
<br />
2. Performing right, or the right of publicly<br />
performing dramatic works or musical works.<br />
<br />
3. Lecturing right, or the right of orally deliver-<br />
ing lectures.<br />
<br />
Here, again, it is evident that the method to be<br />
adopted is not only free from confusion, but shows<br />
a sound grasp of the complicated and difficult<br />
questions that surround the subject. Taking<br />
first of all copyright property properly so-called,<br />
the Bill proceeds in clause 3 to show what such<br />
copyright embraces. As these provisions are<br />
exceedingly important to the author, it is worth<br />
while to quote them in full. It embraces the<br />
exclusive right :—<br />
<br />
1. To make copies by writing or otherwise of a<br />
book ;<br />
<br />
2. To abridge such book ;<br />
<br />
3. To translate such book ;<br />
<br />
4. In the case of a dramatic work, to convert it<br />
into a non-dramatic work ;<br />
<br />
5. Im the case of a non-dramatic work to con-<br />
vert it into a dramatic work.<br />
<br />
6. In the case of a musical work to make any<br />
new adaptation, arrangement, or setting of such<br />
work or of the melody thereof in any notation or<br />
system.<br />
<br />
It will be perceived by those who have any, the<br />
smallest, knowledge of the existing law that the<br />
author, dramatist, and composer are allowed a<br />
much larger scope of dealing with their property,<br />
the outcome of their own brain, than at present.<br />
It is needless to discuss the ethics as to whether<br />
they should be allowed the possession of their<br />
own or not; but, taking the principle as a sound<br />
one, every increase of the facilities accorded is<br />
satisfactory, so long as it does not infringe upon<br />
the rights of the public. The existing law allows<br />
certain forms of abridgment, but disallows others.<br />
It does not seem in any way fair that the results<br />
of one man’s brain should be altered by the<br />
<br />
<br />
<br />
<br />
<br />
<br />
232<br />
<br />
arbitrary power of another. Section 2, referring<br />
to abridgments, is therefore sound. Translations<br />
appear under the existing law to be considered<br />
infringements. Section 3 is therefore declaratory<br />
of the existing law. Sections 4 and 5 are addi-<br />
tions to the author’s present rights, and are based<br />
on that sound rule that a substantial. appropria-<br />
tion of the ideas or work of another is an in-<br />
fringement of copyright, and ought to be so<br />
treated. In section 6 the same rule is carried<br />
into effect with regard to musical compositions.<br />
Clause 4 deals with the conditions and duration of<br />
copyright. The term under the present law is<br />
the life of the author and seven years afterwards,<br />
or forty-two years, whichever is the longer.<br />
This Bill adopts the recommendation of the Copy-<br />
right Commission—life and thirty years. This<br />
alteration will, no doubt, in most cases give a<br />
considerable extension, although in some it may<br />
cut down the period to less than under the pre-<br />
sent Acts. Two great advantages are, however,<br />
gained. Firstly, the date of termination is fixed<br />
and easily ascertained by the public at large;<br />
and, secondly, the persons who benefit under the<br />
will of the deceased are certain of holding some<br />
property, even though the period during which it<br />
is held is not of exceeding long duration.<br />
<br />
It seems impossible, in the present state of<br />
public opinion, that copyright should be perpetual,<br />
but it is a matter of great doubt whether it would<br />
not have been better to extend the term to life<br />
and fifty years, in order to bring it more in accord<br />
either with the present laws of the great nations<br />
of the Continent, or with the drafts of laws that<br />
will shortly be before them. The nearer the<br />
English law can be brought to agree with that of<br />
foreign Powers, the nearer is the ideal of one<br />
universal copyright law likely to be.<br />
<br />
Clause 5 deals with the property of dramatic<br />
and musical authors. It does away with the exist-<br />
ing confusion, brushes aside all barriers that have<br />
been raised by the succession of isolated Acts that<br />
now govern this property, and brings the whole<br />
into harmony in a simple, straightforward manner.<br />
Yet dramatic authors should raise strong objec-<br />
tions to sections 6 and 7, which seem to have been<br />
inserted with a view to carrying out the regula-<br />
tions of the Musical Compositions Acts, 1882 and<br />
1888. These Acts may have been exceedingly<br />
necessary to protect the property of musical com-<br />
posers, but would be disastrous to dramatists.<br />
Clause 6 deals with lecturing, and proposes a<br />
simple method of securing these rights, and upsets<br />
the complicated absurdity at present existing. By<br />
clauses 5 and 6, the duration of performing rights<br />
and lecturing rights is made to coincide with that<br />
of copyright—namely, life and thirty years. The<br />
clauses following, 7 to 12, are of special impor-<br />
<br />
<br />
<br />
THE AUTHOKL.<br />
<br />
tance to authors, and therefore must be carefully<br />
considered by all those for whom this article ig<br />
penned. They deal with :—<br />
<br />
1. Books published anonymously or pseudo.<br />
nymously, or posthumous works, giving duration<br />
of copyright in such works for thirty years.<br />
<br />
2. Joint authorship, giving duration of copy-<br />
right until thirty years after the death of the<br />
survivor.<br />
<br />
3. Plurality of authors, giving separate copy-<br />
right to each individual.<br />
<br />
4. Magazine or serial copyright, giving dura-<br />
tion of copyright in any article appearing in an<br />
encyclopedia, review, magazine, &c., for life and<br />
thirty years, and in such article as a separate<br />
work after the term of two years from the date<br />
of publication in such review, magazine, &e,<br />
(encyclopedia omitted), to the author for life and<br />
thirty years.<br />
<br />
Thus, two concurrent copyrights in the same<br />
article are created, one owned by the proprietor,<br />
allowing him to reproduce his review, magazine,<br />
&c., containing the article, the other owned by<br />
the author, giving him a right to produce the<br />
article in a separate form after two years from<br />
the date of publication. This arrangement is a<br />
distinct advance, and yet it appears faulty on<br />
two points: (a) The term copyright should not<br />
have been applied to the right held by the pro-<br />
prietor of the review, magazine, &c., who should<br />
only hold a licence to reproduce: (6) the author<br />
should be permitted to reproduce, not at a fixed<br />
date from publication, but at a fixed date—say<br />
two years—from definite acceptance, or two years.<br />
from first publication, whichever event should<br />
first happen. This arrangement would seem<br />
fairer so long as magazine proprietors are human,<br />
otherwise an author’s work once accepted by a<br />
magazine might never be produced, greatly to the<br />
pecuniary loss of the author.<br />
<br />
The newspaper copyright clause, giving pro-<br />
tection under certain circumstances to news for<br />
eighteen hours, is responsible for the most far-<br />
reaching change in the whole Bill, and though it<br />
is a short clause must therefore meet with the<br />
most careful consideration. Is such protection<br />
necessary? Is it justifiable? To both these<br />
questions the answer must be in the affirmative.<br />
<br />
The ruling principle must be that where an<br />
individual has expended large sums to acquire<br />
certain property, that property should be pro-<br />
tected if such protection does not infringe public<br />
rights. Many of the big newspapers expend<br />
enormous sums to obtain reliable information ;<br />
such a clause as the present would enable them<br />
to obtain a fair return for their expenditure im<br />
time, trouble, and money, as it appears that the<br />
result would be that the smaller papers which now —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 33<br />
<br />
exist by cuttings would have to pay some small<br />
sum for the use of the news. Would not twenty-<br />
four hours be a more desirable limit than<br />
eighteen? The big papers should consider this.<br />
The clause is sure to create much discussion, but<br />
if not obscured by side issues it ought to obtain<br />
the support of all fair-minded people. There is<br />
another reason why the fight will rage round<br />
clause 12. It deals with the rights of newspapers.<br />
Newspapers can influence the voters, and accord-<br />
ingly politicians who also have inclinations and<br />
bias, even in an educated country, must look after<br />
their own interests.<br />
<br />
Clauses 13 and 14 deal with the assignment of<br />
literary rights. It is sincerely to be hoped that<br />
clause 14 will never be allowed to pass, as it<br />
deals with registration—a most unsatisfactory<br />
method of obtaining copyright. From this point<br />
the real interest in the Bill ceases, so far as the<br />
public point of view is concerned. The other<br />
clauses, dealing with infringement of literary<br />
rights, summary remedies, delivery of books to<br />
libraries, British Possessions, international copy-<br />
right, are not only necessary but of vital impor-<br />
tance, and it is possible that the success of the<br />
whole Bill may hang on the clauses dealing with<br />
British Possessions. Yet the interest they arouse<br />
is technical, and, though the student may recog-<br />
nise the almost insuperable difficulties that sur-<br />
round them, they do not influence the main<br />
points, or apparently increase or diminish an<br />
author’s property. The only other clause of real<br />
interest is clause 41 (Definitions). This is in the<br />
main declaratory of the present law, and satis-<br />
factory. The Bill is retrospective.<br />
<br />
Sufficient has now been said to show that this<br />
new effort deserves the support of all interested<br />
directly or indirectly in copyright property. It<br />
increases that property to its owner, it gives<br />
larger powers of dealing with it, and puts into<br />
one comprehensive Bill what is at present con-<br />
tained in disjointed and isolated Acts—Acts that<br />
in many poimts won’t read with one another,<br />
whose drafting is often incomprehensible, whose<br />
language is involved. All the existing difficulties<br />
are here cleared away, and though perhaps the<br />
Bill does not go far enough, yet as far as it<br />
goes it deals with the subject with method, clear-<br />
ness, and regularity. It has the support of the<br />
Incorporated Society of Authors and of the pub-<br />
lishers. It only remains for it to obtain that of<br />
the House of Commons.<br />
<br />
<br />
<br />
II.—Gerrman anp AUSTRIAN TREATY.<br />
<br />
We recently gave details of a copyright treaty<br />
between Great Britain and Austria-Hungary.<br />
We learn from our contemporary, Das Recht der<br />
<br />
VOL. x.<br />
<br />
23<br />
<br />
Feder, that a similar treaty is now under con-<br />
sideration between Austria-Hungary and the<br />
German Empire.<br />
<br />
a<br />
<br />
IlI.—Proposep New Copyricut in GERMANY.<br />
We have received from the Association Litté.<br />
raire et Artistique Interaationale a detailed pro-<br />
gramme and report of the recent Congress of<br />
Heidelburg, and an interesting report upon the<br />
projected German Copyright Law, from the pen<br />
of Dr. Albert Osterrieth. We have several times<br />
since this project of the new German law was<br />
published had occasion to point out that the<br />
proposed enactment by no means corresponds<br />
either with the legitimate desires of authors, or<br />
with modern ideas of what a copyright enactment<br />
should be ; and we have much pleasure in quoting<br />
Dr. Osterrieth’s concluding paragraph as an able<br />
summing-up of the case against the new law.<br />
<br />
“Tt must be recognised that the authors of the<br />
project have produced a very conscientious piece<br />
of work, and have exerted themselves to meet the<br />
demands of authors, publishers, and the public.<br />
But the excess of their zeal to take into considera-<br />
tion the interests of these different groups has<br />
led to some neglect of the principles affecting the<br />
rights of authors. I do not ask that the project<br />
should develop a definite theory respecting the<br />
nature of authors’ rights; but the law ought to<br />
be based upon some uniform system, which should<br />
have had the attention of the authors of the<br />
project. They have given themselves little pains<br />
to reduce their labours to a system, and hence<br />
have resulted the contradictions and incoherencies<br />
which I have attempted to indicate in my report.”<br />
<br />
<br />
<br />
LV.—CopyrigHt CONVENTION BETWEEN GREAT<br />
Britain AND AUSTRIA.<br />
<br />
On examining the file of Zhe <Au*hor it has<br />
been found that no mention has been made of<br />
the tact that a Convention exists between Great<br />
Britain and Austria-Hungary for the establish-<br />
ment of international copyright. The ratifications<br />
of the convention were exchanged on April 14,<br />
<br />
1894. Its most important provisions are the<br />
following: Authors of literary and artistic<br />
<br />
works published in either country have in the<br />
other the same rights as if their works had been<br />
published there, and the same legal remedies<br />
against infringement. Right of translation lapses<br />
if not taken up within ten years. Authorised<br />
translations are protected as original works. The<br />
Convention applies to the whole British Empire,<br />
excepting the Dominion of Canada, the Cape,<br />
New South Wales, and Tasmania. The Con-<br />
vention is to remain in force for ten years.<br />
<br />
<br />
<br />
AA<br />
<br />
<br />
234<br />
<br />
V.—Proposep New Copyricnt Law For<br />
Russia.<br />
<br />
Russia has followed the example of Germany<br />
and has published for preliminary criticism a pro-<br />
ject of a new copyright law. <A full French<br />
translation of the Russian text will be found in<br />
our valuable contemporary Le Droit @ Auteur of<br />
Jan. 15, 1900, from which we quote the following<br />
articles, which seem to be those most interesting<br />
to authors.<br />
<br />
Russian authors who publish abroad have the<br />
same rights as if they had published in Russia.<br />
Duration of copyright of original works is<br />
author’s life and fifty years afterwards ; that of<br />
works produced by collaboration extends to fifty<br />
<br />
ears after the death of the last survivor ; that of<br />
collections of folk-lore, &c., life of editor and<br />
thirty years afterwards. Periodical publications,<br />
encyclopedias, &c., composed of the works of<br />
many authors, enjoy copyright for fifty years from<br />
publication ; and academies and learned societies<br />
have the same. The authors retain their inde-<br />
pendent copyright, but cannot, without editors’<br />
consent, republish before expiration of two years.<br />
Anonymous works have thirty years’ copyright,<br />
beginning from date of publication. The copy-<br />
right of a work published in successive parts or<br />
volumes is calculated from the date of the<br />
publication of the last part, if the interval<br />
between the appearance of the successive portions<br />
is less than two years; if the interval is greater,<br />
the duration of the copyright of each part is<br />
calculated separately. Authors of works pub-<br />
lished in Russia and Russian authors whose<br />
works are published abroad have sole right of<br />
translation for ten years, provided that this right<br />
is retained by an announcement on title or in<br />
preface and that the translation appears within<br />
five years after the publication of the original<br />
work. Works published simultaneously in several<br />
languages are considered as original works in all<br />
those languages. A translator's copyright has a<br />
duration of thirty years. This right does not<br />
prevent the publication of other independent<br />
translations. Copyright exists not alone in works<br />
fixed by writing, but also in speeches, lectures,<br />
conferences, and sermons, with a few limitations<br />
in the case of judicial and political pronounce-<br />
ments. Private letters cannot be published with-<br />
out consent of both writer and receiver ; nor,<br />
after their death, without consent of heirs, for<br />
fifty years. The reproduction in Russia of the<br />
work of a foreign author without his consent is<br />
forbidden, but translations may be published in<br />
Russian or in other languages. A publisher<br />
must produce work within five years of signature<br />
of agreement. Without special agreement a<br />
single edition may not exceed 1200 copies.<br />
<br />
THE AUTHOR.<br />
<br />
Modifications cannot be made without author's<br />
consent. Right of translation does not accom-<br />
pany right to publish. An unpublished work<br />
cannot be seized by creditors. Piracy is punish-<br />
able with destruction of the whole edition and of<br />
all plates, &c., used to produce it. Action must<br />
be taken within five years.<br />
<br />
<br />
<br />
VI.—MousicaL CopyRicHr.<br />
ie<br />
(Before Mr. Justice Phillimore.)<br />
<br />
Société des Auteurs, &c., de Musique and<br />
Others v. Chappell and Co. Limited —In this case<br />
the Socicté des Auteurs, Compositeurs, et<br />
Editeurs de Musique de Paris, M. Harry Frogson:<br />
and M. Adolph Stanilas sued Messrs. Chappell<br />
and Co. to obtain a declaration that the plaintiffs<br />
were entitled to the performing rights in the<br />
United Kingdom of the music of a waltz song<br />
entitled “ Les Blondes,” of which MM. Frogson<br />
and Stanilas were the composers or of any adap-<br />
tation or arrangement of it. They also claimed<br />
an injunction restraining the defendants from<br />
representing that they were the owners of the<br />
performing right, and that the music could be<br />
performed without the licence of the plaintiffs.<br />
The plaintiffs based their claim upon the Berne<br />
Convention and the English Copyright Acts.<br />
The words of the song were written by Lucien<br />
Delormel, since deceased, and it was first per-<br />
formed in France. ‘The song was declared in<br />
writing to the Société, who collect the authors and<br />
composers’ fees throughout France, and dis-<br />
tributed the proceeds in March, 1896, and they<br />
claimed under their statutes to be entitled to the<br />
performing rights both in France and in this<br />
country. Their claim was, in the first instance,<br />
the only one made, with a view of testing the<br />
question, and the composers were afterwards<br />
added as parties to the action. The defendants<br />
denied the plaintiffs’ assertions, and claimed to be<br />
entitled to the performing rights under an assign-<br />
ment from Delormel. A number of eminent<br />
French avocats were in attendance to give<br />
evidence as to the law, and they, at the invitation<br />
of the learned judge, seated themselves within the<br />
Bar.<br />
<br />
Mr. Scrutton appeared for the plaintiffs, and<br />
Mr. Dickens, Q.C., and Mr. Bustace Smith for the<br />
defendants.<br />
<br />
While M. Stanilas, who, at the suggestion of the<br />
learned judge, was cross-examined in French, was<br />
giving evidence, it appeared that Delormel had<br />
not the consent of the composers to assign to Mr.<br />
Chappell. -<br />
<br />
Mr. Dickens thereupon said he could not carry<br />
the case or the assignment further, and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Judgment was entered for the plaintiffs<br />
Frogson and Stanilas, with costs, and the impor-<br />
tant point raised as to the rights of the Société<br />
was not gone into.—The Standard.<br />
<br />
II.<br />
<br />
At Scarborough, Mr, H. E. Jackson, of 2, Sher-<br />
wood-street, appeared in answer to summonses,<br />
one of which alleged that he, not being the pro-<br />
prietor of the copyright of a certain copyright<br />
book first published in France—namely, the<br />
music composed by Charles Gounod, of a certain<br />
opera called “ Faust,” did sell a copy of the book<br />
between Nov. 22 and Dec. 3 last. The other<br />
summonses were for having the book in his pos-<br />
session for sale or hire, and for importing the<br />
book into the United Kingdom for sale. Mr.<br />
Ernest Wilkinson (Messrs. Wilkinson, Howlet,<br />
and Wilkinson, of London) prosecuted, and Mr.<br />
Tasker Hart defended.<br />
<br />
The evidence showed that Mr. A. A. Edwards,<br />
one of Messrs. Chappell’s managers, had his atten-<br />
tion drawn to a circular issued by the defendant<br />
relating to the book in question. He wrote to<br />
Mr. Jackson. (inclosing tos.) for a copy, which<br />
was forwarded in due course. It was then found<br />
that defendant had obtained the copy from<br />
Holland, and that he had advertised the sale of<br />
the book by circular, announcing therein that it<br />
was copyright. It was shown that Messrs. Chap-<br />
pell and Co. were the proprietors of the copy-<br />
right.<br />
<br />
Mr. Hart’s main point in defence was that the<br />
magistrates had no jurisdiction, this being vested<br />
in the magistrates of the district where the book<br />
was delivered—viz., Ealing. He expressed sur-<br />
prise that a respectable firm like Messrs. Chappell<br />
and Co. should lay what he claimed was a trap to<br />
catch the defendant.<br />
<br />
The magistrates convicted on two of the sum-<br />
monses, and imposed a fine of ros. on each, together<br />
with £4 costs, £5 in all.—Daily Chronicle,<br />
March 1.<br />
<br />
<br />
<br />
VII.—Apvertisements Nor Parp For,<br />
<br />
Readers will please take notice that an author<br />
who recently received in an account a charge for<br />
advertisements in the publisher’s own organ, called<br />
the attention of the firm to the matter, and the<br />
charge was immediately taken out. There is very<br />
little doubt that in every case where such a charge<br />
is attempted it will be withdrawn rather than face<br />
the decision of a court.<br />
<br />
VOL. X.<br />
<br />
235<br />
THE GENERAL MEETING.<br />
<br />
<br />
<br />
HE annual general meeting of the Incor-<br />
porated Society of Authors was held at 20,<br />
Hanover-square, on Thursday, Feb. 27. Mr.<br />
<br />
A. Hope Hawkins took the chair at 4.30 and was<br />
supported by about sixty members. He opened<br />
the meeting by commenting on the report in<br />
detail and explaining the aims and objects of the<br />
Society as exemplified by its work. He poimted<br />
out the satisfactory increase in membership, 216<br />
having been elected in the past year, and an<br />
increase of £240 in subscriptions. He made<br />
special reference to the accession of dramatic<br />
authors.<br />
<br />
The intentions of the Committee in establishing<br />
a pension scheme were laid before the members in<br />
considerable detail, and the Chairman stated that<br />
about £1100 had been subscribed in donations<br />
and about £100 in yearly subscriptions. He<br />
hoped next year to start at least one pension.<br />
The subject of the Society’s action in the matter<br />
of the Copyright Bill was reviewed, and the im-<br />
portance of using all possible influence to get it<br />
passed was impressed on the meeting. The<br />
Chairman then turned to what he considered the<br />
really important daily work of the Society, its<br />
legal and advisory work. He stated that on this<br />
work the real strength of the Society rested, and<br />
he was glad to say that it was going forward<br />
satisfactorily. He closed his remarks by saying<br />
that the Committee had decided to issue cheap<br />
tickets for the dinner this year in crder to give all<br />
members a chance of coming, as it was the only<br />
social function of the Society.<br />
<br />
Discussion OF THE PENSION SCHEME.<br />
<br />
Mr. Zangwill then rose to oppose the pension<br />
scheme, both on what he stated to be selfish and<br />
unselfish grounds. He crystallised his opinion<br />
into the following sentence—that great authors<br />
should be supported by the public at large, and<br />
little authors not at all.<br />
<br />
Mr. Bernard Hamilton then made a few<br />
remarks, and Mr. Bernard Shaw made some useful<br />
suggestions, especially that the Committee of the<br />
Society should officially support applicants for<br />
Civil List Pensions.<br />
<br />
Mr. E. Rose, Mr. A. W. a Beckett, and others<br />
also spoke, strongly supporting the pension scheme,<br />
In fact it was really the only point in the report<br />
which was discussed.<br />
<br />
Mr. Hawkins summed up in a few words,<br />
explaining away the difficulties and objec-<br />
tions that had been raised, and thanking the<br />
members for the general support the scheme had<br />
received.<br />
<br />
AA 2<br />
<br />
<br />
<br />
<br />
236<br />
<br />
Tar BooxsTaLL GRIEVANCE.<br />
<br />
Mr. Mullett Ellis then proposed the following<br />
resolutions :—<br />
<br />
i. That the exercise of a literary censorship of books by<br />
the large trading monopoly, whose business is that of mere<br />
distributors and newsvendors, is not advantageous to<br />
Letters.<br />
<br />
2. That the system of monopoly which dominates the<br />
railway bookstalls throughout the Kingdom, gives to<br />
one firm a power over the output and distribution of<br />
popular literature, and of political journals, which is<br />
damaging to the interests of authors, and of the public.<br />
<br />
3. That a copy of the foregoing resolution be sent to the<br />
chairman and directors of the various railway companies,<br />
with a respectful request that on the next available occasion,<br />
the licenses of the railway bookstalls be given to more<br />
than one firm of booksellers, and that the principle of<br />
competition in the supply of literature be thus substituted<br />
for the existing monopoly.<br />
<br />
(a) Because it would be of financial advantage to the<br />
shareholders of the railway companies.<br />
<br />
(b) Because the dominance of one firm over the sale of<br />
newspapers and popular literature, is a political danger<br />
which may even threaten the national liberties, and is<br />
damaging to literature.<br />
<br />
(c) Because the existing system of the monopoly of one<br />
trading firm has, during many years past, been exercised in<br />
censorship of authors.<br />
<br />
(d) Because the sale of books at railway bookstalls has<br />
become so enormous that an alteration in the existing<br />
system has become a necessity, many valuable works not<br />
being now obtainable at the bookstalls, so that if the abuse<br />
be not dealt with by the railway companies, it will be<br />
necessary to seek the intervention of Parliament.<br />
<br />
Mr. Ellis read a series of letters he had received<br />
from various authors on the subject, expressing<br />
various opinions, and then proceeded to state his<br />
reasons in support of his motion. This he did by<br />
reading lengthy extracts of a letter from Messrs.<br />
Smith and Son, a copy of which had been printed<br />
in The Author.<br />
<br />
As Mme. Sarah Grand was unable to be present<br />
and second the resolutions, they were seconded<br />
by Mr. J. Louis, who explained that Messrs.<br />
Smith and Son had dealt unfairly with a paper<br />
in which he was interested, entitled Our Sisters ;<br />
as, though Messrs. Smith had taken a large<br />
number of the issue, and had promised to put<br />
them on the stalls, he (Mr. Louis) had been<br />
unable to find out that they had m any way<br />
fulfilled their promise.<br />
<br />
Mr. Bernard Shaw moved, as an amendment to<br />
the original resolution, that all the words after<br />
“railway companies” in resolution 3 should be<br />
omitted. He thought it would be a good thing<br />
to make a formal protest, but he also stated that<br />
he considered Messrs. Smith and Son’s institution<br />
a very desirable and advantageous distributing<br />
agency for authors.<br />
<br />
Mr. Zangwill seconded the amendment, on the<br />
grounds that no commercial body had any right<br />
to constitute itself a censor of literature.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Gribble opposed the whole thing as likely<br />
to make the Society ridiculous. He stated that<br />
if the Society was going to make a stir it ought<br />
to have a better case on which to go to the public<br />
than the present, and apart from this, he<br />
explained that if Messrs. Smith and Son were<br />
done away with authors would lose a great deal ;<br />
that as a general rule their methods were sound<br />
commercially.<br />
<br />
Mr. Bernard Hamilton then made a few<br />
remarks in favour of the resolutions.<br />
<br />
Mr. Hawkins, the Chairman, thereupon rose and<br />
stated at full length the action the Committee had<br />
adopted with regard to Mr. Mullett Ellis’s com-<br />
plaint during the past year, and the opinion that<br />
the Committee had formed, as he thought the<br />
members ought to be cognisant of this. The Com-<br />
mittee, he said, had made private inquiries and<br />
had been informed that Mr. Ellis’s book had been<br />
rejected primarily on financial grounds, but that<br />
Messrs. Smith and Son had not boycotted the<br />
book, as they were willing to order it when asked<br />
for. The Committee had considered the question<br />
carefully from all points of view, and had come<br />
to the conclusion not only that any action on the<br />
lines suggested would be inexpedient, but that if<br />
it had been expedient it would be unsatisfactory.<br />
The Committee did not intend to vote.<br />
<br />
Mr. Henry Norman then moved “ the previous<br />
question.” He stated that newspapers and the<br />
Press had often seriously considered the question<br />
of Messrs. Smith and Son, and that it had been<br />
found impossible, even with the great influence<br />
possessed by the Press, to effect any change,<br />
even if such change were at all likely to be<br />
desirable.<br />
<br />
The motion was put and carried by twenty-five<br />
to five, and the proceedings then terminated.<br />
<br />
<br />
<br />
PARIS NOTES.<br />
<br />
: 5, Rue Chomel.<br />
< QQ" juss on ne secourt pas les faibles,<br />
<br />
<br />
<br />
fussent-ils admirables et heroiques, il est<br />
<br />
a la fois pueril et imprudent de harceler<br />
les forts, et surtout de les outrager.” Such was<br />
the advice tendered by M. Paul Deschanel to his<br />
electors, on the occasion of a banquet given in his<br />
honour to celebrate his reception at the Academy<br />
and his re-election to the office of president of the<br />
French Chamber. Never was a similar warning<br />
more timely or necessary. During the last few<br />
months the output of scurrilous publications and<br />
obscene caricatures, ridiculing everything most<br />
dear and sacred to English hearts, has been<br />
simply revolting. Ninety per cent. of the coarse<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
abuse formerly lavished on the long-suffering<br />
Israelite has lately been devoted to vilifying our<br />
race. ‘The degradation of England is the advan-<br />
tage of France” was the lame excuse profferred<br />
by a member of the French Press in support of<br />
the outrageous language adopted by his confréres.<br />
This fallacious phrase caught the popular fancy<br />
and sank deep into the national mind, bearing<br />
down and obliterating the old traditions of French<br />
courtesy and generosity. The effect has been pain-<br />
fully apparent (especially during Carnival week)<br />
to the Anglo-Parisian frequenter of les grands<br />
boulevards. Gaudily-coloured, revolting carica-<br />
tures of the personage most revered among all<br />
European potentates; vulgar, obscene prints<br />
headed “ Prix aux cochons,” with the names of<br />
our bravest generals appended, in order to leave<br />
no doubt as to the personages aimed at; anda<br />
score of equally offensive productions of the same<br />
genre have affronted the beholder’s eyes at every<br />
turn. The authorities can scarcely be held<br />
responsible for a state of affairs which they are,<br />
unfortunately, unable to remedy, the inefficiency<br />
of the police re the populace having been palpably<br />
manifested during the Fort Chabrol affair. Of<br />
the 74,212 candidates who officially presented<br />
themselves for employment at the beginning of<br />
the year, only 1557 were accepted; and when the<br />
opening of the Great Exhibition joins to this<br />
large army of probably already disaffected unem-<br />
ployed the thousands of workmen now occupied<br />
within its walls, lively scenes may be anticipated.<br />
«Aprés moi le déluge,” quoth Louis XV. And<br />
the masses verified his prediction.<br />
<br />
A New Acapemy.<br />
<br />
The First Chamber of the Court of Appeal has<br />
decided in favour of the establishment of the<br />
Académie Goncourt. M. Léon Daudet (who has<br />
succeeded his father as legal executor of Edmond<br />
de Goncourt’s last will and testament) will, in all<br />
probability, be nominated president of the new<br />
association. Edmond de Goncourt was a man of<br />
high, original talent, and he was also “a rebel<br />
by nature.” He detested the existing French<br />
Academy, and frequently fulminated against it<br />
when enjoying the society of his intimate friends.<br />
His idea was to found an institution which should<br />
prove an agreeable haven of refuge to those<br />
writers whom he considered unjustly excluded<br />
from ascending the dais of the immortals. Never-<br />
theless, he expressly stipulates that until the sum<br />
of 65,000 francs per annum be accumulated, the<br />
Académie Goncourt shall only exist as a provi-<br />
‘sional society. He likewise states that, though<br />
no other prize than the Goncourt prize can be<br />
founded by the young Academy, the latter recom-<br />
pense may be augmented from five to ten thousand<br />
<br />
re<br />
<br />
francs ; but that, when once this figure is attained,<br />
the additional capital shall be employed in<br />
augmenting the salary of the ten members, three<br />
of whom still remain to be elected. A provi-<br />
sional prize of 1200 francs for the best work of<br />
imagination in prose which shall appear during<br />
the year is also provided for, together with 1400<br />
francs per annum to be expended in a weekly<br />
dinner (at twenty francs per head) which the<br />
aforesaid members are required to partake in<br />
company during the months of November,<br />
December, January, February, March, April, and<br />
May. In short, despite the disdainful attitude of<br />
the elder Academy and the “talon rouge” dis-<br />
played by one of its most illustrious associates,<br />
the members of the new Academy are in no wise<br />
to be pitied.<br />
“Prace aux Dames.”<br />
<br />
The present generation of French authoresses<br />
are not disposed to hide their light under a<br />
bushel. They are now meditating another step<br />
in advance, to wit, the nomination of a feminine<br />
candidate to sit on the committee of the Société<br />
des Gens de Lettres. This project was mooted<br />
last year; but so many agitating subjects were<br />
then brought forward that the ladies magnani-<br />
mously permitted their project to be set aside,<br />
being unwilling to add fuel to the flames of dis-<br />
sension already rending the society. M. Marcel<br />
Prévost, whose term of presidency is rapidly<br />
drawing to its close, is in sympathy with the<br />
movement, which can scarcely be considered as an<br />
innovation, since George Sand was formally<br />
invested with this honour, though she never<br />
attended a single meeting. The ladies have deter-<br />
mined to nominate only one candidate, in order<br />
to avoid any splitting of votes, which would<br />
assuredly result in their defeat. Mlle. Maugeret,<br />
editress of the Mminisme Chrétien, will probably<br />
be the candidate chosen.<br />
<br />
The writings of Mme. Jean Bertheroy, “ that<br />
dark-eyed, red-lipped, living incarnation of<br />
Carmen,” enjoy, in most instances, a well-merited<br />
popularity. This is, unfortunately, not the case<br />
as regards her latest novel, entitled ‘“ Lucie<br />
Guérin, marquise de Ponts.” The tale is simply<br />
the apotheosis of adultery, the glorification of<br />
criminal passion ¢o the detriment of honour, duty,<br />
gratitude, and all nobler sentiments. It is to be<br />
hoped that Mme. Bertheroy’s next venture may<br />
have as wide a popularity, and a higher moral<br />
tone than her present contribution to French<br />
literature.<br />
<br />
Press AMENITIES.<br />
<br />
Duels between members of the Press and<br />
susceptible individuals whom their nimble pens<br />
have offended are greatly in vogue. In these<br />
<br />
<br />
238 THE<br />
discourteous days, the dexterous manipulation of<br />
sword and pistol forms a necessary part of the<br />
education of every self-respecting, life-loving,<br />
political French writer. Few journalists, how-<br />
ever, are called out by antagonists so plucky and<br />
unskilful as the councillor-general of the Charente,<br />
who recently parried his adversary’s attack by<br />
wildly plunging his sword into the thigh of the<br />
unoffending assistant-surgeon who served as one<br />
of the witnesses in the affair. The vexed ques-<br />
tion as to whether a son can, in certain cases,<br />
substitute himself bis father’s champion is still<br />
undecided. An incident in the career of Dumas<br />
fils shows that the notorious pamphleteer, Hugéne<br />
de Mirecourt, was averse to this filial substitution,<br />
which would have considerably augmented the<br />
dangers of his already perilous career.<br />
<br />
De Mirecourt had just issued a terrible pamph-<br />
let, entitled ‘Dumas et Cie,” whose implacable<br />
logic sheared away the greater part of the glory<br />
of the illustrious author of “ Les Trois Mousque-<br />
taires,’ when one fine morning his domestic pre-<br />
sented him with the card of Alexandre Dumas<br />
fils. Immediately after a stalwart young man<br />
entered the editorial sanctum, and brusquely<br />
announced—‘ You have insulted my father, and<br />
Tam come to demand satisfaction for the insult.”<br />
<br />
“Your conduct is dictated by too honourable a<br />
sentiment to allow of my refusing your request,”<br />
blandly responded De Mirecourt. ‘‘ Permit me to<br />
ask you asingle question. Is your father in good<br />
health?”<br />
<br />
Receiving a gruff response in the affirmative,<br />
he politely added,<br />
<br />
“Then everything can be easily arranged.”<br />
<br />
He forthwith rang, and ordered the domestic<br />
in attendance to inform M. Edgar he was wanted.<br />
Two minutes later the domestic reappeared,<br />
leading by the hand a pretty little fellow of<br />
some eight or ten years of age. De Mirecourt<br />
rose and, with an urbanity worthy the great<br />
Turveydrop himself, ceremoniously enunciated :<br />
<br />
“My son—M. Dumas fils. Be kind enough,<br />
sir,” he continued, turning to his visitor, “to<br />
settle with my son the little matter which<br />
brought you here.”<br />
<br />
Dumas fils had too keen a sense of humour<br />
not to be amused by the incident. He smiled at<br />
the child, bowed to De Mirecourt, and withdrew.<br />
Nothing further was heard of the affair.<br />
<br />
Joris Kari HuysMans.<br />
<br />
Among notable books of the month may be<br />
mentioned “Pages Catholiques,” by Joris Karl<br />
Huysmans, in which the author, under the<br />
pseudonym of “ Durtal,” narrates the history of<br />
his own conversion. In the preface, written by<br />
Abbé Mugnier to commend this re-edition of the<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
most eloquent pages of the celebrated “ En<br />
Route” to the perusal of the faithful, we find<br />
the following vigorous refutation of the insinu-<br />
ations of insincerity levelled against the famous<br />
convert: “Que certaines irrévérences et bizar-<br />
reries de langage alent pu surprendre ou égarer<br />
le jugement de plusieurs, il n’y a rien d’étonnant.<br />
oe On ne joue pas 4 ce point le repentir! On<br />
ne fait pas jaillir artificiellement de telles larmes!<br />
Décrire, avec cette précision, les effets de certains.<br />
sacrements, c’est les avoir ressentis, 4 deux genoux,.<br />
comme un croyant. Et il faut étre encore prati-<br />
quant pour se plaire aux mystiques pour<br />
glorifier ’Eglise avec des accents qui n’appar-<br />
tiennent qu’a ses fils . . .” From which it<br />
may be gathered that the Romish Church is<br />
disposed to be lenient to the eccentricities of its<br />
renowned convert. Close to my present abode<br />
runs the pious Rue de Stvres, where the famous<br />
author of “La-Bas” lived for so many years in<br />
reputed familiar association with the Evil One.<br />
It was impossible to see him unless he himself<br />
desired the interview, for he had constructed a<br />
species of observatory — commonly called a<br />
judas” —from which he could observe his<br />
visitors unseen; and unless their physiognomy<br />
chanced to be to his taste, he remained obsti-<br />
nately deaf to all entreaties or demands for admit-<br />
tance. He is reported to have already commenced<br />
an analytical dissection of his present feelings,<br />
which will be published under the title of<br />
“T’Oblat.”<br />
“QO cHeR Roopyar!”<br />
<br />
The above phrase, repeated some months ago<br />
with parrot-like persistency in various literary<br />
salons, completely mystified me for a time. At<br />
first, I laboured under the delusion that ‘‘ce cher<br />
Roodyar” was an amiable member of an ex-<br />
tremely numerous French family; later on, I<br />
presumed him to be either a modern Admirable<br />
Crichton of hig-lif fame, or else an aristo-<br />
cratic young dandy on whom had devolved the<br />
sceptre of fashion formerly swayed by the late<br />
Prince de Sagan; and it was some weeks before<br />
it dawned on my bewildered mind that “ce cher<br />
Roodyar” of Parisian fame was no less a per-<br />
sonage than our own _ illustrious Rudyard<br />
Kipling.<br />
<br />
The attitude he has adopted in regard to the<br />
Transvaal War has caused a temporary eclipse of<br />
his popularity ; but the cloud is already lifting.<br />
Translations of his latest “ Jungle Book”’ series<br />
are again being eagerly read, or, at least, placed<br />
well in evidence in the leading booksellers’ shops,<br />
and on the étagéres of those gilded youths who<br />
are reputed to possess cosmopolitan literary tastes.<br />
The subjoined description of his personality gives<br />
a good example of the extreme fineness of observa-<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
tion and keen eye for detail which characterise<br />
the majority of word portraits limned by French<br />
writers: “ Crane vaste et fuyant de dolicho-céphale,<br />
front dégarni déja (il n’a pas trente-quatre ans)<br />
comme pour mieux montrer l’ossature de silex, la<br />
fine et forte construction de la téte: yeux noy¢s<br />
dombre sous l’arcade séche et creusée, las, dirait-<br />
on, davoir regardé trop, paisibles derriére les<br />
lunettes studieuses ; michoire effilée comme une<br />
lame; mince menton saillant et volontaire; un<br />
profil réduit A l’essential, aigu, obstiné comme une<br />
pince d’acier qui ne lachera jamais sa prise, et<br />
pourtant détendu dans du réve et de la contempla-<br />
tion, &c.” Space forbids our citing the conclusion<br />
of M. André Chevrillon’s graphic description<br />
(vide M. Emile Berr.)<br />
New PusiicaTions.<br />
<br />
Among books of the month will be found—<br />
« Au Pays des nuits blanches,” by M. Emile Berr ;<br />
“Des Histoies,’ by M. Michel Corday (chez<br />
Ollendorf) ; ‘ Draco,” by M. Paul Gaulot (chez<br />
Plon) ; ‘“ La Double Maitresse,” by M. Henri de<br />
Régnier (Société du Mercure de France) ; “ La<br />
Fin du théAtre romantique et Francois Ponsard,”<br />
by M. Latreille (chez Hachette) ; “ Musiciens et<br />
philosophes,” by M. Kufferath (chez Alcan) ; and<br />
«“ Silhouettes contemporaines, les hommes de mon<br />
temps,” by M. Paul Vibert (chez Berger-Lev-<br />
<br />
<br />
<br />
<br />
<br />
rault). Darracorre Scort.<br />
pe<br />
BOOKS FOR THE SOUTH AFRICAN<br />
HOSPITALS.<br />
<br />
<br />
<br />
N consequence of the large number of edu-<br />
cated men who have gone to the front, it<br />
is of great importance to provide high-class<br />
<br />
literature for the hospitals. Miss Edith Rhodes,<br />
22, South Audley-street, W., who has gone to the<br />
front to a base hospital near De Aar, would<br />
gladly receive contributions of books from the<br />
readers of The Aufhor, which will be forwarded<br />
by her agents to South Africa without expense to<br />
the senders, and carefully distributed to the<br />
hospitals from her depdt at Wynberg. Magazines<br />
are unfortunately too bulky and cost too much<br />
to send up country. Miss Rhodes’s depot will<br />
remain open till Easter.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
239<br />
AMERICAN NOTES.<br />
<br />
N interesting plan has been devised by the<br />
St. Louis Library in dealing with novels<br />
which happen to be in great demand at<br />
theinstitution. Although fiction constitutes only 25<br />
per cent. of the annual book product in the United<br />
States, 75 per cent. of the circulation of public<br />
libraries consists of novels. The librarian finds<br />
himself between two fires—that of the taxpayers<br />
and that of the card-holders, who are wroth<br />
because the books they want are always “ out.”<br />
How the St. Louis people have solved the problem<br />
is told by Mr. Frederick M. Crunden in a recent<br />
number of the English magazine, the Library<br />
(second series, No. 1, Kegan Paul). The library<br />
has established what it calls a “ collection of<br />
duplicates,” which consists of all the temporarily<br />
popular novels that happen to be the fad of the<br />
hour, This collection is paid for by charging five<br />
cents (24d.) a week to each regu'ar card-holder<br />
who draws one of these duplicate volumes. For<br />
example, when the regular library copy happens<br />
to be out, the seeker of “ Ben Hur,” or “ Trilby,”<br />
or “ David Harum” can be satisfied by paying a<br />
trifling fee, while otherwise he might have to wait<br />
many weeks or months without being able to<br />
draw the book. With the money thus received,<br />
the librarian or trustees can keep on buying extra<br />
copies as long as the demand exceeds the supply.<br />
In this way the St. Louis Library ultimately<br />
bought fifty copies of “ Ben Hur” before the<br />
demand slackened, but the whole lot cost the<br />
library nothing. In like manner it bought stx<br />
regular and ninety-four duplicate copies of<br />
“Trilby,” and for eight or ten weeks none of<br />
these copies was ever idle on the shelf. The<br />
ninety-four “ duplicates” paid for the whole<br />
hundred. The same has been done since with<br />
other novels for which there is an abnormal<br />
demand; and popular magazines, books, and<br />
other fiction are supplied at the same rate when<br />
the demand runs beyond the ordinary.<br />
<br />
An important decision has been given by the<br />
Supreme Court of Tllinois, in the case of the<br />
Daily Inter-Ocean of Chicago against the Asso-<br />
ciated Press. The Associated Press covers the<br />
various parts of the United States, where its<br />
agents gather news, which is wired to it, and<br />
through it such news is received by the various<br />
newspapers of the country, one of whom was the<br />
Inter-Ocean. It had deprived the Inter-Ocean<br />
of news on the ground that the latter had disre-<br />
garded a bye-law forbidding any newspaper to<br />
receive news from any person, firm, or corporation<br />
that had been declared “ antagonistic” by the<br />
Associated Press. The Jnter-Ocean violated this<br />
rule by obtaining news from the New York Sun,<br />
<br />
<br />
<br />
<br />
240<br />
<br />
and by authority of another bye-law the Asso-<br />
ciated Press suspended the recalcitrant Chicago<br />
newspaper. The Illinois Supreme Court has over-<br />
ruled the judgment of the lower court, and<br />
declared that the Press association cannot<br />
prevent its members from obtaining news from<br />
any sources it may choose. One of the most<br />
interesting passages in the court’s decision is that<br />
in which the obligation of the Press association<br />
to serve the public is insisted upon: “ Its obliga-<br />
tion to serve the public is not one resting on<br />
contract, but grows out of the fact that it is in<br />
the discharge of a public duty, or a private duty<br />
which has been so conducted that a public interest<br />
has attached thereto.”<br />
<br />
A rebuke is administered to American news-<br />
papers by the Chicago Dial on a small but inte-<br />
resting point. No one who has read American<br />
papers attentively can have failed to observe<br />
that in referring to persons by name they dis-<br />
regard the prefix of “Mr.” It is a little sur-<br />
prising, however, to find a correspondent of the<br />
Dial, who writes from the University of Wis-<br />
consin, Madison, protesting against that journal’s<br />
description of the Norwegian dramatist as Dr.<br />
Ibsen, and pleading the superior dignity of<br />
simple “Ibsen.” The editor’s reply is very much<br />
to the point. He says:<br />
<br />
We believe it to be a matter of the merest good manners<br />
to speak of people in print as we should speak to them in<br />
private conversation. If we were addressing Dr. Ibsen<br />
personally, we certainly should not call him “Ibsen,” and<br />
are unwilling to offer him that discourtesy when writing<br />
about him. If we did not call him “Dr.” we should be<br />
obliged to call him “ Herr,” which our critic would probably<br />
think equally pedantic. Thus the cases of Shakespeare and<br />
Byron, who are not among the living, have no bearing<br />
upon the question. Our practice in this matter illustrates<br />
one of those “little touches’”—to use Professor Peck’s<br />
phrase—that means so much to persons of refined taste.<br />
The habit which Germans and Scandinavians have of<br />
denying in print to their living fellow-countrymen the titles<br />
whereby gentlemen designate one another is a thing which<br />
—as far as it goes—indicates an imperfect civilisation, and it<br />
is one of the minor depravities of the American newspaper<br />
that itso encourages this form of. rudeness that we should<br />
now be taken to task for observing the ordinary amenities<br />
of social intercourse.<br />
<br />
Commenting on the proposed Pension Fund of<br />
the Society of Authors, the Chicago Tribune<br />
says the best feature of the scheme is that it is<br />
contributed to by writers, and will be supported<br />
solely by them. ‘The day when the author is<br />
willing to be dependent upon the bounty of a<br />
Mecenas is past, or should be.”<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
HE Morning Post noticed in a leading<br />
article—it was on Feb. 8th but the cutting<br />
only reached me the other day—the letter<br />
<br />
in The Author concerning Australian literature.<br />
The writer argues that our Australian corres-<br />
pondent wants multiplication of writers rather<br />
than quality of work. I do not find that desire,<br />
but this part may be left for the moment. The<br />
leading article goes on to say:<br />
<br />
“This would be amusing if it were not so hope-<br />
lessly, so pathetically wrong. There lies at the<br />
root of it the base, absurd notion which has in<br />
these latter days been accidentally taught by men<br />
who ought to have known better, that literature<br />
is a profession, like the law and the church, or<br />
what not : . To take to literature as one<br />
might take to the Bar is not the way to produce<br />
anything that is worth calling literary; and the<br />
more the commercial side of literature is<br />
encouraged and maintained the less likely are<br />
the books produced to be literary in quality.”<br />
<br />
I should very much like to know who are the<br />
men referred to. Certainly they are not con-<br />
nected with the Society of Authors. We have<br />
steadfastly and strenuously pointed out the<br />
dangers of taking up literature as a profession: —<br />
the humiliations, the dependence, to which those<br />
who do so and fail are reduced.<br />
<br />
<br />
<br />
Week after week, day after day, the old con-<br />
fusion asserts itself, the confusion between literary<br />
work and commercial value. Over and over<br />
again, a thousand times, it must be repeated<br />
that the one has no necessary connection with the<br />
other. Literary work produced to sell is like<br />
everything else produced to sell—presumably<br />
shoddy and worthless. Our contention is simply<br />
this: The literary workman produces his best.<br />
While he is at work he cannot possibly regard the<br />
commercial side of his work; else, how could it<br />
be his best? The commercial value begins when<br />
it is finished. He can then do what he pleases<br />
with his work: he can give it to his publishers, as<br />
Lord Lyttelton gave his “ Henry the Second” ;<br />
or he can consent to be “ bested,” as will probably<br />
happen to him unless he takes care; or he may<br />
look after his own property. In any case how does<br />
the “ commercial side of literature” spoken of by<br />
our leader-writer come in? And bow is it<br />
encouraged ?<br />
<br />
<br />
<br />
Meantime, though we do not advocate—but<br />
quite the contrary—the attempt to live by litera-<br />
ture in any form or branch, the fact remains that<br />
there are many hundreds—even thousands—who<br />
<br />
<br />
Pt) a<br />
<br />
£<br />
&<br />
%<br />
i<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
do live by literature. They write leading articles<br />
for the Morning Post and other papers: they<br />
write plays: they write novels: they write essays<br />
for magazines: they do all kinds of literary work :<br />
they write educational, scientific, and technical<br />
books. It is the custom in The Author to speak<br />
of those who live by letters as following the pro-<br />
fession of letters ; also, of those who live by acting<br />
as following the profession of the actor; while<br />
those who live by the law follow the profession of<br />
barrister. If a man cannot act, if a man has<br />
not the legal mind, he cannot live by either pro-<br />
fession. So, ifa man has not the literary gift<br />
he cannot follow the profession of literature.<br />
After all, the name signifies nothing. Let it be<br />
called a trade—or anything else; the leader-writer<br />
may class himself with the retail dealer, or the<br />
novelist with the costermonger if it pleases him.<br />
The fact remains. Here is a calling, or a trade, or<br />
an industry, by which a vast multitude earn a<br />
livelihood, and a few make very considerable<br />
prizes. Are we to encourage them to throw away<br />
their property or to defend it? Certainly not the<br />
former because we are told that this is “ encourag-<br />
ing the commercial view.”<br />
<br />
<br />
<br />
Let me quote here a warning of my own which<br />
has been in other forms often presented in The<br />
Author :—<br />
<br />
“T hope that these words and the chapters<br />
which follow will not induce any young man<br />
hastily to abandon his present employment in<br />
order to embark upon the profession of letters.<br />
The old miseries are gone, it is true, but there are<br />
many broken hearts, many cruel disappointments,<br />
many bitter disillusions, even in the present day.<br />
The literary life without a reasonable<br />
measure of success must be a disappointed and a<br />
miserable life. That reasonable measure of<br />
success is an essential. Therefore, I repeat, I<br />
should be very sorry indeed if, by any words of<br />
mine, any young man should be persuaded to<br />
exchange his certain work, whatever it is, for an<br />
uncertain plunge into literature.<br />
<br />
“ To those few, however, who think they possess<br />
the necessary qualifications: to those who feel<br />
really impelled to join the ranks of literature, I<br />
would say, ‘ Come Don’t think of making<br />
money—there are a thousand chances to one<br />
against it. pe<br />
<br />
<br />
<br />
The discussion on the pension scheme at<br />
the annual meeting showed, to begin with,<br />
that the project is imperfectly understood. One<br />
speaker seemed to object altogether to the grant-<br />
ing of pensions to literary folk. The same objec-<br />
tion would apply to the grants of the Royal<br />
<br />
241<br />
<br />
Literary Fund and to the pensions of the<br />
Civil List. He also seemed anxious to divide<br />
literary people into great authors and small<br />
authors. But who is to make that division?<br />
How is it to be made? - Are we to call an author<br />
great because his works circulate by the hundred<br />
thousand ? In that case, not to speak of English<br />
writers, Mr. Charles Sheldon is the greatest of<br />
living authors : also, for three-fourths of his life,<br />
Robert Browning was the smallest of his contem-<br />
poraries. Or are we to give this important divi-<br />
sion into the hands of reviewers ? But they will not<br />
agree. Or into the hands of authors themselves ?<br />
Then every poet will place himself in the front<br />
rank. Itis not, in fact, a question as to literary<br />
position, which is a very doubtful thing in most<br />
cases. The question is simply this: Every other<br />
profession has its own fund for the help of those<br />
who break down through age or sickness—why<br />
not the literary profession? We do not propose<br />
to give a pension to anyone simply because he has<br />
been a member of the profession: we only offer<br />
to those of our members who are followers of the<br />
literary craft in any of its branches assistance in<br />
the case of a permanent breakdown. But, it is<br />
ignorantly objected, there is the Royal Literary<br />
<br />
Fund. That society gives grants in aid, not<br />
5 d Dre 5 z, es<br />
pensions. It cannot give pensions without a<br />
<br />
change in its charter. Or there is the Civil List of<br />
£1200 a year. The share of literature in this list<br />
is £400 a year. The First Lord of the Treasury<br />
can do what he likes with the grant: he may give<br />
the half of it, or three-fourths of it, to one man:<br />
as a rule, he gives nearly the whole of it to<br />
widows and daughters of the literary prefession,<br />
and in so doing probably does the best he can<br />
with the money.<br />
<br />
To return to the Society’s pensions. Nobody<br />
enters the profession of law, medicine, acting, or<br />
any other, because there are associations which<br />
befriend the wrecks. In the same way no one<br />
will enter upon the literary profession because we<br />
have founded a Pension Fund for the unfortunate.<br />
We have only to place ourselves on the same<br />
footing as any other profession, in order to<br />
understand exactly how the Pension Fund will be<br />
administered, and what will be its effect upon the<br />
literary profession generally.<br />
<br />
It was suggested at the meeting that the<br />
Society should bring its influence to bear upon<br />
the Government and its administration of the<br />
Civil List. The Society has already done so. It has<br />
published an exposure of the management of the<br />
grant: it has caused several awkward questions to<br />
be asked in the House: and the result has been a<br />
great deal more care in its administration of late<br />
years. What can the Society do more? Can<br />
it recommend persons wortby of a pension ?<br />
<br />
<br />
THE<br />
<br />
242<br />
<br />
Gan it make the First Lord more careful so to<br />
divide his pensions as to include as many as<br />
possible ? Can it enlarge the grant? It seems,<br />
on the other hand, a better policy to keep a watch<br />
upon the nominees, and to encourage the better<br />
plan of bestowing the pensions more ,upon the<br />
widows and daughters, than upon the writers<br />
themselves.<br />
<br />
Would it not be well to drop altogether the<br />
word “small” author? We do not find actors<br />
talking of “small” actors, medical men talking<br />
of “small” doctors, barristers talking of<br />
“small” lawyers, or ecclesiastics talking of<br />
“small” clergymen. This reticence does not<br />
exclude respect for the more distinguished in any<br />
of these professions. All we want is the reeogni-<br />
tion of a professional status by members of the<br />
profession. A correspondent in a recent number<br />
of The Author met very cleverly the common<br />
objection that since any one from the outside may<br />
come in and begin to write, literature cannot be<br />
considered as a profession. Why, he said, in<br />
effect, any outsider may go on the stage, anyone<br />
with a box of paints may paint a picture; yet no<br />
one pretends that acting is not a profession, and<br />
no one maintains that painting is not a profession.<br />
As regards the “small” author, George Eliot<br />
once wrote a paper on the subject: the fact does<br />
not justify her or anyone else in contempt for<br />
writers who have not yet stepped to the front.<br />
Let us recognise the possibilities of every follower<br />
of literature.<br />
<br />
<br />
<br />
Another subject of discussion was a resolution<br />
proposed by Mr. Mullett Ellis, on the subject of<br />
Messrs. W. H. Smith and Son’s bookstalls. The<br />
resolution was defeated by twenty-six to five. The<br />
defeat was a foregone conclusion. For, first of<br />
all, it is absurd to pass resolutions which can<br />
produce no possible effect. In this case, we have<br />
a large and most complicated machinery, the<br />
result of many years’ experience, which distributes<br />
all over the kingdom an immense mass of news-<br />
papers, journals, and magazines ; which makes<br />
every railway station the office of a circulating<br />
library, and opens a bookstall at which every<br />
book published can be bought, if it is not offered<br />
for exhibition on the shelves. This organi-<br />
zation, it cannot be denied, works well: the<br />
public are satisfied with it; there would be the<br />
greatest inconvenience if any dislocation were<br />
attempted ; the railway companies are satisfied<br />
with it. What earthly good would it be for any<br />
society, however powerful, to protest against it?<br />
Secondly, the protest, if any were made, should<br />
not come from a person who had a private grie-<br />
Mr. Mullett Ellis, rightly or wrongly,<br />
<br />
vance.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
thinks that his novel was withheld from the<br />
stalls on account of its title. This fact deprives<br />
his protest of importance. Now, as a general<br />
rule, the bookstall is made to hold as many books<br />
as can be crammed into it. In the second place,<br />
every bookseller possesses, and exercises, the right<br />
to buy and offer for sale whatever he chooses.<br />
This right is prevented from becoming an arbi-<br />
trary despotism because the public will have-<br />
their favourites, and they have many favourites.<br />
Should we be better off if, in place of an immense<br />
firm with boundless resources, we were dependent<br />
upon a local bookseller for every railway station ?<br />
Those who complain of the bookstall should<br />
compare it with the local bookseller’s shop. They<br />
should also take a tape, and measure the space<br />
accorded by the railway company to the bookstall,<br />
and calculate for themselves how many books the<br />
stall will hold. They may next fill as much of<br />
that space as is wanted for books which the public<br />
demand. They may then proceed to ascertain how<br />
much is left for those books which the public do<br />
not ask for, but would, perhaps, buy if they were-<br />
offered. And when they have carried out these<br />
simple experiments, they will, perhaps, ask them-<br />
selves how the existing system may be improved,<br />
and if Mr. Mullett Bllis has offered any plan<br />
which would be better for the public convenience,<br />
the railway companies, the authors, and the-<br />
publishers.<br />
<br />
The following note is from the London corre-<br />
spondent of the New York Times Saturday<br />
Review. His opinion is the same as my own,<br />
that a bookseller must possess, and must exercise,<br />
the right to accept or to refuse any books he<br />
pleases, and without assigning any reason. If<br />
Messrs. Smith and Son were dispossessed to-<br />
morrow, and their place taken bya hundred book—<br />
sellers, there would be a hundred exercising this.<br />
right instead of one. How far this would be an<br />
advantage is not easy to understand :<br />
<br />
The Authors’ Society is solemnly to discuss the question<br />
whether it is right that the Smiths should have a monopoly<br />
of the bookstands. The answer seoms obvious. If the<br />
Smiths conduct their business well, their monopoly is on the<br />
whole a benefit to the public. Many complaints have been<br />
made of the way in which the Smiths condact their business.<br />
Especially has their habit of exercising a censorship, and<br />
declaring from time to time that certain books are too:<br />
immoral to be sold, been condemned; but, after all, it is.<br />
difficult to deny to the bookseller the right to refuse to sell<br />
books of which he disapproves.<br />
<br />
————$<br />
<br />
I invite attention to the letter on p. 248, in<br />
which the writer speaks of a little invention for<br />
the conveyance of MSS. The inventor has sent<br />
me one of her “carriers.” It is not of the right<br />
size for my own paper, but the size can easily<br />
<br />
<br />
e<br />
£<br />
:<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
altered. Meantime, it seems to me a most useful<br />
little invention—a great deal better than any<br />
envelope. Anyone can have a specimen for 6d.<br />
At all events, the “carrier” will convey MSS.<br />
flat and keep them clean, and, which is important<br />
to some, will bring them back again in safety.<br />
<br />
<br />
<br />
I think that it needs no advocacy to call the<br />
attention of readers to the invitation contained in<br />
another column to send books to South Africa for<br />
the use of the wounded. The address to which<br />
books may be sent is Miss Edith Rhodes, 22,<br />
South Audley-street, W. I would suggest that<br />
the gifts should take the form of the more popular<br />
literature of the day, not novels alone, but essays,<br />
travels, biographies, history. Will readers please<br />
note that the boxes will be sent off at Haster ?<br />
<br />
Watrer BEsant.<br />
<br />
<br />
<br />
THE ACADEMY’S PRIZES.<br />
<br />
N February the Academy put forward a<br />
series of competitions, the list of which was<br />
as follows :—<br />
<br />
Tue “ AcapEMyY’s”’ SPECIAL COMPETITIONS.<br />
WE offer the sum of Thirty Guineas, to be divided into six<br />
portions of Five Guineas each, which we shall award to the<br />
successful competitors in the following literary exercises.<br />
Anybody is eligible to compete, but competing MSS. must<br />
not have been printed before, either for public or private<br />
circulation.<br />
<br />
<br />
<br />
List of Competitions.<br />
<br />
L—Five Guryeas for the best original short poem. Not<br />
to exceed twenty-four lines.<br />
<br />
Il.—Five Gurneas for the best original short story.<br />
Not fewer than 1500 words, and not more that 2000 words.<br />
<br />
Ill.— Five Guingas for the best original essay on a non-<br />
literary, light, every-day subject. Not to exceed 2000<br />
words in length.<br />
<br />
IV.—Five Guryzas for the best original ‘“ Things Seen,”<br />
in the manner of those published in the Academy during the<br />
past year. Not to exceed 350 words.<br />
<br />
V.—Five Guineas for the best original paper ona British<br />
or foreign city, town, or village. It should take the form of<br />
a personal, impressionistic description, and must not exceed<br />
2000 words in length.<br />
<br />
VI.—Five Guinnas for the best original set of epigram-<br />
matic cr.ticiams of six Britich or American living novelists.<br />
No single criticism must exceed 100 words in length.<br />
<br />
Conditions.<br />
<br />
The MSS. must be typewritten. They must reach the<br />
Academy office on or before March 31, 1900.<br />
<br />
The title of the particular class of competition must be<br />
written on the outside of the envelope containing the MS.<br />
Thus :—<br />
<br />
I.—* Poetry Competition.”<br />
II.—* Story Competition.”<br />
Il.—* Essay Competition.”<br />
IV.—“ Things Seen Competition.”<br />
V.— Foreign Town Competition.”<br />
VI.—“ Novelist Competition.”<br />
<br />
243<br />
<br />
A pseudonym, chosen by the competitor, must be written<br />
on the left-hand top corner of the first page of his or her<br />
MS., and each MS. must be accompanied by a small closed<br />
envelope containing the competitor's name and address,<br />
with the pseudonym written on the outside of such small<br />
closed envelope.<br />
<br />
Anybody is eligible to compete; but competing MSS.<br />
must not have been printed before, either for public or<br />
private circulation.<br />
<br />
A competitor may compete for as many cf the competi-<br />
tions as he or she chooses.<br />
<br />
As MSS. are received they will be acknowledged under<br />
the competitor's pseudonym in the next issue of the<br />
Academy.<br />
<br />
The prize MSS. will be printed in the Academy ; and the<br />
editor reserves the right to print any of the other MSS.<br />
sent in.<br />
<br />
Jo MS. will be returned unless it be accompanied by<br />
stamps to cover the postage.<br />
<br />
Competitors who do not comply with the above conditions<br />
will be disqualified.<br />
<br />
In paragraph 2 it appears that the sum of five<br />
guineas has been offered for a story not exceeding<br />
2000 words. That is a fair price for a story of that<br />
length from the hand of a fairly well-known author.<br />
The same amount has been offered in paragraph 3<br />
for an essay of similar length, and in paragraph 5<br />
for a descriptive paper. Under the conditions of<br />
this competition, it appears that the prize MS.<br />
will be printed in the Academy, and the editor<br />
reserves the right to print any of the MSS.<br />
sent in.<br />
<br />
One of the members of the Society thinking,<br />
naturally enough, that other MSS. so printed<br />
would be paid for at ordinary rates, and that<br />
there had been a small oversight in the condi-<br />
tions, wrote to the editor on the point, but received<br />
no reply. He thereupon wrote to the Secretary<br />
of the Society, who also wrote to the Editor of the<br />
Academy in the following terms :—<br />
<br />
[copy ]<br />
Feb. 27th, 1900.<br />
The Editor of Academy.<br />
<br />
Dear Sir,—I trust you will excuse my writing to you<br />
with regard t> your competition fully set out in the number<br />
dated 17th February. You state the editor reserves the<br />
right to print any of the MSS. sent in. Would it not have<br />
been clearer if jou had stated that the MSS. so printed<br />
would be paid-for at a fixed rate (naming the rate) ? Ishould<br />
be glad to hear from you that this is an oversight on your<br />
part.<br />
<br />
(Sigued) G. Herpert THRING.<br />
<br />
P.S.—I write as I have had inquiries at this office as to<br />
whether the MSS. printed will be paid for.<br />
<br />
To this letter the Editor replied as follows :—<br />
<br />
[copy. ]<br />
<br />
March 2nd, 1900.<br />
Dear Sir,—I beg to acknowledge your letter of the 26th,<br />
referring to our Prize Competition. I would suggest that if<br />
any of your clients wish for information wich is not con-<br />
tained in our announcements, they should take the usual<br />
<br />
course of applying to this office.<br />
Yours truly, Tz Eprror (per W. W.).<br />
<br />
<br />
244<br />
<br />
And the Secretary again wrote in answer :—<br />
[cory.]<br />
March 3rd, 1900.<br />
The Editor of Academy.<br />
<br />
Dear Sir,—I beg to thank you for your letter. The<br />
course you suggested has been taken by one of the members<br />
of our Society, but he received no answer. I should be ex-<br />
ceedingly glad if you would let me have the information I<br />
asked for, as it would save us both no doubt a considerable<br />
amount of trouble. I am asking for the information in no<br />
carping spirit.<br />
<br />
Yours truly (signed) G. HerBERT THRING.<br />
<br />
The March number of The Author contained a<br />
note on the subject, and in the number of the<br />
Academy the 10th of the same month the editor<br />
placed the following paragraph :—<br />
<br />
The Author is in meddlesome travail over the clause of<br />
our Special Competitions announcement, which says: “ The<br />
editor reserves the right of printing any of the MSS. sent<br />
in.” This simple and usual condition was made in order<br />
that we might be free to print, for the encouragement of the<br />
writers, a few of the unsuccessful attempts. How does The<br />
Author interpret our words. Why, thus :—<br />
<br />
“As it stands, which, of course, cannot be meant, this<br />
clause gives the editor all the MSS. sent in; he may do<br />
what he pleases with them—1.e., he may, if he pleases, sell<br />
them to other papers without giving the authors anything.”<br />
<br />
“Which, of course, cannot be meant.’’? Then why<br />
suggest it, and why elaborate this idea—as The Author does<br />
at considerable length? We do not believe that our inten-<br />
tions are misunderstood, still less suspected, by a single one<br />
cof our readers or competitors—the only people concerned.<br />
The suggestion that our clause might enable us to set up a<br />
MS. shop is surely the wildest ever made by The Author,<br />
and that is saying a good deal.<br />
<br />
The editor does not in the least deny the posi-<br />
tion which The Author has taken up, but he says<br />
that the condition is a simple and usual condition.<br />
Is this remark founded on fact? Sometimes<br />
when a prize is a high one, the condition is<br />
stated, but it is not a simple or a usual condi-<br />
tion of competitions of this class issuing from<br />
the office of a responsible review. The editor<br />
does not now state if he is going to pay for<br />
the MSS., all of which he reserves the right to<br />
print. There are only two courses open: either<br />
he is going to pay for them, or he is not going<br />
to pay for them. If he is going to pay for them,<br />
why not state the matter clearly in his condi-<br />
tions, so that there will be no possibility of con-<br />
fusion? He states: ‘‘ We do not believe that our<br />
intentions are misunderstood, still less suspected,<br />
by a single one of our readers or competitors, the<br />
only people concerned.” It has been shown that<br />
this is not the case, and it would have been<br />
much better, when so many competitions are<br />
being placed before gullable authors, that the<br />
Academy should have left no room for doubt.<br />
If he is not going to pay for them the position<br />
taken by The Author is quite sound, and the<br />
Academy will probably obtain essays, short<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
stories, and descriptive articles worth, perhaps,<br />
hundreds by the expenditure of thirty guineas. If<br />
the Academy desires to adopt this well-known<br />
method of procuring “copy” cheap, then let it<br />
be done in such a way that there is no possibility<br />
of doubt as to the editor’s meaning. The present<br />
method is hardly fair to the author, but the<br />
editor may even now, at the eleventh hour, say :<br />
“T have never stated that I will not pay for the<br />
copy printed.” All we ask, therefore, is that he<br />
should make a direct statement whether he is<br />
trying to obtain “copy” cheap or whether he<br />
intends to pay for contributions printed.<br />
G. H. T.<br />
<br />
2<br />
<br />
OTHER THOUGHTS.<br />
, ie is the expression of the CREATOR.<br />
<br />
Beauty is an impression of a creature.<br />
Death comes between Origin and Perfec-<br />
tion.<br />
Every religion has part of the truth, but only<br />
art.<br />
: Faith generally lies betwixt fact and figment.<br />
Hope is a better physician than prophet.<br />
Love alone is always right.<br />
Martyrdom is more a sign of faith than a success<br />
of truth.<br />
Mysticism is a mean between genius and mad-<br />
ness.<br />
Obstinacy is a persistency of the opposite party.<br />
Our opponents seem somehow to shun the<br />
truth.<br />
There are at least as many sects as souls.<br />
Without the infection of intelligence, progress<br />
might never be weaned.<br />
Beautiful disease can always command popular<br />
support.<br />
Centuries never die—they merely change their<br />
tense.<br />
Consciences are oftener veracious than wise.<br />
Contempt is less angelic than doubt —a<br />
daughter of modesty.<br />
Disease may mimic genius, justice, love, or other<br />
phase of the truth.<br />
Genius is less an individual gift than a social<br />
growth. ;<br />
Good promotes—what evil retards—the growth<br />
of sanity.<br />
Immaturity is always in a hopeful majority.<br />
Most of us are superior to others—in number.<br />
Real genius, like ideal love, is both humble and<br />
infallible.<br />
The Past always excelsthe Present—in age and<br />
in size. .<br />
Unconventionality, sometimes a true virtue, is<br />
oftener a mere vanity.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
* Virtue is not estimable by space or by time, but<br />
by use.<br />
<br />
Weak heads sometimes mistake themselves for<br />
warm hearts.<br />
<br />
Art is never what it seems.<br />
<br />
Bad manners often pose as good morals.<br />
<br />
Criticism, an ancient art, is an infant science.<br />
<br />
Critics are excellent autobiographers—most of<br />
them unconsciously.<br />
<br />
Cynicism is a burlesque of intelligence.<br />
<br />
Humour, when humane, is exceptionally sane—<br />
and proportionally Divine.<br />
<br />
Materialism is a caricature of science.<br />
<br />
Pessimism is a libel on wisdom.<br />
<br />
Poetry isa melody of words.<br />
<br />
Satire is good sauce but bad sustenance.<br />
<br />
Tact is the “ better half ””—the feminine half—<br />
of social tactics.<br />
<br />
The saner the soul, the wiser the will.<br />
<br />
We never see a perfectly sane person—even in<br />
a looking-glass. Finnay GLENELG.<br />
<br />
<br />
<br />
JOURNALISTS AND THE SOCIETY OF<br />
AUTHORS.<br />
<br />
<br />
<br />
FYE following letter appeared in the “ Pro-<br />
ceedings” of the Institute of Journalists,<br />
by authority of the Committee of Adminis-<br />
<br />
tration, Jan. 12, 1900 :—<br />
<br />
Srz,—I ask your permission to offer in your<br />
columns a gentle remonstrance with some of our<br />
members concerning their attitude towards a<br />
society whose aims and working they appear to<br />
misunderstand.<br />
<br />
T have been made aware, for several years, of a<br />
marked hostility towards this Society on the part<br />
of certain journalists—a hostility which, coming<br />
from such a quarter, is as surprising as it is<br />
wholly unmerited, and can only be accounted for<br />
—journalists not being usually in_the service of<br />
publishers—on the supposition of ignorance and<br />
misdirection.<br />
<br />
I find that the observations on the Society sent<br />
to me in Press cuttings are based upon one or<br />
other of half a dozen assumptions, all of which are<br />
utterly erroneous.<br />
<br />
Thus, it used to be said that the Society con-<br />
sisted of one man—myself. This was too much<br />
honour. I do not think, however, that our<br />
Council, our Committees, and our Chairman and<br />
Secretary are any longer likely to be ignored. I<br />
enclose the list.<br />
<br />
{t has been stated publicly that the “cases”<br />
published in the papers of the Society were ficti-<br />
tious. One cannot stoop even to answer such a<br />
charge. It is not distantly possible that such a<br />
<br />
245<br />
<br />
body of gentlemen as compose our Committee<br />
would sanction the invention of “ cases.”<br />
<br />
The third—a very common charge, or assump-<br />
tion—is generally personal—to the effect that I<br />
assert the publishers take no risk. On the other<br />
hand, we have ascertained, and have published, the<br />
true nature of the risk run in the production of<br />
books. As a matter of fact there are hundreds of<br />
writers in the various branches of literature whose<br />
books carry no kind of risk with them. As<br />
regards those which do, it is naturally the practice<br />
of the publishers to make the author, if he can,<br />
take the risk. And this risk itself, so far from<br />
being the whole cost of production, as has been<br />
impudently pretended, is the diffrence between<br />
the first subscription and the cost of production.<br />
<br />
Another charge is also personal. It is that I<br />
wish to abolish criticism. ‘To this charge I have,<br />
on more than one occasion, given the Lie Direct.<br />
I recognise the function of criticism to the full. I<br />
am only concerned that there is so little of it. I<br />
advocate the true place of criticism as a necessary<br />
and invaluable branch of literature. I desire to<br />
see the critic trained for his work by a scientific<br />
study of literature. I do not desire to see the<br />
reviewing of books entrusted to any casual person<br />
who has written a novel, or to the office boy when<br />
no one is looking.<br />
<br />
Another common charge is against the Society.<br />
It is that the figures representing the cost of pro-<br />
duction, and those of the various parts of the<br />
publishers’ trade, are fictitious. They are, on the<br />
contrary, figures obtained from printers, from real<br />
estimates, and from real accounts.<br />
<br />
The sixth charge is that literature is degraded<br />
by attention to the business side.<br />
<br />
So what does not degrade the clergyman, the<br />
painter, the sculptor, the architect, the physician,<br />
the lawyer, the actor, does degrade the author.<br />
In the words of Dr. Johnson, “ What skimble<br />
skamble stuff is this!”<br />
<br />
It rests upon a confusion of ideas between<br />
commercial value and literary value. The two<br />
are distinct—they are separate, they are incom-<br />
mensurable. We cannot estimate the literary<br />
value of a work by any standard of money; we<br />
cannot estimate the commercial value of a work<br />
by any literary standard. We ought to be able<br />
to do both: a perfected humanity will be able to<br />
do both—at present we cannot. Some worthless<br />
books circulate largely; some excellent books<br />
hardly circulate at all.<br />
<br />
What does the Society of Authors undertake ?<br />
Briefly: The defence and maintenance of literary<br />
property in the interests of authors.<br />
<br />
No one knows who has not investigated the<br />
subject how great and how increasing a property<br />
this is. No one knows, who has not investigated<br />
<br />
<br />
<br />
<br />
<br />
<br />
246<br />
<br />
the question, the extent to which the creators of<br />
this property have been robbed of their own.<br />
<br />
What has been, briefly, the work of the Society ?<br />
It has made known, for the first time, what the<br />
publication of books really means. It has traced<br />
the book from the MS. to the bookseller’s counter ;<br />
it has shown the meaning of every clause in every<br />
known form of agreement; it has especially<br />
exposed the true meaning of royalties ; it has<br />
dragged to light a hundred tricks previously<br />
practised with impunity, and practised every<br />
day; it has kept, and still keeps, its members<br />
out of houses which exploit authors hitherto<br />
without fear of detection. It enforces payment<br />
of just debts by legal proceedings ; it provides<br />
legal opinions for its members for nothing; it<br />
collects information of all kinds which may be<br />
useful to members; it acts as a police, in a word,<br />
to guard that great mass of literary property,<br />
the very existence of which is unknown to the<br />
general public.<br />
<br />
What has all this to do with journalists?<br />
Everything. By far the greater part of our<br />
writers during the last sixty years have been<br />
journalists. Out of the ranks of young journalists<br />
will come the writers of the future. Let us set<br />
down a few names of the dead and of the living<br />
as they occur—Dickens, Thackeray, Charles<br />
Reade, Wilkie Collins, Douglas Jerrold, Shirley<br />
Brooks, 4 Beckett, Sala, William Black, James<br />
Payn, Edmund Yates, Moy Thomas, Dutton<br />
Cook, John Hollingshead, Joseph Hatton, John<br />
Whiteley, John Morley, Rudyard Kipling, J. M.<br />
Barrie, Louis Stevenson—where are we to stop?<br />
Does not this intimate connection of journalism<br />
with authorship show that in protecting the latter<br />
we are also protecting the former ?<br />
<br />
I would, therefore, Sir, submit to the members<br />
of the Institute that a society with these aims,<br />
which is honestly and fearlessly, against every<br />
kind of misrepresentation, trying to carry out<br />
these aims, whose members include nearly all<br />
the living leaders in literature, is at least worthy<br />
of that kind of attention which consists in read-<br />
ing its reports and papers. Above all things, I<br />
would urge the consideration of the fact that, in<br />
spite of the fierce and continuous attacks made<br />
upon it, the Society has steadily increased and is<br />
‘steadily increasing in strength and in numbers,<br />
cand in influence. As I said at the outset, I cannot<br />
believe that the things sent to me out of country<br />
papers and others would have been written were<br />
the truth known; and I cannot but hope that the<br />
members of the Institute will understand that we<br />
are fighting for their future as well as for our own<br />
present.<br />
<br />
I remain, Sir, your obedient servant,<br />
Watter BEsant.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
HE newspapers of March 23 announced the<br />
failure of Messrs. D. Appleton and Co.,<br />
the well-known publishers. The New<br />
<br />
York correspondent of the Standard stated that<br />
the failure of Messrs. Harper Brothers recently<br />
was indirectly a contributing factor in Messrs.<br />
Appleton’s failure, and that, “as in the case of<br />
Harper’s, no reproach attaches to the firm.”<br />
“The assets and liabilities balance at £720,805,<br />
with book surplus of £400,000 locked up in plant<br />
and instalments.”<br />
<br />
The Rev. J. H. Skrine has published a new<br />
volume of verse entitled ‘‘ The Queen’s Highway-<br />
man, and other Lyrics of the War.’ Those who<br />
have read the Warden of Glenalmond’s other<br />
works will find his latest one of equal interest.<br />
<br />
Professor Skeat has nearly completed a small<br />
handbook on “ The Chaucer Canon,” in which it<br />
is shown how to distinguish the poet’s genuine<br />
works from others with which his name has been<br />
connected. Of the cighty-three pieces which are<br />
here discussed, at least fifty are not by Chaucer ;<br />
whilst the number of authors which these pieces<br />
represent is more than twenty.<br />
<br />
Mr. Thomas Burleigh has published a pamphlet<br />
entitled “A Few Short Poems,” written by Mr.<br />
Percy Hall, of Exeter College, Oxford. It con-<br />
tains some sixteen short pieces.<br />
<br />
“Mirry-Ann,” which Methuen and Co. in<br />
London, and Appleton in New York, published<br />
on Feb. 16th, is by Miss Norma Lorimer, author of<br />
“A Sweet Disorder” and “Josiah’s Wife,” the<br />
latter published by Methuen two years ago. The<br />
heroine of “ Mirry-Ann” is a Manx fisher-girl<br />
preacher. Miss Lorimer lived fifteen years in a<br />
fishing village in the Isle of Man, so the book is<br />
the result of personal observation of the Methodist<br />
fishing population of the island.<br />
<br />
“ Among Horses in South Africa,” by Captain<br />
M. H. Hayes, F.R.C.V.S., price 5s., published by<br />
Messrs. R. A. Everett and Co., will be read at the<br />
present time with much interest by all those who<br />
are lovers of horses. The fact of its being an<br />
account of Captain Hayes’s experiences in South<br />
Africa lends a double interest to the book.<br />
<br />
Sir Benjamin Kennedy’s_ book, announced<br />
under the title “ Wheres,” should be “ Whims.”<br />
<br />
Messrs. Methuen have just published a new<br />
story by Miss Esmé Stuart, entitled “ Christalla :<br />
An’ Unknown Quantity,” which describes the<br />
invasion of the quiet home of two old gentle-<br />
men by a young child. The book deals with the<br />
evolution of a child’s character from the point<br />
of view of the child lover.<br />
<br />
<br />
<br />
<br />
<br />
<br />
ibis eemawane ieee<br />
<br />
THE<br />
<br />
The Rev. F. R. Smith is engagel upon a new<br />
novel illustrative of modern Methodist life, which<br />
will be published in the autumn by Messrs. Horace<br />
Marshall.<br />
<br />
The patriotic lyric ‘‘ True Sons of Britain,” by<br />
Mr. Mackenzie Bell, inspired by the Colonial aid<br />
in the war, has been set to music by Mr. Charles<br />
Mulls, and will at once be published by Messrs.<br />
Hart, and sung in London and elsewhere by Mr.<br />
Henry Piercy, the well-known tenor. It is<br />
dedicated to Sir F. Young, K.C.M.G., founder<br />
and vice-president of the Colonial Institute. Mr.<br />
J.J. Nesbitt has edited with a preface, for Mr.<br />
Thomas Burleigh, a reciter entitled “The Taking<br />
of the Flag, and other Recitations,’ made up<br />
from the poems of Mr. Mackenzie Bell.<br />
<br />
As one of its contributors of a popular literary<br />
feature Mr. Joseph Hatton has long been<br />
associated with the People. He has now been<br />
appointed to the editorial chair, succeeding, during<br />
the People’s career, Dr. Sebastian Evans, M.A.,<br />
Captain Carlisle, and Mr. Harry B. Vogel, son of<br />
the late Sir Julius Vogel, formerly Premier of New<br />
Zealand. Mr. Hatton has just finished a serial<br />
novel, long since commissioned by the People,<br />
which will be commenced in its columns in the<br />
first week of May. Following up the success of<br />
the sixpenny edition of Mr. Hatton’s “ By Order<br />
of the Czar,” Messrs. Hutchinson are issuing in a<br />
similar edition “The Princess Mazaroff,” which is<br />
an English story with a Russian heroine. It is<br />
mentioned in the gossip of the day that the<br />
Russians recently confiscated in Finland a<br />
Swedish edition of “By Order of the Czar,” a<br />
novel which, the author says, has had the<br />
phenomenal sale of over half a million, the<br />
major portion in America, for which he did<br />
not receive a cent, the book being published<br />
just before the international copyright arrange-<br />
ment.<br />
<br />
Mr. Osmund King is engaged on a work on<br />
Charles II., for the splendid Goupil series of<br />
monographs.<br />
<br />
Mr. Hilaire Belloc is writing a one-volume<br />
history of Paris from the earliest times.<br />
<br />
Mr. Sutherland Edwards is publishing with<br />
Messrs. Cassell a volume of “ Personal Recollec-<br />
tions.”<br />
<br />
Mr. Herbert Spencer is to be the recipient of<br />
an address from readers in Australia on his birth-<br />
day, April 27, when he will complete his eightieth<br />
year.<br />
<br />
Mr. W. L. Courtney has written a monograph<br />
on Mr. Hardy for the series of Great English<br />
Writers published by Messrs. Greening and Co.<br />
The book will appear in the summer.<br />
<br />
AUTHOR. 247<br />
<br />
Dr. J. F. Payne is writing a monograph on<br />
Thomas Sydenham, the seventeenth - century<br />
physician and friend of Locke, for the Masters of<br />
Medicine series, published by Mr. Fisher Unwin.<br />
<br />
The late Mr. Grant Allen left a story entitled<br />
“His Last Chance,” says the Sphere, which is<br />
one of the most striking he ever wrote. It is to<br />
be published later in the year in a small volume.<br />
<br />
Mr. Kipling’s new novel, the scene of which<br />
is laid in India, will be published serially im<br />
MeClure’s Magazine. While speaking of Mr.<br />
Kipling, we place on record here the extraordinary<br />
distinction he received during the past month in<br />
having his poem, “ The Absent-minded Beggar,”<br />
issued to the troops in Ladysmith among the<br />
regim-ntal orders of the day shortly after the<br />
relief of the town. The poem was loudly cheered<br />
by the soldiers.<br />
<br />
Another American periodical has arranged to<br />
publish not only Mr. Hall Caine’s new story, “ The<br />
Roman,” but also a new series of ‘Dolly Dia-<br />
logues,” by Mr. Anthony Hope. The periodical<br />
in question is the New Magazine, a monthly<br />
which is being edited and published by Mr.<br />
Robert H. Russell, the well-known New York<br />
publisher. The first number is expected on<br />
June tI.<br />
<br />
Sir George*Trevelyan, Lord Kelvin, and Mr.<br />
Bentley have been elected to the Council of the<br />
Royal Literary Fund. Three new members of the<br />
Committee are Professor Ray Lankester, Dr.<br />
A. W. Ward, and Mr. Richard Holmes, librarian<br />
at Windsor Castle. The total sum now invested<br />
is £56,269, producing an income of £1724. At<br />
the annual meeting of the Fund the other day it<br />
was announced that grants had been made to<br />
twenty-seven men and sixteen women.<br />
<br />
Madame Sarah Grand’s new novel, which is to<br />
be published by Messrs. Hutchinson, will be called<br />
“Babs the Impossible.” It is nearly finished.<br />
<br />
Mrs. Gertrude Atherton is at present in Cuba,<br />
and gathering material for a new book.<br />
<br />
The forthcoming story by Sir Walter Besant,<br />
entitled “The Alabaster Box,” is a sketch of<br />
settlement life in London, showing the kind of<br />
work and the aims of the workers in a settlement,<br />
and the effect of their work upon the members<br />
themselves,<br />
<br />
Mr. Henry Arthur Jones is writing a comedy<br />
for production in the early autumn at the Duke<br />
of York’s.<br />
<br />
Mr. George Alexander is just producing at the<br />
St. James’s (March 28) Mr. Walter Frith’s play,<br />
«“ A Man of Forty,” which has not been seen in<br />
London before.<br />
248<br />
<br />
Mrs. Craigie’s new sentimental comedy, “ The<br />
Wisdom of the Wise,” will be produced at the<br />
St. James’s.<br />
<br />
The life of Benvenuto Cellini is supplying Mr.<br />
Beerbohm Tree with the subject for a new play.<br />
The production is expected early next season, and<br />
for the present the author desires that his name<br />
should not be disclosed.<br />
<br />
“Cyrano de Bergerac” was produced by Mr.<br />
Wyndham at Blackpool and at Dublin during the<br />
past month. The latter place was chosen for<br />
what may be called the “ official” representation<br />
of M. Rostand’s play, and the performance was<br />
in aid of the Irish Soldiers’ and Sailors’ Help<br />
Society. After the play a crowd greeted Mr.<br />
Wyndham at the doors, and sang popular<br />
patriotic songs.<br />
<br />
Mr. H. A. Kennedy’s version of “Tess” is<br />
shortly being removed by Mrs. Waller from the<br />
Coronet Theatre to the Comedy. Mr. Fred Terry<br />
will probably play the part of Alec D’Urberville.<br />
<br />
We announced a few months ago that Miss<br />
Cholmondeley’s novel “ Red Pottage ” was being<br />
dramatised. It is now stated that this is being<br />
done by Mr. Kinsey Peile.<br />
<br />
Messrs. Ward, Lock and Co. will in future<br />
publish The Road, and its affiliated publications,<br />
The Road Coaching Album, The Road Coach<br />
Guide, and The Road Coaching Programme.<br />
The monthly periodical, The Road, will shortly<br />
enter upon its tenth year of existence, and<br />
the occasion will be celebrated by still further<br />
adding to its attractiveness and utility. The<br />
number and quality of the illustrations will be<br />
greatly increased, coaching, riding, and driving<br />
subjects, of course, as heretofore, forming the<br />
main feature. “Fortinbras” (Mr. Percy F.<br />
Marks), who projected the journal in 1891,<br />
remains the editor-in-chief, while the majority of<br />
the contributors who have helped to popularise<br />
The Road are retained. The editorial, advertise-<br />
ment, and publishing offices will in future be at<br />
Warwick House, Salisbury-square, London, E.C.<br />
<br />
The song of “ The Gallant Fusileer,” words by<br />
Russell Gray, music by M. A. C. Salmond<br />
(published by Rossini and Co., 281, Regent-<br />
street, London, W.), is presented by author and<br />
composer to the widows of the Royal Dublin<br />
Fusiliers, whatever may be its circulation and<br />
the proceeds.<br />
<br />
THE AUTHOR.<br />
<br />
CORRESPONDENCE.<br />
<br />
<br />
<br />
I.—“ EnveLoprs WANTED.”<br />
<br />
AVING experienced in common with<br />
<br />
“B. B. T.” the impossibility of getting<br />
envelopes to take ordinary foolscap, I<br />
<br />
have discarded it in favour of “sermon or<br />
essay paper,” 8 inches by 6} inches, a much<br />
more convenient size to write upon, read,<br />
and transport, at least for ordinary magazine<br />
work. Suitable envelopes for this paper are<br />
easily obtainable from a good firm. I am<br />
now using excellent ones from Messrs. Bemrose,<br />
Derby, 10 inches by 7 inches, substantial enough<br />
to carry, in addition to MSS., sketches on thick<br />
cardboard ; and plentifully supplied with “ gum.”<br />
<br />
EK. Hopess.<br />
<br />
<br />
<br />
I notice in the March Author that one of your<br />
correspondents finds a lack of suitable envelopes<br />
for the transmission of MSS. For years I ex-<br />
perienced the same difficulty, as well as the annoy-<br />
ance of having articles returned to me grimy and<br />
ill-folded, involving expense and trouble in re-<br />
typing and general tidying up. Last year I<br />
designed and patented a light cardboard case,<br />
which fastens as easily as an envelope and avoids<br />
all risk of crushing and creasing. To members,<br />
like myself, of the melancholy majority of writers,<br />
whose doves are wont to take various flights<br />
before finding a resting place, my carrier can be<br />
re-posted at will by the aid of a fresh label and<br />
string. So far I have only had my cases made by<br />
hand for my own use, but even so the cost is very<br />
slight, and if produced in quantities this might<br />
be greatly reduced. If any readers of The<br />
Author would care to have a specimen I will<br />
forward one post-free for sixpence, in the hope<br />
that some more business-hke person may make a<br />
practical suggestion as to bringing it before the<br />
public. Hevena Hearts.<br />
<br />
Hucclecote Vicarage, Gloucester.<br />
<br />
<br />
<br />
Will you allow me to tell your correspondent<br />
“RR, B.T.” that envelopes of the size he desires<br />
are sold by Messrs. A. Mansford and Sons,<br />
95, Finsbury-pavement, E.C., at 35. 6d. a<br />
hundred.<br />
<br />
I wish the Post-office could be persuaded to<br />
sell a registered envelope of the same size.<br />
<br />
CLEMENTINA Buack.<br />
<br />
<br />
<br />
II.— TYPEWRITERS.<br />
In connection with the above, the following<br />
may be of interest. Some years ago I required to<br />
have many sheets of MSS. typed every week. I<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
tried no less than eight “private typists,’ if I<br />
may so term them, and paid from Iod. to Is. a<br />
thousand words, inclusive of postage. They one<br />
and all proved incompetent. A. would leave out<br />
all punctuation marks and misspell half the words ;<br />
B. would begin fresh paragraphs on her own initia-<br />
tive; C. would alter the meaning of many of the<br />
sentences, and so forth. I then sent all my copy<br />
to a large typewriting association. The work was<br />
well done there, but I was charged 2d. a folio—<br />
2.€,, about 2s. 4d. a thousand words, exclusive of<br />
postage. One day a friend urged me to send<br />
some MSS. to a private typist whom he said he<br />
employed regularly. I reluctantly consented to do<br />
so, but I have sent my MSS. to her ever since.<br />
Her name—lI have no need to conceal it—is Miss<br />
McGuinness; her address, Jasmine, Hambalt-road,<br />
Clapham Common. She works neatly and rapidly,<br />
never misspells a word, and never omits even a<br />
punctuation mark; and the price she charges is<br />
1od. a thousand words, inclusive of postage.<br />
There must be hundreds—there are probably<br />
thousands—of girls who typewrite as carefully as<br />
the lady I have named, but the difficulty lies in<br />
discovering them. I have come across typists<br />
who would work for 7d., some of them even for<br />
6d., a thousand words, but I maintain that the<br />
individual willing to pay such rates wantonly<br />
encourages one of the worst forms of oppression.<br />
Basin Tozer.<br />
Boodle’s Club, March 13.<br />
<br />
<br />
<br />
May I protest against the theories expressed in<br />
the current number of The Author on type-<br />
writers ?<br />
<br />
Tam a typist of seven and a half years stand-<br />
ing; I acquired a knowledge of my work by five<br />
months spent at Pitman’s school followed by five<br />
months in a typewriting office, and eventually set<br />
up for myself at home. I have had experience<br />
of many kinds of typing and have taught pupils,<br />
and I entirely deny that 9d. per 1000 words is<br />
‘good and sufficient pay.” The supply of work<br />
is extremely fluctuating, and while for six months<br />
in the year a typist may have more than she can<br />
do, for the other six she probably has difficulty in<br />
finding work. A good typist ought to be able to<br />
make 5s. to 6s. a day at gd. per 1000, even allow-<br />
ing time for reading and correcting the work.<br />
This gives her an income of 27s. 6d. to 33s. per<br />
week, but—and here’s the rub—she may not<br />
obtain perpetual work. Now everyone knows<br />
that home work is usually precarious, and for<br />
this reason the pay must be calculated on a scale<br />
which will allow for the lean months. How is<br />
“an educated gentlewoman” to live comfortably<br />
on 33s. a week or less for only part of the year ?<br />
<br />
249<br />
<br />
Moreover, the writer of the letter referred to in<br />
your article mentions that a “well educated<br />
gentlewoman ’”’ became “ proficient” at the end of<br />
ten lessons. I fancy her standard of proficiency<br />
must be very low. Was the lady capable, for<br />
instance, of writing legal documents with speed<br />
and accuracy at the dictation of hasty strangers ?<br />
Was she capable of telling a client, after glancing<br />
through the copy, how many pages his work<br />
would run to, and what it would cost him? Your<br />
correspondent affirms the lady “had a thorough<br />
knowledge of Latin and French” and was pro-<br />
ficient in typewriting into the bargain. Would<br />
she therefore have no difficulty in correctly and<br />
swiftly copying a’medical MS. full of quotations<br />
from one of the great French doctors, with an<br />
impatient client calling every half hour to know<br />
if the work were not yet ready ?<br />
<br />
These instances are of every day occurrence to<br />
one who works at home, and it is absurd to say<br />
that ten lessons can possibly make a typist pro-<br />
ficient in her work. It is far more likely that,<br />
being ignorant and unskilful herself, she will<br />
lower the average of good work and pull the<br />
wages scale still further down for her unfortunate<br />
fellow workers.<br />
<br />
If a woman chooses to work at home she has a<br />
perfect right to do so, provided she does not take<br />
advantage of her own position to lower the wages<br />
scale for others less fortunate. Whether compe-<br />
tition be a healthy mainspring or a great Moloch<br />
is an open question, but our social conditions<br />
being what they are, there is no question that a<br />
home worker shows an undisciplined spirit when<br />
she cuts down the wages of others by undersel-<br />
ling them.<br />
<br />
In her last paragraph your correspondent<br />
affirms that the work of typing or stenography<br />
can be done by “the delicate, the cripple.”<br />
Certainly they can work intermittently, but they<br />
cannot possibly keep up, year in, year out, the<br />
perpetual grind at typing necessary to earn a<br />
steady income at gd. per 1000, even if they had<br />
the work. As for shorthand, the smallest experi-<br />
ence is enough to show that it keeps the workers<br />
up late at night, is extremely trying to the eyes,<br />
and is totally unfit for a delicate or crippled<br />
person.<br />
<br />
In this letter I have endeavoured to keep<br />
strictly to your correspondent’s letter, and not to<br />
attack side issues.<br />
<br />
I inclose a prospectus as a guarantee of the<br />
genuineness of my work, and apologising for this<br />
long letter, remain, Yours truly,<br />
<br />
D. M. Ransom.<br />
<br />
<br />
<br />
<br />
250 THE AUTHOR.<br />
<br />
TIl.— Tue Same Oip Srory—Ever New.”<br />
<br />
The letter in your January issue, signed “ EH. L.<br />
Williams,” in which the writer speaks of the long<br />
snterval between acceptance and publication which<br />
is the fate of many manuscripts at the hands of<br />
certain editors, prompts me to relate my own<br />
experience in this respect. In one instance, I<br />
forwarded a MS. to the editor of a certain excel-<br />
lent review. After a very long interval, during<br />
which I wrote one or two letters inquiring its<br />
fate, I learned that it had been accepted for pub-<br />
lication. Three years passed, and the article had<br />
not appeared. On writing to the editor pointing<br />
out the unreasonableness of keeping me so long<br />
without a cheque, he, with some -onsideration,<br />
sent a remittance. Eighteen months after, 1<br />
wrote to him again saying that I should be glad<br />
to see my article in print. After the delay gene-<br />
rally associated with busy editors, he replied that<br />
im all his experience he had never met any author<br />
who was quite so anxious about his MS. as I was!<br />
I had received my cheque, and was not that suffi-<br />
cient? Since the receipt of that communication<br />
I have been mute. I had been vain enough to<br />
look for some small advertisement from the pub-<br />
lication of my article in the columns of so distin-<br />
guished a periodical. Three and a half years<br />
have passed since its acceptance, but still I live<br />
with hope.<br />
<br />
Yet another instance. I wrote a series of five<br />
articles for a high-class sixpenny weekly. All<br />
were taken, and one was printed a few months<br />
after acceptance. Two years later, as the second<br />
of the series had not appeared, I wrote to learn<br />
the reason. The editor answered that he could<br />
not say when he should be able to use the<br />
remainder of my contributions, therefore he was<br />
sending them back! I declined to take them in,<br />
and ventured to remind him of the accepting con-<br />
tract of two years ago. Then he published the<br />
second article; and I am hoping that the last day<br />
of 1905 will see the series completed in print.<br />
But, sir, I should like to know if the editors that<br />
helped our popular authors to success were such<br />
as these ?<br />
<br />
ArrHuR BECKETT.<br />
<br />
<br />
<br />
IV.—AurTHorRs AND THE War FonpD.<br />
<br />
In reference to the suggestion made in this<br />
month’s Author for the publication of a book the<br />
proceeds of which should go to the War Fund,<br />
may I make another suggestion of a _supple-<br />
mental kind and in no way intended to interfere<br />
with that one? Would it not be a more repre-<br />
sentative gift of the Society if, instead of hold-<br />
ing the annual dinner this year, members who<br />
would otherwise have attended it should forward<br />
<br />
their guinea to the fund? It might be replaced<br />
by a soirée with the lowest amount of expenditure<br />
possible, and ticket for which would be issued to<br />
members and their friends at a correspondingly<br />
low charge. This would enable a number of<br />
authors to contribute who would be debarred<br />
from any part in a volume which from necessity<br />
must be limited to a very few, and those the best<br />
known among us. Norury CHEster.<br />
<br />
<br />
<br />
V.—In re “ Paris Nores.”<br />
<br />
“Une Tache d’encre,” par René Bazin, may be<br />
amongst the “interesting publications of the<br />
month,” but “A Blot of Ink,” translated from<br />
the French of René Bazin by Q. and Francke<br />
was issued by Cassells as far back as 1892.<br />
<br />
T beg to suggest that a selected list of American<br />
books, like the one that has been dropped by the<br />
Publishers’ Circular, would be of interest to many<br />
readers. English lists we see everywhere, but a<br />
really good foreign list would be as interesting as<br />
the first few copies of the Review of Reviews.<br />
<br />
C. E.<br />
<br />
<br />
<br />
VI.—JameEs’ AND JAMES’S.<br />
<br />
Pending the settlement of more serious differ-<br />
ences, could we not come to an understanding<br />
with our good friends the printers on the forma-<br />
tion of the possessive case in words ending in “ a<br />
In spite of every prayer and protest, they cling<br />
obstinately to “ James’,” let us say. Authors who<br />
have not yet given up the struggle write<br />
“ James’s.” But all in vain. The printers con-<br />
tinue to teach and exasperate. It seems a little<br />
thing to ask, but it is growing apparent that<br />
nothing less than the whole weight of the Society<br />
will dislodge them from their position. Trusting<br />
that my suggestion will not be regarded as another<br />
piece of wanton aggression, I am, Sir,<br />
<br />
JULIAN CORBETT.<br />
<br />
<br />
<br />
ViII.—Der Prorunpis.<br />
<br />
Permit me to add a word to my previous<br />
letter, and to refer especially to the “Cry from<br />
the Depths,” and to the sad cases of fruitless<br />
literary struggle, sometimes ending in suicide,<br />
which have recently been discussed in your<br />
columns.<br />
<br />
I am one of those who can speak not without<br />
authority on this matter, for in my life I have<br />
fully experienced every sort of privation such as<br />
<br />
often falls to the lot of unemployed mechanics —<br />
<br />
and labourers. Years ago I escaped from all<br />
this by getting common work that gives me<br />
the plain necessaries of life. My spare time I<br />
give to books.<br />
<br />
But by going through perilous<br />
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<br />
<br />
THE AUTHOR.<br />
<br />
and yet useful experiences I have perhaps<br />
established my title to speak a word of help to<br />
others.<br />
<br />
What I say is this: Entering upon the business<br />
of authorship is similar to volunteering for South<br />
Africa. The soldier who is committed to his<br />
task does not despair because his khaki is in<br />
rags, or because he starves under a hot sun and<br />
sleeps in rain. He expects all that. He is pre-<br />
pared even for defeat and death. But he has no<br />
business to commit suicide.<br />
<br />
In most cases the call to authorship is not a<br />
true one, but in the few cases in which it is a<br />
true one, and clearly discernible as such, it must<br />
be accepted, and the whole business fought<br />
through without useless complaint. From the<br />
outset a man (or woman) who chooses to enter<br />
the career must be prepared for all manner of<br />
hardship and failure, and even for total failure<br />
after the production of work that eminently<br />
deserves to succeed. The writers who are the<br />
commercialists of literature, when they are<br />
expert, can always succeed by persistence. As<br />
for those who are something better than com-<br />
mercialists, well they must accept the risks and<br />
the honours of their calling. It is almost certain<br />
that if a standard work were produced to-day,<br />
say something more or less remotely analogous—<br />
though on modern lines—with the Book of Job,<br />
or the Paradise Lost, the publishers would refuse<br />
it. It would be so different from the safe<br />
“lines” to which they are accustomed. Now, if<br />
an author thinks that he has written a classic,<br />
or that he has a message for the world, he must<br />
not forget that he is in a totally different category<br />
from that of the commercialist. It is extremely<br />
likely that his self-estimate is wrong, and hence<br />
the wisdom of the Society in dissuading authors<br />
from publishing their own books. But if he is<br />
committed to the dangerous task, then the mark<br />
of true election will probably be a genial sense<br />
of humour that overrides all discouragement,<br />
laughs at suicide, provides by any humble extra-<br />
neous toil the daily bread, but is absolutely<br />
relentless year after year in producing the<br />
great work, and in seeking to fling it by some<br />
means or other at the devoted heads of the<br />
public.<br />
<br />
The absurdity of committing suicide with a<br />
pistol is manifest, because the pistol would sell<br />
for five shillings, and that would provide food<br />
for a week of improvisation. The shadow of<br />
despair makes a writer spoil his work by a<br />
painful formal accuracy. But the public are<br />
an unsounded receptivity, and what they want,<br />
and what even the publishers want, is free<br />
extempore work.<br />
<br />
x ¥.<br />
<br />
a5!<br />
<br />
{Does not the writer make the common mistake<br />
of supposing that if a literary work has a com-<br />
mercial value, the writer is therefore a ‘‘com-<br />
mercialist’’? We are coustantly insisting on<br />
the great fact that a writer who gives himself—<br />
his best—to the work in hand cannot possibly<br />
think of the commercial value. When his work<br />
is finished it is like a picture, it is for sale:<br />
the commercial value comes in. But the artist is<br />
not a commercialist. Simple as is the position, it<br />
seems as if it is impossible for those writers to<br />
grasp it whose work has no commercial value.—<br />
<br />
Ep. |<br />
<br />
<br />
<br />
BOOKS AND REVIEWS.<br />
<br />
(In these columns notes on books are given from reviews<br />
which carry weight, and are not, so far as can be learned,<br />
logrollers.)<br />
<br />
<br />
<br />
Memories AND Impressions, by the Hon. George C.<br />
Brodrick (Nisbet, 16s.) is a volume that will be taken up<br />
by the reader, says the Daily News, “with an anticipation<br />
of information and entertainment which will not be disap-<br />
pointed.” The Warden of Merton has viewed the world<br />
with open eyes and an open mind, and at the ripe age of<br />
seventy sits down to recall what matters have left<br />
impressions on his memory. He has been brought into<br />
personal relations with not a few distinguished men and<br />
women in his time; and, says Literature, “he has always<br />
something to say worth listening to.” It is ‘‘ most enter-<br />
taining reading,” says the Daily Chronicle, and is written<br />
in an “ easy, finished style.”<br />
<br />
PAssaAGEs IN A WANDESING LirE, by Thomas Arnold<br />
(Arnold, 12s. 6d.), “is a volume which is sure to be widely<br />
read,” says the Daily News. “In the course of a long life<br />
Mr. Arnold has met many people worth remembering.”<br />
Literature speaks of the recollections of Wordsworth,<br />
Newman, Matthew Arnold (the author’s brother) and others,<br />
and adds that “ Mr. Arnold’s reminiscences show us @ man<br />
of fine qualities, both of heart and head.” ‘ Altogether<br />
Mr. Arnold’s book is interesting reading,” says the Daily<br />
Chronicle, which heads its review, “From Rugby to<br />
Rome.” “It is lifted above the commonplace and the<br />
unreasonable,” says the Spectator, ‘‘ by the attitude of the<br />
writer, which is simple, unworldly, and full of a dignified<br />
humility.”<br />
<br />
Sr. Perer iN Romm, AND HIS TOMB ON THE VATICAN<br />
Hitz, by Arthur Stapylton Barnes (Sonnenschein, 21s.).<br />
The Spectator says that “the author is a master of<br />
Roman archeology, and a master with original views<br />
of his own on many points. He has not only set<br />
before his readers the Catholic tradition as to St. Peter’s<br />
connection with Rome, but he kas given us the best<br />
account in English of that wonderful building, or group<br />
of buildings, old St. Peter’s, which stood beneath the site<br />
of the mighty basilica of Bramante and Michael Angelo.”<br />
The Guardian says that ‘the contents may be divided<br />
into two parts, the first of which is an account of<br />
St. Peter’s life and movements after his departure<br />
from Palestine up to his martyrdom, while the second<br />
gives the history of his relics and their tomb, and<br />
incidentally, of the great church which has been erected<br />
above them. The latter part is much more valuable than<br />
the former.”<br />
<br />
<br />
THE<br />
<br />
From Sza To Sua, by Rudyard Kipling (Macmillan, 28),<br />
contains the bulk of the special correspondence and occa-<br />
sional articles written by the author for the Civil and<br />
Military Gazette and the Pioneer between 1887-89. They<br />
were the outcome of a year’s holiday trip and are, says the<br />
Spectator, “‘ of far more than ephemeral interest.” ‘They<br />
are rich,” says the Daily Telegraph, “ in brilliant imagery.”<br />
Everyone, says Literature, “will be glad to read these<br />
earlier journalistic efforts of Mr. Kipling”; “ vivacious<br />
sketches which reveal so masterly an insight into the actual<br />
life of many diverse peoples.”<br />
<br />
Scruries, by Thomas Cobb (Richards, 3s. 6d.), is con-<br />
cerned with the amorous cross purposes of three attractive<br />
young women—a sympathetic widow and two sisters—and<br />
three more or less eligible young men. The Spectator<br />
describes the book as “a lively and gracefully-written<br />
romance, in which sentiment is always rescued from<br />
degenerating into effusion by the antiseptic of persiflage.”<br />
With “plenty of highly-wrought emotion as well as<br />
of elegant satirical humour” (Daily Telegraph) it is<br />
“very amusing comedy,” says the Daily News, and the<br />
<br />
author is congratulated “on his charming lightness of<br />
touch.”<br />
<br />
THER SILVER WEDDING JouRNEY, by W. D. Howells<br />
(Harper, 6s.), is said by the Spectator to be “a delightful<br />
counterpart ” to the author’s earlier work, “ Their Wedding<br />
Journey.” ‘We have been especially struck at the<br />
skill which Mr. Howells has shown in treating of the<br />
minutie of modern travel, as they would affect a culti-<br />
vated but stay-at-home couple, without fatiguing the<br />
<br />
reader or interfering with the progress of the sentimental<br />
interest.”<br />
<br />
252<br />
<br />
By ORDER OF THE Company, by Mary Johnston (Con-<br />
stable, 6s.), is recommended by the Spectator as being<br />
‘quite as good reading” as “The Old Dominion.” ‘The<br />
picture of the very earliest days of Virginia is excellently<br />
<br />
painted, and the personages of the story are sympathetic<br />
and interesting.”<br />
<br />
Mr. THomas ArxKins, by E. J. Hardy (Unwin, 6s), who<br />
has spent many years in the position of a military chaplain<br />
and has seen the British soldier from almost every point of<br />
view, is “ominently readable,” says Literature, and “is<br />
brought well up to date by frequent references to events<br />
that have lately occurred in South Africa.” The Daily<br />
<br />
Chronicle refers to it as an interesting book, “full of good<br />
stories.”<br />
<br />
RESURRECTION, by Count Tolstoy (F. R. Henderson, 6s.<br />
net), translated by Mrs. Louise Maude, referred to by the<br />
Daily Chronicle as “a tract of genius,” is described by the<br />
Daily Telegraph as the most harrowing of all this writer’s<br />
novels. ‘The ‘strong meats’ are too coarse in texture and<br />
too ‘high’ in flavour to suit delicate literary taste, or<br />
even to recommend themselves to general consumption.”<br />
“It is primarily,” says the Daily News, ‘‘an exposition<br />
of the evils of the Russian criminal system. This<br />
exposition is written round a cruel, even a heartrending<br />
story.”<br />
<br />
OnoraA, by Rosa Mulholland (Lady Gilbert) (Richards,<br />
3s. 6d.), is an “interesting and pathetic story dealing with<br />
the life of the Irish peasant.” Opening with the eviction of<br />
Onora and her family on a cold November morning, the<br />
story, says the Daily Chronicle “is an eloquent appeal on<br />
behalf of the down-trodden Irish peasantry,” and is told<br />
with “ pathetic humour, refinement, and charm.”<br />
<br />
Tun TRANSVAAL IN WaR AND Pracz, by Neville<br />
Edwards (H. Virtue, 7s. 6d. net), ‘‘ does not pretend to give<br />
an account of the Transvaal troubles, their causes and their<br />
<br />
AUTHOR.<br />
<br />
<br />
<br />
remedies, from the point of view of the philosopher or the<br />
statesman, but it is full of facts, facts about persons and<br />
places, of the past and the present. And there is an abundance<br />
of illustration.” ‘‘ Wherever we are,” adds the Spectator,<br />
“we find something interesting to read, and more that is<br />
interesting to look at.”<br />
<br />
From Carz Town To LapysmitH, by G. W. Steevens<br />
(Blackwood, 3s. 6d.), was written, as Literatwre says,<br />
“hurriedly and under difficulties, and the author had died in<br />
a beleaguered outpost of the Empire before he could revise<br />
it.’ The book shows the lust of slaughter and the glory of<br />
victory; but also its horrors and its pathos. The Daily<br />
Telegraph says “the book is full of those characteristics<br />
which earned for Steevens for the outset of his career as a<br />
correspondent the unique reputation he enjoyed.”<br />
<br />
Tum Maxine oF A Frontier, by Colonel Algernon<br />
Durand, C.B., C.L.E. (Murray, 16s.), is, says Literature, “a<br />
well-told and exciting narrative of military and political<br />
service in a frontier region which has been the scene of an<br />
exciting contest, and which may again attract the attention<br />
of practical politicians when the next move is made in the<br />
long but intermittent struggle for Empire in Asia.” Colonel<br />
Durand was British Agent at Gilgit 1889-1894, and Military<br />
Secretary to the Viceroy 1894-1899; and “to those who<br />
can read between the lines, some, at any rate, of the dubious<br />
points in our policy will be apparent.” The Daily<br />
Chronicle says the book “will appeal to all interested<br />
in the consolidation and stability of our Indian Empire.”<br />
The Spectator finds it “impossible to express in short<br />
compass” its evjoyment of the book, which is “ filled<br />
with admirable illustrations, and is altogether the most<br />
delightful specimen of its class we have met with for<br />
many years.” .<br />
<br />
InnermMost AsrA (Heinemann, 21s.), is by Captain<br />
Cobbold, who passed through a considerable stretch of<br />
country never before visited by an Englishman. The Daily<br />
Chronicle describes it as a “ remarkably well-written<br />
narrative of a plucky and adventurous journey, in which<br />
both natural and artificial difficulties were met in abun-<br />
dance,” and adds that the criticism of Russia is much the<br />
most important part of the work. Captain Cobbold writes,<br />
says Literature, “‘ with a vigour and a humour to which<br />
sportsmen seldom attain, and makes some remarks on sub-<br />
jects connected with trade and politics which are worthy of<br />
consideration in high quarters.”<br />
<br />
“THE AUTHOR.”<br />
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London, W.C. : | https://historysoa.com/files/original/5/473/1900-04-02-The-Author-10-11.pdf | publications, The Author |