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445	https://historysoa.com/items/show/445	The Author, Vol. 03 Issue 07 (December 1892)	<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.+03+Issue+07+%28December+1892%29"><em>The Author</em>, Vol. 03 Issue 07 (December 1892)</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>	1892-12-01-The-Author-3-7					225–264																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-12-01">1892-12-01</a>							7			18921201	Che #uthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. III —No. 7.]<br /> <br /> DECEMBER 1, 1892.<br /> <br /> CONTENTS,<br /> <br /> [Price SIxPEncr.<br /> <br /> <br /> <br /> <br /> <br /> PAGE<br /> <br /> Warnings eee = es Feuilleton—<br /> <br /> How to Use the Society 5 | 1.—Collaborators. By M. E. Francis 244<br /> <br /> The Authors’ Syndicate | 2.—Fenton Fane, By G. B. Burgin... 248<br /> a |<br /> <br /> Notices... oes<br /> The Authors’ Club i aes<br /> Resignation of the Chairman<br /> Literary Property—<br /> 1.—Criticism of Books: Counsel&#039;s Opinion<br /> 2.—The Review of Reviewers ee<br /> 3.—Magazines and Copyright<br /> American Copyright<br /> Author and Editor ...<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Authors’ Rights to Titles...<br /> A Copyright Bill .. eae<br /> A Case in Court<br /> 10.—An Anticipated Charge<br /> 11.—Ownership ... eae *s tae<br /> Notes from Paris. By Robert Sherard ...<br /> “Glamour.” By Eleanor Sweetman<br /> Notes and News. By Walter Besant<br /> <br /> <br /> <br /> Serial Rights: a Warning. By W. Morris Colles...<br /> <br /> Correspondence—<br /> 1.—A Little Sum<br /> 2.—No Answer aoe<br /> <br /> | 3.—Letters not Received<br /> <br /> 4.—A Suggested Memorial<br /> <br /> | 5.—A Question<br /> <br /> | 6.—For Nothing ... ae oe<br /> <br /> | ‘.—A Brilliant Scale of Pay ...<br /> <br /> 8.—A Lawyer&#039;s Letter ...<br /> 9.—Defamatory Criticism<br /> 10.—Society of Archivists<br /> 11.—A Puzzle :<br /> 12.—TIllustrations ... a<br /> 13.—Liberal Remuneration o te es<br /> 14.—A Suggestion—and Something More ...<br /> At the Sign of the Author’s Head...<br /> New Books and New Editions<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> l. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 15, The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4, Literature and the Pension List. By W. Morris Couuus, Barrister-at-Law. (Henry Glaisher<br /> 95, Strand, W.C.) 3s.<br /> <br /> 9. The History of the Société des Gens de Lettres. By S. Squrrm Sprraax, late Secretary to<br /> the Society. ts.<br /> <br /> 6. The Cost of Production, In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Seurrz Striaer. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined. and their meaning carefully explained, with an account of the various<br /> kinds of frand which have been made possible by the different clauses in their agreements.<br /> <br /> Henry Glaisher, 95, Strand, W.C, 36.<br /> <br /> } i 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ] ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> H<br /> a<br /> d<br /> <br /> <br /> <br /> <br />  <br /> <br /> 226 ADVERTISEMENTS.<br /> <br /> <br /> <br /> Now Ready, Price ONE SHILLING, Postage One Halfpenny.<br /> <br /> THE CHRISTMAS NUMBER OF =<br /> <br /> + TME QUEEN +<br /> <br /> WILL CONTAIN<br /> <br /> THREE BEAUTIFUL PRESENTATION PICTURES IN COLOURS:<br /> “WHAT SHALL I SAY?” “SCHOOL DAYS.”<br /> <br /> From a Painting by C. HaraH Woop. From a Painting by Davipson KNOWLES.<br /> <br /> “THE SQUIRE’S DAUGHTER”<br /> <br /> From a Painting by G. L. S—yMouR.<br /> <br /> PORTRAITS OF THE QUEEN&#039;S GRANDCHILDREN, J<br /> <br /> REPRODUCED FROM THE<br /> <br /> ORIGINAL MINIATURES BY THE GRACIOUS PERMISSION OF HER MAJESTY,<br /> And under the Supervision of THE MARCHIONESS OF GRANBY.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PAPERS ON WOMEN’S WORK AND WOMEN’S INTERESTS, €&amp;<br /> <br /> By the DUCHESS OF RUTLAND, the MARCHIONESS OF DUFFERIN AND AVA,<br /> SUSAN LADY MALMESBURY, LADY JEUNE, and other distinguished writers.<br /> <br /> <br /> <br /> AUTOBIOGRAPHICAL REMINISCENCES: HOW THEY MADE THEIR FIRST SUCCESS, | ba:<br /> <br /> By MISS CHARLOTTE M. YONGE, MRS. LYNN LINTON, and others.<br /> <br /> <br /> <br /> STORIES by Mrs. KENNARD, R. M. BURNAND, FRANCIS GRIBBLE, and other distinguished Authors.<br /> <br /> NUMEROUS WOODCUT ILLUSTRATIONS.<br /> ILLUSTRATIONS OF FASHIONS AND ART AND FANCY WORK<br /> <br /> <br /> <br /> <br /> <br /> “QUEEN” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, E.C.<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> <br /> <br /> MR. HORACE COX begs to announce that MR. AMES PAYN’S New Novel, §<br /> “4 STUMBLE ON THE THRESHOLD,” is now ready at all Libraries,<br /> <br /> Booksellers, and Bookstalls, in Two Volumes, crown Svo., cloth, price 21s.<br /> <br /> <br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, EC.<br /> <br /> <br /> <br /> <br /> Che #Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 7.]<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible,<br /> <br /> <br /> <br /> HE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post, and requests that all mémbers not<br /> <br /> receiving an answer to important communications<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has been proved to have<br /> been committed, it is reasonab&#039;e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only,<br /> <br /> <br /> <br /> <br /> <br /> ea.<br /> <br /> WARNINGS.<br /> <br /> &gt;<br /> <br /> <br /> <br /> Specian) Warntna. — Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> TOs, or more, according to the form of agreement,<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> <br /> at no expense to themselves except the cost of the<br /> stamp,<br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> VOL. III.<br /> <br /> <br /> <br /> DECEMBER 1, 18o2.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what. the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights, Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser,<br /> <br /> s 2<br /> <br /> f<br /> fi<br /> P<br /> <br /> <br /> <br /> <br /> 228<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> -connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Porrucan Street, Lincouin’s Inn Frewps.<br /> <br /> pecs ———<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every nember has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an 0,inion from the<br /> Society’s solicitors. If the :as+ is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> <br /> THE AUTHOR.<br /> <br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> nation at being asked what his proposed agree-<br /> ment gives him compared with what it gives the<br /> author; and (4) irrepressible irritation at any<br /> mention of the Society of Authors.<br /> <br /> 8. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> g. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> pecs<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2, That the establishment expenses of the<br /> Authors’ Syndicate are def.ayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but the<br /> charges are reduced to the lowest possible<br /> amount compatible with efficiency. Mean-<br /> while members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis, and<br /> when desirous of seeing Mr. Colles, they<br /> must write for an appoint ment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> <br /> must have it entirely in his own hands; —<br /> <br /> <br /> <br /> <br /> <br /> 10<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted.<br /> <br /> NOTICES.<br /> <br /> —&lt;—___<br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be of use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> <br /> <br /> <br /> <br /> The Editor is always glad to receive short<br /> papers and comimunications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to wid<br /> m this work send their names and the special<br /> subjects on which they are willing to write ¥<br /> <br /> oo —&lt;—S+<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of eath month.<br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> <br /> AUTHOR. 200<br /> <br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received, It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> ———<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, .St. James’s<br /> Street. Address the Secretary for information,<br /> <br /> rules of admission, &amp;c.<br /> <br /> Sa<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> Se<br /> <br /> Those who are elected members during the<br /> last three months of the year are advised that<br /> their subscriptions cover the whole of the follow-<br /> ing year.<br /> <br /> So<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or tive<br /> years ?<br /> <br /> SEEenetooeeeeed<br /> <br /> Those who possess the ‘Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of “doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> <br /> 230<br /> <br /> Some 1emarks have been made upon the am: unt<br /> charged in the ‘Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchang-. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> sec<br /> <br /> THE AUTHORS’ CLUB.<br /> <br /> Se<br /> <br /> \YHE Authors’ Club, which has been carried<br /> cn in temporary premises at St. James’s<br /> Place, is endeavouring to obtain a more<br /> <br /> permanent holding. Its chairman, Mr. Oswald<br /> Craufurd, is now negotiating for a set of rooms<br /> in the most central and convenient position of all<br /> London. Should he be so fortunate as to secure<br /> them, the club will make a new start with a<br /> most excellent set of rooms, thoroughly con-<br /> venient for everything, with a membership of 200<br /> to begin with, and with a cheaper subscription,<br /> for a high-class club, than any other club in<br /> London. It has begun already its monthly—<br /> soon to become fortnightly—dinners, at which<br /> the institution of “Uncut Leaves”? has been<br /> founded. That is, unpublished verses, tales, &amp;c.,<br /> are recited and read to the members after dinner.<br /> In Noveu. ber, Mr. Richard le Gallienne read a<br /> poem, Mr. Eden Philpotts read a tale, and Mr.<br /> Jerome gave a recitation—all of things as yet<br /> unpublished.<br /> <br /> re<br /> <br /> RESIGNATION OF THE CHAIRMAN.<br /> <br /> <br /> <br /> T a meeting of the Execut:ve Committee,<br /> on Monday, Nov. 21, 1892, specially con-<br /> vened, the following statement was read<br /> <br /> by the chairman, Mr. Walter Besant :<br /> <br /> “T have for some time perceived that the<br /> habit of speaking of the Society as my society—<br /> of putting forward my name as standing for the<br /> society — has been becoming more and more<br /> prevalent in the Press and elsewhere. At the<br /> present stage of our corporate existeuce, a real<br /> danger attends this practice—the danger, namely,<br /> that the world, which has no time for investi-<br /> gating things, may easily be led to believe<br /> <br /> THE AUTHOR.<br /> <br /> that the Society is nothing but my own project—<br /> <br /> a thng run by myself on my own lines, and<br /> perhaps (who knows’) for my own personal<br /> <br /> profit The importance and authority of the<br /> Society, therefore, is in danger of being exactly<br /> measured by my own importance and authority<br /> —a small thing indeed as representing so great a<br /> body as our own. At the early stages of an<br /> association, the principal part of the work must<br /> necessarily be done by one man; but as time<br /> goes on, if that one man, and he alone, continues<br /> apparent to the world as the sole spring or brain<br /> ot the machine, that association will be supposed<br /> to have failed in getting support from those who<br /> should support it. In our own case I know for<br /> a fact that persons interested in the depreciation<br /> of the Society speak of it openly as my society,<br /> implying, even stating, that men and women of<br /> letters stand aloof. It is no use tou answer—<br /> because the people who hear the slunder may not<br /> read the answer—that we have 850 members,<br /> including, with very, very few exceptions, all the<br /> leading men and women of letters. It is no use<br /> to point out—because we cannot get to those<br /> persons—that, so far from the Society having been<br /> run by myself alone, Iam the third chairman of<br /> its eight years’ existence, my predecessors having<br /> been Mr. James Cotter Morrison and the late Sir<br /> Frederick Po lock. It is no use, for the same<br /> reason, to point cut the list of our ¢ uncil, or to<br /> the fact that everything is done by a committee<br /> regularly chosen from that council and regularly<br /> meeting. If, however, I resign the post of chairman,<br /> it will become impossible to speak of the Society<br /> in this way. Everybody will then have to recog-<br /> nise that it is governed by the council and a<br /> chairman and a committee like every other society,<br /> and we shall much more readily thau before receive<br /> the recognition due to our numbers and our name.<br /> Ido not say that we shall effectually silence the<br /> voice of the slanderer, but we shall make him<br /> invent another kind of slander—a thing which he<br /> does not like. I beg, therefore, for these reasons,<br /> to tender my resignation. In so doing I do not<br /> wish to leave you, or the good work, and I propose,<br /> with your permission, to remain on the executive<br /> committee. No change will therefore be made,<br /> except that the reins will pass into stronger<br /> hands; and I desire to place on record my most<br /> sincere thanks for the assistance you have<br /> rendered me at all times during the last four years.<br /> ** T have only to add that all the assistance that<br /> I can give to the Society, which attempts the<br /> greatest thing ever designed for the sacred cause<br /> of literature—namely, the independence of the<br /> literary calling—will at all times be freely and<br /> willingly and loyally rendered to my successor.”<br /> The committee, on receiving this statement,<br /> <br /> <br /> <br /> 9<br /> By<br /> a<br /> %<br /> =<br /> +<br /> 6!<br /> .<br /> 2<br /> a<br /> &lt;<br /> v<br /> <br /> Cs<br /> <br /> SE RYU EN TI<br /> <br /> oe<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Pontes<br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> passed the following resolution: “ The committee,<br /> being informed by Mr. Walter Besant of his<br /> spontaneous decision to resign the chairmanship of<br /> the committee of management, hereby offer their<br /> best thanks to the outgoing chairman for his long,<br /> zealous, and efficient services in that capacity,<br /> and, while expressing their sincere regret that<br /> he has found this course necessary, likewise<br /> express their satisfaction that they will still have<br /> the benefit of his assistance as a member of the<br /> committee, and instruct the secretary to cause<br /> this resolution to be published.”<br /> <br /> The committee then proceeded to elect a chair-<br /> man in succession to Mr. Walter Besant. Sir<br /> <br /> <br /> <br /> Frederick Pollock, Bart., was unanimously<br /> elected.<br /> LITERARY PROPERTY.<br /> i<br /> Tue Pusuic Criticism oF Books.<br /> I.<br /> <br /> 1. Has a newspaper any right at law to criticise<br /> books not submitted for review ?<br /> <br /> 2. If a newspaper reviews a book uufavourably<br /> which has not been submitted for review, is there<br /> such a presumption of malice as would rebut a<br /> plea of privilege ?<br /> <br /> Counsel’s Opinion.<br /> <br /> 1. Every newspaper, and indeed everyone, has<br /> a right to criticise any book printed for general<br /> circulation amongst the public, whether the author<br /> expressly submits the book for review or not.<br /> <br /> This 1s not strictly a privilege at all: (Merivale<br /> and Wife v. Carson (C. A. 20 Q. B. Div. 275.)<br /> It is a general right posse-sed by every citizen,<br /> and does not depend upon any request made<br /> by the author. Such a book becomes public<br /> property as soon as it is published. “A man<br /> who publishes a book challenges criticism; he<br /> rejoices in it if it tends to his praise, and if it is<br /> likely to increase the circulation of his work; and<br /> theref re he must submit to it if it is adverse, so<br /> long as it is not prompted by malice, or charac-<br /> terised by such reckless disregard of fairness as<br /> indicates malice towards the author:” (Per<br /> Cockburn, C.J. in Strauss v. Francis, 4 F. &amp; F.<br /> at p. 1114.)<br /> <br /> 2. The mere fact that the book was not sub-<br /> mitted for review would, in my opinion, not give<br /> rise to any presumption of malice. If there were<br /> other circumstances suggesting malice, this fact<br /> might also be taken into consideration. But by<br /> <br /> itself it is, in my opinion, no evidence of malice.<br /> Surely many papers review the latest volume of<br /> Tennyson or Browning, although no copy is sent<br /> <br /> AUTHOR. 231<br /> <br /> them by tte author. When all the world is<br /> talking about a book, such, for instance, as<br /> “Robert Elsmere,” the editor of any paperis,in my<br /> opinion, entitled to send out and buy a copy, and<br /> then state in his columns his honest opinion of<br /> that book, however unfavourable his opinion<br /> might be. It might be otherwise when a work<br /> appears from the pen of some unknown author.<br /> It an enemy of his seized on the opportunity to<br /> gratify his spite against the author by publishing<br /> a review undeservedly severe; in that case the<br /> unusual circumstances of the critic’s going out of<br /> his way to buy the book in order to review it,<br /> would no doubt be some evidence that he was<br /> actuated by a malicious motive; and the judge<br /> would in that case leave the issue of malice to<br /> the jury. W. BuaKke OpGERS.<br /> <br /> 4, Elm Court, Temple, E.C., Nov. 15.<br /> <br /> II.<br /> <br /> 1. As to “D.’s” complaint in the November<br /> number of the Author, I apprehend that un-<br /> qualified acceptance of a contribution by the<br /> editor of a journa&#039; which usually pays its con-<br /> tributors after the lapse of a reasonable time,<br /> amounts to a contract to pay for it on the<br /> usual terms, and that the promise can be<br /> enforced b, an action if necessary, whether the<br /> article is published or not. Really inevitable<br /> accident, such as total destruction of the pub-<br /> lishing office, or of MSS. at the printer’s office, by<br /> fire or tempest, would probably be an excu-e, but<br /> not mere “crowd ng out.’ I do not think the<br /> editor is bound, without request, to tell the con-<br /> tributor beforehand what the rate of payment is.<br /> A prudent contributor will, of course, require<br /> that information, unless he has already obtained<br /> it otherwise.<br /> <br /> 2. As to defamatory criticism, the law is plain<br /> enough. Publication or public performance or<br /> exhibition is in itself an invitation of criticism,<br /> and the right to criticise published work is<br /> exactly the same whether the critic has teen<br /> specially invited or not, Fair criticism of pub-<br /> lished work is no libel, even if there has been no<br /> special invitatiou, and special invitation will not<br /> prevent unfair criticism from being libellous.<br /> When “ Rank and File’? complains that it is<br /> “ well nigh impossible” to prove that any criticism<br /> is unfair, I do not knuw what hemeans. I never<br /> heard that juries had any bias in favour of<br /> newspapers, and if there are few actions against<br /> newspapers for literary criticism, and fewer<br /> successful ones, I can only infer that criticism,<br /> though it may not be always wise, is generally<br /> fair. Since writing this note, I have seen Mr.<br /> Blake Odgers’ opinion, with which I entirely<br /> agree BP. P.<br /> <br /> na<br /> <br /> i<br /> <br /> <br /> <br /> <br /> THE<br /> <br /> <br /> <br /> II.<br /> Tae Review or REVIEWERS.<br /> <br /> The question which you raise, whether an author<br /> should ever answer a review, is not very difficult to<br /> answer. If an author is pretty sure of his ground,<br /> beyond all doubt he ought not to put up with<br /> ill-considered criticism. “The English Bards and<br /> Scotch Reviewers” of Byron, and the “ Master<br /> Christopher” of Tennyson, are good instances of<br /> successful reviewing of reviews, and in nine cases<br /> out of ten the author knows twenty times as much<br /> of his subject as the reviewer. But there is, of<br /> course, a great danger lest excessive sensitiveness<br /> should provoke an ill-considered and really foolish<br /> answer from an author, and in the generality of<br /> cases it is highly desirable for the author to show<br /> his answer to a friend before publishing it to<br /> the world.<br /> <br /> I greatly doubt whether the distinction you try<br /> to draw between the review of a work “sent for<br /> review”? and the review of a work not so sent<br /> islegallya sound one. In either case the reviewer<br /> or his publisher is answerable for a really malicious<br /> review. But of course the fact that the reviewer<br /> went out of his way to review unfavourably would<br /> be strong evidence that he reviewed maliciously.<br /> <br /> I need hardly point out that in many cases it<br /> is far better for an author to be reviewed un-<br /> favourably than not to be noticed at all,<br /> <br /> J. M. Lety,<br /> <br /> <br /> <br /> IT.<br /> MaGaziInes AND CopyriGcHt,<br /> E<br /> <br /> Your article on page 190 may possibly answer<br /> the question it refers to, but I venture to ask<br /> some further explanation. During past years I<br /> have sent, I should think, a hundred articles to<br /> first-class periodicals, the names of some of which<br /> I inclose privately. They have been duly inserted<br /> and paid for, but nothing has been said about<br /> copyright by either party. Whose copyright are<br /> they P<br /> <br /> You say: “If the proprietor has paid for the<br /> article, and unless the author, by express or<br /> implied contract, reserves to himself the copy-<br /> right, then the copyright resides with<br /> the proprietor.”<br /> <br /> According to this, therefore, the copyright of<br /> my articles belongs to the proprietors of the<br /> periodicals.<br /> <br /> But the Act says, section 18: “When any<br /> publisher shall employ any person to<br /> compose articles, on the terms<br /> <br /> that the copyright therein shall belong to such<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> proprietor the copyright shall be the<br /> property of such proprietor.”<br /> <br /> And as (except in any few cases) I was not<br /> “employed” to compose the articles, and as no<br /> <br /> ‘such “ terms” were ever agreed to by me, or even<br /> <br /> named to me—then it would seem that section 18<br /> <br /> does not apply, and that under sections 2 and 3<br /> <br /> of the Act the copyright will belong to me.<br /> Plea-e state your view of the case. Pp<br /> <br /> it.<br /> <br /> Perhaps you will pardon me when I very<br /> respectfully question, whether your construction<br /> “in simple language,” of the 18th section of<br /> 5 &amp; 6 Vict. c. 45 is in every respect entirely<br /> warranted.<br /> <br /> You state, “that if the proprietor has paid for<br /> the article, and unless the author, by express or<br /> implied contract, reserves to himself the copy-<br /> right, then the copyright for twenty-eight years<br /> resides with the proprietor,” {c.<br /> <br /> You thus throw on the author the onus of pro-<br /> tecting himself by “express or implied contract.<br /> But, does the wording of this section justify this<br /> construction? It is true that it vests the copy-<br /> right in the proprietor when he shall have<br /> employed the author on the specific terms that<br /> “the copyright” of the latter’s work “ shall<br /> belong to such proprietor.’”’ But, when no such<br /> terms have been specified by the proprietor,<br /> although he shall have paid for the work done by<br /> the author for the specific purposes set forth in<br /> the section, is there anything in its terms which<br /> justifies your construction, that “if the proprietor<br /> has paid for the article, and unle-s the author, by<br /> express or implied contract, reserves to himself<br /> the copyright, then the copyright . . resides<br /> with the proprietor”? — In the absence of the<br /> stipulation by the proprietor that the copyright<br /> shall belong to him, unless he has employed the<br /> author “on the terms” to that effect, is it not the<br /> sense of the words used, that, notwithstanding<br /> the payment for the work done for the proprietor’s<br /> specific purposes, the generic copyright shall not<br /> reside in him, but shall remain with the producer,<br /> the author.<br /> <br /> Thus, I contribute an artic’e to the Chimerical<br /> Review. The editor thereof, acting for the pro-<br /> prietor, accepts the article simpliciter, without any<br /> stipulation for “the terms” that the copyright<br /> shall belong to his principal. In the absense of<br /> such stipulation, does not tue copyright of the<br /> article, in default of any expressions in the section<br /> to the contrary, ipso facto vest inme when the<br /> article shall have fulfilled the specific météer for<br /> which the editor has accepted it and the pro-<br /> prietor has paid for it ?<br /> <br /> Of course, if I had been employed “on the<br /> <br /> <br /> <br /> | dor<br /> pon<br /> wg&quot;<br /> <br /> goo<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ~—<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR: 233<br /> <br /> terms that the copyright ”’ of the article “ shall<br /> <br /> belong to the proprietor,’ I should have to wait<br /> <br /> twenty-eight years before coming into the right<br /> <br /> to republish. c<br /> III.<br /> <br /> The letter of “ P.”’ which we print above, is a<br /> very important one. There are probably some<br /> hundreds of authors in his position, and some<br /> thousands of articles as to the copyright, in which<br /> the question “ P.” raises might be asked.<br /> <br /> If there was a contract of employment, no<br /> doubt the 18th section of the Copyright Act<br /> applies, and the copyright vests in the proprietor<br /> if the article was composed on the terms<br /> that it should belong to him. If nothing<br /> was said about copyright, a contract that itis to<br /> belong to the proprietor will not ordinarily be<br /> implied by the Courts of Law, and it will belong<br /> to the author.<br /> <br /> Tf there was no contract of employment, that<br /> is to say, if the author, without previous com-<br /> munication with the editor, sent the article<br /> to the editor who printed, it and paid for it,<br /> we cannot think that the 18th section will apply.<br /> Tt seems that in such a case, as ‘“‘ P.” contends,<br /> the ordinary law applies, and the copyright<br /> belongs absolutely to the author.<br /> <br /> The foolish restriction of the 18th section, that<br /> incase of employment, &amp;c., the copyright is to<br /> remain the property of the proprietor for twenty-<br /> eight years, should, of course be amended by<br /> shortening the period. T:e Royal Commission<br /> of 1878 recommended three years; and three<br /> years was the period proposed by Lord Monks-<br /> well’s Bill, which Lord Halsbury so illogically<br /> allowed to be read a second time on the condition<br /> that it should not be further proceeded with.<br /> Sooner or later we hope for better things from<br /> the present Lord Chancellor, who happens to have<br /> been one of the members of the Commission of<br /> 1878.<br /> <br /> Meanwhile we may state that the ordinary<br /> practice of magazine proprietors is most liberal in<br /> the matter. As a matter of courtesy, Jeave to<br /> publish an article separately is always asked for<br /> by the author, but we think we are right in<br /> stating that never, after the lapse of a reasonable<br /> period from the publication of the magazine con-<br /> taining the article, has this leave been refused.<br /> <br /> J.<br /> <br /> <br /> <br /> TN<br /> AMERICAN COPYRIGHT.<br /> <br /> A problem was suggested by “Curiosity” in<br /> our November number (p. 210) as to the possi-<br /> bility of protecting a book from further piracy<br /> <br /> VOL. III.<br /> <br /> in America, by adding a chapter and observations<br /> to the edition which has already been published<br /> and pirated, bringing the new portions out in an<br /> American magazine first of all, to secure American<br /> rights, and then publishing the book with the<br /> additions. ‘“‘ Could the pirates produce this com-<br /> plete edition? Would there be a chance of the<br /> preservation of such a new edition from the<br /> piratical competition ? ”<br /> <br /> The answer clearly is, that the pirates could<br /> not produce the complete edition with its copyright<br /> additions. But the fact of these copyright<br /> additions being published with the book would not<br /> create copyright in the 1emainder or old portion<br /> of the work, as to which, no copyright in America<br /> had ever existed. So that, although the pirates<br /> could be restrained from producing the book with<br /> its copyright additions, as a whole, their liberty<br /> to print the original work in its unextended form<br /> would continue just the same.<br /> <br /> No doubt, if the new chapter and ob-ervations<br /> were known by the public to be incorporated in an<br /> authorised edition, such an edition would be pur-<br /> chased in preference to others not containing<br /> them. But the pirates could always continue to<br /> flood the market with the book in its old form<br /> and without the copyright additions, since the<br /> non-copyright source would be always available<br /> for them to copy from.<br /> <br /> The publication of the new portion could, no<br /> doubt, be effected without the aid of a magazine ;<br /> separately, for instance, as a complete work, being<br /> added to their principal after.<br /> <br /> <br /> <br /> Vv.<br /> AUTHOR AND Eprror.<br /> <br /> It would be interesting to know what consti-<br /> tutes “acceptance” by an editor.<br /> <br /> Not long ago I forwarded some stanzas to an<br /> eminent “weekly,” and received from it a<br /> “ proof,” almost by return, which I sent back the<br /> same day for press. The stanzas dealt with an<br /> ephemeral topic, and in order to have any raison<br /> @étre should have appeared in the next number,<br /> or, at the latest, in its immediate successor.<br /> They were, however, inserted in neither, and in<br /> response to a polite appeal for explanation I was<br /> curtly informed that the editor had been unable<br /> to make use of my contribution. Now, had I<br /> not concluded, by the light of former experience<br /> that the sending of a proof was tantamount to<br /> acceptance, I should certainly not have left the<br /> stanzas with the newspaper in question, as there<br /> were at least two other ‘‘ weeklies” where I<br /> should have had no difficulty in placing them.<br /> I quite agree with your suggestion (editorial<br /> <br /> eM<br /> <br /> <br /> <br /> |<br /> |<br /> a<br /> a<br />  <br /> <br /> 234<br /> <br /> note, p. 210, November number of the Author)<br /> that, where acceptance is qualified, there ought to<br /> be some expression to that effect on the part of<br /> the editor.<br /> <br /> As regards accepted contributions that will<br /> “keep,” it would be satisfactory to ascertain<br /> whether an editor can indefinitely postpone pub-<br /> lication, or is under an implied agreement to<br /> publish within ‘‘a reasonable time.” It is now<br /> fully three years since a contribution of mine<br /> was accepted by a popular periodical, but it has<br /> not yet appeared, the excuse tendered being<br /> “‘ pressure on space,” while of course no payment<br /> has been made. Iam much disposed to test<br /> the matter in a court of law, and get the author’s<br /> rights clearly defined. W.<br /> <br /> <br /> <br /> VI.<br /> “SpriaL Rieguts: A Warnina.”<br /> <br /> A practice, happily, at present rare, but capable<br /> of extending rapidly, is coming into vogue of<br /> claiming the right of separate sale and assign-<br /> ment of the use of contributions to periodical<br /> publications on a simple purchase of the “serial<br /> rights.” In the great majority of cases the<br /> author, in disposing of the said “ serial rights,”<br /> had no intention of parting with anything more<br /> than the “single serial use” in the particular<br /> publication in question. In the absence of an<br /> express agreement, or, at any rate, of such an<br /> assignment in writing as would carry a right<br /> of ‘separate assignment, it is extremely doubt-<br /> ful whether he does part with anything but<br /> this single serial use, It is, however, most<br /> desirable to clear up this question so far as it<br /> can be cleared up without a judicial ruling as to<br /> the true construction of such terms as “serial<br /> rights’ or “serial right.” By statute it seems<br /> quite clear that the contract with the proprietor<br /> of a periodical is expressly limited to appearance<br /> in that periodical in the absence of any agree-<br /> ment which varies the contract. It is wholly<br /> immaterial whether the proprietor purchases the<br /> copyright or not. The words of 5 &amp; 6 Vict. c. 45,<br /> s. 18, which were quoted tn evtenso in the Author<br /> for November, are quite explicit on the point.<br /> From this it will be seen that the purchase of<br /> “serial rights,” if the words can be made to bear<br /> the construction which is being put upon them<br /> by the proprietors of certain journals carries more<br /> than the sale of periodical copyright as contem-<br /> plated by the statute.<br /> <br /> Now this is a very serious matter. An<br /> author of repute, who had sold a short story to<br /> a journal of high standing, would naturally feel<br /> seriously annoyed to find the same story subse-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> quently appearing in a journal for which he —<br /> would not have been willing to write on any terms,<br /> <br /> po<br /> <br /> A young and rising novelist would feel himself ).<br /> <br /> to be seriously aggrieved if an advantageous<br /> transaction fell through on the ground that<br /> stories of his sold some months previously to<br /> a high-class weekly were being hawked round<br /> the market at nominal prices. A writer who<br /> had arranged to contribute a series of stories<br /> to a publication of good repute would be<br /> aggrieved by a claim on the part of the editor<br /> to publish or not publish the papers as he<br /> pleases, and to farm them out apparently all over<br /> the world and for ever. The first and most<br /> serious effect of such a practice would be a general<br /> and disastrous lowering of terms. Obviously<br /> vendors of serial rights, who seek to obtain<br /> nothing more than a rebate, are in a position to<br /> make bargains which are very injurious to an<br /> author’s reputation. In the second place the<br /> existence of a perpetual serial sale seriously<br /> reduces the value of any copyrights which the<br /> author may have reserved. It is one thing to<br /> publish matter which can only be read in the back<br /> numbers of journals or periodicals, another to put<br /> upon the market stories or articles which are apt<br /> to turn up in a large number of obscure and<br /> possibly not very reputable prints. To sum up,<br /> therefore, writers of every class are urgently<br /> advised (1) to stipulate in writing that the trans-<br /> action is limited to the single serial use in the<br /> periodical in question; (2) in the event of the sale<br /> of “all serial rights” or the “English serial<br /> rights ’’ being insisted upon, to fix the price upon<br /> the understanding that any copyright they may<br /> reserve is practically worthless.<br /> <br /> One word more. The public is held at law to<br /> have notice of the articles of association of regis-<br /> tered companies. In the case of certain journals<br /> the proprietors are, by their articles of association,<br /> traders as well as publishers, and in the absence<br /> of an express agreement defining the rights sold,<br /> it is possible that it would be held that the author<br /> in question had notice of the intention of the<br /> proprietors in question to trade with as well as<br /> publish in their own publications any rights they<br /> may have acquired from him. It is suggested<br /> that in order to obviate difficulties arising from<br /> the use of terms which are capable of having<br /> their true construction disputed, it is desirable for<br /> authors to simply, and in so many words, “ license”<br /> the proprietors of any publication to use the<br /> matter in question in the columns or pages of<br /> that publication. W. M.C.<br /> <br /> BiG<br /> tee<br /> bi<br /> <br /> ba<br /> od<br /> Bar<br /> <br /> bd<br /> hod<br /> <br /> vie<br /> <br /> <br /> <br /> <br /> 4<br /> a<br /> <br /> sapere,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> VIl.<br /> AutHors’ Rieuts to TITLEs.<br /> <br /> It is well settled law that no copyright exists<br /> in a title (in the general meaning of the word) ;<br /> and Lord Justice James’s opinion that literary<br /> property can be invaded in three, and only three,<br /> ways is now generally accepted, the three ways<br /> being stated by his Lordship as follows :<br /> <br /> 1. By publishing an unauthorised edition, or<br /> importing or selling a foreign one.<br /> <br /> 2. By appropriating the fruit of anoth-r’s<br /> labour.<br /> <br /> 3. By selling one’s work under the title or<br /> name of another.<br /> <br /> Numbers 1 and 2 constitute infringements of<br /> copyright, and, as copyright is the creature of<br /> statute, protection must and can be found in the<br /> provisions of the Act of Parliament. Number 3<br /> is, however, an offence against the common law of<br /> the land, is not an infringement of copyright,<br /> and protection is given by the common law,<br /> because the act of selling one’s goods by the title<br /> or name under which the goods of another are<br /> sold amounts to fraud. As, in trade generally,<br /> it is obviously dishonest to describe your mer-<br /> chandise in such a manner as to lead a purchaser<br /> of it to believe that he is buying something<br /> else; so with reference to literary proper&#039;y it is a<br /> fraud to call your book by such a name as will<br /> lead a buyer to suppose that he is purchasing<br /> another book. ‘This isthe principle upon whicha<br /> literary work will be prevented from being sold<br /> under a title already associated with another<br /> work; but it is entirely unconnected with copy-<br /> right, and it is correct to say that there is no<br /> copyright in a title.<br /> <br /> That being so, it is important to ascertain the<br /> nature and extent of the right that is capable of<br /> acquisition in the title of a literary work; as<br /> well as the method by which it can be acquired.<br /> And to commence with, it should be explained<br /> that by “Title” is here meant a few descriptive<br /> words, and not a mass of lengthy description,<br /> “for instance, a whole page of title or something<br /> of that kind requiring invention,” which might<br /> constitute an original work.<br /> <br /> If a person, by long use of a name, title, or<br /> description, so ass ciates that name with a cer-<br /> tain article he sells as to undoubtedly connect<br /> the two in the minds of the public, he will be<br /> able to assert his common law right to restrain<br /> another from passing off other goods as his by<br /> selling them under the name that he has used.<br /> But by long use and reputation alone will a per-<br /> son acquire this right. To take a practical<br /> Instance :—Two persons, A. and B., conceived the<br /> idea of bringing out a magazine called Belgravia,<br /> <br /> VOL, III.<br /> <br /> AUTHOR. 235<br /> <br /> and B. advertised an announcement of his pro-<br /> ject widely, being quite unaware that A. had long<br /> desired to print a magazine under such a title,<br /> and was actually at work upon it. A. naturally<br /> hurried on when B.’s announcements appeared,<br /> and actually published his Belgravia first, B.’s<br /> following shortly after. B. then filed a bill to<br /> restrain A.’s publication, and A. tried to restrain<br /> B.’s; when the Court of Appeal held practically<br /> that neither party had any exclusive right to the<br /> use of the title in question, and so neither could<br /> restrain the other; that B.’s advertisements and<br /> expenditure did not give him the right to restrain<br /> A. from publishing a magazine under the same<br /> name, the first number of which appeared before<br /> B. published his; and that A. had not acquired<br /> any right to restrain B. from using the name,<br /> and that even the fact that A. had registered<br /> the title a long time before publication could<br /> not give him a copyright in that name.<br /> <br /> Neither party had, in fact, by use associated<br /> his magazine with the name Belgravia, and so<br /> it was open for either, or all the world, to use<br /> that name until such time as it might become<br /> associated with a particular publication, when an<br /> exclusive right to its use would be recognised and<br /> upheld.<br /> <br /> Neither the registration, therefore, nor the<br /> invention of a title will be sufficient to acquire a<br /> right of property in it ; but only actual user. And<br /> when aright of property has been gained by user,<br /> it will apparently not be necessary to show frau-<br /> dulent purpose on the part of a person who<br /> invades the right by selling another book under<br /> the same name; and it will suffice to show that<br /> such sale is calculated to injure the sale of the<br /> book with which the name is generally asso-<br /> ciated, and that it is misleading to the publi.<br /> <br /> Applying the rule to the circumstances set out<br /> on p. 212 (in our November number), if a novel<br /> was in 1884 selling under and known generally<br /> in connection with the title “ Incognita,’ clearly<br /> no publisher had any right to publish another<br /> work bearing the same name, even innocently by<br /> unawares and without fraudulent purpose. The<br /> fact that still another and earlier book, with<br /> similar title, had been published two hundred<br /> years before would not be of great importance ;<br /> except in the case of a work whose popula-<br /> rity and fame might still survive; when the<br /> principle of misleading the public would perhaps<br /> apply, though one can scarcely see who would<br /> bring proceedings—unless it were a deceived<br /> member of the public.<br /> <br /> Alternatively, if in 1884 no novel was generally<br /> associated with the title ‘“Incognita,”’ or was being<br /> inquired for or selling under that-name, no right<br /> by user could have been upheld, and the pub-<br /> <br /> r 2<br /> <br /> <br /> <br /> <br /> <br /> i<br /> i<br /> \<br /> i<br /> q<br /> 236<br /> <br /> lishers would have been justified in proceeding to<br /> print the book under that title, even if another<br /> “Incognita” had in fact been published. For<br /> surely the very essence of a right acquired by<br /> use is a continuation of that use; and a first<br /> consequence of non-user will be the loss of the<br /> right.<br /> <br /> The use of the title in a play would not appear<br /> to interfere with the sale of a book with (pre-<br /> sumably) a different plot, or to mislead. Fora<br /> person who asks and pays for a seat at a theatre<br /> will not be given a copy of the novel instead,<br /> neither will booksellers sell theatre tickets to<br /> persons asking for the book. Had the author<br /> of the novel dramatised it, the consequences<br /> might have been different. However, as the<br /> circumstances referred to#re of recent occurrence,<br /> it would perhaps not be desirable to discuss them<br /> at length.<br /> <br /> It may be said, in conclusion, that two<br /> books published under a similar title, are really<br /> different in their contents will not be taken into<br /> consideration. The question the court has to<br /> consider is merely whether a purchaser desiring<br /> to obtain and asking for a particular book (or<br /> other article), is deceived into purchasing another<br /> bock (or article), to the disappointment of him-<br /> self and to the damage of the vendor of the<br /> book (or article) which he really intended to buy.<br /> <br /> —————<br /> <br /> VIII.<br /> A CopyrieHt BIL.<br /> <br /> It will be remembered by those who take an<br /> interest in the law of copyright that, when Lord<br /> Monkswell’s comprehensive Bill to consolidate<br /> and amend the law of the subject came on for<br /> second reading in the House of Lords last year,<br /> Lord Herschell was prominent in pressing the<br /> Government to take the subject up on the lines<br /> indicated by the Bill. Lord Herschell has now<br /> a good opportunity of carrying out his own<br /> recommendations, and, as one of the few sur-<br /> viving members of the Royal Commission of 1878,<br /> will be able to deal with the subject with creater<br /> knowledge and experience than any possible Lord<br /> Chancellor. It is possible, therefore, that a Copy-<br /> right Bill may be promised in the Queen’s Speech,<br /> and there is no reason why such a Bill should<br /> not become law. The main amendment to be<br /> expected is one substituting the life of the author<br /> plus thirty years as the period of copyright for<br /> the present forty-two years from the date of<br /> publication, or seven years from the date of the<br /> death of the author, whichever may be the longer.<br /> —Law Journal,<br /> <br /> —<br /> <br /> THE AUTHOR.<br /> <br /> IX,<br /> From the Standard, Nov. 28, 1892 :—<br /> (Before Mr. Justice Currry.)<br /> <br /> Borromury v. Tur “News or tHE Wor.xp.”<br /> —Mr. H. Bottomley renewed his application for<br /> an interlocutory injunction to restrain the de-<br /> fendants from publishing in their newspaper as a<br /> complete copy of a book written by the applicant<br /> that which was not complete——The applicant<br /> submitted that the defendants, who had pur-<br /> chased the rights of issuing his work in a serial<br /> form, were bound to publish a complete edition<br /> of his book, or to indicate what was not com-<br /> plete.—The Judge: On what grounds do you ask<br /> for an injunction on this motion’:—The Appli-<br /> cant: On breach of contract. There can be no<br /> custom in journalism that where a serial issue is<br /> published in a newspaper the editor can eliminate<br /> at will—After some discussion, the judge having<br /> indicated that his view was that the case was not<br /> one for an interlocutory injunction, an order was<br /> made that there should be no order on the<br /> motion, except that costs be costs in the action.<br /> <br /> Sem<br /> <br /> X.<br /> An ANTICIPATED CHARGE.<br /> <br /> Among the many valuable services rendered by<br /> the Society of Authors there is none more useful<br /> than the act of its officers in giving experienced<br /> and sensible counsel to those members who seek<br /> their advice. I have profited by this assistance<br /> more than once, but in no instance so signally as<br /> in a case of difficulty in which I recently found<br /> myself involved.<br /> <br /> I had written a novel called “The Fate of<br /> Herbert Wayne,” which had a certain peculiar<br /> central idea that I believed to be entirely new in<br /> fiction. The book was ready for publication<br /> when I discovered that my ‘‘ new idea”’ had been<br /> used already, and not very long ago, by a popular<br /> novelist. My first impulse was to suppress my<br /> own work, but it was represented to me that such<br /> a step would cause great inconvenience to those<br /> who had made arrangements for the production<br /> of the hook, and I was strongly urged to proceed<br /> with it.<br /> <br /> Still, my conscience was not easy. I did not<br /> like to run the risk of being accused or even sus-<br /> pected of plagiarism, and, indeed, I was in doubt<br /> as to whether in honour I ought to proceed with<br /> the publication of a story after I had found that<br /> its main point had been anticipated.<br /> <br /> What was I to do? As a member of the<br /> Authors’ Society I resolved to take it into my con- —<br /> fidence, and submit this delicate question to the<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 237<br /> <br /> arbitration of the Chairman of the Society of<br /> Authors. I knew him to be a busy man, with<br /> something better to do than to concern himself<br /> with every petty trouble of distressed scribblers.<br /> But this question was, to my mind, no petty<br /> matter, and one worthy of our chairman’s personal<br /> consideration.<br /> <br /> He treated it as such, and was good enough,<br /> not only to write me a private letter of advice,<br /> but to publish a note on the case in the<br /> Author. In this he gave his opinion to the effect<br /> that a novelist who had happened to hit upon the<br /> same idea that had been used by someone else<br /> before need not on that account be deterred from<br /> giving his story to the world, that he thought I<br /> was quite free to publish my book, but that it<br /> might be well if I were to insert in it # preface<br /> stating the circumstances of the case.<br /> <br /> That course I adopted. I published my novel<br /> with such a preface as was suggested, and I am<br /> glad that I took his advice, for my reviewers<br /> have nearly all taken notice of the incident, and<br /> not one of them has commented upon it save in<br /> terms of approbation. It is most gratifying to<br /> me to find it recognised in all directions that I<br /> have done the right thing in inviting an opinion,<br /> and in acting up to it.<br /> <br /> I make this brief statement as a simple act of<br /> grateful acknowledgment of kind and_ wise<br /> counsel and as a practical tribute to the value of<br /> the Authors’ Society. I hope it will not have the<br /> effect of causing our chairman to be worried by<br /> appeals for aid in trifling circumstances, but I<br /> will say to my brother and sister authors, when<br /> you find yourselves in any really serious difficulty<br /> mvolying a question of professional honour or<br /> propriety, do as I did, and consult the Society.<br /> <br /> EK. J. GoopMAn,<br /> <br /> Nov. 20, 1892.<br /> <br /> mE<br /> OWNERSHIP.<br /> <br /> Some paragraphs in the Author last month as<br /> to the ownership of literary work leave me, and,<br /> I daresay, many others in doubt upon a certain<br /> point.<br /> <br /> Supposing I send an article, say upon the<br /> “Tower of London,” with a great deal culled<br /> from historical documents (of which I quote<br /> much) toa magazine. Suppose that the maga-<br /> zine, in two or three years after the acceptance of<br /> my article, dies. Suppose I receive half the<br /> agreed payment in compensation. Then I want<br /> to write a book on “London,” four or five years<br /> later. Am I to omit the “Tower of London”<br /> from the book? Orif Linclude it, must I abstain<br /> <br /> from using the historical documents again? Or if<br /> <br /> I use them, and cloak them in new words, must<br /> I abstain from making the same quotations ?<br /> <br /> If the article had appeared in the magazine,<br /> the courtesy of the editor would have allowed<br /> me to reprint it; but the magazine is dead,<br /> Suppose I offer to buy back my work, and the<br /> editor refuses? He holds my article; can I<br /> re-use the original matter if I re-write it in a<br /> different form? If you can throw lght upon<br /> these questions in December you will confer a<br /> favour upon Xe Ne<br /> <br /> [The case is not clearly stated. If a writer has<br /> sold the copyright in an article to the proprietor<br /> of a publication, he obviously cannot make use of<br /> the article in another form without the consent of<br /> the said proprietor. How far he can plagiarize<br /> his own article is more a question of morals than<br /> of law. |<br /> <br /> NOTES FROM PARIS.<br /> <br /> WY HAVE had a letter from a lady who went to<br /> see John Barlas in the Murray House<br /> Lunatic Asylum in Perth, and she informs<br /> <br /> me that, whilst the authorities consider this<br /> unhappy poet to be quite sane enough to be<br /> liberated from his awful durance, they allege him<br /> to be subject to “ delusions.’’ I wonder how many<br /> of us are not in this merry worldof ours. In the<br /> meanwhile I have to express my thanks to the<br /> numerous confréres who have assisted me in<br /> drawing public attention to the mournful case of<br /> my friend, by reproducing my note about him<br /> from last month’s Author.<br /> <br /> ee<br /> <br /> Apropos of confréres, I have a word to say to<br /> certain gentlemen of the press, who have thought<br /> it necessary to comment upon various items which<br /> have from time to time appeared in my letters to<br /> the Author. Is it worthy, messieurs, to com-<br /> mence by proclaiming yourselves members of this<br /> society of ours, and then to set to work to blame<br /> and ridicule, im newspapers which go into the<br /> hands of the general public, a fellow- member who,<br /> in contributing to the organ of our society, has no<br /> other object or aim in view than to do what he<br /> can to add to the interest of that periodical? I<br /> can’t imagine a member of the French Société -de<br /> Gens de Lettres, acting in this way towards a<br /> fellow member, and I suppose that the individual<br /> who quite recently accused me of being bribed<br /> with “meal or malt” to write certain para-<br /> graphs about a poet for whom I have the highest<br /> admiration, and who is a personality in French<br /> <br /> <br /> 238<br /> <br /> literary circles also, must be a type of homme de<br /> lettres with which I am unacquainted. It seems<br /> to me that it is in the Author, and in the Author<br /> alone, that any matters concerning the private<br /> affairs, either of this periodical, or of our society,<br /> should be discussed, and that is a great want of<br /> esprit de corps, to say notuing else, to bawl out at<br /> the corner of the street what should be spoken in<br /> the common-room. I can’t imagine, for instance,<br /> a member of any London club going forth into<br /> Piccadilly, and yelling out some ditferences of<br /> opinion he may have with a fellow member, and<br /> afterwards passing round the hat for coppers in<br /> pay ment of the diversion afforded.<br /> <br /> —=<br /> <br /> Stéphane Mallarmé intends to retire from the<br /> post of Professor of English, which he has held<br /> for many years at the Collége Rollin, and, after<br /> the new year, when his pension will commence,<br /> will devote himself entirely to literary work.<br /> This is news which will please all the many<br /> admirers of the great poet both in England and<br /> France, for, up to the presen’, the drudgery of his<br /> professional work has prevented Mallarmé from<br /> devoting himself to his art. He is a very slow<br /> worker, writing and rewriting each sentence until<br /> it satisfies him, resembling in this respect Gustave<br /> Flaubert, or José de Herédia, the poet, who<br /> spends three months over the creation of a sonnet.<br /> <br /> The opinion in Paris that the English maga-<br /> zines and reviews pay mo t liberally for c ntribu-<br /> tions has been somewhat modified since it has<br /> been whispered abroad that the article on Lord<br /> Tennyson, which a certain distinguished French<br /> poet contributed recently to a certain weekly, was<br /> rewarded with the sum of sixty francs, or two<br /> pounds eight shillings.<br /> <br /> Verlaine has written to Camille Doucet, to<br /> inform him that he is a candidate for one of the<br /> vacant seats in the French Academy. I am<br /> afraid, however, that this application will not be<br /> takeu au sérieux. The Academy is a salon as<br /> well as a ré-union of literary men; indeed,<br /> more a sa/on than anything else, as every one of<br /> the Academicians whom I interviewed for my<br /> Daily Graphic articles on “An Academy of<br /> Lette:s”’ for England, informed me. Verlaine is<br /> without doubt the first poet of France, but I am<br /> afraid he would hardly be an acquisition to any<br /> drawing 100m, even much less select than that<br /> at the French Institute.<br /> <br /> THE AUTHOR.<br /> <br /> A poet who has known how to make his muse<br /> pay him handsomely is Mr. Jean Rameau, who,<br /> after leading a Bohemian life, frequenting the<br /> Chat Noir and similar haunts, for some years, has of<br /> late blossomed out into a society entertainer, and<br /> who may be seen at most of the grand soirées in<br /> Parisian society, reciting choice selections from<br /> his work, being treated precisely the same in<br /> the way of remuneration as the comic singers,<br /> jugglers, and monologuists engaged at the same<br /> soirées to help out the evening. The cheque is in-<br /> variably a handsome one, each such evening being<br /> worth from eight to twenty guineas to the prac-<br /> tical young poet. I have heard bitter things<br /> said about Jean Rameau by fellow poets on this<br /> account, notably from one old Academician and<br /> poet, who said it was dégoitant. For myself I<br /> think Rameau very smart. Let us wring from<br /> the bourgeots all the pieces that we can, and<br /> laugh at them behind their backs.<br /> <br /> The longer [ live in France the more I am<br /> convinced that the forced military service is an<br /> excellent thing for young men. [I have just<br /> received the visit of a very smart young soldier,<br /> up in town on leave from a garrison town in the<br /> east of France. When he was shown into my<br /> garret, [ imagined there must be some mistake,<br /> as I failed to recognise him. It was only when<br /> he mentioned his name that I realised who this<br /> bright, trim, joyous youth was. When I last saw<br /> him it was at a literary café in the Latin Quarter,<br /> and a more miserable-looking object I never<br /> remember having set eyes upon. His hair was<br /> long and matted; his face was sallow with<br /> nightly walks, and his conversation as dismal<br /> as his appearance. He was a decadent poet of<br /> considerable merit, but, although only twenty<br /> years of age was blasé about everything. I found<br /> him changed as much morally as physically.<br /> The army had taken all the nonsense out of him,<br /> and he was as full of life and hope and faith<br /> in the future as I could wish to see a young<br /> man. I cannot help thinking that a year or two<br /> of forced military service would do our English<br /> youths a sight of good. One is always more or<br /> less of an ass at twenty, and some hard work,<br /> discipline, and privation, are the best cures for<br /> nonsense and conceit. Send Bunthorne or Postle-<br /> thwaite “aw régiment” for a year or two; let<br /> an unromantic corporal and a practical sergeant<br /> deal with him, and he will return an infinitely<br /> more useful and agreeable member of society.<br /> <br /> Quite a batch of promising young poets have<br /> just gone this way of late, November being the<br /> <br /> <br /> oe at<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> month when the conscripts have to join their<br /> regiments, and our Paris Parnassus is emptied of<br /> its young folk. I can imagine the delight of the<br /> regimental barber in shearing the flowing locks<br /> of the many young bards who still clung to this<br /> distinction, views jeu though it be. Sar Peladan,<br /> by the way, the most hirsute littérateur of Paris,<br /> made a great fuss when he was told that “it had<br /> all got to come off,” and it is reported that he<br /> called out to the sun, “‘ Dost thou shed thy light<br /> on such an outrage?” Notwithstanding, it all<br /> had to come off.<br /> <br /> <br /> <br /> A league has been formed amongst a certain<br /> number of Parisian and provincial booksellers, to<br /> resist the demands of the public for discounts on<br /> published prices of books, and it has been<br /> arranged with the publishers that any bookseller<br /> giving such discounts shall have his credit<br /> account closed with them. There are, however,<br /> upwards of 2000 booksellers who do not belong<br /> to this league, so that we shall continue to get<br /> our 3d. in the shilling just the same as before.<br /> <br /> oe<br /> <br /> I hear that a school of poets, styling themselves<br /> “Die Phantasten,” and whose literary creed is that<br /> of the French symbolistes, genre Moréas, Ver-<br /> laine, and so forth, has been formed in Germany.<br /> Till now it was realism of the crudest kind that<br /> had most favour in the Vaterland, and I cannot<br /> but think that the symbolistes will get but a poor<br /> hearing from their compatriots.<br /> <br /> <br /> <br /> The book of the day in Paris is ‘“ Le Roi au<br /> Masque d’Or,” by Marcel Schwob, the brilliant<br /> chroniqueur of the Echo de Paris, and one of the<br /> most remarkable, because ore of the most original<br /> of contemporary French prose writers. Schwob<br /> will be remembered as the author of a most<br /> interesting article on Frangois Villon, which<br /> appeared a few months ago in the Revue des<br /> Deux Mondes. He is a lover and the chronicler<br /> of the beauties of the old world, but in some of<br /> his short stories has shown that when he cares to<br /> be realistic he can be so in the most striking<br /> manner.<br /> <br /> <br /> <br /> The Revue des Deux Mondes people have or had<br /> a clever business practice, which it surprises me<br /> not to have seen adopted by English publishers.<br /> It is, or was, I do not know what the arrange-<br /> ments are there to-day, that no writer received<br /> payment for his first contribution to that review.<br /> As a number of people are able, like a certain<br /> Hamilton in the matter of oratory, to produce<br /> <br /> AUTHOR. 239<br /> <br /> one article and one only worth printing, giving<br /> in it, it would seem, all they have in them, the<br /> arrangement is an excellent one for the proprietors<br /> of the magazine in question Even the writers<br /> have not very much reason to complain, for it is<br /> the glory of a writer’s life to have been published<br /> in the Revue des Deux Mondes.<br /> <br /> A thoroughly Anglo-Saxon type of man of<br /> letters is the person who, whilst writing for<br /> money and for money only, goes howling in the<br /> public places that he is an artist, and that if he<br /> does not produce artistic work it is because the<br /> public won’t have it. The man of letters is<br /> either a tradesman cr an artist. If he is an<br /> artist his one pre-occupation is to produce beau-<br /> tiful things without any consideration whatever<br /> of their saleability or the reverse. If he is a<br /> tradesman he writes for money, and according<br /> to the lights of many is a wise and a respect-<br /> worthy man. But don’t let vs have the trades-<br /> man, bustling about like Martha, envying the<br /> part of Mary. What would be thought of a<br /> Clapham cheesemonger who should promenade<br /> about as a Bohemian, and confide to whoever<br /> would listen to him, that though he made a good<br /> living by selling Cheddar and Stilton, his soul<br /> was above such traffic, and that he despised it as<br /> much as any man? He would be very justly<br /> written down as a snob.<br /> <br /> <br /> <br /> An interesting personality amongst English<br /> men of letters in Paris is that of Mr. H. F. Wood,<br /> the Paris crrespondent of the Morning<br /> Advertiser, who, unless I am much mistaken,<br /> will one day occupy a very high place amongst<br /> Bri ish novelists. His novel “A Passenger from<br /> Scotland Yard,’ which, though set down as a<br /> detective story, was a work of the highest<br /> psychological interest, will be remembered by<br /> most readers of fiction, who will be glad to hear<br /> that another work from the same pen, which has<br /> already appeared in America and in the Continen-<br /> tal English library, is about to be published in<br /> London. Its title is ‘“‘ Avenged on Society,” and<br /> itis aremarkable work. Mr. Wood works very<br /> hard at his books, and has the infinite capacity<br /> for taking pains.<br /> <br /> <br /> <br /> I want very much to recommend to any readers<br /> of the Author who make use of the services of<br /> the professional typist, the Miss Patten whose<br /> announcement appears in this journal. She has<br /> been doing a quantity of work for me, and is<br /> really an artist in her genre. Andit appears that<br /> <br /> <br />  <br /> <br /> <br /> <br /> now.<br /> <br /> 240<br /> <br /> Nov. 23, 1892.<br /> <br /> <br /> <br /> work would be particularly acceptable to her just<br /> <br /> oa<br /> <br /> GLAMOUR.<br /> <br /> The wind is blowing from the height,<br /> The hillside gorse has gathered light,<br /> <br /> The day is widowed of the sun,<br /> <br /> And dies upon a blooming pyre ;<br /> Through shifting glories of the sky<br /> The golden argosies sail by,<br /> <br /> To reel and founder one by one,<br /> <br /> And vanish in a sea of fire.<br /> The air is full of startled wings,<br /> <br /> And calling notes, and tossing boughs,<br /> And eerie cries of feathered things<br /> <br /> That deepen as the twilight grows ;<br /> And voices from the solemn seas<br /> <br /> Send rustling echoes through the fern,<br /> Where lone upon the lonely leas<br /> <br /> A ruin’s battered windows burn.<br /> <br /> Through loosened tiles the sunset gleams,<br /> Old cobwebs dangle from the beams,<br /> The casements rattle, creepers twine<br /> Green arms about the gabled walls ;<br /> The grass grows lush besides the doors,<br /> And mildew creeps o’er broken floors,<br /> Where blazing trails of autumn vine<br /> Make chilly fires in roofless halls.<br /> There is a rustle in the leaves,<br /> The wind swings round the creaking vane,<br /> The jasmine dropping from the eaves<br /> Beats wildly on the casement pane ;<br /> And where its tendrils interlace<br /> Round ancient glass that fronts the west,<br /> I see a strange and lovely face<br /> Against the glowing lattice prest.<br /> <br /> Like summer lightning in the air,<br /> Its vivid beauty trembles there ;<br /> The wind-blown roses whispering<br /> Send forth a sudden breath of musk ;<br /> Then swiftly dies the sunset flame,<br /> The vision darkens in its frame,<br /> And flitting shapes on leathern wing<br /> Flash circling through the growing dusk.<br /> The door swings loudly on its hinge,<br /> My steps are on the crazy stair,<br /> The echoes wake, the shadows cringe,<br /> The owls fly hooting from their lair ;<br /> I stand within the latticed room<br /> Where dust and darkness reign supreme,<br /> A cat emerges from the gloom<br /> And hissing wakes me from my dream.<br /> <br /> ELINoR SWEETMAN.<br /> <br /> THE _ AUTHOR.<br /> <br /> Ropert H. SHERARD.<br /> <br /> propose to terminate my chairmanship with an<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> LSEWHERE will be found a report of<br /> LH) the meeting of committee of Monday,<br /> Nov. 21, called to receive my resignation<br /> <br /> and to appoint my successor in the office of<br /> Chairman of the Committee of Management,<br /> The paper in which I set forth the reasons for<br /> taking this step explains itself. I would only<br /> add here, or repeat, that I have been for many<br /> months considering and consulting whether, for<br /> the advantage of the Society, it would not be best<br /> for me to take this step. It seemed, not only to<br /> myself, but also to those whom I consulted, that<br /> the time had come when a change of chairman<br /> should take place. In the first place, in a society<br /> covering so many interests, it is important to<br /> have more than one mind following its daily<br /> work. In the second place, it does positive harm<br /> to a society so large and so important as ours<br /> has now become, that it should be constantly<br /> <br /> coupled with the name of one man. It has come.<br /> <br /> to be regarded, as stated in that paper, as the<br /> hobby and creation of one man. That, at all<br /> events, will now stop. I hope, however, to con-<br /> tinue, under Sir Frederick Pollock’s command,<br /> to work for the society.<br /> <br /> <br /> <br /> We must never forget that our association is<br /> regarded by a certain class of persons with a<br /> hostility and hatred perfectly intelligible—we<br /> bear them no ill-will on account of it—they only<br /> act after their kind—because we have interfered,<br /> and are still constantly interfering, with their<br /> sweet little schemes for overreaching the author.<br /> Whenever they can, these persons get a paragraph<br /> or an article attacking the Society in a paper or<br /> magazine. The meddlesome country clergyman<br /> is set up to accuse us of breaking agreements ; the<br /> * London editor ” is set wp to accuse us of making<br /> letters a close profession ; he also carefully reads<br /> and comments upon documents which do not<br /> exist except under lock and key in the Suciety’s<br /> office ; but the favourite caluwny, and the most<br /> persistent, has been that which represents the<br /> Society as, in my person, “defying publishers.”<br /> This was the phrase used by the Globe the other<br /> day, not by any means for the first time. We do<br /> not, of course, ‘defy publishers,’”’ or anything so<br /> foolish ; but, so long as the statement may do the<br /> Society any harm, it will be used.<br /> <br /> <br /> <br /> I have undertaken to read a paper at the general<br /> meeting of the 12th on the past work—the present<br /> work—and the future work of the Society. I<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> {<br /> <br /> <br /> <br /> THE<br /> <br /> invitation to all the members to take part in a<br /> constructive attempt at the placing of publishing<br /> on an equitable basis. Perhaps, when we have<br /> ourselyes arrived at a statement of our own views,<br /> we may be able to invite the consideration of those<br /> publishers whose views are worth asking.<br /> <br /> The following reaches me in a_ roundabout<br /> fashion. It is an extract from a book on Ossian<br /> published in Edinburgh thirty years ago. It was<br /> sent to the editor of the New York Critic by Mr.<br /> Wall, curator of the Stratford Museum. The<br /> discovery that Shakespeare was a Scotsman will<br /> surprise and delight many.<br /> <br /> Seotsmen should never forget that the concocting, the<br /> sending, and the paying of that base man [Dr. Samuel<br /> Johnstone} was just what might be expected from the<br /> nation of liars called ‘“ English,” the people who have<br /> the audacity to claim for a fictitious character, named<br /> by them Shakespeare, that never had a being, the work of<br /> Archibald Armstrong, who accompanied James the Sixth<br /> [James the First of England] to London, and who by his<br /> wit tormented Bishop Laud and the rest of that set at court<br /> so much, that he was obliged to leave his royal master, and<br /> hide himself in a garretin the metropolis of England, where<br /> he composed a great deal of what English impostors are now<br /> claiming for a-man who uever lived. That while in that<br /> solitary abode Armstrong employed an English mountebank,<br /> whose name perished with himself, to recite through the<br /> streets of London those pieces then composed, caricaturing<br /> the knaves by whose influence he was expelled. That, for<br /> the most part, the work of Armstrong (Shakespeare) is<br /> founded on the dying confessions of hanged English male-<br /> factors; but that since many additions have been made to<br /> it, and that the most recent of these are by the late Henry<br /> Dundas (Lord Melville, ‘*‘ Hielan Harrie”). ‘That all the<br /> English impostors that have hitherto attempted to forge<br /> examples, signatures, &amp;c., of ‘ Shakespeare&#039;s ” handwriting<br /> were completely detected by Scotsmen these two ways: I.<br /> By proving that those specimens were not penned by<br /> Shakespeare, nor by anybody else, but were the impressions<br /> of types forged for the purpose. 2. By an analysis of the<br /> ink used by the forgers, whereby it is proved that the<br /> ingredients used in the manufacture of that liquid at the<br /> alleged period of Shakespeare, were not those of the ink in<br /> use by English scoundrels in their deliberate imposition,<br /> deifying a nonentity.<br /> <br /> It is very well known that whatever mortals<br /> undertake, Setebos troubles all. The Setebos<br /> in my mind at this moment—he is as numerous<br /> as the motes of thought in the human brain—<br /> is a creature who is at once impecunious (for<br /> which he has our deepest sympathies), and<br /> incompetent (for which we tender our sincere<br /> pity); and ardently desirous to fill his purse in<br /> spite of incompetence. And the way this gentle-<br /> man proposes to act is this. He has heard that<br /> in certain quarters it has been proposed to teach<br /> young writers the elementary laws—the technique<br /> of the craft; not with the view of manufacturme<br /> genius and multiplying writers so much as that<br /> <br /> VoL. III.<br /> <br /> AUTHOR. 241<br /> <br /> of weeding out the incompetent and preventing<br /> future disappointment. Our friend, who has never<br /> written anything imaginative in his life, and<br /> has no knowledge of the Arts of Poetry, Fiction,<br /> or the Drama; and knows nothing of Belles<br /> Lettres; thinks he now sees his chance. He<br /> volunteers—this impudent person—to teach the<br /> Art of Letters.<br /> <br /> Ss<br /> <br /> There are many, especially girls in the country,<br /> who may be deceived by such a pretender.<br /> There is one simple touchstone. Ask him to<br /> refer you to any published works by him, which<br /> will show his fitness to teach either as Poet,<br /> Novelist, or Critic, and inform him that you are<br /> going to send his letter to the Society.<br /> <br /> “The last time,” a correspondent tells me,<br /> “that € saw Mr. Facing-both-ways—that rising<br /> publisher, he warned me seriously, that a young<br /> author must not be too grasping. He spoke<br /> with pain as if he had suffered much from the<br /> avarice of young authors. He further advised<br /> me to have nothing to do with agents. And he<br /> then offered to produce a certain work of mine at<br /> my own expense. When I came away I reflected<br /> that the advice not to be too grasping was unde-<br /> served, because I wanted nothing unfair; that<br /> perhaps the advice about agents was not quite<br /> disinterested ; that perhaps I might, after all,<br /> do something with an agent—so I tried one. He<br /> presently obtaned for me a very good offer for<br /> the very book which my friend wanted to pro-<br /> duce for me at my own expense. The moral of<br /> this is obvious.”<br /> <br /> &lt;&gt;<br /> <br /> When one has been working for many years on<br /> a certain subject, collecting books and making<br /> piles of notes, the first emotion on taking up<br /> another man’s work on the same subject is one of<br /> curiosity. How much does this man know? If<br /> the book is a good book curiosity is followed by<br /> a kind of shame, because he seems to know so<br /> much more than the reader. This may be, how-<br /> ever, only the effect of work on different lines.<br /> For instance, I have been from time to time<br /> for the last fifteen years studying certain aspects<br /> of the eighteenth century. I have written four<br /> novels and three or four short stories, the period<br /> of which was laid in that century. ‘These<br /> attempts have necessarily demanded as close a<br /> study of the manners and customs—the ways of<br /> thought—and the language of the period as I<br /> could bestow. In other words, I thought I knew<br /> a good deal. But there is a book by Mr. Austin<br /> <br /> Dobson which seems to show a great deal more<br /> U<br /> <br /> <br /> <br /> i<br /> i<br /> i<br /> <br /> <br />  <br /> <br /> 242 THE AUTHOR.<br /> <br /> <br /> <br /> knowledge than I possess. The book is called<br /> “Highteenth Century Vignettes’? (Chatto and<br /> Windus). It consists of some twenty essays on<br /> books and writers and artists of that century,<br /> and is charming, as is everything produced by<br /> this graceful writer. Austin Dobson is, in fact,<br /> the lineal descendant of Addison, Goldsmith, and<br /> Gray. He loves the libraries and the garden,<br /> the book shop, the coffee house, and the society of<br /> poets and wits. In his end of town one never<br /> comes across the pressgang, the crimp, the<br /> ruffing sea captain, the slaver, the riverside<br /> thief, and all the ragamuffin crew that haunted<br /> the ports of London and Bristol, Gravesend, and<br /> Dover. ‘To him itis a century of leisure. Praed<br /> found it so as well. To me, who have lived more<br /> at Wapping than St. James’s, it is a century full<br /> of fighting, flogging, robbing, pressing, hanging,<br /> enterprise, audacity, ambition, oppression—eyvery-<br /> thing that was wanted to make men discontented<br /> and to stimulate them to work and fight. There<br /> was mighty little leisure in the life of Clive and<br /> the men who went out to conquer an Indian<br /> Empire. On the other hand, to sit and bask in<br /> the sunshine of the eighteenth century with<br /> Austin Dobson turning on the sun is a rare and a<br /> holy joy.<br /> <br /> So<br /> <br /> The following is an extract from Lord Lytton’s<br /> England, 1837. It does not appear that things<br /> have greatly changed in fifty-five years.<br /> <br /> “Why is the poor author to be singled out<br /> from the herd of men (whom he seeks to delight<br /> or to instruct) for the sole purpose of torture? Is<br /> his nature so much less sensitive and gentle than<br /> that of others, that the utmost ingenuity is neces-<br /> sary to wound him? Or why is a system to be<br /> invented and encouraged, for the sole sake of<br /> persecuting him with the bitterest rancour and<br /> the most perfect impunity ? Why are the rancour<br /> and the impunity to be modestly alleged as the<br /> main advantages of the system? Why are all the<br /> checks and decencies which moderate the severity<br /> of the world’s censure upon its other victims, to<br /> be removed from censure upon him ? Why is he<br /> tobe thrust out of the pale of ordinary self-defence ?<br /> —and the decorum and the fear of consequences<br /> which make the intercourse of mankind urbane<br /> and humanized, to be denied to one, whose very<br /> vanity can only be fed—whose very interests can<br /> only be promoted, by increasing the pleasures of<br /> the society which exiles him from its commonest<br /> protection—yes! by furthering the civilisation<br /> which rejects him from its safeguards? It is not<br /> very easy, perhaps, to answer these questions;<br /> and I think, sir, that even your ingenuity can<br /> hardly discover the justice of an invention which<br /> <br /> <br /> <br /> visits with all the most elaborate and recondite<br /> severities that could be exercised against the<br /> enemy of his kind, the unfortunate victim who<br /> aspires to be their friend. Shakespeare has<br /> spoken of detraction as less excusable than theft ;<br /> but there is a yet nobler fanvy among certain<br /> uncivilised tribes, viz., that slander is a greater<br /> moral offence than even murder itself; for, say<br /> they, with an admirable shrewdness of distine-<br /> tion, ‘‘when you take a man’s life, you take only<br /> what he must, at one time or another, have lost ;<br /> but when you take a man’s reputation, you take<br /> that which he might otherwise have retained for<br /> ever: nay, what is yet more important, your<br /> offence in the one is bounded and definite—<br /> murder cannot travel beyond the grave—the deed<br /> imposes at once a boundary to its own effeets ;<br /> but in slander, the tomb itself does not limit the<br /> malice of your wrong—your lie may pass onward<br /> to posterity, and continue, generation after<br /> generation, to blacken the memory of your<br /> victim,”<br /> <br /> <br /> <br /> Seiaimeaecaememen!<br /> <br /> Mr. Stanley Little sends me a tiny volume of<br /> verse bearing the name of Charles William<br /> Dalmon. I open it at random, and I find the<br /> following, and I ask—is there promise in the<br /> lines? The little book is published by that<br /> eminent firm, Messrs. Digby and Long, whose<br /> kind hearted reader is so ready to “report so<br /> favourably on your book that we are prepared<br /> to offer you the following favourable terms: You<br /> to pay, &amp;., and to receive ””—half or two-thirds,<br /> or anything you please out of the enormous<br /> profits.<br /> <br /> At ANTHEM-TIME IN WESTMINSTER ABBEY.<br /> <br /> At anthem-time he glided down,<br /> Wearing his fresh green laurel crown,<br /> And stood by me, with downcast eyes,<br /> Close to where Robert Browning lies.<br /> <br /> The choristers sang on so sweet,<br /> <br /> I heard the sound of angels’ feet<br /> Walking along in Paradise,<br /> <br /> Close to where Robert Browning lies.<br /> <br /> He heard it too, and raised his head,<br /> And I looked in the face long dead,<br /> <br /> And watched it vanish, vapour wise,<br /> Close to where Robert Browning lies.<br /> <br /> <br /> <br /> In my notes of last month 1 gave my own<br /> opinion, innocent of law, that an author may<br /> <br /> bring an action against an uninvited reviewer —<br /> <br /> who maligns his work to his material injury.<br /> Since I wrote the committee have submitted<br /> the question to counsel’s opinion. The opinion<br /> will be found on p. 231.<br /> that it is not only the uninvited reviewer who<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> It will be found —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> it<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> iin<br /> <br /> <br /> <br /> d<br /> <br /> tae ih Kee<br /> <br /> <br /> <br /> THE AUTHOR. 243<br /> <br /> is liable, but any reviewer. The slating and<br /> slashing and insulting of authors which formerly<br /> was a disgrace to hterature, are now confined to<br /> a very few papers and magazines. Perhaps an<br /> occasion may present itself for trying what a<br /> Court of Law may say to the editor who permits<br /> himself, or any of his staff, the luxury of blasting<br /> a man’s reputation and destroying his livelihood.<br /> <br /> ———<br /> <br /> Among the sixty poets enumerated by Mr.<br /> Traill some time ago, did he mention the name<br /> of John A. Goodchild? I think not, but I have<br /> mislaid his ist. But here are three volumes of<br /> verse called Somnia Medici, First, Second, and<br /> Third series. (Kegan Paul, Trench, Tribner,<br /> and Co.) All these series are in their second<br /> edition. This means that the author has arrived<br /> at creating his clienté/e for himself. Out of Mr.<br /> Traill’s sixty poets how many have been so suc-<br /> cessful as to go into a second edition? And<br /> here is aman who is in his second edition with<br /> every one of his volumes! Let us note this<br /> phenomenon. Let us further note that the new<br /> poet’s works are for the most part stories or<br /> dramatic scenes presented in verse, and that<br /> neither the stories nor their pres sentation breathe<br /> the pessimism so dear to the young poets of whom<br /> we hearsomuch. Pessimism may be—very often<br /> is—the cloak to poverty of imagination. But<br /> one submits these facts for consideration. In<br /> an age when poetry is supposed to be hope<br /> lessly out of fashion, here is a poet whose name<br /> is seldom mentioned in the papers, articles, and<br /> reviews, yet has become, quietly, successful and<br /> popular. Is it not worth while to inquire what<br /> are the qualities which have brought him success ?<br /> And is it not worth while asking whether poetry<br /> has, after all, gone out of fashion ?<br /> <br /> ———<br /> <br /> The writings of Anatole France are finding<br /> many English readers. Those who are also<br /> readers of these columns are invited to make a<br /> note of L’L£tui de Nacre, his latest book. It is<br /> a collection of short studies, all equally remark-<br /> able for the fine outline and definite expression of<br /> clear thought which make this writer a model.<br /> The “woolly”? appearance of so much English<br /> writing is due, I believe, more to “ woolly’<br /> thought than to a lack of power of expression.<br /> Why are there, for instance, so few critics?<br /> Because there are so few who have formed for<br /> their own use, in their own minds, their own<br /> standards. Clearness of thought, and, therefore,<br /> clearness of expression, are impossible to them.<br /> So also, in fiction. If the mind does not perceive<br /> a character quite clearly and distinctly as a<br /> <br /> separate individual, the result is “ woolliness.”’<br /> Might one recommend the study of L’Etui de<br /> Nacre to young artists in fiction f<br /> <br /> <br /> <br /> IT called attention last month to a certain<br /> American paper called Science, which invites<br /> scientific contributions from young ladies living<br /> in country vicarages, and offers the paper for<br /> nothing if their contributions are accepted,<br /> otherwise they will have to pay 4&#039;50dols. The<br /> idea is sagacious. A correspondent protests<br /> <br /> against our remarks. He says that English<br /> scientific papers do not, as I fondly thought, accept<br /> all papers which are a real contribution to science ;<br /> that this paper has accepted his contribution, and<br /> has given him a hundred copies for presentation<br /> among his friends. Very well. But our corre-<br /> spondent 7s a scientific man; one can very well<br /> understand that the New York paper was very<br /> pleased to have his contribution; every one of<br /> the hundred papers is an advertisement of the<br /> paper. And our correspondent is not the unscien-<br /> tific young lady living in a country vicarage.<br /> <br /> SS<br /> <br /> I have great pleasure in publishing this<br /> appeal. Will readers of English literature do<br /> something for the object proposed? “Our<br /> church, which was built about 1350, contains<br /> a brass figure of John Lydgate, who occupied<br /> a position analogous to that of the Poet Laureate<br /> of somewhat later date during the earlier<br /> half of the fifteenth century, and was a fete<br /> of this village. Although Lydgate was the<br /> author of 250 works, but few are now extant, yet<br /> we have sufficient knowledge of him to prove to<br /> us that he was the greatest poet, scholar, and<br /> author, of his distant day. I feel confident, there-<br /> that I may appeal to your learned society,<br /> <br /> I do very ear ‘nestly, to help us to put into good<br /> an the church of his village and of his time.<br /> For a long time past the condition of the church<br /> roof has caused us anxiety owing to the number of<br /> leaks that have manifested themselves every time<br /> rain has fallen. We have counted no less than<br /> thirty- three such! All the work we desire to do<br /> is absolutely necessary, and, if not speedily<br /> attended to, the result “will be that our ancient<br /> church will be irreparably damaged. The total<br /> cost is estimated at £300. As the parishioners<br /> are agricultural labourers, with four farmers, we<br /> are compelled to seek help outside the parish. In<br /> twenty-eight months, and with great difficulty,<br /> we have got together &quot;£212 13s. 6d. We shall be<br /> most grateful for whatever assistance you feel<br /> disposed to render us. Please do what you can<br /> <br /> to help.—E. Awpry Gray, Rector of Lydgate.”<br />  <br /> <br /> <br /> <br /> 244<br /> <br /> The Americans are stirring. From that land of<br /> practical common sense and business instincts we<br /> should get leading and an example. The following<br /> is quoted by the New York Critic, from which<br /> paper I take it. The passage, written by Mr.<br /> Maurice Thompson, appeared in the Zndependent.<br /> The plain statement that the present system of<br /> publishing books is “an open bid for fraud on the<br /> part of the publisher” is exactly what we have<br /> been proclaiming for some years.<br /> <br /> What has always seemed to us the key of surrender is<br /> the royalty system of publication. Any man is a fool who<br /> is willing to have another administer on his estate while he<br /> yet lives. Whenever an author hands his manuscript to a<br /> publisher, and agrees that said publisher shall print,<br /> publish, sell and account for the book, that author has an<br /> administrator on his estate and is at his mercy, honest or<br /> dishonest. There is no way, and there can be no way<br /> invented, it is to be feared, by which a dishonest publisher<br /> can be forced to administer faithfully. It is useless to ery<br /> out that publishers are as honest as any other set of men.<br /> So they are; but they are also probably just as dishonest as<br /> any other set of respectable men. It is a safe rule of<br /> business, and publishers well know it and act on it in their<br /> own behalf, that no set of men, however reputable, may<br /> be trusted with one’s monetary affairs where there is no<br /> guaranty of good faith other than the mere word of promise,<br /> and where there is no fairly certain way of detecting fraud.<br /> This rule, when applied to publishing, reflects no discredit<br /> on publishers. It is a rule of banking, of railroad manage-<br /> ment, of merchandising, of manufacture. Bankers must<br /> even submit to the searching examinations of an agent ap-<br /> pointed by law; yet bankers surely are as honest as pub-<br /> lishers. The bottom fact is that the whole system of book<br /> publication, on the so-called royalty plan, is unbusinesslike,<br /> and is an open bid for fraud on the part of the publisher.<br /> Even if all publishers are honest, the principle is wrong. It<br /> is a principle which does not obtain in the transactions be-<br /> tween publishers and booksellers; a principle which, indeed,<br /> applies nowhere save in the relations of publisher and<br /> author. It is time for the pot-boilers and the bean-hoers to<br /> take some steps toward a better control of their labour and<br /> their property. The “literary fellers”” have been the laugh-<br /> ing-stock of the business world long enough to learn some-<br /> thing from the one-sided farce in which they have played the<br /> losing réle. There isnot the slightest call, however, for any<br /> ill-feeling toward publishers, or for any ill-treatment of them.<br /> What the situation demands is a courageous application of<br /> well-known and well-grounded business principles—the<br /> principles of supply and demand, and of bargain and sale.<br /> <br /> —+—- —-<br /> <br /> The Globe, whose attentions to the Society we<br /> have already once or twice thankfully acknow-<br /> ledged, makes a few remarks about the change<br /> of chairmanship, in which it says that the Society<br /> ‘“‘ appeals to the unsuccessful.” Also that “it is<br /> understood to contain at least some authors of the<br /> more helpless sort, who, at any rate in a state of<br /> nature, throw the blame of their original mis-<br /> fortune—namely, to have received writing lessons<br /> —upon the publishers.” Do we appeal to the<br /> unsuccessful? If so, how? By what promises?<br /> By what hopes? We exist to maintain literary<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> property. But the unsuccessful haven’t got any<br /> literary property to defend. How, then, can we<br /> help them? Never mind. It is only another<br /> stone to throw. We ought to collect all the<br /> stones that have been thrown at us and make a<br /> little museum of them.<br /> <br /> =<br /> <br /> Our friend the §.P.C.K.—or, rather, the high-<br /> minded, just, righteous, and noble branch of it<br /> which publishes books—has been hearing hard<br /> things in the Church Quarterly.. Even its own<br /> familiar friend, the Church Quarterly ! Can it<br /> he that Nemesis is overtaking the society ?<br /> <br /> The Society for Promoting Christian Knowledge is a<br /> Church society, richly endowed, conducted by able men,<br /> and, apart from all its direct religious teaching, ought to<br /> provide an ample and magnificent supply of sound, whole-<br /> some, and high-class fiction for young people. For doctrine,<br /> science, and as pure literature, their juvenile books should<br /> take the highest rank. They who know them best cannot<br /> bestow any such commendation, but are sometimes driven<br /> to use such descriptive words as twaddle or wishy-washy,<br /> no salt, not a spark of fire, no flame of living truth. One<br /> result of this is that thousands of young readers, yawning<br /> over the Society for Promoting Christian Knowledge, seek<br /> or food and amusement elsewhere.<br /> <br /> So<br /> <br /> It is late im the day, after all the reviewers have<br /> said what they had to say upon his book, to adda<br /> word of welcome to Mr. Edmund Gosse on his<br /> first appearance as a novelist. The work is, as<br /> might have been expected, full of brilliant<br /> writing. The story belongs to the medieval<br /> period. It is told simply, and without straining<br /> after effect. One may be permitted to hope that<br /> the “Secret of Narcisse” may be followed by<br /> other works in fiction from the same hand.<br /> <br /> WaLrer BrEsant.<br /> <br /> spec<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> I.<br /> CoLLABORATORS.<br /> <br /> RK. WILLIAM MORTON, editor of the<br /> i extremely refined magazine which bears<br /> his principal’s name, was one morning<br /> examining a manuscript which had just arrived<br /> by post. It was a very innocent-looking manu-<br /> script, with a simple and attractive title, “An<br /> Idyl of the Hills,” beautifully type-written, and, ©<br /> moreover, the work of one of his most constant<br /> contributors; yet Mr. Morton frowned as he<br /> glanced through it, and finally flung it on the ©<br /> table with no slight irritation.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 245<br /> <br /> &gt;<br /> <br /> “What is the woman about?” he exclaimed.<br /> “That she of all people in the world should try<br /> to write a romance in humble life! Why on<br /> earth can’t she stick to her own line? Frisky<br /> matrons and jealous husbands — in society, of<br /> course — with dark-eyed and haggard Lord<br /> Georges and Sir Geoffreys, and a fascinating<br /> actress or two thrown in—that’s your form, my<br /> dear lady! But this rural love-story—you can’t<br /> do ita bit. It isn’t badly imagined, though—<br /> I&#039;ll say that for you and really rather pathetic,<br /> only so ridiculously inconsistent. Any child<br /> could see the woman hasn’t the faintest know-<br /> ledge of what she is writing about.”<br /> <br /> He drew the packet towards him again, observ-<br /> ing as he did so that the author’s original rough<br /> manuscript had been inclosed with the type-written<br /> copy. This reminded him of a letter which he<br /> had received from the lady in question a day or<br /> two before, in which she had informed him that<br /> —being about to go abroad—she intended to<br /> have her story sent to him straight from the<br /> type-writer’s, and expressed, as he now remem-<br /> bered, some fear that he might not be altogether<br /> pleased with this, her promised contribution.<br /> <br /> After a short search he found the letter, and<br /> read it over, smiling a little sarcastically to him-<br /> self.<br /> <br /> “Going abrcad — h’m, hm. . . hopes<br /> there won’t be many mistakes .. . these<br /> type-writing people are so stupid Doesn&#039;t<br /> quite know what I will say to this story, which is<br /> in a different style to what she usually writes.<br /> Everybody being so depress: d she found herself<br /> rather hard up for a plot, but the main idea of<br /> this little sketch is certainly original. She won&#039;t<br /> hide her light under a bushel—trust her for that!<br /> but she’s right to a certain extent. The plot vs<br /> original, but the story is so badly told.”<br /> <br /> At this moment a clerk made his appearance,<br /> announcing that there was a young woman down-<br /> stairs who said she must see Mr. Mowbray at<br /> once.<br /> <br /> “ What does she want?”<br /> <br /> “Don’t know, I’m sure, sir. I told her you<br /> were busy, but she made a great fuss—says<br /> she won’t keep you a minute, but she must see<br /> you on very particular business.”<br /> <br /> The Editor laughed and push 4 back his chair ;<br /> then he frowned.<br /> <br /> “Ask her what her business is. Begging, I<br /> daresay. Tell her I’m much too busy to be dis-<br /> turbed like this.”<br /> <br /> The clerk vanished, and reappeared after a<br /> short interval.<br /> <br /> “ She says, Sir, she’s come about some business<br /> of Mrs. Mountjoy’s.”<br /> <br /> “Mrs, Mountjoy’s? Tell her to come up.”<br /> <br /> <br /> <br /> <br /> <br /> After a moment’s pause the young woman was<br /> ushered into the room; a very young woman,<br /> indeed, a young girl one would have said if it<br /> were not for the wedding-ring on her ungloved<br /> hand. &lt;A pretty young thing too, dark-eyed,<br /> pale, with brown hair curling under her shabby<br /> hat.<br /> <br /> She paused in the doorway, and dropped a<br /> timid, countrified curtsey ; the smile which had<br /> hovered over her lips vanishing as she met the<br /> editor’s surprised gaze, and a hot blush covering<br /> her face.<br /> <br /> “Did you say you came from Mrs. Mount-<br /> joy?” he asked.<br /> <br /> She closed the door carefully and approached<br /> the table.<br /> <br /> ““T didn’t say she sent me, sir,’ she said<br /> tremulously. ‘Perhaps I didn’t ought to have<br /> said it was business of hers at all, but I was so<br /> afraid they wouldn’t let me up. It’s my business,<br /> really, sir ; it’s—it’s about a story Mrs. Mountjoy<br /> wrote—I typed it, you know, sir. I work for<br /> Mrs. Sutton. They call it the West London<br /> Type-writing Company, but it isn’t a proper com-<br /> pany—it’s—there’s only Mrs. Sutton and her<br /> daughters and one or two more of 11S.”<br /> <br /> “Tm sorry it isn’t a proper company,” said the<br /> editor, smiling; then, with a little impatience,<br /> though kndly, ‘“ Well, what can I do tor your<br /> Hasn&#039;t Mrs. Mountjoy pad her bill? She iS<br /> abroad, you know.”<br /> <br /> “Oh, it isn’t that, sir,’ cried the girl eagerly.<br /> “Besides, that is Mrs. Sutton’s affair, not mine.<br /> It’s about the story—‘ An Tdyl of the Hills,’ she<br /> calls it. Oh, please, sir, don’t print it! That’s<br /> what I’ve come for—to beg you not to print it.<br /> It’s my story—our story, and it’s so unfair!”<br /> <br /> “ Your story ?” repeated the editor in amaze-<br /> ment. ‘ Do you mean to say you wrote ie<br /> <br /> “ No sir, I—we acted it, we lived it, Jem and I.<br /> Tt’s us that she talks about. We—we were the<br /> lovers. But she’s spoiled it—she’s spoiled it ””—<br /> the girl repeated indignantly—‘ she doesn’t tell<br /> it as L told her. Jim never said the things she<br /> makes him say, and I never—never did what she<br /> says. Nor wouldn’t, and Jem knows I wouldn’t.<br /> She’s got it all mixed up so. Going and saying<br /> my aunt took in washing. She didn’t. We had<br /> a little farm, and never needed to do no such<br /> thing.<br /> <br /> Mr. Morton came out from behind his writing<br /> table, and set a chair for his visitor ; then he<br /> went back again.<br /> <br /> “ Sit down, and tell me all about it,” he said,<br /> “TJ don’t quite understand. You told this story<br /> —your story—to Mrs. Mountjoy, did you?”<br /> <br /> “Yes, sir. You see when we married and came<br /> to London we hadn’t so very much money, and<br /> <br /> <br />  <br /> <br /> <br /> 246<br /> <br /> though Jem had his post as a reporter, I thought<br /> it would be a good thing for me to do some work<br /> too, so—as I never was much good at my needle,<br /> and I wanted to get work as like Jem’s kind of<br /> work as I could, I got myself taught type-<br /> writing. Besides copying in the office, I used to<br /> &#039;e sent out with the machines sometimes, by the<br /> day, to work from dictation. This wasn’t at Mrs.<br /> Sutton’s, you know, sir, but at the first place I<br /> had. Well, just before Christmas I went to Mrs.<br /> Mountjoy s. She was was writing a novel, and<br /> part of it had to be changed and part not; so<br /> she had to be with me all the time to explain<br /> things. I thought her a very nice kind lady, and<br /> was sorry when she had done with me. It was<br /> just the last evening I was there that she said to<br /> me, laughing: ‘ You type-writing people must be<br /> rather amused at all the different stories you<br /> have to copy. I suppose sometimes you get quite<br /> excited over them?’ ‘Yes, ma’am,’ I said, ‘and<br /> yet I don’t think any story can be so strange as<br /> the things which happen in real life. I often say<br /> so to my husband.’ ‘Do you?’ says the lady.<br /> ‘Has your life been so strange, then? You look<br /> very young to be married. How long have you<br /> been married? and are you devoted to each<br /> other?’ Well, sir, she went on like that, and you<br /> know what a taking little way she has, and<br /> so—”’<br /> <br /> “And so<br /> suppose ?”’<br /> <br /> “Yes, sir; it all came out somehow, and she<br /> said it was very curious and touching, and would<br /> make a good novel. Well, I never thought any-<br /> thing about it, except feeling a little vexed,<br /> maybe, that I’d been led on to talk so much, till<br /> bad times came. Jem got the influenza, and had<br /> to give up his place, and I couldn’t make enou eh<br /> to keep us—if you’ve read that ”—elancing<br /> towards the lately-received manuscript which her<br /> quick eye picked out from the others on the<br /> table—* you’ll know, of course, how it was that I<br /> couldn’t write home. I had to give up my place<br /> in the end, and was glad to get work at Mrs.<br /> Sutton’s, where the pay was a little better, Well,<br /> sir, it was when things was at their worst that I<br /> thought one day of what Mrs. Mountjoy had<br /> said—that our story would make a good novel,<br /> and so I said to Jem, ‘T’ll tell you what,’ says I,<br /> ‘you must write it. You must make a book about<br /> you and me, Jem. It’ll be the best beginning you<br /> can have, for you&#039;ve got it all there, and have<br /> only got to write straight out of your heart.’<br /> You know, sir,’—glancing again towards the<br /> manuscript— it says even there what a scholar<br /> he is. You know, by rights he should be a gentle-<br /> man, he’s not common and ignorant like me,<br /> <br /> you told her all about it, I<br /> <br /> He”—throwing back her head and colouring<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> with wifely pride— He was educated as a gentle-<br /> man, and should be one, now, if he had his due.<br /> He is so clever and writes—beautifully. He<br /> has had little things taken by magazines some-<br /> times. Did you ever hear of the People’s Prize,<br /> sir?”<br /> Mr. Morton shook his head with due gravity.<br /> “Well, he tried Longman’s and Temple Bar<br /> first, but they are so hard to get into, you know.<br /> And so then he sent a story to The People’s Prize,<br /> and they took it there ; and Podbury’s Weekly, do<br /> you know that ? ”<br /> Mr. Morton was also obliged to disclaim<br /> acquaintance with that interesting periodical.<br /> “Jem writes for it sometimes. J think it’s a<br /> very good magazine,” she said, wistfully, ‘ but he<br /> often says he would rather never write at all if he<br /> had his choice, than let himself down to these<br /> things. But, though he doesn’t get much money<br /> from them, he gets something, and we want all we<br /> can get. Well, as I was saying, I asked Jem to<br /> write our story, but he wouldn’t hear of it at first.<br /> ‘I couldn’t, Jenny,’ he said, ‘It’s too sacred. I<br /> feel too strongly about it. What are you think-<br /> ing of?’ And then I said, ‘But who’s to know<br /> it’s us, Jem? Youcan put different names, you<br /> know. And, oh dear! you and I are such poor,<br /> unknown, small people, who will ever think that<br /> the Jem and Jenny in the book—only you won’t<br /> callthem Jem and Jenny—are you and me, or<br /> were ever alive at all? And as for your feeling,<br /> my dear,’ said I, ‘unless you feel very strongly<br /> about what you write you’ll never do any good at<br /> it.” ‘Who told you that?’ he said, and he was<br /> pleased. I can’t often put what’s in my mind<br /> into proper words, but he feels it there, and that’s<br /> how we understand each other so well. Well, he<br /> gave in at last, and he wrote it all, bit by bit,<br /> between the odd jobs he gets here and there. He<br /> used to read it to me o’ nights, and sometimes we<br /> laughed over it, and sometimes we cried, and I<br /> used to remind him of things he’d forgotten, and<br /> oh!” said the girl, with tears in her eyes, “ it’s<br /> beautiful, it 7s beautaful! It goes to your very<br /> heart!”<br /> The editor looked at her with an odd mixture<br /> of feelings. Wonder and compassion, and a<br /> certain half-amused ienderness. Mrs. Mount-<br /> joy’s story, imperfect as it was, had seemed to<br /> him pathetic, if improbable; but the sequel was<br /> more touching, more impossible still. This pair<br /> of married children battling with London poverty ;<br /> Jem, with his good education and gentlemanly<br /> instincts writing for Podbury’s Weekly, and doing<br /> ‘“‘odd jobs’; Jenny, the mountain maid, toiling<br /> hour after hour in a typewriter’s office ; and then<br /> these poor innocent babes in the slums, thinking<br /> to redeem their fortunes by setting forth their<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> own little history for the edification of the world<br /> at large. It was absurd, utterly and imconceiv-<br /> ably ridiculous, and yet !—<br /> <br /> “T typed it, after hours,’ went on Jenny.<br /> “Mrs. Sutton allowed me to when I told her who<br /> it was for. But, of course, I had to pay for the<br /> paper, and even that, you know, it would quite<br /> surprise you to find how it mounts up. And now,<br /> just as it is nearly finished—poor Jem working so<br /> hard, and staying up at night, even—I have that<br /> given me to copy,” pointing to the offending<br /> document on the table, “and I find it’s—oh, it<br /> was wicked of Mrs. Mountjoy !—wicked and cruel !<br /> I told Jem, and he was near broken-hearted.”<br /> Here the tears flashed into her eyes again. ‘‘ But<br /> he never said a cross word to me, though it was<br /> all through me it happened. He just pushed<br /> away his papers. ‘It’s no use, Jenny,’ he says,<br /> ‘she’s taken all the cream off it. Ours, if it did<br /> come out, would look as if it was borrowed from<br /> that.’ Fancy! borrowed! Our own story!”<br /> Her voice choked with passion, her look and<br /> attitude were almost noble in their wrath and<br /> scorn. “Think of it, sir! We lived it and<br /> suffered it, and she--she traffics with our hearts’<br /> blood. She, she’s like the wicked giant in the<br /> fairy tale, she grinds our bones to make her<br /> bread !”’<br /> <br /> Even this anti-climax did not make Mr. Morton<br /> laugh; on the contrary, the girl’s fiery indigna-<br /> tion seemed to infect him, and seizing both the<br /> rough manuscript of the “ Idylof the Hills ” and<br /> its fair copy, he tore them across and across, and<br /> flung them into his waste-paper basket.<br /> <br /> “There,” he said, “‘ that’s disposed of!”<br /> <br /> After Jenny had gone he remembered that he<br /> had no right to destroy MS. submitted to him,<br /> and he fished the thing out of his basket, and<br /> sent it back to the author with a note which<br /> made her “sit up.”<br /> <br /> Jenny’s face, after a momentary pause of blank<br /> astonishment, was a sight to see; dimpling all<br /> over with the sweetest, sunniest, most ecstatic<br /> smiles,<br /> <br /> “Oh, sir!’ she cried, and clapped her hands.<br /> “Oh Jem! what will Jem say ?”<br /> <br /> “ What will Mrs. Mountjoy say?”<br /> Mr. Morton, with a dry smile. ‘“That’s more<br /> to the point. Don’t be alarmed ’’—as the bright<br /> face grew clouded over again—‘“T’ll settle all<br /> that, and you may be sure I will never betray<br /> you.”<br /> <br /> “You are good!” said Jenny, “I can tell<br /> Jem now. I didn’t before, because I was afraid<br /> he would think it such a silly plan of mine, to<br /> come here, a poor girl like me, you know, and<br /> tell you all this. But it’s allright now ’—clapping<br /> her hands again—‘ I can tell Jem it’s all right.”<br /> <br /> <br /> <br /> observed<br /> <br /> AUTHOR.<br /> <br /> 247<br /> <br /> Was it all right, and did this poor child really<br /> think there were no further disappointments in<br /> store for them? Did she imagine that her<br /> husband’s novel would be straightway accepted,<br /> and published, and that their fortunes and his<br /> reputation would be made without more ado ¥<br /> And what a very different fate awaited them in all<br /> probability ! In his mind’s eye Morton could<br /> see that hapless manuscript coming back, and<br /> back, a little more soiled and shabby each time,<br /> and he could imagine how in the midst of their<br /> acute disappointment and heart-sickness there<br /> would be additional pangs at the sight of the<br /> damage done to those fair sheets, so carefully<br /> copied and so expensive, and at the thought of<br /> the serious outlay in stamps incurred by each<br /> fresh journey.<br /> <br /> “Look here,’ he said, ‘you may tell your<br /> husband that if he likes I will look over his<br /> book when it is finished. I don’t mean that<br /> there is the slightest chance of its suiting ws,’ he<br /> added hastily, as he saw a momentary wild hope<br /> leap into Jenny’s face. “ But, as he is a beginner,<br /> I should be very glad to help him in any way I<br /> can, and 1 will tell him candidly if there is any<br /> use in his offering it to a publisher.”<br /> <br /> “Thank you, sir,” said Jenny, curtseying ; but<br /> all the light faded out of her face, and Mr,<br /> Morton began to wonder impatiently if it would<br /> not have been better to have left it alone.<br /> <br /> Well, the manuscript came, and Mr. Morton<br /> did not find it a perfect gem, faultless alike in<br /> inatter and construction, and did not immediately<br /> hasten to secure it, offering Jem a large sum for<br /> the right to run it as a serial in his magazine,<br /> before afterwards producing it in three volumes.<br /> Nothing of the kind; this is not a fairy tale.<br /> He found a good deal of charm and power in the<br /> telling of the story, which was of itself, as has<br /> been said, an unusual one; but . . . and<br /> VOC<br /> <br /> He sent for Jem, and gave him a great deal of<br /> advice, about what he was to read, and what he<br /> was to write, and how it was far better for him<br /> to let his manuscript lie by for a little till be<br /> matured. He told him there was good stuff in<br /> it—and watched the eager intelligent eyes dilate<br /> with pleasure—and then, with careless good<br /> humour, enumerated its faults, and was conscious<br /> of an odd feeling of compunction as he saw the<br /> blood sweep over the boy’s face. The end of it<br /> all was that Mr. Morton took a fancy to Jem.<br /> He procured him employment which sufficed to<br /> keep the wolf at quite a respectable distance from<br /> the door, and guided and encouraged this literary<br /> novice, till he required such help no longer.<br /> The story of Jem and Jenny saw the light at last<br /> under a new form, and made its mark, and Jem<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 248<br /> <br /> <br /> <br /> is now—but if I were to tell you who and what<br /> Jem is now, Lam sure you would not believe me.<br /> M. HE. Francis.<br /> <br /> ———— od<br /> <br /> II.<br /> Fenton Fane.<br /> <br /> By G. B. Burain (Author of “A Quaker Girl,” &amp;c.).<br /> <br /> Kettering is so much sought after in general<br /> society, that we were all rath+r surprised to see<br /> him in the smoking-room of “ The Bohemian” just<br /> before dinner the other evening. For some time<br /> past, Kettering has forsaken his less successful<br /> cronies, but he is sucha good-natured little fellow<br /> that we willingly tolerate eccentricities which in<br /> others would call for the severest reprobation,<br /> He seemed excited yet jubilant. You know his<br /> work, of course? Mildly sentimental books, which<br /> are very successful with young ladies. They say<br /> he makes over two thousand a year—guineas, not<br /> books. Turns novels out like so many Waterbury<br /> watches; at any rate,a man of the world wants as<br /> much winding up as a Waterbury before he can<br /> get through one of Kettering’s love stories. Still,<br /> he is clever; there’s no doubt about that. And<br /> he can’t help being conceited. Success has that<br /> effect on some people. Strange to say, he is still<br /> good-natured. Successful men can afford to be<br /> good-natured sometimes—when they like. Very<br /> often they don’t like. But that has nothing to<br /> do with Kettering. I have often known him to<br /> help a fellow.<br /> <br /> Well, Kettering came in with a bundle of<br /> evening papers under his arm, and very full of<br /> something. “ Tell us all about it,” said Spittleby,<br /> of the Warbler, (Spittleby is the man who<br /> writes costume and cookery letters under the<br /> signature of “ Lady Godiva”? Says he adopted<br /> that signature because of his love for naked<br /> truth. Most of those letters are written by men.<br /> You know the sort of thing, where you enter all<br /> the shops of the universe in the course of one<br /> afternoon, and wind up with a recipe for marma-<br /> lade or muffins.) “Tell us all about it,” repeated<br /> Spittleby, looking enviously at Kettering’s special<br /> editions.<br /> <br /> Kettering had evidently bustled in to tell us a<br /> story. We languidly waved him to the centre of<br /> the hearthrug, and prepared to wile away the<br /> unhappy quarter of an hour before dinner. And<br /> this is the tale he told, as he stood before the fire,<br /> the bundle of papers under his arm strangely<br /> contrasting with his correct evening dress :<br /> <br /> One morning, about three months ago, some-<br /> body knocked at my door. It wasn’t a timid or<br /> frightened knock, but a very vigorous rat-tat—<br /> the knock of a successful man. © Come in,” I<br /> shouted, and he did.<br /> <br /> THE AUTHOR.<br /> <br /> Now I ask you dispassionately, whether a man<br /> like that had a right to knock as if he were<br /> Kipling, Jerome. J. M. Barrie, Conan Doyle,<br /> Alfred Calmour, and myself all rolled into one?<br /> I put myself last because you other fellows<br /> mayn’t have heard of my most recent success,<br /> Of course, it’s your misfortune; and ’m sorry<br /> for you. Still, when a man has made a hit he<br /> ought not to be too modest about it; it’s all<br /> confounded nonsense. Most people think that<br /> last book of mine great, so I don’t mind telling<br /> you candidly I agree with them; it is a great<br /> book. My publishers quite flatter me about it.<br /> When they forwarded my last cheque — three<br /> figures—I asked them, and they said that the<br /> cheque meant volumes. It did—my volumes,<br /> T’ve been working a good many years to climb to<br /> the topmost pinnacle of fame. When a fellow’s<br /> been doing that, he likes to be approached with a<br /> little deference after he is sitting on the point,<br /> Not that it matters much, although it does show<br /> a sense of the fitness of things. Naturally, when<br /> that man knocked at the door, I thought it was<br /> the author of ‘“ Pilkins’ Pilgrimage,” at least<br /> (you all know the way he enters the room, as if<br /> he were a country squire, and you&#039;d had the<br /> impudence to sit in his pew without being asked,<br /> and had better get out before he made you),<br /> Well, it wasn’t. It was only a new shorthand<br /> fellow, who came in as if he were my equal, sat<br /> down at the table, pulled out his dirty notebook,<br /> nodded familiarly to me, and cast a contemptuous<br /> glance round the study. Then he grinned.<br /> Positively grinned,<br /> <br /> What sort of a fellow was he? Oh, about<br /> thirty. Tall, thin, not too well-fed. Bags rather<br /> gone at the knees—looked as if they had been<br /> “yevived ” and then collapsed again, after the<br /> manner of most revivals—seams of coat seedy<br /> (you know the greasy pallor of a coat seam, like<br /> that on the face of a dead man) and cheap boots<br /> rather gone at the toes. And his linen was—vwell<br /> I&#039;d rather not mention it—dinner’s coming — It<br /> reminded me of my old Irish servant’s celluloid<br /> collar, which he wore all the year round, and only<br /> washed under protest aad the pump on Christmas<br /> Day. But the fellow was goodlooking in spite<br /> of his poverty. Forehead a bit too bulgy perhaps,<br /> <br /> and his eyes (blue) hada way of sizing one up<br /> <br /> which was rather embarrassing. He was to be<br /> <br /> paid a shilling an hour and his lunch, in addition<br /> <br /> to the pleasure of forestalling the British public<br /> by reading my new book before any one else did,<br /> That should have been worth at least another<br /> <br /> shilling to him if he could only have seen it in<br /> Don’t worry,<br /> You&#039;re<br /> <br /> the proper light, but he didn’t. —<br /> Jones! I&#039;ll give you the papers directly.<br /> more like a human bookworm than ever.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Selwyn (one of my publishers—I keep two or<br /> three—mainly Dissenters) had found him for me.<br /> “Good all round hack,” was Selwyn’s descrip-<br /> tion. Seemed to think I wanted to be carried up<br /> and down the park.<br /> <br /> Well, the fellow opened his notebook, looked<br /> round the room as if he thought all my pictures<br /> beneath contempt (don’t believe he’d ever seen a<br /> Segantini before) and threw himself back with a<br /> laugh.<br /> <br /> “ Doesn’t all this bosh—(he called the get-up of<br /> myself and room ‘bosh,’ the irreverent brute.<br /> You know that rig-out of mine which Jones will<br /> call a ‘tea-gown’ although he’s well aware it’s<br /> old Florentine velvet)—rather interfere with your<br /> work?”<br /> <br /> “No, it doesn’t,’ I said shortly.<br /> enough, Mr. Be<br /> <br /> “Fenton Fane.”<br /> <br /> “Fenton Fane, not to interrupt me by<br /> discussing questions of taste, and thus exposing<br /> your ignorance. We will start with chapter four<br /> if you please.”<br /> <br /> “Very well,” he answered.<br /> you&#039;re loaded up to the muzzle.”<br /> <br /> The man seemed to think I was an old Tower<br /> musket. I stopped hurriedly striding up and<br /> down the room (you know that panther walk of<br /> mine which has been so much talked about in<br /> interviews) and stared at him. Then I began to<br /> dictate, but not so fluently as usual.<br /> <br /> It didn’t matter how fast I went. The fellow<br /> just made little jerks with his fingers—little im-<br /> patient jerks they seemed to me—and waited.<br /> Now, there’s nothing so exasperating as to have a<br /> shorthand-writer get ahead of you. It makes<br /> you feel as if he knew so much more about the<br /> thing than you do yourself. The more he jerked,<br /> the more confused I felt. At last, I came toa<br /> dead stop, and felt empty. Fenton Fane threw<br /> down his pencil with a contemptuous laugh, and<br /> looked at me. ‘Thought so,” he said cuttingly.<br /> “When I saw you rigged out in that high-<br /> faluting dressing-gown and muffin cap I ought<br /> to have known you wouldn’t amount to much.”<br /> <br /> “What d’you mean?” I gasped.<br /> <br /> “T&#039;ll tell you, if you don’t object to smoke,”<br /> he said. “Got amatch? Thanks. He actually<br /> struck it on his trousers—the Antipodean part of<br /> them—and lit a filthy pipe. I had to burn a<br /> pastille in order to stifle its fumes.<br /> <br /> The man drew a shilling from his pocket.<br /> really can’t stand it,’ he said. “Td rather<br /> go back to reporting the police courts. That<br /> Barabbas of yours paid me a shilling in advance,<br /> on . didn’t bargain for deleterious drivel like<br /> <br /> is !”’<br /> <br /> I was speechless with rage.<br /> <br /> “Be good<br /> <br /> <br /> <br /> <br /> <br /> “Fire away, if<br /> <br /> <br /> <br /> “Ty<br /> <br /> You all know<br /> <br /> 249<br /> <br /> what even the National Observer has said of my<br /> work; and it’s very few great men their people<br /> are civil to. When I pointed haughtily to the<br /> door, he only laughed. ‘‘ Let us talk it over,”<br /> he said. ‘Perhaps you’ll learn something.”<br /> <br /> There was no other way to get rid of him, so I<br /> listened.<br /> <br /> He took up his shorthand book, and read the<br /> opening paragraph, a beautiful little poet-<br /> laureate like opening; at least, it resembled the<br /> style of all the candidates for that post. “It’s<br /> all incorrect,” he said. ‘ Every bit of it. Think<br /> it over. You&#039;ve mixed up the flowers in that<br /> garden as if Ouida had planted them in a hurry ;<br /> it’s the wrong time of year for a thunderstorm ;<br /> and that slovenly alliterative style is sad enough<br /> to sicken a slouching schoolboy.”<br /> <br /> Of course, I ought to have cut him short, but<br /> the fellow confused me. “ You—eh—get the<br /> general effect,” I said, crushingly, “ with—eh—a<br /> broad sweep of the brush, and realise the scene. It<br /> doesn’t need little niggling water-colour touches.”<br /> <br /> “Bosh!” he said. ‘“ Bosh! You’re hopelessly,<br /> ignorantly, blatantly, blunderingly, irredeemably<br /> wrong. And the world (he took his pipe out of<br /> his mouth) calls you a great man.” He laughed.<br /> It was not a pleasant laugh to hear; it seemed<br /> about a semi-tone wrong.<br /> <br /> « Don’t you—eh—think it is time to end this dis-<br /> cussion ?” I said, laying my hand on the bell-rope.<br /> That sobered him. He flung back his hair with a<br /> shake, and sat down.<br /> <br /> “No,” he said shortly ; “I don’t often indulge<br /> myself in this way. Suppose I give yowa shilling<br /> (he took one from his pocket) just to free my<br /> mind.”<br /> <br /> I thought the fellow would make a good<br /> character study, so consented. He gave me the<br /> shilling. I have it now.<br /> <br /> “Tye watched you for some time,” he said.<br /> “ Yow re courted all round because you’re read by<br /> people about as wise as yourself. They under-<br /> stand your sentimental twaddle, and you under-<br /> stand them. Your books sell. Here and there,<br /> one notices a faint suggestion of the divine spark<br /> —the sort of mark where the match of genius<br /> has been rubbed along and left a slight phospho-<br /> rescent streak—but that’s all. You&#039;re wealthy,<br /> I’m poor; you&#039;re a great man, I’m a little one;<br /> and yet, before Heaven, I decline to change places<br /> with you, for I have genius—you haven&#039;t.”<br /> <br /> The fellow actually swelled.<br /> <br /> <br /> <br /> <br /> <br /> “Tm not mad,” he laughed (he was always<br /> laughing: that’s one of the secrets of a sane<br /> <br /> genius—to know how to laugh). “No, Pm too<br /> tough for that. But I’ve got to the heart of<br /> Nature’s secrets, I know men and women; I can<br /> paint you pictures passionate or gay, move you<br /> <br /> <br />  <br /> <br /> 250<br /> <br /> <br /> <br /> to laughter or tears, excite your pity, anger,<br /> derision, scorn; I can take you into the night<br /> and make you shudder with nameless dread,<br /> or sing to you in sun-flooded highways so that<br /> the very flints become flowers to your feet.<br /> Oh, yes, I’ve done all that. It’s the truth, the<br /> truth, the truth. Only I can’t get my chance, I<br /> can’t get my chance. Life slips away, day by<br /> day, hour by hour, minute by minute. Fame<br /> stands on the hill-top, and you, and fools like you,<br /> bar the way, so that my voice fails to reach my<br /> fellows. Do you know what you have done ?” he<br /> asked, coming near to me.<br /> <br /> “No,” I said; and I didn’t.<br /> <br /> “ Well, you, and the fellows like you, murder<br /> men’s souls—murder the souls of men who are<br /> the world’s prophets and preachers and singers.<br /> You stifle the hearts and consciences of all man-<br /> land, you dull their ears with your petty babble<br /> of this and that. But they are so accustomed to<br /> the note of your penny whistle that when some<br /> great, pure clarion voice rings over the heights,<br /> men turn aside and heed it not. Out of the way,<br /> you and your brood. Give place.”<br /> <br /> The man was evidently mad. I tried to soothe<br /> him. ‘Yes, yes, my good fellow. You&#039;re quite<br /> right—quite right. But the world needs us, and<br /> we make it pay.”<br /> <br /> He laughed long and low, and put his pipe<br /> back »n his pocket. “I beg your pardon, Mr.<br /> Kettering,” he said. “It was awfully bad form.<br /> Pll get my chance some day, and then you can<br /> review me; but you must admit there is a good<br /> deal of truth in what I have said. I ought not to<br /> have wasted your morning. Good day.”<br /> <br /> I stopped him. Couldn’t help pitying the poor<br /> devil. ‘ Can I help you?” I inquired.<br /> <br /> The colour came into his cheek. ‘“ No, thanks,”<br /> he said. “Td like you to spend half an hour<br /> with me and read a chapter of my book—the<br /> book no publishers will publish because I haven’t<br /> had one out before. I don’t blame them. Why<br /> should they run any risk ?”’<br /> <br /> Somehow, the fellow toucied a sympathetic<br /> chord—reminded me of the time when I pawned<br /> my gold watch and chain to get my first book out.<br /> The book came out, but the profits and the watch<br /> didn’t.<br /> <br /> We went downstairs together. “Can you<br /> stand being seen in a’bus?” he asked. “ Will<br /> your reputation suffer ? ”<br /> <br /> But my brougham came up, and we got in.<br /> <br /> ‘Royal Mint Square,” said Fenton Fane.” Up<br /> by the Tower.”<br /> <br /> It was the usual sort of dirty den—a kind of<br /> Eastern carayanserai, without the camels, but<br /> equally odorous. The !odgings were divided into<br /> two or three little rooms, mostly inhabited by<br /> <br /> THE -AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> policemen, with a sprinkling of ex-Girton girls and<br /> charwomen. The rooms were very pretty ; so was<br /> Fane’s wife. Nay, she was beautiful. Never<br /> saw such golden hair in my life. There was a<br /> little girl also, of about nine, with her mother’s<br /> eyes, and Fane’s trick of looking you straight in<br /> the face. Mrs. Fane greeted me with the self-<br /> possession of a Mayfair matron. Then Fane brought<br /> out his book, and I began to read it. The clock<br /> struck one. When I looked up again, it was<br /> growing dusk. All that time, the man and woman<br /> and little child sat there without saying a word.<br /> I didn’t even hear them breathe. At last, the<br /> strain was so great that I could bear no more. I<br /> laid down the MS. with a long-drawn breath.<br /> <br /> The man and woman and little child sat there<br /> looking at me, their hearts in their beautiful<br /> eyes. They had sat there for hours—in silence—<br /> waiting. Their faces were white and strained, the<br /> lips quivering a little as I looked up. Even the<br /> child knew what was going on. I laid dwn the<br /> MS. Fane rose to open the door for me, without<br /> asking a single question.<br /> <br /> I stood for a moment, dazed, bewildered, over-<br /> <br /> come. Then I took Fane’s hand and turned to<br /> his wife. “He is great,’ I said. “Great!<br /> Great! Great; I am not worthy to sit at his<br /> feet.”<br /> <br /> Fane clasped the woman in his arms and held<br /> her there. 1ooking in her shining eyes, I knew<br /> whence came his greatness.<br /> <br /> “That all? ” we queried.<br /> <br /> ‘“*No,” said Kettering. “It isn’t.<br /> fellows seen the evening papers ?”<br /> <br /> We hadn’t. How could we when they were all<br /> under his arm<br /> <br /> Kettering handed us the bundle, and in them<br /> we read of Fenton Fane’s first book. His clarion<br /> voice is ringing still. Ringing throughout the<br /> world, stirring the souls of all, as we who are<br /> fain to move them fail to do; for the man who<br /> would fire the heart of his fellows must be<br /> cradled in poverty and wrong, live dolorous days<br /> and sorrow on through darkest nights, ere dawns<br /> the morning light when those who once scoffed<br /> and turned him away kneel humbly crying:<br /> “Master, with golden tongue and heart of fire,<br /> teach us the secret of the hidden ways, that we<br /> may climb life’s upward path with thee and touch<br /> the skies.”’<br /> <br /> Have you<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE: AUTHUR.<br /> <br /> CORRESPONDENCE,<br /> <br /> <br /> <br /> 1<br /> A Littie Sum.<br /> some agreements the following clause<br /> <br /> N<br /> a occurs:—|The publisher] “shall... pay<br /> to the author on all copies sold at abvve<br /> half their published price a royalty of ro per cent.<br /> on their published price, and on all copies sold at<br /> or below half their published price a royalty of<br /> 20 per cent. on the net receipts of such sales.”<br /> <br /> It is interesting to notice that under this clause<br /> there is an inducement to the publisher to sell at<br /> a lower price than is to the author’s advantage.<br /> More exactly, if the published price be taken as<br /> 100 units, we get :—<br /> <br /> Selling price. Publisher’s share. Author’s share.<br /> <br /> <br /> <br /> 55 45 ee 10<br /> BO) 2 0 IO<br /> BOS AOS IO<br /> GO AO IO<br /> BO Ae. 5<br /> 499 AOL 8... 4°99<br /> See HOG 4°55<br /> <br /> It is, therefore, to the publisher’s interest to<br /> <br /> sell :-—<br /> At 50, rather than between 50 and 55<br /> <br /> 29 49 ” ” ” ” ”? 5471<br /> ”? 48 ” ” ” ”? ” 53°2<br /> ” 47 ” ” ” ” ” 52°3<br /> 92 46 ” 99 9 ”? ” 514<br /> ”? 45 a3 29 ”? ” ? 50°5<br /> <br /> While to the author the lower price in each case<br /> brings half (or less than half) the return brought<br /> by the higher price.<br /> <br /> <br /> <br /> Il.<br /> No ANSWER.<br /> <br /> A lady living in the country sent a MS. toa<br /> certain weekly journal.<br /> <br /> The editor replied to the effect that he would<br /> like to use it, but that it was too long and should<br /> be cut down. The author, in return, offered to<br /> cut it down herself.<br /> <br /> The editor made no reply to the offer. He<br /> sent no proofs of the paper, but published it six<br /> months later.<br /> <br /> The writer then asked to be paid. She has<br /> written repeatedly. Up to the present moment<br /> she has had no reply to her letters.<br /> <br /> She has been advised to put the case into her<br /> solicitor’s hands.<br /> <br /> 251<br /> <br /> IPE<br /> LerrEers Not RECEIVED.<br /> <br /> Here is another case. A lady sent a MS. to an<br /> editor, which was accepted, printed, and pub-<br /> lished in a certain paper. Then the writer sent<br /> a note asking for a cheque. She received no<br /> <br /> reply. Then she wrote again. She received no<br /> reply. She waited a little, and wrote a third<br /> time. Again, no reply. She then put the case<br /> <br /> in the hands of a gentleman, who wrote for her,<br /> and informed the editor that unless a cheque was<br /> sent by return post the case would be placed in<br /> the hands of a lawyer. The editor then for-<br /> warded a cheque, stating that he had not ) eceived<br /> any of the three letters! In such a case as this,<br /> the only way is to put the case ina lawyer’s hands<br /> when the first letter remains unanswered.<br /> <br /> ————$—-<br /> <br /> IV.<br /> SuaaEstED Memoriat.<br /> <br /> I trust that a special memorial of the late<br /> Laureate, our President, will be raised by the<br /> society, and I venture to suggest that a bust of<br /> the poet might be the best form for such a<br /> memorial to take. It should be easy to find it a<br /> place of honour in the rooms of the society.<br /> Many members would be sure to avail them-<br /> selves of the privilege to contribute to such a<br /> memorial ; and you may include me among them.<br /> <br /> A. M.<br /> <br /> ———— &gt;<br /> <br /> V<br /> A QUESTION.<br /> <br /> In the “Notes from Paris” in the November<br /> number of the Author, Mr. Sherard mentions<br /> how he picked up a first edition of Stendhal’s<br /> “De Amour” from a book-hawker on the quays<br /> of the Seine. I should like to know if, in the first<br /> edition of “ De Amour,” the sixtieth chapter was<br /> printed. I have a copy of that work published<br /> in 1833, which has Le chapitre supprime LX.<br /> Des Fiasco, in manuscript. bound up with it,<br /> The book was given to me by a gentleman who<br /> formerly lived in Paris, and the suppressed<br /> chapter was supplied to him by a Monsieur<br /> Milsand, a litterateur of some note at that time,<br /> and a contributor to the Revue des Deux Mondes.<br /> <br /> Cuaup Harpine.<br /> <br /> &lt;=<br /> <br /> VL.<br /> For Noruina.<br /> <br /> I think the secret at the bottom of half our<br /> literary difficulties lies in the anxiety of amateurs<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 252<br /> <br /> <br /> <br /> to see themselves in print. Am I not stating a<br /> well-known fact when I say that an enormous<br /> amount of matter, neither very good nor very<br /> bad, is sent in to editors daily by writers who are<br /> perfectly content that their work should be pub-<br /> lished gratis? Indeed, with regard to poetry, I<br /> believe it is rather the rule than the exception,<br /> with middling magazines, not to pay for it at all?<br /> Verses are positively poured into the market by<br /> writers who desire nothing better than to see<br /> their effusions published ; so that many a p etty<br /> little poem, which would find its price in time<br /> under different conditions, is doomed to oblivion.<br /> I know the price given for verse in some of the<br /> second-rate magazines is something absurdly low.<br /> But surely if a poem is worthy of being set up<br /> in type at all, itis worthy of a fair price! One<br /> must consider that beginners in literature, if not<br /> absolutely drivelling, are likely to be somewhat<br /> crude in style, and that the market for mediocre<br /> work is the smallest of all. For very good work<br /> there is always an opening, for actual rubbish<br /> there is plenty of room in the weekly “ dreadfuls.”<br /> It is the moderately good writer who suffers most,<br /> and upon him the selfish egotistical amateur<br /> preys.<br /> <br /> I write feelingly, having had articles rejected,<br /> before now, with the words, “ We can get what<br /> we want for nothing, thank you!” I have even<br /> heard more than one established writer say un-<br /> blushingly, “ Oh, I wrote for nothing at first;<br /> one has to do so, you know.” I don’t know. I<br /> don’t believe it. I never wrote for nothing,<br /> except for a local newspaper that could not afford<br /> to pay or for amateur magazines. If one’s early<br /> work is not worth remuneration, it never ought<br /> to appear im widely circulated professional<br /> magazines. Of course, it would be better still if<br /> it never appeared at all; but if amateurs and<br /> beginners must see themselves in print, there are<br /> plenty of amateur magazines open to them nowa-<br /> days. There is no blame to be attached to<br /> editors in this matter, for they are only obeying<br /> the laws of economy. They know well enough<br /> that if everyone demanded payment the sifting<br /> process would be fairer, and many of the stories<br /> and articles they publish for nothing would be<br /> paid for without a murmur. But, say a man has<br /> two articles sent in to him, one of which he may<br /> have gratis, the other requiring remuneration.<br /> Suppose them to be nearly of equal merit and<br /> suitability, but the latter the better of the two.<br /> Which will he choose, considering the expense of<br /> type-setting, &amp;c.? Why the gratuitous one, of<br /> course, even if slightly inferior. How could it be<br /> otherwise ?<br /> <br /> This is a burning question, and the sooncr a<br /> crusade is started against the vain and egotistical<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> amateur the better for the bread-winner.<br /> <br /> The<br /> better for author, editor, and literature generally,<br /> <br /> M. L. P.<br /> <br /> <br /> <br /> VIL.<br /> A Briturant Scare or Pay,<br /> <br /> A correspondent sends information of the<br /> “scale of pay” adopted by a certain penny<br /> weekly supposed to have a very large circula-<br /> tion. It is, indeed, princely. For articles—<br /> stories—he says that he has received payment at<br /> the rate of 5s., 7s. 6d., 10s., or, as the highest pay,<br /> 15s. “ For one story of eight chapters,” he says,<br /> “T received 15s, !!!!”<br /> <br /> The proprietor of this delightful journal may<br /> plead—and very justly—that he can get what he<br /> wants at that rate, and why should he pay more ?<br /> Certainly—why pay more? All the advertise-<br /> ments ask the same question. One answer is<br /> that cheap stuff—in literature, as in other things<br /> —is bad stuff.. A journal which offers bad stuff<br /> is not only low down, but is doomed to go lower<br /> down.<br /> <br /> <br /> <br /> VIII.<br /> A Lawyer’s Lerrer.<br /> <br /> Iwas asked last January to contribute an<br /> article to a projected new review. I was told to<br /> name my own subject and my own price. I<br /> named £20, and, at considerable personal incon-<br /> venience, wrote and sent the article within about<br /> a week. It was never published, as difficulties<br /> supervened, and the idea of starting the review<br /> was abandoned. But I had written the article,<br /> and had in black and white, in terms fully suffi-<br /> cient to satisfy what the Times the other day<br /> called the “ Statue of Frauds,” an undertaking<br /> to pay me £20 forit. After waiting six months<br /> I wrote and offered to take £10, and consider the<br /> article as withdrawn. This was refused, and I<br /> was told [had no legal claim, so I put the matter<br /> in the hands of my solicitor. Three days later he<br /> wrote that he was offered £8 8s. for me and<br /> £1 1s. for his costs: would I take this? ‘ No,”<br /> I replied ; “TI said I would take £10, but, having<br /> had the trouble of employing a_ solicitor and<br /> writing four letters, [mean now to have £11 11s.<br /> for myself, plus costs, or I shall sue for the full<br /> £20.” A day or two after I got my cheque; so<br /> the projectors of the review in question paid<br /> £12 12s. and their own solicitor’s costs instead of<br /> £10, which was all I asked.<br /> <br /> <br /> <br /> <br /> 4<br /> |<br /> 7<br /> 1<br /> 7<br /> i<br /> <br /> <br /> <br /> THE AUTHOR. 253<br /> <br /> ix<br /> DEFAMATORY CRITICISM.<br /> <br /> A remedy for the crying evils of which “ Rank<br /> and File” and Doctor Charles D. Bell complain,<br /> in the current number of the Author, appears to<br /> present itself in your apposite notes on Mr.<br /> Thomas Hardy’s “‘ Review of his Reviewers.”<br /> <br /> Permit me to repeat your words: “If a man<br /> falsely say of a baker that he makes poisonous<br /> bread ; or of a chemist that his pills are pure<br /> flour and water; or of a physician that he is a<br /> quack; or of a solicitor that his advice is not to<br /> be trusted—these practitioners have their remedy<br /> in a court of law. And so, I believe, has the<br /> author upon whose work the reviewer uninvited<br /> makes an onslaught. He may bring an action as<br /> one who has suffered material injury by the<br /> uninvited reviewer. If such an action were ever<br /> brought we should hear very little more of the<br /> gratuitous and meddlesome uninvited slating and<br /> sneering which is now passed over.” Now for<br /> an application of the remedy. In a recent number<br /> of a certain journal, eight works of fiction, com-<br /> prising fifteen volumes, by authors of more or<br /> less repute (yourself among the number) are<br /> airily polished off in about two thousand words,<br /> from which I select an apposite illustration of<br /> the “happy despatch” administered to the latest<br /> production of an author of four or five books<br /> which have passed through various editions :<br /> “For misspelling, misquotation, misconception<br /> of every usual matter of common knowledge, and<br /> constant grammatical atrocities, Mr. ——’s<br /> book is the novel of the season.”<br /> <br /> It must be frankly admitted that this latest<br /> specimen of the pseudonymuncule has “a nice<br /> derangement of epitaphs.” Supposing his state-<br /> ment be a true one, the wretched author is bound<br /> to submit in silence—but, on the other hand,<br /> suppose it can be proved to the satisfaction of<br /> “twelve good men and true” that it is false,<br /> wilfully and maliciously false in every particular,<br /> would not an action lie for libel, and if so, might<br /> not this be made a fest case for the general good<br /> of the craft ?<br /> <br /> The subject invites discussion from both the<br /> captains and the rank and file of the army of<br /> authors. Possibly, too, some of your eminent<br /> legal colleagues will deign to favour us with<br /> their views. Rover.<br /> <br /> [There seems little reason to hesitate. If the<br /> book is, and can be proved to be, falsely described,<br /> the author is as much injured as the imaginary<br /> baker, and has his remedy in a Court of Law. |<br /> <br /> x.<br /> Society oF ARCHIVISTS.<br /> <br /> With reference to the account of the above<br /> society, written by Mr. Cresswell in last month’s<br /> Author, kindly allow me to make a few remarks.<br /> <br /> Stated in a few words, the main objects of the<br /> society are, (1) to combat the dense ignorance of<br /> the value of old MSS. that prevails among the<br /> educated classes; and (2) to form a combinat on<br /> or “trade union” for the profit, protection, and<br /> pleasure to be derived from the companionship<br /> of brother colle: tors.<br /> <br /> One great difficulty in form ng the society is<br /> the indifference, often amounting to coutempt,<br /> shown by those who, instead of leading the<br /> public taste up to higher things, pander to its<br /> grossest forms, and follow its more depraved<br /> instincts into the gutters of the police and<br /> divorce courts. I refer to the newspapers. There<br /> are honourable exceptions, but they are few and<br /> far between. The consequence is this: That,<br /> although we have been trying to attract public<br /> attention (almost the only chance of success) for<br /> nearly six months, the number of leading papers<br /> which have published accounts of our objects<br /> or otherwise drawn attention to us, may be<br /> counted on the fingers of one hand, while day by<br /> dav unleaded type accounts are minutely fur-<br /> nished of the meals eaten and words spoken by<br /> the Jatest ‘‘ fashionable” criminal.<br /> <br /> There is a remedy for this, Sir, and it hes in<br /> this direction. Let some of the leaders of public<br /> thought, the great writers and literary men who<br /> read this journal, join us, if only as honorary<br /> members (it costs 5s.), and I make no doubt that<br /> the daily papers will soon find it out, and, ever<br /> on thealert as they are to flatter the great with<br /> an obsequious paragraph, may in the long run<br /> serve the cause to which, when it stands on its<br /> merits alone, they turn a deaf ear.<br /> <br /> H. Saxe WynpuaM,<br /> Hon. Sec. Society of Archivists<br /> <br /> Thornton Lodge, Thornton Heath.<br /> <br /> <br /> <br /> 2G<br /> A PuzzuE.<br /> <br /> A writer sends a short story to a paper which<br /> will not bind itself to return authors’ MSS. It<br /> is there for a long time, and he is in doubt about<br /> its fate. It is no use writing to the editor of the<br /> paper, because he won’t answer. At the end of<br /> six months or thereabouts, the writer settles in<br /> his own mind that the story is refused, and,<br /> liking the idea, rewrites it and sends it to another<br /> paper. This paper accepts the story and promptly<br /> <br /> <br /> <br /> q<br /> <br /> i<br /> \4<br /> }<br /> ;<br /> (f<br /> iW<br /> i<br /> i<br /> <br /> se<br /> <br /> wegen oer<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 254<br /> <br /> pays for it. A day after the writer receives a<br /> much smaller sum for the same story from the<br /> paper he sent it to first. Now, what ought he to<br /> dor Which cheque ought he to return ?,—A<br /> MEMBER.<br /> <br /> Ss<br /> <br /> XII.<br /> ILLUSTRATIONS.<br /> <br /> I am not an author, but may I ask whether, if<br /> I supply illustrations for an article by one author,<br /> his editor or publisher has a right to use them,<br /> without reference to me, in any other book he<br /> may be bringing out ?<br /> <br /> <br /> <br /> XIII.<br /> “TL. B.” anp Liserat RemMuNERATION.<br /> <br /> In the current number of the Author, your<br /> correspondent “TL. B.” recalls an experience<br /> somewhat analogous to my own.<br /> <br /> A few years ago, I called upon Messrs. North-<br /> ampton and Co., to discuss the publication of a<br /> novel.<br /> <br /> For reasons which need not here be recapitu-<br /> lated, the novel was not accepted; but, as certain<br /> short stories of mine in the Graphic, Longman’s,<br /> Temple Bar, &amp;c., were enjoying a sort of vogue,<br /> it was proposed by Messrs. Northampton that<br /> I should write a short story for the summer<br /> number of a magazine, of which the firm had<br /> recently become proprietors.<br /> <br /> Terms were discussed, and I mentioned those<br /> paid me by the Graphic, Longmans, Temple<br /> Bar, New Review, &amp;c.<br /> <br /> On the faith of what I considered to be an<br /> honourable verbal understanding, I wrote a story<br /> of twenty-four magazine pages, which occupied<br /> the place of honour among a series of stories by<br /> authors of distinction.<br /> <br /> A month elapsed—two—three—four—then I<br /> wrote suggesting that a cheque would be accept-<br /> able.<br /> <br /> Another month passed without a reply—then I<br /> wrote a polite reminder, whereupon I received a<br /> cheque for £2 10s., that is to say, 2s. 1d. for 600<br /> words.<br /> <br /> Now the mere caligraphic process is so dis-<br /> tasteful to me, that I protest I would not (except<br /> under the pressure of starvation) have even<br /> copied the MS. for double this miserable pittance,<br /> leaving the composition of the story quite out of<br /> the question.<br /> <br /> Believing that there must be some mistake,<br /> I returned the cheque, requesting an explanation.<br /> <br /> Like “BL. B.,” I was curtly informed in reply<br /> that “ my story was paid for at the usual scale of<br /> <br /> THE AUTHOR.<br /> <br /> payment for stories published in the ‘ So and So?<br /> magazine, and from that scale there could be no<br /> departure.”<br /> <br /> I was “young in crime” then, and did not<br /> wish to figure in the County Court, but were<br /> Messrs. Northampton and Co. to try that little<br /> game with me now, I would put them in the box,<br /> and I would put beside them the half dozen dis-<br /> tinguished contributors to the “So and So”<br /> magazine, so as to prove the actual truth or<br /> falsehood of Messrs. Northampton’s statement.<br /> <br /> Moral All future contributors to the “ So<br /> and So” magazine will do well to take care to<br /> have a written contract before they commit their<br /> copy to the tender mercies of Messrs. Northamp-<br /> ton and Co.<br /> <br /> Once Brit, Twice Suy.<br /> <br /> <br /> <br /> XIV.<br /> A Sueecrstion—anp Somerurne Mors.<br /> <br /> The strength of the Society of Authors is<br /> proof—if proof were needed — of the excel-<br /> lent work it has done in offering an unbend-<br /> ing front to the fraudulent publisher. But if<br /> authors, individually, relax their vigilance, much<br /> of its good work falls to the ground. There are<br /> amongst us certain penny journals which, when<br /> they are going down, or fall into unenviable<br /> notoriety, make a call upon authors of good stand-<br /> ing to prop themup. And either from ignorance<br /> of the character of these journals, or from that<br /> thoughtlessness which prempts many a writer to<br /> say “Pl write an article for any journal that<br /> pays me my price,” the few at the top are apt,<br /> from no unkindness of heart, to rattle stones on<br /> the heads of the many below. If this sort of<br /> thing has not crossed the mind of any good<br /> writer before, may I bring it to him in this<br /> fashion. When he has been asked for an article,<br /> has he ever considered whether the journal which<br /> begs the loan of his name and talent is a journal<br /> worth propping up? Has he made certain<br /> inquiries about the price it pays its regular con-<br /> tributors? Ifhe has not done this, he may be<br /> unconsciously supporting that which it is the<br /> object of the society to destroy, the art of<br /> sweating.<br /> <br /> When a journal makes a call upon a good<br /> author, and in the pages of which he can gain<br /> neither honour nor renown, from which, as a<br /> matter of taste, he would shrink under ordinary<br /> circumstances from contributing to, that journal<br /> ought to be subjected to careful scrutiny. It has<br /> everything to gain from the influence of his name,<br /> the author nothing, save the guineas. Some of<br /> <br /> the reasons of these journals calling on good<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> si pe bee Sad<br /> Series Boe oe<br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> St ou<br /> <br /> ot<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 255<br /> <br /> authors for help are easily understood. For an<br /> instance, the paper may be simply paralysed, it<br /> stands on the brink of destruction, with a rapidly<br /> decreasing circulation. As a desperate remedy,<br /> it cills on certain writers, and faces the public<br /> with their names in a string. ‘This is a literary<br /> tonic which often places it on its legs again.<br /> Where the journal is honest and straightforward,<br /> and grows weak through no fault of its own, this<br /> is a proper tonic; but where a journal erects a<br /> barrier with these names to keep the public off<br /> the scent of the regular and sweated contributor,<br /> such a tonic is unwholesome. An author, if he<br /> be not very careful, is lable to be paid with the<br /> bright guineas produced by sweating, and he puts<br /> it into the power of a journal to say, “1 sweat !<br /> Look who contributes to my columns! The author<br /> of so and so and the equally talented writer of<br /> such a work!’ Then the general public, the keen<br /> discriminating general public, grows hardened<br /> against the sweated. “ Pooh! If the ‘penny<br /> soul of humanity’ sweated, do you think the<br /> author of this and the author of that would write<br /> for it?” Theauthor of repute is saddled with a<br /> rare responsibility; the general public never<br /> reasons, it goes by outside show, and takes the<br /> good writer’s name as a guarantee that all is fair<br /> and respectable within. Therefore, if the author<br /> of repute is misled, or thoughtless, he finds him-<br /> self in a most undesirable position. In perhaps<br /> a solitary case authors’ names are put forward to<br /> blind the general publi: ; they go down with it<br /> as the regular staff, while the poor objects hidden<br /> in the background, the regular sweated contri-<br /> butors, are writing their stories of 2000 and 3000<br /> words for the magnificent pay of five shillings and<br /> seven-and-sixpence a story! In some bewilder-<br /> ment, the author of repute, who is not, or has not<br /> been till lately, much of a business man, asks how<br /> ishe to pick a journal of this sort out. Easily<br /> enough. Publish in the Awthor the rates of pay<br /> of every journal in the kingdom. Publish it in<br /> instalments, a little every month if you like, but<br /> by all means publish it. There are enough mem-<br /> bers of the Society to do this; let each one make<br /> out his little list and send it to the secretary. Then<br /> all will be fair sailing, the shoals will all be<br /> buoyed off, the rocks marked on the chart, and a<br /> good deep channel prepared for the literary ship<br /> to sail through. Witha good chart there will be<br /> less danger of running ashore. That is my sug-<br /> gestion, open to amendment. Some may assert<br /> that it is not needed; and those who deal in cold<br /> logic declare that mediocrity always will be<br /> sweated, it can’t command a price, and a writer<br /> of that sort must, in the nature of things, fall<br /> into somebody’s grasping clutch. To think thus<br /> is to do nothing. If a journal is discovered to be<br /> <br /> a sweater, it ought to be strictly boycotted, that<br /> is, if the Society is going to make any headway.<br /> No man who has made a name, or who values his<br /> reputation and_ the welfare of the humblest<br /> scribbler, should show it in the light of his signa-<br /> ture. Show the sweater that he is a sweater, deal<br /> with him as a sweater, make even the general<br /> public recognise him as a sweater, and, without<br /> he be made of wrought iron, or adamant, he will<br /> surely fade and die. Peace to his ashes !<br /> CHARLES KING,<br /> <br /> 7, The Conge, Great Yarmouth.<br /> <br /> <br /> <br /> De<br /> <br /> <br /> <br /> “Al THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> Dictionary of the World’s Press,’ is<br /> <br /> preparing an exhibit for the Chicago<br /> Exhibition of old newspapers. Contributions or<br /> loans may be sent addressed to him, Fleet-street,<br /> London. It is stated by the Queen that he will<br /> establish a permanent museum of old newspapers<br /> in London after the exhibition. There are surely<br /> materials in the British Museum for such an<br /> exhibition.<br /> <br /> N -R. HENRY SELL, compiler of “The<br /> <br /> Mr. James Payn shows all his old dexterity in<br /> his new story “The Stumble on the Threshold,”’<br /> which has been running:through the Queen, and<br /> has just been published by Mr. Horace Cox Whe<br /> tale possesses a strong interest, while its<br /> dénouement is in the highest degree original,<br /> being, we believe, absolutely new in fiction. Not<br /> the least of the many charms of the story is its<br /> inexhaustible fund of humour. In ‘“‘ The Master,”<br /> Mr. Payn has given us a really great creation.<br /> <br /> The book of “The Recollections of Gordon<br /> Hake, Physician,” is simply delightful. Here is<br /> a man over eighty years of age who has always<br /> lived with literary and artistic people of the best<br /> kind, a friendof Trelawny, Walter Savage Landor,<br /> George Borrow, Latham, Rossetti, and to all<br /> those poets, painters, novelists, and writers who<br /> are associated with their names. The book is<br /> filled with anecdotes, and with sharp, caustic,<br /> clever things. To me at least, in such a book as<br /> this, attraction is the chief thing to be considered ;<br /> it proved attractive enough to make me read it<br /> from end to end at a sitting. It is more than<br /> attractive; it is a most valuable contribution to<br /> the literary history of the century.<br /> <br /> There is a strange charm about Wessex and its<br /> people and its dialect. Here is another novel<br /> —“Dark” (Smith and Elder)—belonging to<br /> Devonshire. The story is anonymous; it is<br /> <br /> <br /> <br /> <br />  <br /> <br /> 256<br /> <br /> <br /> <br /> painful; it is lacking in humour ; but it is a true<br /> picture of country life. There is the girl—not<br /> unlike Hardy’s Tess—who loves and sins and<br /> suffers. The author should do much _ better<br /> things than “ Dark,” which, however, is a story<br /> to note and to read.<br /> <br /> The advertisement pages give us a few facts<br /> to note. Mr. James Payn’s new novel is pub-<br /> lished by Mr. Horace Cox—a new departure.<br /> The ‘“ Record Press Limited,” is the title of a<br /> new publishing firm. Mr. Newnes, proprietor<br /> and editor of the Strand and Tit Bits, has<br /> become a publisher with books by Conan Doyle,<br /> Grant Allen, J. E. Muddock, and George Sims.<br /> The continual increase in the number of London<br /> publishers is an indication of the rapid growth,<br /> as well as the enormous extent, of the book<br /> trade.<br /> <br /> The Orchid Seekers, a Story of Adventure and<br /> Peril in Borneo,” by Ashmore Russan and<br /> Frederick Boyle, will shortly be published by<br /> Messrs. Chapman and Hall, and by Messrs<br /> Roberts Brothers, of Boston, U.S.A. It was<br /> published serially in the Boys’ Own Paper.<br /> <br /> “The City and the Land” is a collection of<br /> seven lectures delivered in the spring of the pre-<br /> sent year on the work of the Palestine Exploration<br /> Fund. The lecturers were, Col. Sir Charles Wilson,<br /> Major Conder, R.E., Canon Tristram, Walter<br /> Besant (formerly secretary to the society), Rev.<br /> Dr. Wright, W. M. Flincers Petrie, and Canon<br /> Dalton. The lectures are published for the com-<br /> mittee by A. P. Watt, 2, Paternoster-square.<br /> <br /> The life of Lord Tennyson, by Arthur Waugh,<br /> seems to be accepted as the best biography we are<br /> likely to have until the appearance of that<br /> written with the assistance of the private papers<br /> in the hands of the family. Mr Waugh is per-<br /> fectly modest upon the subject ; he puts forward<br /> his work expressly as one prepared upon facts<br /> within the reach of everybody; he only professes<br /> to have searched into these facts with a little<br /> more care than most people are likely to give.<br /> The result is a good piece of careful work which<br /> will prove acceptable and instructive to every-<br /> body. The book has already gone into its second<br /> edition.<br /> <br /> “ Whither?” by Mrs. E. Francis, in 3 vols.<br /> (Griffith, Farran, and Co.), was published last<br /> month.<br /> <br /> The fourth edition is announced of Messrs.<br /> Gibbons and Uttley’s “Labour Contracts,” a<br /> popular handbook on the law of contracts, for<br /> works and services. It is revised with an<br /> <br /> appendix of statutes: (Crosby Lockwood and<br /> Son).<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> The Fortnightly Review for December con-<br /> tains a powerful and suggestive article by the<br /> Rev. Professor Momerie, called “ Religion—Itg<br /> Future.” It is a significant fact that such an<br /> advanced Broad Churchman as the Rey. Professor<br /> should have been selected to write upon this<br /> subject; but the time has come for speaking<br /> the truth about theology, and Dr. Momerie is<br /> the man to speak it. He is in the Church of<br /> England, but a member of an obscure sect; if<br /> he is wrong in his deductions there are plenty of<br /> Churchmen to set him right, and it is their<br /> bounden duty to do so if possible.<br /> <br /> Mr. Mowbray Marras is responsible for the<br /> Italian adaptation of “Der Schauspieldirektor,”<br /> recently successfully produced, with Mozart’s<br /> music, at the New Olympic Theatre, under the<br /> title of “L’Impresario.” He is likewise the<br /> author of the English version thereof, and both<br /> librettos have been favourably noticed.<br /> <br /> “This Wicked World”? is a final collection of<br /> hitherto unpublished essays by the late Hain<br /> Friswell, Author of ‘“ The Gentle Life.”<br /> There are twenty-one essays in all, presumably,<br /> though the fact is not stated, reprints from<br /> various magazines and journals. If this new<br /> volume achieves anything like the same success<br /> as has been accorded to ‘“‘ The Gentle Life,” now<br /> in its thirty-second edition, it will be a curious<br /> confirmation of the verdict pronounced twenty-<br /> five years ago upon that collection of essays on<br /> similar subjects and similarly treated.<br /> <br /> “Willow and Wattle”’ is the title of a little<br /> volume of poetry by Robert Richardson (Edin-<br /> burgh: John Grant. 1893). The verse is easy<br /> and pleasant to read; the metres are those of the<br /> latest and youngest poets. Asa writer of vers de<br /> société, at least, Mr. Robert Richardson should<br /> have a future before him. Yet at times he can<br /> strike a deeper note in the very pretty lines<br /> called ‘‘ Annette,’ and in a very beautiful ballade<br /> on the “Northern Autumn.” Those who are<br /> curious about young poets and fond of first<br /> editions, which may become scarce and valuable,<br /> should get this little volume without delay.<br /> <br /> Mr. E. J. Goodman has written, in “ The Fate<br /> <br /> of Herbert Wayne” (Chatto and Windus),a | &amp;<br /> <br /> highly readable novel. Reference has already<br /> been made in the Author to the plot of the story. —<br /> Mr. Goodman’s treatment of the theme is fresh ©<br /> and vigorous. The manner in which the tale —<br /> develops shifts suspicions from one person to<br /> another to the end, and all with the most deli-<br /> cate touch, so that the reader must perforce go<br /> finish the book to the last line almost before the<br /> secret is revealed to him.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The novel has been — i<br />  <br /> <br /> ne i<br /> <br /> cH<br /> <br /> ‘in<br /> <br /> Saas<br /> a<br /> <br /> <br /> <br /> ae<br /> <br /> (et<br /> 10<br /> <br /> 1a<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> that journal.<br /> + author, appears in the current number of Cham-<br /> <br /> THE AUTHOR.<br /> <br /> highly successful in serial form, and now as a<br /> book should win numerous readers.<br /> <br /> Headon Hill, whose series of detective stories<br /> is about running to a close in the Million, is<br /> engaged upon a further ser.es of short sturies for<br /> An Indian sketch, by the same<br /> <br /> ber’s Journal.<br /> <br /> “The Book of Delightful and Strange De-<br /> signs, being one hundred facsimile Illustrations<br /> of the Art of the Japanese Stencil-cutter, to<br /> which the gentle reader is introduced by one<br /> <br /> | Andrew W. Tuer, F.S.A., who knows nothing at<br /> <br /> allabout it.”” (Leadenhall Press Co.) The title<br /> islong, but when one gets through it there<br /> <br /> | follows the most extraordinary book ever pub-<br /> <br /> lished. It is a collection of the Japanese stencil<br /> plates used in decorating the cotton stuffs used<br /> in the dress of that people. All kinds of things<br /> are pressed into the service: cranes, bamboos,<br /> tortoises, umbrellas, chrysanthemums, butterflies,<br /> grapes—everything conceivable. Everybody in-<br /> terested in art should look at this book, grotesque<br /> as many of the plates are.<br /> <br /> Mrs. Greet tells her story of the ‘‘ Golden Owl”<br /> (Leadenhall Press Co.) on brown paper, the illus-<br /> trations alone being on white paper. The result<br /> is fatiguing to the eye. But the story charms<br /> away the 1tatigue.<br /> <br /> The “ Divers,” by Hume Nisbet (Adam and<br /> Chacles Black), is astory for boys—a romance of<br /> Polynesia—the only part of the world where the<br /> romance ofadventure may now be found. Fortu-<br /> nately, before romance has vanished from this,<br /> its last haunt upon the earth, the disciples of<br /> Romance have found her and captured her. An<br /> excellent and stirring book for boys.<br /> <br /> Hall Caine’s “Capt&#039;n Davy’s Honeymoon,”<br /> Wich gives its title to the new collection<br /> (Heinemann) of these stories, shows the novelist<br /> ina new light. He can write in more veins than<br /> one. This story is light, fanciful, and humorous.<br /> It is well for an artist to show that he need not<br /> be always painting tragic pictures of strong<br /> emotions,<br /> <br /> Mr. R. Warwick Bond, M.A., University<br /> Extension Lecturer, is preparing a new edition<br /> of a long-neglected poet, William Basse (1602—<br /> 1653). It will be published in a limited edition<br /> by Ellis and Elvey, 29, New Bond-street.<br /> <br /> 25]<br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> Theology.<br /> Bapuam, F. P. The Formation of the Gospels. Second<br /> edition, revised and enlarged. Kegan Paul. 53s.<br /> <br /> Brrecuine, Rev. H. C. Faith, eleven sermons with a<br /> preface. 3s. 6d. Percival and Company.<br /> <br /> Bret, JosepH A., D.D. Through Christ to God.<br /> in scientific theology. Hodder and Stoughton. 6s. 6d.<br /> <br /> Book sy Boox. Popular studies on the Canons of<br /> Scripture. Isbister and Company. 7s. 6d.<br /> <br /> Driver, 8. B., D.D. Sermons on Subjects connected with<br /> the Old Testament.<br /> <br /> EXELL, Rev. J.S. The Biblical Illustrator.<br /> James Nisbet and Co. 7s. 6d.<br /> <br /> Farmer, Jonn. Hymns and Chorales for Schools and<br /> Colleges. Edited by. At the Clarendon Press, London,<br /> Henry Frowde. 5s.<br /> <br /> Mamora’s Brete Sroriss for her little boys and girls. A<br /> series of reading lessons taken from the Bible, adapted<br /> to the capacities of very young children, with<br /> engravings. New and cheaper edition. Griffith,<br /> Farran. Is.<br /> <br /> NELIGAN, Rev. M. R.<br /> addresses on some<br /> teaching. Skeffington.<br /> <br /> Peer or Day, THE: a Series of the Earliest Religious<br /> Instruction the Infant Mind is Capable of Receiving.<br /> With verses illustrative of the subjects. Illustrated<br /> edition. Cassell. 2s. 6d.<br /> <br /> Rrvineton, Ruy. Luxe. The Church Visible, a sermon<br /> preached in substance on the occasion of the investiture<br /> of the pallium of the Archbishop of St. Andrews and<br /> Edinburgh in St. Mary’s Cathedral on August 25, 1892.<br /> Kegan Paul. 6d.<br /> <br /> SrpeBoTHam, Henry, M.A. Readingsfrom Holy Scripture,<br /> with brief comments.<br /> <br /> SINCLAIR, ARCHDEACON.<br /> Stock.<br /> <br /> Srauey, Rev. Vernon. Plain Words on the Incarnation<br /> and the Sacraments, with special reference to Baptism<br /> and Eucharist. With a preface by the Rev. T. T.<br /> Carter.<br /> <br /> A study<br /> <br /> Il. Timothy.<br /> <br /> The Religion of Life: a course of<br /> characteristics of St. Paul’s<br /> <br /> The Servant of Christ. Elliot<br /> <br /> History and Biography.<br /> <br /> Apams, C. Kenpauu. Christopher Columbus: his life and<br /> his work. Gay and Bird. 4s. 6d.<br /> <br /> Arrcuison, Sir ©. U. Lord Lawrence; and the Recon-<br /> struction of India under the Crown. (Rulers of India<br /> Series; edited by Sir W. W. Hunter.) At the Claren-<br /> don Press, London, Henry Frowde, 2s. 6d.<br /> <br /> ALLEYNE, Forster M. All Saints’, Clifton; The Church,<br /> its History, andits Octaves. With a preface by the<br /> Very Rev. R. W. Randall, M.A., Dean of Chichester.<br /> Tlustrated. W.C. Hemmons, Bristol.<br /> <br /> Boyp-CarPentmer, H., Green, G. E. Outlines of British<br /> History, for pupil teachers and matriculation students.<br /> Joseph Hughes and Co., Pilgrim-street, H.C. 2s. 6d.<br /> <br /> Bremont, ANNA Comtesse DE. The World of Music.<br /> 3 vols. The great singers, the great virtuosi, the great<br /> composers. W. W. Gibbings, Bury-street, W.C.<br /> <br /> Brieut, Rev. Wituiam. The Canon of the First Four<br /> General Councils of Nica, Constantinople, Ephesus,<br /> and Chalcedon. With notes. 2ndedition. Oxford, at<br /> the Clarendon Press. London, Henry Frowde. 7s. 6d.<br /> <br /> Brooxn, Stoprorp A. The History of NHarly English<br /> Literature, being the History of English Poetry from<br /> its beginnings to the accession of King Ailfred. 2 vols.<br /> Methuen. 20s. net.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 258 THE AUTHOR.<br /> <br /> CHICHESTER, BisHop or. Memories of James Chapman,<br /> D.D., first Bishop of Colombo, with a prefatory letter.<br /> Skeffington.<br /> <br /> CuowEs, Aticge A. Charles Knight: aSketch. Bentley.<br /> <br /> Darwin, Francis. Charles Darwin: his life told in an<br /> autobiographical chapter and in a selected series of his<br /> published letters. Edited by his son. With portrait.<br /> John Murray. 7s. 6d.<br /> <br /> Dykes, J. OswaLp, D.D. Autobiography of the late<br /> Donald Fraser, D.D., and a selection from his ser-<br /> mons. With a preface by J. Nisbet and Co. 3s. 6d.<br /> <br /> HarveERN, Rey. T. B. Church Discipline, its History and<br /> Present Aspect. Simpkin, Marshall.<br /> <br /> HeEnvDERSON, E. F. 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