Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
446	https://historysoa.com/items/show/446	The Author, Vol. 03 Issue 08 (January 1893)	<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+08+%28January+1893%29"><em>The Author</em>, Vol. 03 Issue 08 (January 1893)</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>	1893-01-02-The-Author-3-8					265–304																		<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=1893-01-02">1893-01-02</a>							8			18930102	The HMutbor.<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 /> Vou. III.—No. 8.] JANUARY 2, 1803. [Prick SIXPENCE.<br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE | PAGE<br /> ) Warnings ae tie .. 267 | Notes and News. By the Editor... = ake oe ene wow 284<br /> | How to Use the Society = ies Pee ee =e aoe cre | Ethics of Criticism ... oe ee Bee see ies ae «se 288<br /> # The Authors’ Syndicate... ae eS Ce oe es .. 268 | Authors, Publishers, and Reviewers... ee a es wes 288<br /> | Notices... ee 269 | Correspondence—<br /> The Annual Meeting— | 2 Bs 970 | 1.—An Omnium Gatherum for the New Year... 0 « se. 290<br /> a aaa Retiring Chairman... —... wee eee ee SIO 2.—Religious Firms Pee ok Re er eee OD<br /> ‘ y era | 3.—Seale Pay... ae o. ee vse ay ee ae |<br /> 1.—Canadian Copyright a aa ae = me + 275 | 3 mhe Reotistical Amateur ... vas 591<br /> 2.—Contributors’ Remuneration... 0. ss eve ve 276 EP Opipiahers’ Aereanianita, LL 292<br /> 3.—Magazines and Copyright Pee eke ere ene oe a | 6.—The Public Criticism of Books... 9.1 sve ewe, te 292<br /> = v. eget ee au 7.—A Literary Scholarship ... 00 4. se sue aus, ane 298<br /> Sia Sve ot se on Se sre 978 | een ere ieee a ove eo Ps a<br /> ee Oe<br /> §8.—American Copyright in New Editions... a &amp; cae 11.—The Magazines : a t) 295<br /> - By fh Bo Woveton. 3:5 se eas bee ge ame ti opie a i aon<br /> “Very Inaccurate and Very Unreliable.” By S.S. Sprigge ... 279 | ae : Be Bae ore ec<br /> Mee @ethor” and the “Bookseller”... ... ss wwe wee 280 | At the Sign of the Sulliors ROMs Sas Ciceeh ey wan aes soe 295<br /> A Rejected Author ... ae ws Be ss Ps nee sc. 28) New Books and New Editions... ore Son oe os see 296<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 4<br /> § 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> Literature and the Pension List. By W. Morris Coxtns, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 35.<br /> <br /> The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> the Society. Is.<br /> <br /> 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 /> The Various Methods of Publication. By S. Squire Spricas. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 33s.<br /> <br /> 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 /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. 15. 6d.<br /> <br /> <br /> <br /> <br /> 266<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated),<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHEORGHE MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arnoxp, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BaRRIE.<br /> <br /> A. W. A Becxetr.<br /> <br /> RoBERT BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLacKMORE.<br /> <br /> Rev. Pror. Bonney, F.RB.S.<br /> Lord BRABOURNE.<br /> <br /> JameEs Bryce, M.P.<br /> <br /> Hatt CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Couues.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dogson.<br /> A. W. DusBoure.<br /> <br /> EpmuND GossE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Lery.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> THE EARL oF DESART.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> Pror. MicHart Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHARD GARNETT, LL.D.<br /> <br /> H. Riper HaGe@arp.<br /> <br /> JEROME K. JEROME.<br /> RupDYARD Kipuina.<br /> Pror. E. Ray LANKESTER, F.RB.S.<br /> <br /> Rev. W. J. Lorriz,’F.S.A.<br /> <br /> Pror. J. M.D. MEIKLEJOHN.<br /> HerRMAN C. MERIVALE.<br /> <br /> Rev. C. H. MippLeTon-WAKE F.L.S.<br /> <br /> Lewis Morpzis.<br /> <br /> Pror. Max MULLER.<br /> <br /> J.C. PARKINSON.<br /> <br /> THE EaRu oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sir FREDERICK PoLLock, Bart., LL.D,<br /> <br /> WALTER HeRRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> Gzorase Auaustus SALA.<br /> <br /> W. Baptiste Scoonss.<br /> <br /> G. R. Sims.<br /> <br /> S. Squire SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy Tomas.<br /> <br /> H. D. Trarit, D.C.L.<br /> <br /> Baron HENRY DE Worms,<br /> F.R.S.<br /> <br /> EpMuND YATES.<br /> <br /> MP.<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HerBert THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortugaL Street, Lincoun’s Inn Freups, W.C.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGE<br /> <br /> BEN RY JBINNiWN Ge.<br /> <br /> CONTENTS.<br /> <br /> Part I.—Riseand Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Parr III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 83. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> Apprnprx.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> ‘“‘ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ’—Scotsman.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.” —Globe.<br /> <br /> ‘‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> eampaign, is incomparable.”—Sala’s Journal.<br /> <br /> <br /> <br /> “Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.&quot;—Kentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> <br /> ‘“Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> leisurely entertainment, which is not less enjoyable from being allied<br /> with edification.” —Liverpool Courier.<br /> <br /> <br /> <br /> “ Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br /> <br /> 8<br /> |<br /> |<br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> .<br /> <br /> <br /> <br /> <br /> <br /> The #utbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED<br /> <br /> BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vor. IIL.—No. 8.]<br /> <br /> JANUARY 2, 1893.<br /> <br /> [PricE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responstble. :<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 members 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’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 /> ol<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> <br /> <br /> Sramp your AGREEMENTS.—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 /> 10s. 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 /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> ————<br /> <br /> AsScERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br /> Remember that an arrangement as to a joint<br /> <br /> VOL, Ill.<br /> <br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> ——<br /> <br /> Lirerary Acents.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. You place your property<br /> almost unreservedly in his hands. Your only<br /> safety is in consulting the Society, or some friend<br /> who has had personal experience of the agent.<br /> <br /> Sa<br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon thedangers 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.) Nuver 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, has been refused by<br /> respectable houses, pay others, whatever<br /> <br /> x 2<br /> <br /> <br /> 268<br /> <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 /> (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, Portugat Street, Linconn’s Inn FIevps.<br /> <br /> ee<br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member 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 opinion from the<br /> Society’s solicitors. If the case 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 /> THE AUTHOR.<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. 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 /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> ec<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> R. Colles desires to inform readers of the<br /> <br /> N 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 defrayed 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 appointment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<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 /> must have it entirely in his own hands ;<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 /> ———— &gt;<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 /> The Editor is always glad to receive short<br /> papers and communications 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 aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ¢<br /> <br /> <br /> <br /> 269<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> Ss<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 /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> &gt;<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 /> 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 /> rules of admission, &amp;c.<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 5f<br /> sending out a reminder.<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 five<br /> years ?<br /> <br /> se<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 ‘‘doimg 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 /> THE<br /> <br /> 270<br /> <br /> Some remarks have been made upon the amount<br /> charged in the “Cost of Production’”’ for<br /> advertising. Ofcourse, we have not included any<br /> suins which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. 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 /> secs<br /> <br /> THE ANNUAL MEETING.<br /> <br /> HE annual meeting of the Society was held<br /> aL on Thursday, Dec. 15th, in the hall of the<br /> Medical Association, Hanover-square.<br /> The chair was taken by Sir Frederick Pollock.<br /> The business of the meeting was formal except<br /> that an address was read by the retiring chairman<br /> on the history and progress of the Society since<br /> its foundation in the autumn of 1883.<br /> This address will be placed in the hands of<br /> every member of the Society. In these columns<br /> we need only quote passages.<br /> <br /> LireRARY PROPERTY,<br /> <br /> “ Now let us interrupt our history for a moment<br /> to say a word about literary property and its<br /> bearing upon the higher interests of literature.<br /> You have all observed, during the last few years,<br /> when we have been active in this direction, the<br /> constant stream of abuse, detraction, and wilful<br /> misrepresentation of our work that has been<br /> poured upon us continually. Chiefly we have<br /> been reviled for daring to ask what our own pro-<br /> perty means. This abuse shows, first, the<br /> hostility of those who desire to conceal and hush<br /> up the truth as regards the buying and selling<br /> of books. That is a matter of course: such<br /> hostility was to be expected, and, with all the<br /> misrepresentations that can be devised and<br /> invented, must be taken as part of the day’s<br /> work. It has been, as you perha;s know, a good<br /> part of my day’s work, during the last five years,<br /> to silence this opposition. I am happy to think<br /> that every such misrepresentation published in a<br /> newspaper or in a magazine has only resulted in<br /> an accession of new members and in an increase<br /> in public confidence. But, in addition to the<br /> opposition of interested persons, we have had to<br /> encounter a very unexpected and remarkable<br /> <br /> AUTHOR.<br /> <br /> opposition from those who ought to be our friends<br /> —certain authors and certain journalists. Into<br /> the history and motives and reason of this<br /> opposition I should like with your permission to<br /> inquire.<br /> <br /> “There has existed for a hundred and fifty<br /> years at least, and there still lingers among us, a<br /> feeling that it is unworthy the dignity of letters<br /> to take any account at all of the commercial or<br /> pecuniary side. No one, you will please to<br /> remark, has ever thought of reproaching the<br /> barrister, the solicitor, the physician, the surgeon,<br /> the painter, the sculptor, the actor, the singer,<br /> the musician, the composer, the architect, the<br /> chemist, the physicist, the engineer, the pro-<br /> fessor, the teacher, the clergyman, or any other<br /> kind of brain worker that one can mention, with<br /> taking fees or salaries or money for his work;<br /> nor does anyone reproach these men with looking<br /> after their fees and getting rich if they can.<br /> Nor does anyone suggest that to consider the<br /> subject of payment very carefully—to take<br /> ordinary precautions against dishonesty—brings<br /> discredit on anyone who does so; nor does any-<br /> one call that barrister unworthy of the Bar who<br /> expects large fees in proportion to his name<br /> and his ability; nor does anyone call that<br /> painter a tradesman whose price advances with<br /> his reputation. I beg you to consider this<br /> poit very carefully. For the moment any<br /> author begins to make practical investigation<br /> into the value—the monetary value—of the work<br /> which he puts upon the market—a hundred<br /> voices arise, from those of his own craft as well<br /> as from those who live by administering his pro-<br /> perty—voices which cry out upon the sordidness,<br /> the meanness, the degradation of turning lite-<br /> rature into a trade. We hear, I say, this kind<br /> of talk from our own ranks—though, one must<br /> own, chiefly from those who never had an oppor-<br /> tunity of discovermg what literary property<br /> means. Does, I ask, this cry mean anything at<br /> all? Well: first of all, it manifestly means a<br /> confusion of ideas. There are two values of<br /> literary work—distinct, separate; not commen-<br /> surable—they cannot be measured—they cannot<br /> be considered together. The one is the literary<br /> value of a work—its artistic, poetic, dramatic<br /> value; its value of accuracy, of construction, of<br /> presentation, of novelty, of style, of magnetism.<br /> On that value is based the real position of every<br /> writer in his own generation, and the estimate of<br /> him, should he survive, for generations to follow.<br /> Ido not greatly blame those who cry out upon<br /> the connection of literature with trade: they are<br /> jealous, and rightly jealous, for the honour of<br /> letiers. We will acknowledge so much. But<br /> the confusion lies in not understanding that every<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> man who takes money for whatever he makes or<br /> does may be regarded—not offensively—as a<br /> tradesman ; that the making of a thing need have<br /> nothing whatever to do with the price it will<br /> command; and that this price in the case of a<br /> book cannot be measured by the literary or artistic<br /> value.<br /> <br /> “Tn other words, while an artist is at work<br /> upon a poem, a drama, or a romance, this aspect<br /> of his work, and this alone, is in his mind, other-<br /> wise his work would be naught.<br /> <br /> “ But, once finished and ready for production,<br /> then comes in the other value—the commercial<br /> value, which is a distinct thing. Here the artist<br /> ceases and the man of business begins. Hither<br /> the man of business begins at this point or the<br /> next steps of that artist infallibly bring him to<br /> disaster, or at least the partial loss of that com-<br /> mercial value. Remember that any man who<br /> has to sell a thing must make himself acquainted<br /> with its value, or he will be—what? Call it<br /> what you please—over-reached, deluded, cheated.<br /> That is a recognised rule in every other kind of<br /> business. Let us do our best to make it recog-<br /> nised in our own.<br /> <br /> “ Apart from this confusion of ideas between<br /> literary and commercial value, there is another<br /> and a secondary reason for this feeling. For<br /> two hundred years, at least, contempt of every<br /> kind has been poured upon the literary hack, who<br /> is, poor wretch, the unsuccessful author. Why?<br /> We do not pour contempt upon the unsuccessful<br /> painter who has to make the pot boil with pic-<br /> tures at 15s. each. Clive Newcome came down<br /> to that, and a very pitiful, tearful scene it is—full<br /> of pity and of tears. If he had beena literary<br /> hack, where would have been the pity and the<br /> tears? In my experience at the Society, I have<br /> come across many most pitiful cases, where the<br /> man who has failed must lead a life which is one<br /> long tragedy cf grinding, miserable, nnderpaid<br /> work, with no hope and no relief possible. One<br /> long tragedy of endurance and hardship. I am<br /> not accusing anyone ; I call no names ; very likely<br /> such a man gets all he deserves; his are the poor<br /> wages of incompetence; his is the servitude of<br /> the lowest work ; his is the contumely of hopeless<br /> poverty; his is the derision of the critic. But<br /> we laugh at such a wretch, and call him a literary<br /> hack. Why, I ask, whenwe pity the unsuccessful<br /> in every other line, do we laugh at and despise<br /> the unsuccessful author ¥<br /> <br /> “ Once more, this contempt—treal or pretended<br /> —for money. What does it mean? Sir Walter<br /> Scott did not despise the income which he made<br /> by his books; nor did Byron; nor did Dickens,<br /> Thackeray, George Eliot, Charles Reade, Wilkie<br /> Collins, Macaulay—nor, in fact, any single man<br /> <br /> 271<br /> <br /> or woman in the history of letters who has ever<br /> succeeded. This pretended contempt, then, does<br /> it belong to those who have not succeeded? It<br /> is sometimes assumed by them; more often one<br /> finds it in articles written for certain papers by<br /> sentimental ladies whoare not authors. Wherever<br /> it is found, it is always lingering somewhere—<br /> always we come upon this feelmg, ridiculous,<br /> senseless, and baseless—that it is beneath the<br /> dignity of an author to manage his business<br /> matters as a man of business should, with the<br /> same regard for equity in his agreement, the<br /> same resolution to know what is meant by both<br /> sides of an agreement, and the same jealousy as<br /> to assigning the administration of his property.<br /> “Again, how did the contempt arise? It<br /> came to us as a heritage of the last century. In<br /> the course of our investigations into the history<br /> of literary property—the result of which will,<br /> I hope, appear some day in volume form—I<br /> recently caused a research to be made into the<br /> business side of literature in the last century.<br /> Publishers were not then men of education and<br /> knowledge, as many of them are at the present<br /> moment; they were not advised by scholars, men<br /> of taste and intuition; the market, compared<br /> with that of the present day, was inconceivably<br /> small; there were great risks due to all these<br /> causes. The practice, therefore, was, in view of<br /> these risks, to pay the author so much for his<br /> book right out, and to expect a successful book to<br /> balance, and more than balance, one that was<br /> unsuccessful. Therefore they bought the books<br /> they published at the lowest price they could<br /> persuade the author to accept. Therefore—the<br /> conclusion follows like the next line in Euclid—<br /> the author began to appear to the popular imagi-<br /> nation as a suppliant, standing hat in hand<br /> beseeching the generosity of the bookseller.<br /> Physician and barrister stood upright, taking the<br /> recognised fee. The author bent a humble back,<br /> holding his hat in one humble hand, while he held<br /> out the other humble hand for as many guineas as<br /> he could get. That, I say, was the popular view<br /> of the author. And it still lmgers among us.<br /> There are also, in other callings, if we think of it,<br /> other professional contempts. Everybody ac-<br /> knowledges that teaching is a noble work, but<br /> everybody formerly despised the schoolmaster<br /> because he was always flogging boys—no imagi-<br /> nation can regard with honour and envy the man<br /> who is all day long caning and flogging. The<br /> law is a noble study, but everybody formerly<br /> despised the attorney, with whom the barrister<br /> would neither shake hands nor sit at table.<br /> Medicine is a noble study, but the surgeon was<br /> formerly despised because in former days he was<br /> closely connected with the barber. Do not let us<br /> <br /> <br /> THE<br /> <br /> 272<br /> <br /> be surprised, therefore, if the author who had<br /> to take whatever was given him came to be<br /> regarded as a poor helpless suppliant.<br /> <br /> “The kind of language even now sometimes<br /> used illustrates a lingering of the old feeling.<br /> We constantly read here and there of the<br /> generosity of a publisher. My friends, let us<br /> henceforth resolve to insist that we do not want<br /> their generosity ; that we will not have it; that<br /> we are not beggars and suppliants, and that what<br /> we want is the administration of our own pro-<br /> perty—or its purchase—on fair, just, and honour-<br /> able terms. Let us remember that the so-called<br /> generosity must be either a dole—an alms—over<br /> and above his just claim, in which case it degrades<br /> the author to take it and robs the publisher who<br /> gives it; or it is a payment under the just value,<br /> when it degrades the publisher who gives, while<br /> it robs the author who takes it.”<br /> <br /> ImpRoVEMENT IN PusiisHinc Mernops.<br /> <br /> “T am now quite certain, and I advance the<br /> statement with great satisfaction, that very con-<br /> siderable improvement has taken place of late in<br /> respect to these methods: solely—mind—in con-<br /> sequence of the action of the Society. We have<br /> brought no criminal action against anyone. This<br /> fact is due less to our own wishes than to the<br /> extreme unwillingness of the victims to prosecute.<br /> Better, however, than any criminal prosecution<br /> has been the publication of the facts. These have<br /> awakened a certain amount of public opinion upon<br /> the subject: they have made authors suspicious—<br /> now suspicion is itself a power; and unscrupulous<br /> persons dread nothing so much as publicity of<br /> their methods. Moreover, the Society, it is<br /> known, has been large:y instrumental in keeping<br /> authors out of bad hands. The greatest encourage-<br /> ment to virtue is to make its culture and practice<br /> profitable. As regards one house guilty of many<br /> corrupt things, we were so “abundantly blessed”<br /> that in two or three years, as has been told me by<br /> our secretary, we were able to keep some thousands<br /> of pounds’ worth of work out of their hands. And<br /> as regards another house, which proposes to those<br /> who go there a form of agreement that is a<br /> mockery of the human understanding, our<br /> secretary only a few weeks ago kept away three<br /> victims in one week, This method of carrying<br /> on war these people do not like, and the wider<br /> the publicity we give tu their practices; the<br /> greater the suspicion we awaken ; the more they<br /> find their cdientéle diminish ; the more honest they<br /> become. Our weapons, indeed, are more certain<br /> than any court of law—that can punish ; we can<br /> prevent. There are other considerations that<br /> make strongly for us. For instance, when a man<br /> has reached a certain social level, he no longer<br /> <br /> AUTHOR.<br /> <br /> likes to do things which may be detected and<br /> exposed, though he might have gone on doing<br /> them so long as there was no danger of their<br /> being exposed. And, again, there are things—<br /> fraudulent things—which get introduced bit by<br /> bit, and become gradually reconciled to the<br /> conscience until they are assumed to be right<br /> and proper—the true interpretation of an agree.<br /> ment—the custom of the trade—and so forth—<br /> when these things are set forth in their true light,<br /> and exposed and held up to view for the public<br /> derision, and it is perceived that they can no<br /> longer be defended—then all those men who<br /> respect themselves and desire the public respect<br /> make haste to abandon these practices. In this<br /> way, and without going into court more than<br /> once or twice, though in a great many instances<br /> an action has been proposed as an alternative, we<br /> have succeeded, not only in procuring substantial<br /> justice in. many cases for our clients, but we have<br /> also done a great deal to put a stop to the former<br /> prevalent abuses.<br /> <br /> ‘Another point in our favour has been the<br /> extreme moderation of our demands. We have<br /> claimed, in fact, so far, only three points: (1)<br /> that we must have the right of audit; (2) that<br /> in any agreement based on ro alties we must<br /> know what the agreement gives to either side;<br /> and (3) that there must be no secret profits, which<br /> are fraudulent. Imagine, if you can, two men in<br /> the City venturing on a joint enterprise, and one<br /> of the partners—the managing partner—refusing<br /> these conditions! You cannot imagine such a<br /> thing. It is impossible to imagine such a thing.<br /> Such a man would be stamped, at once, as one<br /> who intended to overreach and cheat his partner.”<br /> <br /> Extent oF Literary Property.<br /> <br /> “We have also made a careful and prolonged<br /> inquiry into the very difficult subject of the<br /> present nature and extent of literary property.<br /> By the passing of the American International<br /> Copyright Act a writer of importance now ad-<br /> dresses an audience drawn from a _ hundred<br /> million of English-speaking people. Remember<br /> that never before in the history ot the world has<br /> there been such an audience. Taere were doubt-<br /> less more than a hnndred millions under the<br /> Roman rule round the shores of the Mediter-<br /> ranean, but they spoke many different languages.<br /> We have now this enormous multitude, all, with<br /> very few exceptions, able to read, and all reading.<br /> Twenty years ago they read the weekly paper;<br /> there are many who still read nothing more. Now<br /> that no longer satisfies the majority. Every day<br /> makes it plainer and clearer that we have arrived<br /> at a time when the whole of this multitude, which<br /> in fifty years time will be two hundred millions,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> will be reading books. What kind of books? All<br /> kinds, good and bad, but mostly good ; they will<br /> prefer good books to bad. Even now the direct<br /> road to popularity is by dramatic strength, clear<br /> vision, clear dialogue—and this, whether a man<br /> write a play, a poem, a history, or a novel. We<br /> see such a magazine as the Strand suddenly<br /> achieving a circulation reckoned by hundreds of<br /> thousands while our old magazines creep along<br /> with a circulation of—what? Two thousand ?—<br /> Five thousand? Ten thousand? How is this<br /> popularity achieved? By pandering to the low,<br /> gross, coarse taste commonly attributed to the<br /> multitude? Not at all. But by giving them<br /> dramatic work—stories which hold and interest<br /> them—essays which speak clearly—work that<br /> somehow seems to have a message. If we want<br /> a formula or golden rule for arriving at popu-<br /> larity, I should propose this. ‘Let the work<br /> havea message. Let it havea thing to say, a story<br /> to tell, a Man or Woman to present, a lesson to<br /> deliver, clear, strong, unmistakable.’<br /> <br /> “The demand for reading, then, is enormous,<br /> and it increases every day. I see plainly—as<br /> plainly as eyes can see—a time—it is even now<br /> already upon us—when the popular writer—the<br /> novelist—the poet, the dramatist, the historian,<br /> the physicist, the essayist—will command such an<br /> audience—so vast an audience—as he has never<br /> yet even conceived as possible. Such a writer as<br /> Dickens, if he were living now, would command an<br /> audience—-all of whom would buy his works—of<br /> twenty millions at least. The world has never<br /> yet witnessed such a popularity—so wide spread<br /> <br /> —as awaits the successor of Dickens in the<br /> affections of the English-speaking races. This<br /> <br /> consideration must surely encourage us to perse-<br /> vere in our endeavours after the independence of<br /> our calling! And do not think that this enormous<br /> demand is for fiction alone. One of the things<br /> charged upon us is that we exist for novelists<br /> alone. That is because literary property is not yet<br /> understood atall. As a fact educational literature<br /> is a much larger branch than fiction. But for<br /> science, history—everything—except, perhaps<br /> poetry—the demand is leaping forward year after<br /> year In a most surprising manner. Now, im order<br /> to meet this enormous demand, which has actually<br /> begun and will increase more and more—a claim<br /> which we alone can meet and satisfy—I say that<br /> we must demand and that we must have a read-<br /> justment of the old machinery—a reconsideration<br /> of the old methods—a new appeal to principles of<br /> equity and fair play.’’<br /> <br /> <br /> <br /> WHAT HAS BEEN DONE.<br /> “To sum up, we have reduced our Copyright<br /> Law from chaos to order; we have investigated<br /> VOL. III,<br /> <br /> AUTHOR.<br /> <br /> 273<br /> <br /> and made public the various Methods of Publish-<br /> ing, and have shown what each means; we have<br /> placed in the hands of every author the means of<br /> ascertaining for himself what his property may<br /> mean: we have examined and exposed the facts<br /> connected with the Civil Pension List; we have<br /> stopped an attempt to keep novelists out of that<br /> List ; we have established a central office where a<br /> Bureau for information and advice of all kinds is<br /> freely given; we bring for the first time authors<br /> together at our annual réunion ; we have estab-<br /> lished a journal for the carrying out of our own<br /> purposes, and the record of facts connected with<br /> these purposes; we have so far eained the con-<br /> fidence of men and women of letters that we<br /> have enlisted 900 members, among whom are<br /> nearly all the leading men and women in every<br /> single branch of letters. That is, I submit,<br /> something to have done. Besides these things,<br /> which are real achievements to which we may<br /> fairly point with pride, there are off-sets,<br /> independent branches of our work, not coutrolled<br /> by the Committee. There is the Authors’ Club,<br /> now fairly established, and in a most hopeful<br /> condition ; there is the Writers’ Club for ladies,<br /> also, { believe, in a flourishing condition; there<br /> is the Authors’ Syndicate, which undertakes to<br /> take all the trouble of your business affairs off<br /> your hands.”<br /> <br /> Tur FUTURE oF THE SOCIETY.<br /> <br /> “What do we intend to do in the future?<br /> Here I must speak for myself. I cannot speak<br /> for the council, but I should like to tell you what<br /> I personally hope will be the development of the<br /> society. First, I look for the enlargement of the<br /> society to four times, ten times its present<br /> numbers. Every one who writes—the journalists<br /> who lead the thought of the world—the teachers<br /> of all kinds—the scientific men, the medical<br /> men, the theologians, the creators in imaginative<br /> work—every one who writes a single book should<br /> consider it his duty to belong to us. With this<br /> extension of our numbers we shall create funds<br /> for special purposes, for fighting actions if neces-<br /> sary. There are certain disputed points which<br /> can only be settled in the courts. We shall give<br /> our journal wider aims; we shall give it, even<br /> while it continues to be the organ for the Defence<br /> of Literary property, a more literary character.<br /> We shall also, which I should very much like<br /> to see, establish an Institute akin to the Law<br /> Institute—it might be called the Authors’ House<br /> —which should be a place where members might<br /> find books of reference, and a place for quiet<br /> work, where they could consult the officers of the<br /> Society, and each other—the head-quarters, in<br /> short, of our members,<br /> <br /> <br /> <br /> <br /> <br /> <br /> 274 THE<br /> <br /> The next thing that I want—even more than the<br /> Tn: titute—is a Pension Fund. That, I see plainly,<br /> is above all to be desired. I want a Pension Fund<br /> such as that which the Socicté de Gens de Lettres,<br /> in Paris, has established, where every one in his<br /> turn receives a pension, which is not a dole or a<br /> charity, but a right. The member is not obliged<br /> to take that pension: if he chooses he can refuse<br /> it—then it gves to swell the pensions of those who<br /> want the assistance. We have been too much<br /> occupied during these last years for this Fund to<br /> be so much as started. Perhaps, however, the<br /> committee may see their way at no distant period<br /> to attempt the thing. A Pension Fund is abso-<br /> lutely necessary for the completion of the<br /> Independence of Literature.<br /> <br /> “T am also very much of opinion—an opinion<br /> in which I confess that I am not joined by all my<br /> colleagues of the council—that an Academy of our<br /> own, not a slavish copy of the French Academy,<br /> might prove of great service to our literature.<br /> I will not now stop to explain why I think so. I wish<br /> only to place on record the fact that I do think so.<br /> <br /> “‘T have also, on several oc asions, stated an<br /> opinion that the national distinctions should be<br /> as much open to men and women of letters as<br /> they are to soldiers and lawyers and engineers.<br /> Here, again, I have not been able to carry with<br /> me all my colleagues. I will therefore only<br /> remind you that the people of every country are<br /> accustomed to consider those men and women<br /> worthy of honour whom the State honours, and<br /> those men and women unworthy of honour whom<br /> the State refuses to honour. I will also remind<br /> you that it is very good for the people to honour<br /> Literature. But in this country men and women<br /> of letters are not honoured by the State. The<br /> conclusion seems to me to be obvious. I ask your<br /> permission to place on record the opinion I have<br /> myself formed.<br /> <br /> “T desire, next, that the Society should be<br /> officially recognised as the head-quarters of the<br /> literary calling, as the Royal Academy of Arts,<br /> the College of Physicians, the College of Surgeons,<br /> the Institute of Civil Engineers, are recognised.<br /> Hitherto that has not been done. I think we<br /> ought to endeavour, in every way possible, to<br /> obtain this recognition. With it should come<br /> the registration of book, the registration of titles,<br /> and all the official acts connected with literature.<br /> Especially I think that the Society should be<br /> officially consulted in the administration of that<br /> part of the Civil Pension List which belongs to<br /> literature.”<br /> <br /> Some CHARACTERISTICS OF LitpRARY MEN.<br /> <br /> “During this intimate experience of our<br /> craft, which it has been my, singular privilege to<br /> <br /> AUTHOR.<br /> <br /> enjoy, it is reasonable that I should make certain<br /> observations onauthors as acompany or profession,<br /> I trust that I shall not give any offence by offering<br /> to you some of these observations. I have found,<br /> then, among literary men and women, a very<br /> curious timidity, even among the successful. It<br /> is that kind of timidity which, I think, belongs<br /> to a profession whose position is not recognised,<br /> its emoluments not defined, and its rewards<br /> capricious. Authors are, as a body, timid. They<br /> are also suspicious; it has been found, for<br /> instance, extremely difficult to persuade some of<br /> them that the Society has no secret and selfish<br /> objects at heart. It is, therefore, with great<br /> unwillingness that they disclose their agree-<br /> ments, and produce their accounts. Again, great<br /> jealousy of each other prevails, and seems tradi-<br /> tional. The jealousy of authors towards each<br /> oth. r is, as a fact, most unreasonable. It ought<br /> to be removed by the simple consideration that<br /> no man can write in a year what cannot be read<br /> in a week, which gives fifty-one weeks for<br /> other wr.ters. It has been charged upon men<br /> and women of letters that they are avid of<br /> praise. Iam sure that the charge is quite true;<br /> but that can equally be said of any other pro-<br /> fession. To desire honour is to desire excellence.<br /> Men of letzers, again, have been accused of being<br /> ready at all times to stick knives in each other’s<br /> backs. This charge may, have been true once,<br /> but it can hardly be alleged at the present day.<br /> Those authors of any position who still find<br /> delight in abusing and scarifying each other are<br /> very few. They are not extinct; but I think we<br /> may fairly say that they are very rare. What,<br /> in fact, does it matter to a writer of position<br /> whether a certain popular author is worthy of his<br /> popularity. Time—a very short time — will<br /> determine his position in the world of letters.<br /> Meanwhile, let us leave him to those who are<br /> critics by profession.<br /> <br /> “T think that we ought to imitate, in the<br /> matter of criticism, the professional etiquette of<br /> the Bar, which compels the outward forms of<br /> respect between lawyers. It should be held dis-<br /> graceful in an author to “slate,’”’ and revile, and<br /> depreciate another. There is one charge, how-<br /> ever, which is distinctly true. It is that of being<br /> bad at business. I am quite certain that there<br /> cannot be any body of men worse over their own<br /> affairs than literary men. Publishers tell strange<br /> stories on this point. I could tell you strange<br /> stories. Just as they are sometimes blind to<br /> their own interests, so they are sometimes blind<br /> to their own duties. Ihave heard, for instance,<br /> of authors who have engaged anagent to conduct<br /> their affairs, and then have gone behind that<br /> agent’s back, and left him in the lurch, not, I<br /> <br /> «<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> am sure, with intent to avoid their obligations to<br /> the man who had worked for them, but in pure<br /> ignorance of theirengagements. It is sometimes,<br /> we must sorrowfully admit, as if there were not<br /> only no capacity of looking after own affairs, but<br /> no perception of obligation towards those who<br /> work for one. I have even known cases in which<br /> an author could not be made to understand that<br /> those who work for him must be paid. Happily,<br /> these cases are very rare. The fraudulent a :thor,<br /> as was pointed out in our journal the other day,<br /> cannot, as a rule, exist. The facts of the case<br /> compel honesty, whether he would or would not.<br /> Timidity, jealousy, suspicion—these are the three<br /> most common vices of the literary craft. They<br /> combine —all three together—to make it the<br /> more difficult for us to unite for purposes of<br /> self-defence. However, only to recognise these<br /> difficulties —these qualities— may be the first<br /> step to overcoming them. And, indeed, we have,<br /> of late years, done so much towards union that<br /> we ought to be very hopeful as regards the<br /> future.”<br /> <br /> WHAT CAN EACH MEMBER DO?<br /> <br /> “Such and such we have done, such and such<br /> we are doing for you, our members—what will<br /> you do or yourselves ?<br /> <br /> “Youcan, if you will,dosomuch. You can openly<br /> show your active sympathies with our work. Do,<br /> especially, what we ask you to do every month.<br /> Send us your past and your present agreements, in<br /> order to increase the accumulated knowledge of<br /> the Society; refuse to sign an agreement until it<br /> has been examined at the office; refuse, which<br /> you can do very well if you are a successful<br /> author, to accept any agreement unless the clauses<br /> are fair and reasonable; find out at our office<br /> whether your proposed publisher is a right person<br /> to be entrusted with your property; enlist new<br /> members everywhere; attend to our warnings,<br /> and spread them abroad. Send information of<br /> all kinds toour Journal. In fat, if we were not<br /> helped by you in this way, we might dissolve ;<br /> but we have already kindled a flame that you<br /> will not suffer to be extinguished. Not only<br /> your own self-interest—which I do not calla sordid<br /> consideration at all—is concerned in the advance<br /> and prosperity of our Society, but your desire<br /> for righteousness—your hatred of servility—your<br /> love of independence—your sense of duty towards<br /> those who come after us and will reap the harvest<br /> of our labours,—all these things are working<br /> together for our cause. and for our prosperity.<br /> The time has now surely come when we ought<br /> to call upon you for a more active co-operation.<br /> Work for us—work with us—in the full confidence<br /> that you are working for yourselves.”<br /> <br /> VOL. Ill.<br /> <br /> AUTHOR.<br /> <br /> 275<br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> i.<br /> Re CanapIaN CopyRicHt.<br /> <br /> T present copyright in Canada, so far as<br /> concerns British authors, is governed by<br /> the Imperial Act (5 &amp; 6 Vict. c. 45) as<br /> <br /> modified by the Modern Reprints Act (10 &amp; 11<br /> Vict. ¢. 95) and the Canadian Copyright Act,<br /> 1875 (38 &amp; 39 Vict. ¢. 53).<br /> <br /> The effect of these Acts may shortly be stated<br /> as follows:—Under the Foreign Reprints Act<br /> and the Order in Council issued thereunder,<br /> pirated copies of copyright works are admitted<br /> into Canada upon paying an ad valorem duty ;<br /> but, as is well known, the duties are practically<br /> never collected, and the compensation suppused to<br /> be given to authors is wholly illusory. Under<br /> the Canadian Copyright Act, however, authors<br /> can, by republishing their works in Canada<br /> (whether simultaneously with or at any time<br /> after publication elsewhere), and registering the<br /> same, obtain Canadian copyright, and exclude the<br /> operation of the Foreign Reprints Act.<br /> <br /> The Act of 1875 is, I think, on the whole, as<br /> favourable a one as can be expected, having<br /> regard to the claims made on behalf of the<br /> Canadian public and publishers. It has not,<br /> however, I believe, as yet been taken advantage<br /> of to any great extent by English authors; but<br /> the difficulty has, I believe, been, so to speak, a<br /> geographical one, that is to say, it has been<br /> impossible owing to tne position of Canada,<br /> either to make the pirated American editions<br /> pay duty under the Foreign Reprints Act, or<br /> keep them out under the Act of 1875. It appears<br /> to me, however, that the recent United States<br /> Copyright Act should, to a great extent, remove<br /> this difficulty, and that English authors should<br /> now be able 10 obtain the benefit of the circula-<br /> tion of their books in Canada if the provisions<br /> of the Act of 1875 can be maintained. At all events<br /> it is not, I imagine, likely that they will be able<br /> to obtain any more favourable terms. It remains<br /> to be considered how far the position of British<br /> authors will be prejudiced by the proposed Cana-<br /> dian statute if it is allowed to come into force.<br /> <br /> The first question is whether the statute would<br /> operate as a repeal of the Imperial Act so far as<br /> regards Canada. In the absence of any pro-<br /> vision to that effect in the Act authorising its<br /> proclamation, I do not think it would have that<br /> effect, but if a British author did not comply<br /> with the provisions of the Canadian Act, his copy-<br /> right under 5 &amp; 6 Vict. ¢. 45, would be subject to<br /> the licensing provisions of the Canadian Act. The<br /> <br /> y 2<br /> <br /> <br /> THE AUTHOR.<br /> <br /> point should, however, be definitely settled by<br /> some express provision.<br /> <br /> The next question is as to the terms upon<br /> which Canadian copyright is to be secured. These<br /> are (1) registration either before or simultaneously<br /> with first publication whether in Canada or else-<br /> where, and (2) reprinting and republishing in<br /> Canada within one month. Both of these con-<br /> ditions appear to be opposed to the principles<br /> adopted by the Berne Convention and approved<br /> by the English Government. As to the registra-<br /> tion it is to be observed that, under the Act of<br /> 1886, registration in a colony is recognised as<br /> sufficient to secure copyright throughout the<br /> British Dominions, and it is hard to see why<br /> British authors should be required to register in<br /> Canada. At all events, the same period should<br /> be allowed for registration as for republication,<br /> especially if copies of the work are to be deposited.<br /> As to reprinting and republishing, it would<br /> probably be useless to attempt to do away with<br /> this condition altogether, but I think that an<br /> endeavour should be made to extend the period<br /> within which reprinting and republishing must<br /> take place, though no doubt the Canadians will<br /> justify themselves by reference to the provisions<br /> of the United States Copyright Act. With<br /> regard to the licensing provisions of sections 3<br /> and 4, it appears to me that if exclusive, instead<br /> of non-exclusive, licences were to be granted,<br /> many of the present objections to these pro-<br /> visions would be removed. The collection of the<br /> royalties would, I think, be much easier, whilst<br /> the publisher would be free from the danger of<br /> being undersold directly a work had been brought<br /> out at considerable expense began to sell, and he<br /> would therefore be more ready to bring out<br /> valuable and expensive works, which would be to<br /> the advantage of the public. In any case I think<br /> that the author should be able to take pro-<br /> ceedings against the licensees if he is dissatisfied<br /> with the Government returns of royalties, but I<br /> am unable to suggest any means by which the due<br /> collection of royalties can be easily secured under a<br /> non-exclusive licensing system. Of course it should<br /> be seen that a provision similar to sect. 4 of 38 &amp;<br /> 39 Vict. ¢. 53, prohibiting the importation of<br /> Canadian reprints into the United Kingdom is<br /> inserted in any Imperial Act authorising the pro-<br /> clamation of the Canadian statute. I can hardly<br /> imagine that the statute is intended to be retro-<br /> spective ; but, if it is not, [do not understand to<br /> what sub-sections 3 &amp; 4 of sect. 5 of the Act of<br /> 1875, as amended by the proposed statute are<br /> intended to apply, and I think it would be as<br /> well that it should be made clear that the statute<br /> is not in fact retrospective. Another point<br /> I think which should, if possible be made clear is<br /> <br /> that the author should be entitled, in the event of<br /> licences being issued under sect. 3, to take pro.<br /> ceedings against unlicensed reprints; I think he<br /> probably would be able to do so as the matter<br /> stands, but the pointis not free from doubt.<br /> <br /> The above are the principal points which occur<br /> to me in connection with the proposed statute,<br /> and if, as I understand is the case, the matter is<br /> still before Government, the Society might ]<br /> think properly make representations with regard<br /> to them. They may be summarised as follows :<br /> <br /> 1. The proposed statute is entirely contrary to<br /> the provisions of the Berne Convention and the<br /> Imperial Act of 1886. Ifit is allowed to come<br /> into force it would seem that Canada must be<br /> excluded from the Convention. On principle,<br /> therefore, the statute should not be allowed; but,<br /> if for any reason it is considered that exceptional<br /> legislation is required for Canada, the following<br /> points arise in the interests of British authors.<br /> <br /> 2. Copyright under 5 &amp; 6 Vict. ¢. 45, should<br /> be expressly reserved subject only to the licensing<br /> provisions of the statute.<br /> <br /> 3. Hither registration in the United Kingdom<br /> should be sufficient or the same period should be<br /> allowed for registering in Canada as for re-<br /> publication.<br /> <br /> 4. That one month is not a sufficient period to<br /> allow for the republication of works first pub-<br /> lished in the United Kingdom. :<br /> <br /> 5. That ifa licensing system is to be introduced<br /> the licences granted should be exclusive.<br /> <br /> 6. Thatin any case authors should be entitled<br /> to take proceedings against licensees for royalties<br /> if dissatisfied with Government returns.<br /> <br /> 7. That Canadian reprints should not be<br /> allowed to be imported into the United Kingdom.<br /> <br /> 8. That it should be made clear that the<br /> statute ls not retrospective, and<br /> <br /> g. That authors should be expressly empowered<br /> to take proceedings in respect of unlicensed<br /> reprints.<br /> <br /> J. Rout, 3, New-square,<br /> Lincoln’s-inn, W.C.<br /> Novy. 22, 1892.<br /> <br /> IT,<br /> Conrrisutors’ REMUNERATION,<br /> <br /> { should like to add to my brief note in<br /> the last number that when I spoke of a<br /> contract to pay at the usual rate being im-<br /> ferred in the absence of express agreement, I<br /> meant to assume that the usual rate was reason-<br /> able. As matter of law the agreement, if not<br /> defined by the parties, is to pay a reasonable<br /> recompense, @.e. what a jury (or judge if there<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> be no jury), may find to be reasonable in all the<br /> circumstances.<br /> <br /> In ordinary cases, and where business is con-<br /> ducted in good faith, what is usual is the best<br /> measure of what is reasonable. But aman may<br /> not offer an obviously inadequate recompense for<br /> work of any kind, literary or other (not having<br /> been expressly agreed to), on the pretext that so<br /> much and no more is what he usually gives.<br /> <br /> In exceptional, but only in exceptional cases,<br /> the work may be on the face of it of such peculiar<br /> value (by reason of the writer’s fame, special<br /> competence, &amp;c.), that more than the usual rate<br /> may be required as reasonable even without<br /> express previous agreement. It is however far<br /> from easy to fix how much more, though evidence<br /> of practice in other like cases may be some guide.<br /> The only safe way for both parties is a clear<br /> understanding beforehand. BE<br /> <br /> EEL<br /> MaGaziInes AND CoPpYRIGHT.<br /> <br /> I submit that it is beyond question that the<br /> draughtsman of sect. 18 of 5 &amp; 6 Vict. c 45,<br /> had not in his mind, when drawing it, the<br /> ordinary case of a contributor posting a story or<br /> article to a periodical, and, after seeing it in<br /> print, receiving a cheque, no other communica-<br /> tion passing between the writer and editor. I<br /> further submit that the question whether the<br /> language of the section covers such a transaction,<br /> though not primarily intended to do so, is a diffl-<br /> cult and an open one, and one which has never<br /> yet been even satisfactorily discussed. I have<br /> read your note in the Author for November and<br /> that of “J.” in the December number. No mention<br /> has hitherto been made of the only case (as far as<br /> T can discover) on the subject, that of Browne vy.<br /> Cooke (16 Law Jour., Chancery, p. 40): in<br /> that case the dispute was between the Medical<br /> Gazette and certain persons alleged to have<br /> pirated their articles, and the Medical Gazette<br /> failed, the affidavits not showing that the pro-<br /> prietors had paid for the articles in question.<br /> The case, therefore, seems to have been decided on<br /> what was almost a technical point, and the<br /> authors do not appear to have been either repre-<br /> sented or directly interested in establishing their<br /> rights.<br /> <br /> There is, however, an obiter dictum of the Vice-<br /> Chancellor at page 142, which supports your<br /> view, for, in answer to something which had been<br /> said by the court, Mr. Bethell (afterwards Lord<br /> Westbury) suggested “. then if I sent to<br /> the Quarterly an article written by me which is<br /> paid for, it would confer no copyright, because,<br /> <br /> AUTHOR.<br /> <br /> 277<br /> <br /> according to the language of the Act, there has<br /> been no antecedent employment of me.” The<br /> Vice-Chancellor replied: “I am not observing<br /> upon that, because I conceive that the payment<br /> is evidence of a thing at least tantamount to the<br /> employment ; I am not putting it in that way.”<br /> <br /> This was said in 1846, and the Vice-Chancellor<br /> took no notice of the words of the section, which<br /> speak not only of employment but of ‘“ employ-<br /> ment on the terms that the copyright therem<br /> shall belong to such proprietor,” &amp;c.<br /> <br /> I, myself, lean to “J.’s” interpretation of the law ;<br /> from my own experience I know that publishers<br /> and editors take varying views, usually adopting<br /> yours, and I fancy that if a case were fought on<br /> the subject, evidence of trade customs might<br /> become material. Such a case, however, would, I<br /> believe, raise a question of interest to many<br /> authors; a question hitherto obscure, and one<br /> which would hardly be answered conclusively<br /> until it had come under the consideration of their<br /> Lordships of the upper House.<br /> <br /> I beg very strongly to urge upon those respon-<br /> sible for the copyright bill now before Parliament<br /> the possibility of dealing with the matter in a<br /> short clause, declaring the copyright in such cases<br /> to remain in the author, the right of the publisher<br /> being merely a licence to publish.<br /> <br /> E. A. ARMSTRONG.<br /> IV.<br /> WALTER Uv. STEINKOPFF.<br /> <br /> From the “Notes” of the Law Quarterly<br /> Review, Jan. 1893 :—<br /> <br /> It is perhaps arash thing to say of any judgment covering<br /> nearly eight pages of print that it is a faultless exposition<br /> of the law. But the judgment of North, J.in Walter v.<br /> Steinkopff, ’92 (3 Ch. 489), seems as near perfection both in<br /> law and in literary common sense as any deliverance of a<br /> human and therefore fallible judge can be. There is no<br /> copyright in published information as such. “ But there is<br /> or may be copyright in the particular forms of language or<br /> modes of expression by which information is conveyed, and<br /> not the less so because the information may be with respect<br /> to the current events of the day.” If the retailer of other<br /> people’s news cannot convey the substance of the news<br /> without “ conveying” (as the “ wise it call”) the form also,<br /> so much the worse for him. People are apt to forget that<br /> there is no positive, much less paramount, right to do all<br /> things in themselves lawful or not forbidden. The right,<br /> or rather liberty, is to do them without infringement of<br /> our fellow-subject’s right.<br /> <br /> It might be a curious speculative question whether, if the<br /> doctrine of copyright at common law had prevailed, a<br /> strong argument might not have been framed for an analo-<br /> gous right of quasi-property in news or other novel infor-<br /> mation. But, as such a natural right would have, appa-<br /> rently, no limit in time, it is hard to see how it could be<br /> made compatible with recent history being written or<br /> publicly discussed at all. Special correspondents, on the<br /> other hand, would be rich beyond the dreams of avarice.<br /> <br /> <br /> <br /> <br /> 278<br /> <br /> Y.<br /> Stamp your AGREEMENTS.<br /> <br /> Here is a case which may interest some of<br /> your readers. Some time ago I sent a short<br /> story to one of the weeklies, and, in reply toa<br /> letier from the editor, stated my terms; the story<br /> was printed. That was the only answer. A<br /> month later I wrote for a cheque, and received<br /> one for a guinea, just a quarter the amount for<br /> which I had stipulated As remonstrance proved<br /> useless, I carried the matter into court. The<br /> defence took me by surprise, the editor pleaded<br /> that he had paid me at his usual rate, and that<br /> as I had no stamped agreement, I could not<br /> claim more ; and now comes the curious part or<br /> the affair. If he had written accepting my terms,<br /> and if I had neglected to get the letter stamped,<br /> I should have lost my case ; but he had not written,<br /> therefore, the publication of the story completed<br /> the contract, and no stamp was required. So the<br /> defence fell to the ground.<br /> <br /> And here I wou&#039;d ask, does not the necessity of<br /> having every little agreement stamped press very<br /> unfairly upon all who write? If every letter from<br /> an editor, agreeing to take a short story on cer-<br /> tain terms must be stamped, an author has to<br /> pay a heavy tax upoa every day’s work he does.<br /> It is not merely the money, bu* also the time and<br /> trouble of going to Somerset House. I know<br /> that the secretary of the Society of Authors<br /> kindly underiakes to do this, but, if every member<br /> took advantage of the offer, he would have<br /> nothing else tv do. D.<br /> <br /> [Our correspondent supposes a literary activity<br /> quite impossible. If every member sent all his<br /> agreements to the secretary the work would take<br /> a very small part of the day.—Eb. |<br /> <br /> VI.<br /> INTERNATIONAL COPYRIGHT.<br /> <br /> A nearly exact copy of‘ King Solomon’s<br /> Mines,” without the author’s :eave, is at present<br /> being published in French in a weekly paper<br /> called Les Annales Politiques et Littéraires at<br /> 15, Rue Saint Georges, Paris.<br /> <br /> An editorial note from that paper which<br /> appeared on Oct. 2 runs :—<br /> <br /> “* Ta Reine de Saba,’ par Alfred de Sauveniére.<br /> <br /> “Ce récit est imit¢é d’un roman anglais de M.<br /> Rider Haggard, qui s’est vendu en Angleterre et<br /> en Amérique a plus de trois cent mille exem-<br /> plaires, et qui a valu 4 son auteur une universelle<br /> renommée.<br /> <br /> “M. Alf ed de Sauveniere s’est inspiré de<br /> Vouvrage original, mais il l’a accomodé au tem-<br /> <br /> THE AUTHOR.<br /> <br /> prament et au goit francais, et l’a allégé de<br /> quelques digressions et développements inutiles,<br /> <br /> ‘“‘L’action de la ‘Reine de Saba’ se déroule<br /> dans les contrées mysterieuses de l’intérieur de<br /> PAirique; elle transporte le lecteur au milieu<br /> dun pays barbare, demeuré stationnaire depuis<br /> des siécles, soustrait au contact des civilisations<br /> européennes, et rempli @’incalculables richesses.<br /> <br /> “Au moment ow sous les regards se tournent<br /> vers ce continent, et suivent les efforts accomplis<br /> par nos soldats, nous avons pensé qu’un tel<br /> roman, mouvementé, rapide et dramatique exci-<br /> terait une vive curiosité et serait accueilli avec<br /> faveur.”<br /> <br /> SS<br /> <br /> VII.<br /> INJURING THE SALE.<br /> <br /> As bearing upon the discussion of libellous<br /> reviews now proceeding in the Author, the follow-<br /> ing extract from the letters of Darwin seem very<br /> pertinent.<br /> <br /> “ The botanists praise my orchid-book to the<br /> skies. The treats me with very<br /> lind pity and contempt; but the reviewer knows<br /> nothing of his subject. . . Whe will<br /> hinder the sale greatly.” (June, 1862.)<br /> <br /> “‘T have no idea who wrote the review in the<br /> (on the ‘Descent of Man’). He has no know-<br /> lege of science, and seems to me a wind-bag full of<br /> metaphysics and classics, so that I do not much<br /> regard his adverse judgment, though I suppose it<br /> will injure the sale.” (April, 1871.)<br /> <br /> Now, it appears to me that in cases such as<br /> these an action claiming damages for libel should<br /> at once be brought. We have the statements of &#039;<br /> Darwin (1) that the reviewer is ignorant of his<br /> subject, while, nevertheless, be pronounces a<br /> scathing judgment upon an author’s work; and<br /> (2) that such criticism will injure the sale. Both<br /> these statements might be established ina few<br /> minutes in a court of law, and 1t would seem clear<br /> that the aggrieved author would receive damages.<br /> A few such actions would do invaluable service to<br /> literature (both to authors and to readers) by<br /> rendering reviewers and critics careful to make<br /> their remarks appropriately fair and honest, and<br /> by frightening them from presuming to lay down<br /> the law concerning subjects of which they are<br /> utterly ignorant.<br /> <br /> VIII.<br /> AMERICAN CopyricHt In New EDITIONS.<br /> <br /> In response to your correspondent’s inquiry<br /> respecting the power of copyrighting a new and<br /> amended edition of an English book which, in<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE ._ AUTHOR.<br /> <br /> its original form, has been pirated in America<br /> previous to the passing of the Act of 1891, I<br /> venture to express the belief that the provisions<br /> of the statute sufficiently cover such a case.<br /> <br /> The words of the Act (clause 5) are these:<br /> “The proprietor of every copyright book, or<br /> other article, shall deliver at the office of the<br /> librarian of Congress a copy of every<br /> subsequent edition where any substantial<br /> changes shall be made: Provided, h wever, that<br /> the alterations, revisions, and additions made to<br /> books by foreign authors, heretofore published, of<br /> which new editions shall appear subsequently to<br /> the taking effect of this Act. shall be held and<br /> deemed capable of being copyrighted as above pro-<br /> vided for in this Act, unless they form a part of<br /> the series in course of publication at the time<br /> this Act shall take effect.” Apam W. Brack.<br /> <br /> <br /> <br /> 2ecs<br /> <br /> VICTORY.<br /> <br /> <br /> <br /> With all his soul he loves her still,<br /> His soul is master of his will;<br /> <br /> He loves too well to work her ill!<br /> Just for a glance from those rare eyes<br /> Wherein such subtle magic lies<br /> <br /> Fain would he forfeit Paradise !<br /> <br /> Just for a coil of that bright hair<br /> That sweeps her brow—a golden snare—<br /> The darkest peril he would dare.<br /> <br /> Just for one pressure of those lips,<br /> Whence bees might take their sweetest sips,<br /> Fain would he suffer Life’s eclipse.<br /> <br /> And yet this yearning—this desire<br /> To hold her—this consuming fire<br /> Is kept in thrall by something higher!<br /> <br /> That which he has of the Divine<br /> Within him, doth his soul incline<br /> <br /> To say: “I may not make her mine!”<br /> She loves him next to God—she deems<br /> Her Love the Hero that he seems;<br /> <br /> At night he comes to her in dreams.<br /> Her virgin breast is all aglow<br /> <br /> With purity he cannot know,<br /> <br /> So he will nobly let her go!<br /> <br /> One stormy eve he steals away,<br /> <br /> Victorious in the bloodless fray ;<br /> He passes with the passing day.<br /> <br /> His agony he may not tell,<br /> Even to her—his Christabel—<br /> He leaves a tenderest farewell.<br /> She, like a bird with broken wing,<br /> Will creep apart—a stricken thing—<br /> For Life has nothing more to bring!<br /> She in a convent’s holy calm<br /> For her deep wound will find a balm ;<br /> Above he’ll wear the Victor’s Palm !<br /> F. B. DovEToN.<br /> <br /> 279<br /> <br /> “VERY INACCURATE AND VERY<br /> UNRELIABLE.”<br /> <br /> TR. HEINEMANN, in the Atheneum of<br /> IN Dec. 3, 1892, labels the handbooks of<br /> the Society of Authors as “ very inac-<br /> <br /> curate and very unreliable.’”’” May I point out<br /> that the epithets have been unduly bestowed ?<br /> <br /> <br /> <br /> Literature and the Pension List-——The author<br /> said in his preface: ‘‘I have reprinted verbatim<br /> the official lists of pensions from the commence-<br /> ment, with the reasons assigned for each ap-<br /> pointment and the amount.”’ Does Mr. Heine-<br /> mann mean that he disbelieves this? Or does he<br /> mean that the official lists were, in his opinion,<br /> “very inaccurate and very unreliable.”<br /> <br /> La Société des Gens de Lettres—The facts<br /> concerning the French institution were derived<br /> from their own papers, courteously supplied to<br /> our delegates by their officials. Mr. Edmund<br /> Gosse who had previously written on our sister<br /> association in the Nineteenth Century, kindly<br /> allowed the Author to quote from his article, and<br /> read the proofs. Is it the translation that Mr.<br /> Heinemann mistrusts? Or some few anecdotes<br /> concerning certain eminent French authors? Or<br /> does he mean that the original prospectuses<br /> were, in his opinion, “ very inaccurate and very<br /> unreliable.’’<br /> <br /> The Methods of Publishing.--The author im-<br /> plied in the preface to the first edition, that all<br /> the documents used in illustration of the methods<br /> discussed were genume—real letters between<br /> authors and publishers, and real agreements<br /> under which publication took place, or, at any<br /> rate, was proposed. At the end of this book<br /> this is said. Does Mr. Heinemann mean that he<br /> disbelieves it? 1 can think of no other way in<br /> which the book could be “very inaccurate and<br /> very unreliable,” and hasten to assure the Society,<br /> for whom and at whose expense the work was<br /> done, that what I said was true.<br /> <br /> The Cost of Production.The preliminary<br /> statement of the compilers ran—‘‘the estimates<br /> here contained have been carefully prepared for<br /> the society and examined by three first-class firms<br /> of printers.”” Does Mr. Heinemann mean that<br /> he disbelieves this? Or does he mean that all<br /> first-class printers are ‘‘ very inaccurate and very<br /> unreliable.” Surely neither! Surely he means<br /> that he finds that, in detail, some of our figures<br /> do not agree with some of his. That is not a<br /> sufficient reason for miscalling our pamphlet. Our<br /> own printers did not agree in their separate esti-<br /> mates in any singledetail; while the wages of<br /> <br /> <br /> <br /> <br /> SIE SIA<br /> <br /> <br /> <br /> 5<br /> re:<br /> i<br /> <br /> a<br /> <br /> eo<br /> <br /> <br /> <br /> THE<br /> <br /> <br /> <br /> <br /> 280<br /> <br /> those engaged in the different branches of trade<br /> are subject to constant fluctuation, entailing a<br /> constant alteration in prices. The work gives the<br /> average cost of works of ordinary shape and<br /> style. It pretends to do no more, and the fact<br /> that here and there 15 per cent. above or below its<br /> figures may be paid does not affect its utility.<br /> These estimates do not include the publishers’ work-<br /> ing expenses. This omission Mr. Heinemann finds<br /> “ deliciousinits airiness.” No. Those expenses are<br /> not included. Nor is the cost of the author’s pens,<br /> nor his stationer’s bill, nor his type-writer’s bill, nor<br /> any bill that is his. Mr. Heinemann has not had<br /> leisure to read the introductory chapter to the<br /> handbook that he finds “ very inaccurate and very<br /> unreliable, or he would understand that both sets<br /> of omission are legitimate.<br /> <br /> While I feel hound to object to the adjectives<br /> thit Mr. Heinemann has employed towards one<br /> section of our work, I should be churlish indeed<br /> if I did not recognise the friendship of his<br /> other remarks about the Society of Authors.<br /> <br /> S. S. Spriece.<br /> <br /> THE “AUTHOR” AND THE “BOOKSELLER.”<br /> <br /> ————— &gt;<br /> <br /> HE following is from the New Vork Tribune<br /> (Nov. 24, 1892):<br /> <br /> Other points occur, but let us come at once to the main<br /> point, which is this. I give it in the form of a quotation<br /> from the Bookseller :<br /> <br /> “The driving of hard bargains with authors, or debiting<br /> their accounts with excessive charges, are, no doubt,<br /> matters of which there are occasional reasons to complain;<br /> but such practices are a long way short of fraudulent,<br /> although we fully admit they are not what is expected from<br /> members of an honourable calling.”<br /> <br /> Mr. Besant’s reply is that these and other frauds were<br /> common, very common, deplorably common, until the Society<br /> of Authors put a stop to them in so many cases. They<br /> would again flourish, he thinks, if the Society were to relax<br /> its efforts. Then, with reference to the contention of the<br /> publisher’s organ, that “‘debiting accounts with excessive<br /> charges,” is a practice “a long way short of fraudulent,”<br /> Mr. Besant says with energy :<br /> <br /> “Does the writer know the meaning of words? Why.<br /> what does a common pickpocket or shoplifter do, when he<br /> steals anything he can lay his hands on, worse than a pub-<br /> lisher who pays £60 for printing a book, and sends in an<br /> account stating that he has paid £80? Nota fraud? Then<br /> is stealing not a fraud; and lying is truth; and vice is<br /> virtue.”<br /> <br /> This is language well calculated to add to the irritation<br /> of the publisher who has been guilty of the fraud which Mr.<br /> Besant denounces. But the question is, not whether Mr.<br /> Besant is irritating, but whether his description is a true<br /> description. That is a question which can be answered<br /> without much _ technical knowledge. An elementary<br /> <br /> AUTHOR.<br /> <br /> acquaintance with Exodus XX., 15, is all that is wanted for<br /> the outside, non-publishing, world.<br /> <br /> But the publishing view is a thing apart. We have all<br /> heard of that magic phrase, “custom of the trade,” and<br /> know how much it has been made to cover. There is, id<br /> apprehend, no doubt that the publisher’s practice of paying<br /> one sum, and telling the author he had paid another and<br /> larger sum, and putting into his own pocket the difference<br /> expressed by the lie, was at one time a custom of the trade,<br /> or of some part of the trade. It was decently covered up<br /> under the phrase “ discounts,” and upon the plea that what<br /> passed between the publisher and his printer, or paper<br /> maker, or advertising agent, did not concern the author.<br /> <br /> Let us admit, for civility’s sake, that this particular<br /> custom of the trade is a thing of the past. What one<br /> would like to know is whether it is still upheld and<br /> defended, even if no longer practised, by any of those who<br /> formerly profited by it. I turned to the current number of<br /> the Bookseller. The answer is not there; only a short<br /> paragraph explaining that the Awthor—published on<br /> Nov. 1—came out too late to be answered in the Bookseller—<br /> published on the 8th. But there is an answer, exclaims the<br /> publisher’s editor, and it will be forthcoming. We shall<br /> have to wait for it, but it must be well worth waiting for,<br /> if it be something better than the hoary and threadbare and<br /> impudent excuse, so often heard before, which I have<br /> summarised above.<br /> <br /> A REJECTED AUTHOR.<br /> <br /> <br /> <br /> their marriage.<br /> <br /> He was a young gentleman with some<br /> brains (which she admired), and no profession,<br /> and she was a young lady with some beauty<br /> (which he admired), and no dowry. So they<br /> married, and ran the household on the brains<br /> and the beauty (and the mutual admiration),<br /> together with a slender stock of ready-money, and<br /> agreed that the world was very blind when it<br /> estimated such unions as imprudent, having<br /> regard to the acute happiness that was attending<br /> their venture.<br /> <br /> And in the first year they spent the ready-<br /> money. The second year, though not without<br /> its thorns, still yielded them many gallant ¢ r-<br /> lands of roses. For one thing, Mr. Bayard, the<br /> eminent publisher, accepted what our author<br /> irreverently termed a shocker, for his ‘Detective<br /> Series,” and promised to find the round sum of<br /> fifty pounds for it upon publication. Again, though<br /> they were poor, they found that their plight was<br /> not without its pleasant side. For there was<br /> romantic novelty in the actual want of money,<br /> and keen delight in obtaining it—perhaps unex-<br /> pectedly—when need was urgent. Moreover,<br /> the necessity of procuring credit made demands<br /> upon their ingenuity, and much merriment<br /> would follow, as they rallied each other<br /> over the success or failure of their little<br /> <br /> i was the beginning of the third year of<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> plots. And this bright fortitude under privation<br /> was itself a source of pleasure to them; for he<br /> was led by it to picture himself leading the real<br /> vie de Bohéme in a manner that would have done<br /> credit to Murger’s rollicking heroes (he was<br /> given to French romance); while she felt that<br /> she was facing a harsh world unrepiningly, side<br /> by side with her choice for better or for worse<br /> (and she was addicted to the penny serial).<br /> <br /> And hope yielded them some joys. For during<br /> their year of prosperity, he had written his great<br /> book—-and when we mention it by name, all<br /> necessity for alluding to its author by more<br /> distinct appellative than a pronoun is gone. For<br /> has not the world welcomed “The Hill of<br /> Tilusion 2” I[t contains jou morbid psychology,<br /> social theories, religious discussions, two new<br /> crimes, and some elegant versicles. Its main<br /> interest centres in an unmentionable problem of<br /> heredity. And what more can we moderns want ?<br /> But alas for the sanguine expectations of the<br /> young pair! ‘“ The Hill of Illusion,” at the time<br /> <br /> that it was written, failed to find a pub-<br /> lisher on its own obvious and now admitted<br /> merits. With one firm it remained three months,<br /> <br /> and with another six hours. Some read it, and<br /> some did not. Some returned it unopened, and<br /> one lost it fora time. But the result was always<br /> the same—rejection. During the second year<br /> of its anthor’s married lite, to his humiliation<br /> and to the damage of its fairly-written pages,<br /> this masterpiece was ever on a circular tour.<br /> <br /> Thus it will be seen that we find them in a<br /> sufficiently gloomy plight. For, indeed, the luck-<br /> less couple were more than ordinarily bankrupt.<br /> Brains, beauty, and a little money had been<br /> their sto:k at starting. The money had at least<br /> been indubitable, and it was gone. But what of<br /> their other capital? What of the causes of<br /> mutualadmiration? Could she still believe in his<br /> brains, when he could find no practical believer<br /> else? He feared not. And could he still be<br /> enthralled by her be auty—could life, however<br /> mean and worrying, if spent with her, still and<br /> always be glorious to him? When she noted his<br /> weary, woody face, she feared not.<br /> <br /> “¢ (est ’amour, l’amour, l’amour,<br /> Qui du monde fait la ronde.’<br /> <br /> Do you know that, my dear? ”’ said he, draw-<br /> ing her towards him, and throwing his arm<br /> round her.<br /> <br /> “JT don’t,” said she, “ because I don’t under-<br /> stand what it means.”<br /> <br /> ‘« Well,” said he, “ it means just this” (examin-<br /> ing a scrawl of figures that he held between his<br /> <br /> VOL. Ill.<br /> <br /> AUTHOR.<br /> <br /> 281<br /> <br /> fingers), ‘‘ that to-day we are penniless, that to-<br /> morrow we receive fifty pounds from that noble<br /> fellow Bayard, that to-morrow we must pay away<br /> at least fifty-four pounds, and that, until we get<br /> some more money from somewhere, we shall have<br /> to subsist off love ae<br /> <br /> “Tt means a good deal,” said she.<br /> <br /> “To gubsist off love, the love that makes the<br /> world go round,” he continued. “S rely such<br /> a power can keep our wheels going round, till<br /> another cheque winds us up again. That’s what<br /> it means.”<br /> <br /> “But you don’t want to spend the whole of<br /> that money at once in paying people? ”’ said<br /> she.<br /> <br /> “Dearest! Why ask me that question? 7 Ae<br /> replied. ‘‘ Of course not. I don’t want to pay<br /> anyone anything at anytime. But it happens<br /> that if I do not pay that much immediately<br /> sordid creditors will remove our possessions,” and<br /> he swept a lean hand comprehensively round the<br /> sparsely furnished little room. ‘‘ We must pay,<br /> we must pay, and worry along as before, till we<br /> cet some more.” He felt her tremble. “ Why,<br /> it will all come right in time,” said he. “ Trust<br /> me, trust me, if you can.” But before he could<br /> support her she was down on the floor, with her<br /> head in his lap, and between her sobs he caught<br /> her words, being helped to their comprehension<br /> by his intuition.<br /> <br /> “ Must they for ever go on like this ? Would<br /> they never be out of debt? Would they never<br /> have enough to eat, and perhaps a few shillngs<br /> over to spend on anything they wished, especially<br /> on what was unnecessary? How long must they<br /> live in this terrible shabby little Inn, where all<br /> were fighting for their bread ; where no one could<br /> afford to be respectable, and but few could afford<br /> to be honest? Perhaps she was a burden to<br /> him? Had she not better go back home?<br /> Could he go on loving her? Did he feel quite<br /> certain—quite, guite certain— that she would<br /> always love him, even if he continued to fail?”<br /> <br /> “That&#039;s a very shrewd question,” said he,<br /> when the storm had passed. ‘‘A very shrewd<br /> question ! failure.<br /> <br /> <br /> <br /> Yet, believe me, ’m not a<br /> I receive fifty pounds to-morrow from a creat<br /> publisher.”<br /> <br /> “Qh!” said she, “I didn’t mean allI said, and,<br /> of course, dear, you will succeed. And « h!” she<br /> repeated, “it’s weary work waiting, and fifty<br /> pounds isn’t much for a year’s work.”<br /> <br /> “Tt isn’t,” he asserted cordially. “ But let us<br /> be just. The thing only took two months to<br /> scribble, and isn’t really worth a penny more than<br /> I am going to receive. Now,” and he touched<br /> with a caressing hand a dirty heap of paper on<br /> his desk, “here is a year’s work and two years’<br /> Z<br /> <br /> <br />  <br /> <br /> 282<br /> <br /> <br /> <br /> thought, and the outcome of ten years’ observa-<br /> tion, yet no one will look at it. But I’m nota<br /> failure.” And he patted the luckless manuscript.<br /> “Tm not a failure while I can show this.”<br /> <br /> “ Of course xot, dearest,” she assented.<br /> <br /> “You&#039;re good, that’s what you are—good,”<br /> he continued, running his eye over a page<br /> here and there, ‘Yet, because you are uncon-<br /> ventional, because you are not improving, no one<br /> will have anything to say to you. Why, if you<br /> were the work of a man who had made his name,<br /> you might be worth a thousand pounds. And I,<br /> your owner, stand here ready to commit all crime<br /> fora poor fifty.”<br /> <br /> “But,” said she, “ Your novel that is coming<br /> out to-morrow may make your name; and then<br /> you can sell this for a lot of money.”<br /> <br /> “ That rot will do me no good,” hereplied. “It<br /> may sell, but no one will want to hear more from<br /> itsauthor. And, quite right, too!”<br /> <br /> “T think it’s such-a jolly story,” said she, with<br /> a consoling air.<br /> <br /> “Tt seems absurd,” he continued, disregarding<br /> her amiable criticism, ‘ that Ido not know how<br /> to get fifty pounds. I must be a very futile<br /> person. JI am crammed with knowledge. Iam a<br /> student of human nature. I have ingenuity and<br /> invention, I am versatile and venturesome. And<br /> 1 can’t get fifty prounds. The world is full of<br /> dull dogs who make their tens of thousands, and<br /> I cannot make my daily bread! Oh ! it’s absurd.<br /> Iam hungry. My wife is hungry. I can’t get<br /> fifty pounds, and yet I am as immoral as Mrs.<br /> Grundy would have a literary person.”<br /> <br /> “ Don’t talk like that,” said she.<br /> <br /> ‘ IT think,” he answered, “that it is only my<br /> playful way. And yet—and yet—No! No! NO!<br /> It isn’t play! It’s earnest! I have an idea, and<br /> by - Here! give me some paper! Some<br /> string! Quick !’’ And he sprang from his seat<br /> holding the manuscript in his hands.<br /> <br /> But she thought lightly of any idea, however<br /> energetically introduced, that purposed to deal<br /> with that luckless work. “ Where are you taking<br /> it?’ she asked languidly.<br /> <br /> “To Bayard.”<br /> <br /> “ But it has been there.”<br /> <br /> “Been there ! Why, of course it has been there.<br /> There isn’t a publisher in London who hasn’t<br /> had his chance of achieving repute as a sagacious<br /> critic, and money as an astute tradesman, by<br /> issuing this book. I have made no invidious<br /> distinctions, as you know. They’ve all had it, and<br /> they’ve all rejected it uncompromisingly—save<br /> some people who wanted a hundred and fifty<br /> pounds down for publishing it. They alone<br /> thought it a work of genius, and their reader<br /> wrote to me to that effect, and, if I remember<br /> <br /> <br /> <br /> <br /> <br /> THK AUTHOR.<br /> <br /> right, hespelt Genius with a J. But it’s going<br /> to Bayard again, and, what is more, it will stick<br /> there, and, what is still more, it will be paid for<br /> at once. The paper and the string !”<br /> <br /> On his return he wrote to half-a-dozeu friends,<br /> and made no further allusion to his design, save<br /> that over his evening tea he gave his wife<br /> the sinister toast of ‘“‘ Here’s to crime!”<br /> <br /> * * * * * * *<br /> <br /> The followmg morning the detective story<br /> duly appeared, in proof of which Mr. Bayard’s<br /> cheque arrived. And hard on this there came<br /> six gentlemen of the author’s acquaintance in<br /> response to his letters.<br /> <br /> ‘““Comrades,” said the author, “you are very<br /> welcome. May I take it for granted that not<br /> one of you has anything to do that is likely<br /> to bring him in ten shillings? Encouraged<br /> by your silence I venture, then, to hire three<br /> of you, at that price, to aid me in crime. The<br /> other three of you, being notoriously wealthy,<br /> will assist for nothing. Here is a map of London,<br /> The districts that I have chalked are rich in<br /> booksellers. | This morning the literary world<br /> was convulsed at the appearance of a new novel—<br /> by me. I want the agony kept up a bit. I want<br /> you fellows to choose a district each, and go and<br /> worry for that book. I want you to get on<br /> *buses and fall to talking ab ut the excellencies of<br /> the work. I want you to have accidental inter-<br /> views with each other in book-shops, and urge<br /> each other to buy the book without delay. I<br /> want you to make as much silly racket as you<br /> know how. Lastly, each of you will order fifty<br /> copies—at different shops, of course, It will not<br /> be in stock anywhere, so you will say you will call<br /> to-morrow for them. But you need not—unless<br /> you like.”<br /> <br /> “Tt’s a new fake,” said a very dingy-looking<br /> man, without removing his pipe, “ But it won&#039;t<br /> wash.”’<br /> <br /> “Ah! but you&#039;ll help us all the same,” said<br /> the novelist’s wife, with suavity. “For, after all,<br /> lots of nice things don’t wash.”<br /> <br /> ”<br /> <br /> * * * * * * *<br /> <br /> Two days later the author stood in Mr.<br /> Bayard’s office, and waited his turn to see the<br /> great man. His only weapon was a letter from a<br /> well-known firm, declining the privilege of reading<br /> his novel. He looked about him, believing that<br /> he should detect something in his reception that<br /> might help him to a guess at the success that<br /> was to be his, but apparently no ripple from the<br /> little storm that had been raised in book-land had<br /> reached this haven of rest and procrastination.<br /> He waited. He waited longer even than usual,<br /> for Mr. Bayard believed that the author, having<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> heard that his novel had caused some excitement,<br /> had come to ask for more money on the strength<br /> of his success, and Mr. Bayard was a man of<br /> proper spirit, and disliked begging. At last he<br /> was admitted, and dispelled the frowns from the<br /> forehead of his publisher by saying that he had<br /> eome about another book.<br /> <br /> “T don’t think,” said Mr. Bayard, who was not<br /> the man to spoil his own market by any useless<br /> congratulation, ‘that we shall see our way to<br /> bringing out anything more from your pen<br /> just at present. We must wait and see how the<br /> other goes.”<br /> <br /> “Quite so,” said the author with cheerfulness,<br /> “Quite so. In fact that suits me altogether, and<br /> T’ve come to ask if you&#039;ll let me have my manu-<br /> script back.”<br /> <br /> « What manuscript?”<br /> <br /> “The one you have. One I sent ina few days<br /> ago.”<br /> <br /> “Oh! have we one ?” said Mr. Bayard, loftily.<br /> “Tn that case, better leave it Better leave it,<br /> and we&#039;ll report on it in due course, and” (with<br /> an air of handsome concession) “very likely<br /> publish it.” :<br /> <br /> “You&#039;re very good,” said the author, but I<br /> think I&#039;ll take it away, that is if you don’t mind.”<br /> And the mendacious one contrived to look the<br /> picture of mental distress.<br /> <br /> “ We don’t mind,” said Mr. Bayard, “ but you<br /> are ili-advised? What are you going to do with<br /> Lr”<br /> <br /> “You see,’ said the author shamelessly, ‘‘ I’ve<br /> had a letter from Gordon Washington and Co.,<br /> asking me to send them a novel if I had one ready.<br /> And the one I sent here two days ago happens to<br /> be the only one I have ready. I know you don’t<br /> mind giving it back to me, as you only took<br /> the detective story as a favour to me; I<br /> remember you told me that, and I thought it<br /> so awfully good of you. Gordon’s people say they<br /> will bring my book out in America simultaneously<br /> if they like it.”<br /> <br /> “Come, now, won’t you sit down,’ said Mr.<br /> Bayard. ‘Just sit down and hear a word of<br /> advice from an old hand. Don’t you be in a<br /> hurry. Nothing looks so bad in a young author<br /> as constantly changing his publisher. It looks so<br /> fanciful! So cantankerous! It looks as if he was<br /> one of those vain fidgetty fellows that can’t wait<br /> for his reward. And, another thing, it does look<br /> so cursedly ungrateful. I wonder you are not<br /> ashamed to come to me in this way.”<br /> <br /> “Why, so I am,” said the author, “ more<br /> ashamed than you can guess. But you see<br /> Gordon and Washington will bring out the book<br /> ome they like it, and, if they like it,<br /> will__—<br /> <br /> AUTHOR. 283<br /> <br /> “ @o on,” said Mr. Bayard, ‘be frank, always<br /> be frank. Goon! You&#039;ve seen them, and they&#039;ll<br /> pay you more than I have paid you. Go on.”<br /> <br /> “ Weil,” said the disingenuous one, drawing<br /> from his pocket the envelope marked with the<br /> conspicuous chiffre of the great Anglo-American<br /> firm, ‘‘ you see their letter is marked private, but<br /> I think there is no doubt that they will do so.<br /> In fact, if you saw this letter, you would be sur-<br /> prised.”<br /> <br /> “ Now see the ingratitude of that !’’ exclaimed<br /> Mr. Bayard. “How did they hear of you?<br /> Because we have published your book, and as<br /> that has been a bit of a success, you want to run<br /> off to someone else to get a higher price.”<br /> <br /> “But how was 1 to know that it had been a<br /> success. Has it?”<br /> <br /> «“ Ah! well,” said Mr. Bayard, “it’s a little<br /> early to say that yet.”<br /> <br /> “Tt is,’ agreed the author.<br /> <br /> “But I thought, when I read it, that it had<br /> merit,” said Mr. Bayard.<br /> <br /> « And so you published it—as a favour to me.”<br /> <br /> “That&#039;s it. I’ve always felt kindly towards<br /> you since you first came to my office. And now<br /> you want to go to somebody else. Better come to<br /> us, and see if we can’t manage it for you. Now,<br /> let’s see, what is it you want? How long’s the<br /> book?” And Mr. Bayard grinned.<br /> <br /> So the author’s fraud was successful, and ina<br /> few minutes Mr. Bayard opened his cheque book<br /> and wound up the conference.<br /> <br /> “Fifty pounds now,” said he, “‘and another fifty<br /> if I sell ‘more than one edition in the three-volume<br /> form, and a penny in the shilling on all cheaper<br /> issues. No need for an agreement. I’m a man<br /> of my word. And there isn’t another man in<br /> London would have done it for you.”<br /> <br /> “ Don’t cross the cheque,” said the author,<br /> <br /> ‘Not another man,” continued Mr. Bayard,<br /> “not another man, before seeing the manuscript.<br /> But I like you, and I like your stories. I can feel<br /> safe about you. I’m sure there’s no beastly<br /> character-analysis, and sociology, and rubbishy<br /> poetry in your book, Stick to good healthy<br /> stories, my lad, with lots of plot, and a happy<br /> ending. They’re business. Here you are, and<br /> uncrossed. Want to cash it at once and spend it<br /> this afternoon, eh? Lightly made, lightly spent,<br /> eh? Ah, improvident! improvident!” Here<br /> Mr. Bayard wagged his head. “ And come to us<br /> first another time when you&#039;ve anything to sell.<br /> Eh? won&#039;t you?”<br /> <br /> ”<br /> <br /> “Tm a novelist,” said the fraudulent person to<br /> his wife when he reached home with the cash,<br /> “and [ wish to conform to my knowledge of life.<br /> <br /> <br />  <br /> <br /> 284<br /> <br /> <br /> <br /> When people frisk the till, I note that they<br /> always go to B:ighton to spend their ill-gotten<br /> gains. Let us go to Brighton. Are you ashamed<br /> of me?”<br /> <br /> “Not a bit!” said she, stoutly.<br /> <br /> “JT don’t know that I am much ashamed. of<br /> myself,” said he. ‘I’ve sold a book for fifty<br /> pounds that I honestly believe to be worth five<br /> times the money, and I believe that the agree-<br /> ment was dispensed with that I might be robbed<br /> with impunity, if necessary. When those books<br /> come back to my friend Bayard from the book-<br /> sellers, of course he’ll howl, and feel cheated. And<br /> when he finds out what sort of thing he has<br /> bought, he will howl louder. But he’ll shove it<br /> along all the same, and all the merrier, to get his<br /> money back. He won’tlose. If I was not quite<br /> certain that he will know how to avoid that, I<br /> might be more inclined to blush. And, if I know<br /> good work at all, and am not an egotistical ass, I<br /> shall have no bother in placing my next book.<br /> No, I’m not a bit ashamed. I ought to be, but<br /> I’m not. Kiss me, dearest.” O. J.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> WRITER in the Daily Chronicle of the<br /> A 19th Dec. 1892, asks two questions.<br /> <br /> (1) What voice the 800 and odd mem-<br /> bers have in the election of the chairman of com-<br /> mittee ?<br /> <br /> (2) What the Society is going to do for the<br /> writers who live from hand to mouth, and are<br /> the prey of every sweater ?<br /> <br /> <br /> <br /> The answer to the first question is—‘‘ None.”<br /> The members have no voice at all in the election of<br /> a chairman of committee. In all committees the<br /> chairman is chosen by the committee, unless there<br /> is an official chairman of the company. We have<br /> a president, elected by the council; a council<br /> which elects its own members; a committee<br /> elected by the council; a chairman of committee<br /> elected by the members of the committee. The<br /> government of the Society is distinctly and<br /> frankly oligarchic. Whe her it should continue<br /> so in the future is a question for discussion.<br /> Meantime, in the pursuit of the policy of throwing<br /> light—and more light—always more light—upon<br /> all matters connected with literary property—<br /> which has chiefly occupied the Society up to the<br /> present—the present form of government is, I am<br /> convinced, the best possible. Considering the<br /> <br /> natural ignorance of most members on the whole<br /> subject, the intervention of the vote of those who<br /> <br /> THE AUTHOR.<br /> <br /> had not studied it at all might have been fatal at<br /> the outset. :<br /> 2. What will the Society do for those who live<br /> <br /> from hand to mouth, and are, therefore, continu- -<br /> <br /> ally sweated ?<br /> <br /> The writer says that he would like to see a<br /> separate Society formed for their benefit. But<br /> that would only be to shift the burden from one<br /> set of shoulders to another.<br /> <br /> It is, in fact, a dreadful burden. It is the<br /> burden of the needle-woman ; it is the burden of<br /> the tram and ’bus servants; it is the burden of all<br /> labour which is not organised.<br /> <br /> Can we organise, or devise, anything for the<br /> improvement of the position of these writers?<br /> Suppose we had such an organisation. Suppose<br /> we were to inform the committee of the Society<br /> for Promoting Christian Knowledge for instance,<br /> referring them once more to the Author of July<br /> 1890, that we will not let our members accept<br /> £12 for a book of which they will sell 6000<br /> copies; can we be sure that some one else, outside<br /> the Society, will not step in and take the money?<br /> <br /> There are two ways of helping the sweated<br /> worker in any branch of labour:<br /> <br /> (1.) The first is to publish everywhere and<br /> continually—to keep harping upon it, so that<br /> people cannot forget it—the treatment to which<br /> he is subjected. In this way public feeling is<br /> awakened and kept alive.<br /> <br /> (2.) The second is to form a union, and to<br /> make everybody in that branch of work feel that<br /> they must join it. But this union must be known<br /> to exist for the sole purpose of ensuring justice and<br /> enforcing honesty.<br /> <br /> Can the Society become the centre of such an<br /> organisation? It could, but as yet, I fear, the<br /> professional spirit is too weak; there is too much<br /> jealousy.<br /> <br /> Perhaps the writer of the letter will put himself<br /> in communication with the editor of this Journal.<br /> <br /> <br /> <br /> ——<br /> <br /> There is hope for the great army of the rejected.<br /> There is going to be published from a London<br /> office, a weekly journal—price to be one penny<br /> —which will mainly consist of MSS. that has<br /> been refused by the editors of other journals,<br /> which may yet be worthy of publication.<br /> The rate of pay will be 5s. per column.<br /> It is not much, but for the rejected it will be<br /> some solatium. It is probable that the immense<br /> popularity of the journal will cause all other<br /> editors— or rejectors—to cast themselves from a<br /> high place into the sea,<br /> <br /> <br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> A correspondent writes: ‘ Why have you not<br /> recorded the fact that Mr. Wilbam Black is at<br /> his best in ‘ Wolfenberg ’—his very best?’ Why<br /> indeed, except that old friends are sometimes<br /> taken for granted. One says, “ Dear me! Here’s<br /> a new man! and he is actually good !” and when<br /> the old friend comes along, one welcomes him<br /> kindly, but makes no remarks. The old friend ? of<br /> course he is good.<br /> <br /> <br /> <br /> Mr. R. B. Marston (Samps -n Low and Co.),<br /> writes to the Times (Dec. 19, 1892) about<br /> American spelling. His firm has brought outa<br /> book in which the language is beautified by<br /> Americanism in spelling. The book is, of course,<br /> printed from plates. Mr. Marston asks why<br /> sixty millions of people should not choose their<br /> own spelling? Why not, indeed ? The question<br /> is, why should not we be suffered to choose our<br /> own spelling? Time was when we all declared<br /> unanimously that we would not tolerate the<br /> American spelling in this country. We shall see<br /> whether that good resolution will hold. Mean-<br /> time, I wonder how many people would unite<br /> in resolving never to buy any book with the<br /> American spelling ?<br /> <br /> Se RNS<br /> <br /> Great is the detective, especially in fiction! So<br /> great is he that a company is now forming for the<br /> express purpose of publishing the detective stories<br /> of a well-known writer in this branch of literature.<br /> The company will also start a sixpenny monthly<br /> to be called Dick Donovan&#039;s Journal, in<br /> which the chief feature will be detective stories<br /> told by the editor “ Dick Donovan.” There is to<br /> be a capital of £15,000, in shares of 41 each.<br /> <br /> <br /> <br /> It has been stated in the Pall Mall Gazette<br /> that a powerful association of French novelists<br /> has been formed for the protection of their<br /> interests. One had always supposed that the<br /> Société des Gens des Lettres was protecting the<br /> interests of all French authors. Can it be that<br /> we shall see the formation of separate branches<br /> of literature into separate unions? If so, one<br /> hopes that a central union will be always main-<br /> tained. The grievances of French novelists are<br /> stated to be, (1) that their books are sold at any<br /> price the publishers can get for them; and (2)<br /> that the latter print and sell more volumes than<br /> they account for.<br /> <br /> <br /> <br /> The Authors’ Club, of New York, is going to<br /> raise £5000 or 25,000 dols. for its purposes by a<br /> method which I fear would be impossible<br /> here. They are going to produce a volume<br /> <br /> AUTHOR.<br /> <br /> printed,<br /> style possible.<br /> 251 copies.<br /> <br /> illustrated in the<br /> The edition is to be limited to<br /> Tts contents are to consist of contri-<br /> <br /> bound, and<br /> <br /> 285<br /> <br /> best<br /> <br /> butions by about a hundred members of the club :<br /> these papers will never be reproduced elsewhere :<br /> <br /> each article in every co<br /> <br /> author.<br /> <br /> yy will be signed by the<br /> Each copy is to be priced at a hundred<br /> <br /> dollars, but the committee reserve the right of<br /> raising the price after the first hundred copies<br /> <br /> have been subscribed.<br /> <br /> Lastly, the MSS. are to<br /> <br /> be bound up in two or more volumes and sold to<br /> <br /> the highest bidder.<br /> following :<br /> <br /> Henry Abbey<br /> Felix Adler<br /> Henry M. Alden<br /> O. Cyrus Auringer<br /> Marian Benjamin<br /> Poultney Bigelow<br /> James Thompson Bixby<br /> Hjalmar Hjorth Boyesen<br /> Alexander Black<br /> John H. Boner<br /> Arthur Elmore Borthwick<br /> R. R. Bowker<br /> <br /> J. H. Bridge<br /> <br /> E. 8S. Brooks<br /> Noah Brooks<br /> <br /> W. M. Butler<br /> William Carey<br /> William Carleton<br /> Andrew Carnegie<br /> W. H. Carpenter<br /> Edward Cary<br /> <br /> J. D. Champlin<br /> L. V. Cheney<br /> <br /> W. C. Church<br /> <br /> “ Mark Twain”<br /> T. M. Cann<br /> <br /> A. J. Conant<br /> <br /> M. D. Antony<br /> <br /> T. L, De Vihne<br /> M. F. Egan<br /> <br /> i. Eggleston.<br /> <br /> G, C. Eggleston<br /> H. R. Elliot<br /> <br /> G. W. Elwanger<br /> W. D. Foulke<br /> <br /> H. Frederick<br /> <br /> W. H. Gibson<br /> <br /> R. W. Gilder<br /> <br /> D. C. Gilman<br /> Parke Godwin<br /> <br /> A. 8. Hardy<br /> <br /> H. Harland<br /> <br /> John Hay<br /> <br /> W. T. Henderson<br /> R. Hitchcock<br /> <br /> W. D. Howells<br /> Brinson Howard<br /> Lawrence Hulton<br /> Rossiter Johnson<br /> C. A. Kay<br /> <br /> W. L. Keese<br /> J.B. Kenyon<br /> <br /> Among the authors are the<br /> <br /> Leonard Kip<br /> <br /> J. Kirkland<br /> <br /> T. W. Knox<br /> H. E. Krehbill<br /> Seth Low<br /> <br /> W. Marned<br /> <br /> C. Lewis<br /> <br /> G. P. Lathrop<br /> Percival Lowell<br /> J. M. Ludlow<br /> H. W. Mabie<br /> A. Mathews<br /> Brander Matthews<br /> W.S. Mayo<br /> Theodore H. Mead<br /> E. W. Moore<br /> J. H. Morie<br /> <br /> C. L. Norton<br /> E. W. Nye<br /> <br /> B. F. O’Connor<br /> D. Osborne<br /> <br /> C. H. Phelps<br /> G. E. Pond<br /> <br /> H. Porter<br /> <br /> O. L. Proudfit<br /> G. L. Raymond<br /> T. Roosevelt<br /> Jonah Royce<br /> C. Scollard<br /> <br /> H. Q. Scudder<br /> R. H. Stoddard<br /> H. Seely<br /> <br /> J. L. Spalding<br /> M. Smith<br /> <br /> BH. C. Stedman<br /> W. J. Stillwall<br /> F.R. Stockton<br /> F. H. Stoddard<br /> O. 8. Straus<br /> <br /> S. H. Thayer<br /> D. G. Thompson<br /> H. Vandyke<br /> <br /> J. C. Vandyke<br /> E. 8. Van Zill<br /> W.S. Walsh<br /> W. H. Ward<br /> G. H. Waring<br /> C. D, Warner<br /> C. H. Webb<br /> <br /> C. G. Whiting<br /> F. H. Williams<br /> <br /> What would happen if, by such a method, our<br /> <br /> <br /> 286<br /> <br /> Authors’ Club were to try to raise £5000? Unless<br /> one is greatly mistaken, even with the help of the<br /> best hundred men of thisrealm of Great Britain<br /> and Ireland, the answer of the public would be<br /> that, for the MSS. they cared nothing, and<br /> for the things themselves they were content to<br /> wait until the papers appeared in the sixpenny<br /> magazines.<br /> <br /> &lt;&lt;<br /> <br /> A copy of the New York Times (Nov. 27, 1892)<br /> has been sent to me because it contains a curiously<br /> ignorant attack on this Society. It speaks of the<br /> Society’s “eager determination to secure better<br /> payment for all writing, good, bad, and indiffe-<br /> ent alike.” Now, the Society has never for one<br /> moment purposed or endeavoured to secure<br /> “better payment” for anybody, good or bad.<br /> The slightest acquaintance with the objects and<br /> work of the Society is enough to show that the<br /> question of “better payment” does not concern<br /> us at all. Our object is to ensure fair and<br /> equitable agreements—fair to both sides. The<br /> writer goes on to point out the dreadful results<br /> caused by our abominable work. Foremost among<br /> these results is a calculated estimate of 70,000 (!)<br /> MSS. of novels submitted every year to publishers.<br /> <br /> The figures appear to be reached by multiplying<br /> 2400, the number stated by a certain publisher<br /> to be annually submitted to him, by three and<br /> subtracting 2000—one knows not why. But is it<br /> the case that 2400 MS. novels are annually sub-<br /> <br /> mitted to any firm of publishers? From my<br /> own experience, and the evidence of publishers, I<br /> should say 300 was a figure nearer the mark.<br /> Now we print the paper again: “Surely it<br /> has only leaped to these terrible proportions<br /> since the trades-union notion was engrafted upon<br /> literature, and the idea was sown broadcast that<br /> everyone who was at the pains to write was some-<br /> how entitled to be paid something by somebody,<br /> and need only join an association to enforce that<br /> right.” Yes! But who has sown broadcast that<br /> idea? And what words ever uttered in any organ<br /> of our Society encouraged anybody to believe<br /> that he need only to write in order to get paid ?<br /> In these days of rapid journalism, when a volume<br /> has got to be filled somehow, the temptation is<br /> always pressing to set down things on report.<br /> But surely this writer might have perceived, with<br /> a moment’s reflection, that it was simply silly to<br /> credit the Society of Authors with anything so<br /> <br /> preposterous. Will he only be so very kind as to<br /> read our papers ?<br /> <br /> A correspondent calls attention to a curious<br /> point in minor morals. It is this: Mr. Thomas<br /> Hardy has long since applied for purposes of<br /> <br /> THE AUTHOR.<br /> <br /> fiction, and used in all his novels, the name of<br /> Wessex for certain districts which once formed<br /> part of the ancient kingdom of Wessex. Thus<br /> Dorsetshire in his books is South Wessex; Berk-<br /> shire is North Wessex ; Hants is Upper Wessex;<br /> and Dorsetshire is Lower Wessex. Again, his<br /> novels are always Tales of Wessex. Has any<br /> other person, then, the right to appropriate these<br /> names? ‘The correspon ent asks these questions<br /> apropos of a novel called ‘ Dark,’’ which was<br /> mentioned in the last number of the Author.<br /> Dark lived in a “typical North Wessex cottage,”<br /> Afterwards mention is made of a Berkshire farm,<br /> so that Mr. Hardy’s nomenclature is clearly<br /> intended and adopted. Is this quite fair?<br /> <br /> A correspondent calls attention to a paper<br /> published in the Western Daily Mercury, of<br /> which he gives a résumé. It is the old story,<br /> only rather more amusing. Those ladies who<br /> answer firms advertising for MSS. may take<br /> note.<br /> <br /> There are nine letters.<br /> <br /> Letters 1 and 2.— ‘Reader has reported<br /> favourably.” This reader always does. ‘ Pub-<br /> lishers are willing to undertake publication on<br /> ‘favourable terms.’’’ These publishers always<br /> are. Said ‘favourable terms,” that the lady is<br /> to pay £100 down and £60 on seeing the last<br /> proofs ; that they are to produce an edition of<br /> 500 copies of the novel in three vols. at 315. 6d.,<br /> and that the author is to have three-fourths of<br /> proceeds.<br /> <br /> Let us see. The novel would cost to produce<br /> about £120, without advertisement. Clear profit<br /> to the publisher of £40, without the sale of a single<br /> copy. The question of advertisements is left<br /> open. Obviously the author is intended to pay<br /> for them. Say she is charged £25 at a moderate<br /> estimate, and £5 for corrections. She pays,<br /> therefore, £190.<br /> <br /> If, say, 400 copies are sold at 13s. 6d. each,<br /> the sum realised would be £270; the author<br /> would receive £200; gain £10. The publisher<br /> would net about £130. Very good business, this.<br /> <br /> Letter 3.—In this they nobly reduced the pay- —<br /> ment to £120, Refused.<br /> <br /> Letter 4,—A new and brilliant idea. Author<br /> is to send up £5 15s., in return for which she is -<br /> to have 1000 circulars. She is to distribute them, —<br /> and as soon as she has got 75 subscribers at<br /> 31s. 6d. they will go on.<br /> <br /> As no one could possibly get 75 subscribers at —<br /> that absurd price, the idea seems to be limited<br /> to getting a profit on printing the circular.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Letters 5 and 6.—A reduction to £3 15s. for<br /> the circular.<br /> <br /> 7,—Further argument.<br /> <br /> 8,—Harking back to the advance of £80, and<br /> payment of £40 on seeing proofs.<br /> <br /> g and 10.—Repetition.<br /> <br /> The MS. has at last been returned to the lady.<br /> <br /> <br /> <br /> The calamity which has befallen William<br /> Watson is one that all of us must deeply deplore.<br /> We can only express, in the name of every one of<br /> us, our most earnest hope that he will be restored<br /> to the world, his faculties revived and his<br /> genius undimmed, very shortly.<br /> <br /> $e<br /> <br /> A new fashion is beginning—a fashion which<br /> promises to last long and to bring about many<br /> useful things, especially a demand for clear<br /> thought and dramatic presentation. JI mean the<br /> duologues or proverbes, or little dramas of two<br /> columns or so that some of the papers are now<br /> producing. For instance, in the Court Circular<br /> of Dec. 3—a paper which I seldom see, because<br /> neither my ways nor my friends are courtly—I<br /> found a most beautiful little duologue called<br /> “ Merely Players.”’ It is signed by “ Clara Savile<br /> Clarke.’ Nothing could be better or more telling.<br /> How much better is a short crisp little dramatic<br /> sketch, with a long and strong story imagined,<br /> than long columns of description with a short and<br /> weak story presented. Let us prophesy. The<br /> fashion for dramatic sketches will be followed by<br /> the power to produce them. That power will be<br /> followed by the power to produce plays. There<br /> are immense possibilities in the dramatic sketch.<br /> <br /> &lt;&lt; —<br /> <br /> The Critie contains a most tragic story of the<br /> late P. S. Gilmore, who died in Boston last<br /> month. He was, among other things, a com-<br /> poser of music, and he ardently longed to com-<br /> pose a national anthem which would take the<br /> place of “Hail Columbia” and the other well-<br /> known American National Anthem. He did<br /> compose that anthem—he called it ‘* Columbia ”’—<br /> and this is what he wrote about it :<br /> <br /> To be simply honest with you, I believe the Almighty has<br /> made me the humble messenger of the grandest national<br /> anthem, music and words, ever bestowed upon a people.<br /> You know the warmth of my enthusiasm when I am on fire ;<br /> but, great as the mountains were to climb in our jubilee<br /> days, it was a tremendous mental and physical strain to<br /> bring what would seem air castles to terra firma. The con-<br /> centrated essence, the germ, the diamond of a life’s Hercu-<br /> lean labour in the vineyard of music, has now taken the<br /> shape of an anthem for the nation. When you read the<br /> words you will see how the history of the nation is packed<br /> <br /> into forty lines, with a prayer added. It was born without<br /> a struggle, for it was the body coming forth to clothe the<br /> moral soul—the music, which came first into the world un-<br /> sought for, without an effort. In the early stages of the<br /> war I wrote a song for the nation, but the music was not<br /> heaven-born and consequently it pinedaway. Whatever may<br /> be said, of one thing I am satisfied, that a national song<br /> should be deduced from its history, and when you hear its<br /> music it will take instantaneous lodgment in your heart.<br /> May God bless you allis the heartfelt wish and prayer of<br /> yours truly and sincerely, P. 8. Gilmore.<br /> <br /> And yet, alas! the hymn was a failure.<br /> <br /> <br /> <br /> In the announcements of new books given in a<br /> certain number of the New York Critic it is<br /> interesting to notice that by Americ+n authors<br /> there are fourteen, by English authors there are<br /> thirteen, one French, one German, and one<br /> Dutch. In the list of ‘ Publications Received ”<br /> there are twenty-five English writers and twenty-<br /> three American. ‘These numbers, compared with<br /> those published in the Author a year ago, show<br /> a great increase in the proportion of American to<br /> British authors. This increase is bound to con-<br /> tinue if only on account of the International<br /> Copyright Act, whose first result must be the<br /> development of native American literature.<br /> <br /> A correspondent objects to the sweeping de-<br /> nunciation of the publications of the S.P.C.K.,<br /> quoted in the last number of the Author. But it<br /> was quoted as an opinion from a friendly quarter,<br /> not as our own opinion. Speaking for myself, I<br /> have constantly, in my most friendly remarks on<br /> that venerable and truly religious body, called<br /> attention to the dainty and delicate work given to<br /> the world by some of the ladies who have the<br /> great good fortune to write for it, and who love<br /> and venerate the large souled »nd honourable<br /> committee, and pray for them daily. It is the<br /> true spirit of living Religion that I have pointed<br /> out for admirition in the committee of the<br /> S.P.C.K —not the nature of the work that they<br /> produce.<br /> <br /> We have frequently advocated in these pages<br /> the employment of a literary agent by those<br /> authors who have already created some kind of<br /> public. We have to adda caution, of the greatest<br /> importance, against going to any agent not recom-<br /> mended by tbis Society, or by some personal<br /> friends who have had experience of his capability.<br /> Tt will easily be understood that a so-called agent<br /> may, if he be dishonest, serve only as another<br /> <br /> trap and danger for the wrecking of the author,<br /> 5 Dp<br /> <br /> <br />  <br /> <br /> 288 THE<br /> <br /> If the following is true, why do we not all turn<br /> publishers? For that matter a great many of us<br /> are crowding into the profession.<br /> <br /> ARTNERSHIP.— £2000 will secure share in high-class<br /> publishing business, active or sleeping. Above amount<br /> will return 30 per cent. per annum without risk. The<br /> business will stand the most searching inquiry, and only the<br /> highest references will be accepted and given.— Principals<br /> or their solicitors may address, in the first instance.<br /> London.<br /> An income of £600 a year, without risk, on the<br /> investment of £2000, and “active or sleeping” !<br /> <br /> <br /> <br /> There have been certain literary forgeries of just<br /> the old-fashioned kind in Edinburgh. The<br /> following is an account which recently appeared<br /> iu the Times :—<br /> <br /> In May, 1891, an Edinburgh collector had a public sale<br /> of his treasures, the most remarkable feature of which was<br /> the very low prices which they brought. In August last<br /> this same collector was rash enough to send to an Ayrshire<br /> paper copies of two autograph poems of Robert Burns, the<br /> originals of which he declared to have been in his possession<br /> for twenty-five years, and which had never been printed.<br /> One of these poems was entitled the ‘Poor Man’s Prayer,”<br /> and in the course of it Chatham was appealed to. The<br /> collector expressed the opinion that no one could read the<br /> verses without being convinced that they were the pro-<br /> duction of the national bard. I quote three of the verses in<br /> order that the ordinary reader, to say nothing of the<br /> literary critic, may be able to judge of the kind of stuff<br /> that is described as worthy of Robert Burns :<br /> <br /> Tur Poor Man’s PRAYER.<br /> Amidst the more important toils of state,<br /> The counsels labouring in thy patriot soil ;<br /> Though Europe from thy voice expect her fate,<br /> And thy keen glance extend from pole to pole,<br /> <br /> O Chatham, nursed in ancient virtue’s lore,<br /> <br /> To these sad strains incline a favouring ear,<br /> Think on the God whom thou and I adore,<br /> <br /> Nor turn unpitying from the poor man’s prayer.<br /> While I, contented with my homely cheer,<br /> <br /> Saw round my knees our prattling children play.<br /> And oft with pleased attention sat to hear,<br /> <br /> The little history of their idle day.<br /> <br /> But this is not merely a question of judgment; it is a<br /> question of fact. For Mr. George Stronach, one of the<br /> librarians of the Advocates’ Library, Edinburgh, has found,<br /> not only these verses, but a great many more of the same<br /> stamp, printed in the London Magazine for 1766. The<br /> verses are there described as “Hxtracts from‘ The Poor<br /> Man’s Prayer,’ addressed to the Earl of Chatham ; by Simon<br /> Hedge, labourer.” It might, of course, be argued that<br /> “ Simon Hedge” was a nom de plume of Robert Burns; but,<br /> unfortunately for this supposition, Burns was in 1766 a boy<br /> of seven years, and the notion of his “prattling children”<br /> playing round his knees at that ageis too absurd to need<br /> refutation. This discovery has giventhe coup de grace to the<br /> whole scheme of forgeries. With this failure all the other<br /> impostures of the same set necessarily assumes the same<br /> character.<br /> <br /> Water Busan.<br /> <br /> AUTHOR.<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 /> ETHICS OF CRITICISM,<br /> <br /> SS<br /> <br /> HE following notes arefrom a paper by Dr.<br /> A. Conan Doyle, published in the Morning<br /> Leader of Dec. 21:<br /> <br /> To review a book without having read it. as in the case of<br /> the reviewer who described Barrie’s “ Auld Lichts” asa<br /> volume of “very tolerable poetry,” is not criticism. It is<br /> obtaining money under false pretences.<br /> <br /> To review a book without cutting the leaves, by dipping<br /> into it here and there is not criticism. It is laziness.<br /> <br /> To review a book by writing a paragraph which repro-<br /> duces the plot of the book is not criticism. It is petty<br /> larceny.<br /> <br /> To hold a brief against a book, and to review it by pick-<br /> ing out every weak passage, and holding it up to ridicule<br /> without a word upon the other side, is not criticism. It is<br /> an aggravated assault.<br /> <br /> To review a book anonymously in several papers, so that<br /> it appears that all these papers have independently come<br /> to a conclusion, when really it is only one man who has<br /> done so, is not criticism. It is impersonation.<br /> <br /> But, in spite of all drawbacks, our critical Press is, I<br /> think, better than any other critical Press ; and if a man is<br /> blamed where he does not deserve it now and then, it is<br /> morally certain that he will also be praised where he does<br /> not deserve it occasionally; and so the balance is re-<br /> adjusted.<br /> <br /> A. Conan Doyur.<br /> <br /> coi aa<br /> <br /> <br /> <br /> AUTHORS, PUBLISHERS, AND REVIEWERS.<br /> <br /> ———— &gt;<br /> <br /> NHE results of some years’ experience in<br /> authorship and reviewing have led me to<br /> the following conclusions:<br /> <br /> It is not in any case advisable for a young<br /> author to leave the fate of a book entirely m the<br /> hands of a publisher. In the case of a book<br /> published on commission, such blind belief in the<br /> omniscient goodness of a publisher is fatal. In<br /> 1885 I paid for the production of 775 copies of a<br /> costly genealogical work. I have since ascer-—<br /> tained that several copies charged to me by the<br /> printer as copies sent for review were lost, and _<br /> five copies described as “library copies,” sent im _<br /> accordance with the Copyright Act, were lost<br /> also. In order to procure a belated notice in—<br /> two important magazines, I was obliged to send —<br /> second copies.<br /> <br /> Curious discoveries are frequently made by an<br /> author under process of review. ‘‘ The familia:<br /> friend whom he trusted” may appear in a new<br /> light, and the cloud which he dreaded may<br /> ‘burst in blessing.” The first and hardest hr<br /> I ever had from a reviewer came from one who<br /> had received a favour from me, and the kindlies<br /> ereetings were sent from sources altogethe<br /> unknown to me. One reviewer, who had not<br /> <br /> <br /> <br /> <br />  <br /> <br /> ty<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> received a copy, and could not obtain one on loan,<br /> was good enough to purchase the book for the<br /> purpose of annihilating it entirely in two columns<br /> of a sectarian newspaper. Unconsciously he did<br /> me a good turn. So did the Russian Scrutator.<br /> <br /> One book cost me £170 and three years’ hard<br /> labour, besides the labour of an assistant.<br /> Another book cost me £40, and no labour at all.<br /> The British public selected the last as the most<br /> valuable.<br /> <br /> It requires experience to be able to send out<br /> copies for review, and to compose and distribute<br /> advertisements judiciously, and when such experi-<br /> ence has been gained, the work is best done by<br /> the author—at least, that is my experience. As<br /> a reviewer IL know that I take more interest in a<br /> book sent directly to me with a little note from<br /> the author (which note is often an interesting<br /> reyelation of character) than I am apt to do if<br /> the same book arrives among a pile of others<br /> from the publisher.<br /> <br /> In the case of my third book, out of fifty<br /> copies sent for review, I obtained twenty-three<br /> reviews, and in addition to these, [ received seven<br /> notices from papers to which no review copies<br /> had been sent. Probably other notices appeared<br /> which I did not see, as my experience proves that<br /> even the eagle eye of a Press Cutting Agency<br /> has only a limited vision.<br /> <br /> I once obtained a most remarkable opportunity<br /> of blowing my own trumpet. The editor of a<br /> provincial weekly wrote to say that, as my book<br /> possessed a strong local interest, and he could<br /> not possibly find time to read it, would I kindly<br /> review it myself—any space up to a column and<br /> a half was at my disposal, and would I advertise<br /> in his paper? I passed the letter toa friendly<br /> reviewer, whose trumpet gave no uncertain<br /> sound. He produced the column and a half,<br /> and I advertised in the journal of that particular<br /> <br /> editor. He was a good fellow, a sound Tory,<br /> and an excellent judge of champagne and<br /> cigars,<br /> <br /> Publishers keep a list of papers 10 which they<br /> send copies of books for review. This list is not<br /> elastic. Like the laws of the Medes and Persians,<br /> it altereth not.<br /> <br /> A prominent publisher recently published a<br /> book in which 1 felt some interest. A few days<br /> after the usual allowance of review copies had<br /> been distributed, I wrote to the publisher stating<br /> that the author was a personal friend of mine,<br /> that I was reviewing for the principal provincial<br /> daily in a district where the author was well<br /> known, and that if a copy of the book were sent<br /> to me, I would give some space to it. No notice<br /> whatever was taken of my offer. As my object<br /> in reviewing is to give my readers a brief account<br /> <br /> 289<br /> <br /> of all works of merit as they appear, I usually<br /> contrive to read them, whether the publishers<br /> send them to me or not. I, therefore, read and<br /> reviewed this particular book in spite of the<br /> publisher’s discourtesy. Naturally copies of the<br /> work were vouchsafed to certain editors, who<br /> acknowledged the receipt by the barest possible<br /> mention of the book, and such copies might as<br /> well have been thrown into the sea. :<br /> <br /> The fact is, most publishers provide for reviews<br /> by a hard and fast line, from which they will not<br /> swerve an inch, Therefore it behoves young<br /> authors to stand guard over their own reputation,<br /> and if they get the chance of a good review let<br /> tbem see that the chance is not sacrificed by the<br /> density of the middle man.<br /> <br /> The notion that an editor has no right to<br /> criticise a book which has not been sent directly<br /> to him for the purpose of review is preposterous.<br /> Every intelligent editor owes it to his readers to<br /> keep them properly posted up in current litera-<br /> ture, and to discrimimate for them between the<br /> good and the bad in the world of books.<br /> Hundreds of books are reviewed in this way<br /> every week, and will continue to be so reviewed, to<br /> the very great advantage of authors, publishers,<br /> and the public generally.<br /> <br /> A published book is public property, and any<br /> attempt to boycott the liberty of the press in<br /> reviewing, whether made by author or publisher,<br /> is certainly made too late in the day.<br /> <br /> With respect to advertising, I may say that a<br /> single illustrated quarter-page advertisement in a<br /> good magazine sold fifty copies of one of my<br /> books, whilst I spent £25 in small advertise-<br /> ments hidden away among the holes and corners<br /> of newspapers having the “ largest circulation in<br /> the world,’ such advertisements having no<br /> appreciable effect whatever on the sale of the<br /> book. In fact, I might just as well have given<br /> my £25 to the blind.<br /> <br /> T consider that the farming of advertisements<br /> by publishers is a mistake. They debit your<br /> account with £25 or £50 for advertisements<br /> without stating when or where these advertise-<br /> ments appeared. They contract for so much<br /> space, and your advertisement will have to be<br /> packed, with perhaps a score of others, into this<br /> space. The review quotations will be hanged,<br /> drawn, and quartered. Sometimes you will have<br /> half-a-dozen quotations, sometimes you will have<br /> <br /> none. ‘There will be continual changings and<br /> choppings. You may complain, and the gentle-<br /> <br /> man who farms the advertisements will “ much<br /> regret, but really the pressure on our space, &amp;c.”<br /> Two of my books—a volume of sermons and a<br /> volume of humorous reminiscences—were adver-<br /> tised together. The review quotations executed<br /> <br /> <br /> <br /> <br />  <br /> <br /> 290<br /> <br /> a flying leap from one book to the other, and a<br /> grave and reverend reviewer was made to declare<br /> that the sermons were ‘“ vastly amusing.”<br /> <br /> Well, accidents will happen. One thing, how-<br /> ever, is certain. You will have to pay the piper,<br /> pipe he never so sadly. You will have to settle<br /> the bill, whether the work has been done well or<br /> ill. Mistakes are certain to be made, but it is<br /> not equally certain that they will be made in your<br /> favour. What is worth doing at all is worth<br /> doing well, and my experience teaches me that if<br /> you want a thing done well it is often advisable<br /> <br /> <br /> <br /> to do it yourself. Ho JS<br /> oc<br /> CORRESPONDENCE.<br /> I.<br /> A Lirrte Omnium GatHERuM FoR THE NEw<br /> YEAR.<br /> <br /> ILL you allow me to suggest, a little<br /> roughly, some few points for the con-<br /> sideration of your readers ?<br /> <br /> Books Wanted.—A short but comprehensive<br /> index to such letters as MA, F.RS., P.C.,<br /> LL.D., D.C.}., and so on—An unbiassed com-<br /> parison of Bimetallism with Monometallism—A<br /> short history of the Free Trade Controversy—An<br /> annotated and comparative edition of the Con-<br /> fessions of St. Augustine, the Thoughts of<br /> Marcus Aurelius, and the Confessions of Ros-<br /> seau—A. Life of Jay Gould, with an estimate of<br /> his moral character—Lives of the Laureates,<br /> from Chaucer to Tennyson, with a poem of each—<br /> The history and morality of gambling, with special<br /> reference to the views of the late Archbishop of<br /> York upon the subjects.<br /> <br /> Biographies—Let there be always an index ;<br /> let the biography in no case exceed one volume, and<br /> let the letters be very carefully weeded and placed<br /> in an appendix by themselve-, the text consisting<br /> of asummary of the life, including the letters.<br /> If here and there a letter is so important as to<br /> justify its beg printed in the text, let it be<br /> printed in small type.<br /> <br /> Suggestions to Editors.—In no case should the<br /> notes be allowed to choke the text. Full tables<br /> of contents should be placed at the beginning of<br /> each chapter, and the table of contents at the<br /> beginning of the book should Le a very short one<br /> —perhaps not more than a page, to give a bird’s<br /> eye view of the whole.<br /> <br /> Shakespeare’s ‘‘ Neece.”—How is it that Eliza-<br /> beth Hall, Shakespeare’s grand-daughter, is<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> described in Shakespeare’s will as his neece?<br /> Neither Dyce nor Hazlitt (both of whom print<br /> the will) notice this curious point. Has Lady<br /> Barnard’s will been sufficiently examined? This<br /> might make a good subject for a short article,<br /> <br /> Tennysoniana.—How is it that “ Timbuctoo ”<br /> is not obtainable ?<br /> <br /> Contents Tables; Machine-cut Pages; Prices<br /> and Dates of Books.—Surely every newspaper<br /> should have a paged table of contents on its first<br /> page or outside cover, as the Spectator, Saturday<br /> Review, and some others (the Author included)<br /> have. Surely, too, the pages of newspapers should<br /> be machine-cut in every case, and books and<br /> magazines ought to be issued with machine-cut<br /> pages also. Last, though not least, every book<br /> should have its price printed on its cover, and its<br /> date (as is usual) on the title page.<br /> <br /> Obscurity of Language.—So many great men<br /> have clothed their thoughts in obscure language,<br /> that we are running some risk of obscurity of<br /> language being considered of itself a mark of<br /> greatness, whereas, in my humble opinion, it is<br /> quite the reverse.<br /> <br /> Expressions of which we have had enough.—<br /> “Passing Away” or “ Joiniug the Majority ” as<br /> a substitute for “ Dying.” “Singer” as another<br /> name for a poet. ‘‘ Galore,” except occasionally.<br /> <br /> Reviewing.—An author should never solicit a<br /> review. A reviewer should always quote from<br /> the preface, and state the price of the book<br /> reviewed. It is worth considering whether the<br /> return of an unreviewed book should not be<br /> claimed. The author should not know by whom<br /> he is reviewed.<br /> <br /> Presentation Copies.—If sent to strangers, an<br /> acknowledgment should not be considered as a<br /> due. The copies should be sparingly sent—even<br /> to friends. ‘The risk of coming across them uncut<br /> is a great risk to run. J. M. Lexy.<br /> <br /> ——————<br /> <br /> I.<br /> ‘* ReLIgious” Firs.<br /> <br /> I must write to thank you for drawing —<br /> attention to firms and societies of “religious”<br /> publishers grinding the faces of authoresses of<br /> books, which go some way towards making the<br /> fortunes of such firms, who make a great favour<br /> of pay ng £20 or £30 for “ copyrights and all<br /> rights” of a work calculated to realise £400 or<br /> £500. I have sold several MSS. under these<br /> very conditions. The last I agreed to write on<br /> given subjects, which took me months to prepare,<br /> for £25. ‘he book is now published at 3s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The publisher said he had never given so much<br /> for its compauion volumes published previously,<br /> and when I say that even this small sum stretches<br /> over eighteen months’ credit, you may imagine<br /> what good it has done me.<br /> <br /> I know the fault les in agreeing to such terms,<br /> but with hungry faces around, dry bread is better<br /> than nothing. I most earnestly wish we could<br /> manage these things better, as one tastes little<br /> of the “sweet bliss of providing ” under distressing<br /> circumstances. Itis no consolation to me, writing<br /> amid the wrecks of a once comfortable, if not<br /> luxurious, home, to know that my books sell in<br /> America and Australia, that they are beautifully<br /> got up, &amp;c., while I and those dear to me are<br /> actually starving. (You know the tramp said it<br /> was no sort 0’ satisfaction to be chawed up by a<br /> fust-class dog.) I should think it a paradise to<br /> get a house to take care of, as suggested last<br /> week by you; or to live in a lodge or country<br /> cottage, where, as my little girl says, “ she could<br /> pick real daisies and see blue sky.’’ It is the<br /> height of my ambition to get the three acres and<br /> a cow, or a poultry farm to supplement my<br /> meagre earnings, or to enable me to stand out for<br /> better prices for my MSS.<br /> <br /> I cannot sew cleverly, and to teach is impossible<br /> in these days of free education ; neither could I<br /> earn auy more at grinding pen points than Frank<br /> Stockton’s unpopular journalist, if I tried that<br /> experiment. A Scripstine Moruer.<br /> <br /> Despair-street, Nov. 26, 1892.<br /> <br /> TEL,<br /> Scante Pay.<br /> <br /> When you headed Mr. Charles King’s letter<br /> “A suggestion and something more,’ I hope you<br /> designed to hint that the idea of publishing ‘in<br /> the Author the rate of pay of every journal in<br /> the kingdom,” struck you as well worth considera-<br /> tion. If you would like to have the opinions of<br /> those interested, allow me to express the warmest<br /> approval. I write very little in periodicals with<br /> which Iam unacquainted ; but in three instances<br /> Ihave received payments so small—by comparison<br /> with the importance and repute of the paper—<br /> that they dwell in my memory with unholy 1an-<br /> cour. I cannot suppose that the sum paid to me<br /> was less than is usual. But, if authorities and<br /> personages are content to write for such pay, the<br /> fact should be made known in order that profes-<br /> sional littérateurs may not be tempted to waste<br /> their time under a misapprehension caused by those<br /> names, or by the standing of the periodical. The<br /> owner, if honest—as is not to be questioned—<br /> <br /> 291<br /> <br /> could not object. It is no disgrace to a man if<br /> he cannot afford to pay as much as people expect<br /> of him. But for all that, I consider myself<br /> badiy “done” in two of those three in-tances.<br /> In the third case I complained, and by return of<br /> post came an additional 50 per cent., or nearly,<br /> with a letter of warm appreciatiun. But I am<br /> to suppose that the first cheque represented the<br /> normal scale of payment. Let those scales be<br /> published therefore, and the pages of the Author<br /> are the fitting place. iB.<br /> <br /> LV.<br /> Tue HeorisricAaL AMATEUR.<br /> <br /> I read with feelings of considerable satisfaction<br /> “M. L. P.’s” indictment of the “ egotistical<br /> amateur.” He isan individual from whom I too<br /> have suffered, and whom I have longed desired to<br /> see pilloried in the Author. But the egotistical<br /> amateur is not the only adverse force with which<br /> bond fide knights of the pen have to contend.<br /> There is the “ lady of title,” whose aid it would<br /> appear is absolutely necessary to insure the suc-<br /> cessful floating of a new magazine. It may be<br /> said she is included inthe “ H. A.’s,” who bestow<br /> their wares gratuitously upon the needy editors ;<br /> but this is erroneous, judging from the following<br /> anecdote, given to me on the best possible autho-<br /> rity. A lady of title and means, well known in<br /> the religious and philanthropic world, entered a<br /> small publishing office not a hundred miles trom<br /> St. Paul’s, and, requesting an interview with the<br /> proprietor, offered to compile a certain small book<br /> for the sum of £20. Her offer was declined,<br /> there not being £5 worth of honest work in the<br /> whole affair, and the publisher, unlike others of<br /> his kind, apparently not considering her title<br /> worth the remainder. Now, Ido not wish to say<br /> a word against titled and wealthy ladies writing<br /> upon special subjects with which they are specially<br /> acquainted, and being paid for it—if they choose ;<br /> but why should they trade upon their name and<br /> title, as in the case cited, to do work which scores<br /> of women who write for a living would do equally<br /> well, if not better, for half the money they<br /> demand? That the sums “earned” by these<br /> ladies are expended in charity, as 1 have heard<br /> asserted in their defence, is no justification. It<br /> is but “robbing Peter to pay Paul,” and ‘ Paul,”<br /> some of us think, has had a pretty good run, and<br /> itis time the claims of ‘ Peter” received con-<br /> sideration. EK. H.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> NE<br /> <br /> PusiisHers’ AGREEMENTS.<br /> <br /> 1. Anold and respectable firm agreed to publish<br /> a book for me, I paying costs, and they giving<br /> me 40 per cent. of the gross returns. Their<br /> estimate was higher than that furnished to me by<br /> the Secretary; still he thought their offer not<br /> bad, and the said estimate would be binding as an<br /> agreement, if [had it stamped. It was a very<br /> informal little document, and, as it expressly<br /> called itself, merely “approximate.” I did not<br /> see how it could be binding. It was not signed<br /> by either party. I did not have it stamped, and<br /> when the accounts came in, I found that the<br /> publishers certainly had not considered it binding,<br /> as they had allowed me 50 per cent. instead of<br /> the 40 per cent. agreed upon. I called their<br /> attention to the fact, thinking it might be an<br /> oversight, but they said they found themselves<br /> able with such books to allow 50 per cent.<br /> <br /> 2. I was remodelling an MS. by the advice of<br /> a publisher, who was interesting himself much in<br /> the matter, and going in largely for illustrations ;<br /> but nothing had been said about terms. I did<br /> not intend to take any share in the expense, but,<br /> that there might be no doubt upon the subject,<br /> I wrote and said so. In reply, the manager said<br /> that his firm were prepared to publish at their<br /> own cost, giving me half profits. I expected to<br /> have a formal agreement sent me for signature,<br /> as I had had before, from the same firm, but<br /> none came. By the time I found that none<br /> was coming, it was too late to have the letter<br /> stamped.<br /> <br /> I do not mistrust these publishers, but in<br /> neither case do they seem to me as businesslike<br /> as is desirable. In the case of the first firm,<br /> there have been sundry mistakes in their<br /> accounts, now in my favour, now in their own;<br /> pure mistakes, I quite believe, but not the more<br /> satisfactory for that.<br /> <br /> [ think it would be desirable, if it could be, to<br /> have a recognised form of agreement adopted by<br /> all; one, too, in which it should be distinctly<br /> stated whether copyright is assigned or not. At<br /> present an author seems to lose his copyright<br /> whenever the publisher undertakes the cost of<br /> production, even though the word be not<br /> mentioned in the agreement.<br /> <br /> To whom does the copyright of my second<br /> book belong ?<br /> <br /> I have not signed anything, so I do not know<br /> how I can have assigned it, unless silence gives<br /> consent. :<br /> <br /> Is it just that copyrights should form part of<br /> the assets of a bankrupt publisher ?<br /> <br /> Some of the books of a late popular writer<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> were published by a firm which became bankrupt.<br /> They were books in steady demand, bringing in a<br /> regular income, as they probably do still ; but<br /> when the firm failed the copyrights were sold<br /> with the rest of their property, and the author<br /> received, and apparently could claim, nothing<br /> more.<br /> <br /> This is what I was told, and I know his family<br /> were left very poorly off, though his books must<br /> still be producing an income for somebody.<br /> <br /> Surely, if copyright is sold in this way, the<br /> author’s rights should be safeguarded in some<br /> way, as he certainly did not assign it uncondition-<br /> ally, but on an agreement that he should receive<br /> a certain proportion of the proceeds.<br /> <br /> 8. G.<br /> <br /> [This lette is published as the writer sent it.<br /> There is some little confusion, apparently, e.g,<br /> (1) The author paid the costs, and the publisher<br /> was to give her 40 per cent. on the gross pro-<br /> ceeds. Let us work this out with a 6s. novel, ‘|<br /> (‘Cost of Production,” p. 31). We will suppose a:<br /> 1000 copies to be printed and sold, binding has =<br /> advanced 15 per cent. so the figures must be<br /> slightly altered :<br /> <br /> &amp; 8a<br /> Gr ss proceeds of 1000 copies = 166 0 Oo<br /> Publisher&#039;s share (by agree-<br /> ment). 4: .. 2 2) 90 te<br /> Author’s share (by agree-<br /> ment) «3 == 60 8 =<br /> Author pays cost, viz... ... 122G ae<br /> Author’sloss ... ... ... 62 0 6<br /> Publisher’s gain... ... .., 99 0 O<br /> <br /> Very good business. But they gave her, instead<br /> of 40 per cent., 50 per cent. of the gross proceeds :<br /> Publisher’s gain 83.0.0<br /> Author’s loss ... 39 0 O<br /> <br /> Is there anything wrong here ?—Ep. ]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> VI.<br /> Tue Pusiic Criticism oF Books.<br /> <br /> According to counsel’s opinion in the current<br /> number of the Author, an adverse criticism is<br /> only libellous ‘“‘if prompted by malice, or charac-<br /> terised by such reckless disregard of fairness as<br /> indicates malice towards the author.”<br /> <br /> This, though doubtless good law, is scarcely<br /> consolatory, inasmuch as the generality of unfair<br /> criticism contrives to keep clear of the definition<br /> here laid down. Take, for instance, the example<br /> cited by Dr. Bell in the November number<br /> (“‘ Correspondence” IV.). The review there<br /> quoted is manifestly unfair, and calculated to<br /> injure the author’s reputation, yet he would, I<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> suspect. have great difficulty in bringing it within<br /> the definition above laid down.<br /> <br /> It was this difficulty of establishing malice, or<br /> unfairness indicative of malice, that I had in my<br /> mind when I submitted in last month’s number<br /> that “for an author to obtain legal reparation<br /> would be well nigh impossible.” I never intended<br /> to convey, as “F. P.,” in the current number,<br /> represents me to have done, “that it would be<br /> well-nigh impossible to prove that any criticism<br /> is unfair;’’ that of course would be nonsense,<br /> but I still venture to maintain that, in the gene-<br /> rality of cases of unfair reviewing, it would be<br /> extremely difficult to satisfy the legal standard of<br /> “libellous criticism.” Rank AND FILE.<br /> <br /> <br /> <br /> VII.<br /> A Lirerary SCHOLARSHIP.<br /> <br /> There was an idea at one time that if a man<br /> did not die of starvation, and give some one<br /> else a chance to get something out of his works,<br /> he was no genius, and, it may be added, no man.<br /> Even Byron seemed to doubt whether a man<br /> ought to ask for his money, for he wrote :<br /> <br /> ‘“* When the sons of song descend to trade,<br /> Their lays are rare, their laurels fade.”<br /> <br /> The only way to prevent them descending to<br /> trade is for the nation to give them a little help.<br /> And this the nation at last seems disposed to do.<br /> I refer to the case of William Watson. Sons of<br /> song,and men of talent generally, have bestowed<br /> many gifts upon the nation. What the nation<br /> has given them in return is a matter for reflection<br /> over their own firesides. The democratic wave<br /> is rolling, and it rests with writers to say<br /> whether it shall flow over them or they shall<br /> ride on the top. If the nation is disposed to be<br /> kind, here is a scheme that may well occupy its<br /> attention. Ido not advocate it for men of genius.<br /> Men of genius have a way of getting out of<br /> holes that is denied to mere talent. I advocate<br /> it for young and struggling talent, for those of<br /> comparatively no opportunities, for those who, if<br /> no hand is outstretched towards them, sink, un-<br /> honoured and unsung. If it is anyone’s business<br /> to stretch this hand, it is surely the nation’s;<br /> for the glory of budding talent is the glory of<br /> the land that reared it. My scheme is this:<br /> that the nation shall make an annual grant of<br /> say £600—it is not a large draw on the exchequer<br /> —to be competed for by the most promising in<br /> poetry, fiction, and the drama, divided, in fact,<br /> into three scholarships. The judging, the means<br /> of selection could all be left to the Society of<br /> Authors, who would manage it, Iam sure, with<br /> pleasure and satisfaction. There is one ridiculous<br /> <br /> #25<br /> <br /> functionary in the British Parliament whose race<br /> is nearly run, I mean the Usher of the Black<br /> Rod. Let his salary be the basis of my scholar-<br /> ship. To an anticipated complaint that the<br /> output now is large, is enough; I have this to<br /> say: Weed it out. Take from it the works of<br /> those who publish at their own expense. Those<br /> of the driveller, who, after a sail in his yacht,<br /> startles the world with a log-book voyage; the<br /> people who pass through a foreign country, and<br /> come home with an account of its manners and<br /> customs, the butter-paper poets and the rest,<br /> and it will not seem so large after all. It is not<br /> the above class who make a nation famous; they<br /> make it a laughing stock. Talent is usually<br /> bereft of yachts, but if those who have yachts<br /> can wrest the scholarship from it, all the better.<br /> A Seasip—E MEemper.<br /> <br /> <br /> <br /> VEE<br /> <br /> A RECOMMENDATION FROM THE SOCIETY.<br /> <br /> Perhaps you may think the following woith<br /> publishing :<br /> <br /> While realismg, and valuing to the full, the<br /> immense benefits that the Society renders to<br /> authors in keeping them away from, or helping<br /> them out of difficulties with, fraudulently inclined<br /> publishers, I would like to point out how it might<br /> render another service to many writers, which<br /> would be of as great value as its present services<br /> are,<br /> <br /> So far the Society has turned its attention<br /> chiefly to safeguarding the interests of authors<br /> against publishers, but its scope is not bounded<br /> by this work, for in its circular issued in 1890 it<br /> is stated that ‘“ other and larger schemes remain<br /> for future development.’”’ The services now ren-<br /> dered are for those authors who have succeeded<br /> in finding a publisher, and, having provided for<br /> the relations between them being put on an<br /> understandable and equitable basis, it might now<br /> he made to render as great a service to those<br /> writers who want to find a publisher.<br /> <br /> What they are most in want of is—if their<br /> work be good—some such recommendation of it<br /> as will ensure its being published. Were the<br /> Society to enter into arrangements with various<br /> publishers to bring out any work it might recom-<br /> mend to them, and were it to have a committee<br /> to read works submitted to it, to which anyone<br /> should be entitled to send on payment of a fee,<br /> then, those writings that it approved being<br /> assured publication, the way of the beginner<br /> would be made much easier.<br /> <br /> The great stumbling block to beginners would<br /> thus be removed, as it would no longer be neces-<br /> <br /> <br /> <br /> <br />  <br /> <br /> 294<br /> <br /> <br /> <br /> sary to send a work to publisher after publisher<br /> (which does sometimes happen with good works),<br /> and lose in this process months of valuable time,<br /> for it would be known that a work of real merit,<br /> whatever its subject, would always be sure of<br /> speedy publication. The mere announcement to<br /> the public that it was published on the recom-<br /> mendation of the Society of Authors would surely<br /> ensure any book a large sale.<br /> <br /> The work already done by the Society was<br /> what was wanted by the author who can get<br /> published, and it would seem to require as a<br /> complement that which is wanted by the author<br /> who wants to get published. It surely, then,<br /> might become one of the other schemes referred<br /> to to organise a means of clearing the road and<br /> making a short and direct way for the beginner<br /> to reach the publisher by. This is, perhaps, the<br /> service that beginners in authorship most want,<br /> and I doubt not it has caused disappointment to<br /> some to find that the Society could not help them<br /> in this, the most needed direction, and that the<br /> only service it could render them was of a negative<br /> character.<br /> <br /> The carrying out of this plan would not involve<br /> a new departure on the part of the Society, it<br /> would need simply a development and combina-<br /> tion of work now performed by it and by the<br /> Authors’ Syndicate.<br /> <br /> Were it to become a practice for books to be<br /> published on the recommendation of the Society,<br /> meritorious works would -always see the light<br /> without unreasonable delay ; more writers would<br /> be induced to join the Society, and gradually it<br /> would have it in its power to set up a standard of<br /> literature ; it would in time become a centre or<br /> exchange for publishers to apply to for approved<br /> works, and be the great mart for literary wares.<br /> <br /> This manner of a new author reaching a pub-<br /> lisher would be more in accordance with advanced<br /> civilisation, which would surely exclude such an<br /> awful loss of time as is so often involved by the<br /> present comparatively haphazard method.<br /> <br /> Houserr Hass.<br /> <br /> <br /> <br /> IX.<br /> Wuyr?<br /> <br /> Is it not strange that, although my Poems and<br /> Prose Sketches were highly praised by your<br /> reader, as well as other critics, the publishers<br /> whom the Society named to me should have<br /> rejected them, one after another? I mean so far<br /> as taking any share of the risk is concerned,<br /> <br /> One publisher declines this, although he ad-<br /> mitted frankly that they were favourably reported<br /> on by his reader, as containing much good work.<br /> <br /> THE AUTHOR.<br /> <br /> One or two publishers absolutely declined having<br /> anything to do with them—even on commission<br /> terms, presumably—and another, who shall be<br /> nameless, withheld his opinion of them, even<br /> after having promised it to me.<br /> <br /> I ask, Sir, whether this is not discouraging to<br /> one, whose poems have been eulogised not only<br /> by the leading poetical critics of the day<br /> (probably), but also by such poets as Lewis<br /> Morris, J E. Whittier, Robert Browning,<br /> Matthew Arnold, and others. Is it not strange<br /> that no publisher should be found willing to<br /> risk a few paltry pounds for the chance of giving<br /> the poetical world considerable pleasure? Iam<br /> not speaking of my own case only, but of parallel<br /> ones as well. They may say, why not then<br /> publish at your own cost? The answer is simple<br /> —I can’t afford the risk, and they can!<br /> <br /> From a purely commercial standpoint they<br /> may be right, of course, but how tamely they<br /> show here; how utterly lacking in a spirit of<br /> enterprise! It is, after all, merely one throw of<br /> the dice, and, remember, had not my poems been<br /> endorsed so highly, I would never have submitted<br /> them. ‘ Nothing venture, &amp;ec.”’<br /> <br /> F. B. Doveron.<br /> <br /> [The above is another proof of the fact so often<br /> advanced in these columns, and so constantly<br /> denied—that there are very few publishers who<br /> ever take any risk at all.—Ep.]<br /> <br /> <br /> <br /> X.<br /> A Lirrie Sum.<br /> <br /> A printer’s mistake in the “Little Sum” is,<br /> from the printer’s point of view, a very small one<br /> —being only the substitution of a 2 fora (ce,<br /> line 7 should read, “10 per cent. on the net<br /> receipts of such sales’’).<br /> <br /> Yet it is very unfortunate in its effect on the<br /> sum, since, if 20 per cent. were given, it would<br /> alter the figures below the line as follows:<br /> <br /> 50) ee dO<br /> 4990 22. 30°92 oes<br /> AS 80 9<br /> <br /> In fact, the drop of ro per cent. in selling 5<br /> price (between 55 and 45), would thus mean a<br /> <br /> drop of 20 per cent. in publisher’s share, and<br /> only of 10 per cent. in the author’s. As things<br /> <br /> are, under the real clause, the 1o per cent. drop<br /> in selling price makes only a 10 per cent. drop in<br /> publisher’s share, and a 55 per cent. drop in the<br /> author’s.<br /> <br /> But the fault of the clause does not, I suppose,<br /> reside in this fact, since the publisher has to get<br /> back his cost of production.<br /> <br /> The wrong thing<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> is that he should have an inducement to sell un-<br /> necessarily low. It seems to me this might best<br /> be remedied by making the clause run :—‘“ Shall<br /> pay to the author on all copies sold a royalty of<br /> 10 per cent, provided that in no case shall the<br /> publisher receive less than 40 per cent. of the<br /> published price. No sales below 40 per cent. to<br /> take place without consent of the author.”<br /> We should then get :<br /> <br /> Selling price. Publisher’s share. Author’s share.<br /> 3<br /> <br /> <br /> <br /> <br /> <br /> 50°! 40°! IO<br /> <br /> 50 40° 0 IO<br /> <br /> 49°9 We re 9°9<br /> <br /> 48 HO 8<br /> <br /> ee ee VS i ee 7<br /> <br /> ee eee 40 &amp;e.<br /> Del.<br /> <br /> THe Maaazines.<br /> <br /> Might I suggest that a small space in the<br /> pages of the Author should be devoted each<br /> month to giving a list of magazines and papers,<br /> with the style and length of article, poem, or<br /> story contained in each.<br /> <br /> I venture to think this would be a great saving<br /> of time and trouble both to editors and to authors<br /> desirous of sending contributions to them,<br /> especially if the authors live in the country, and<br /> are unable to procure the various magazines, &amp;c.,<br /> in order to look over their contents, and see what<br /> articles or poems are suitable to each one.<br /> <br /> CAROLINE CREYKE.<br /> <br /> <br /> <br /> XI.<br /> PLAGIARISM.<br /> A tale I lately commenced to write opens as<br /> follows: “A long time ago there<br /> dwelt an old man of science<br /> <br /> the few people who ever caught a glimpse of him<br /> were wont to cross themselves as he passed by, for<br /> they looked on him as a magician; and perhaps<br /> they were right, for is not everybody who knows<br /> more than we do ourselves a being verging on<br /> the supernatural ? ”’<br /> <br /> Before I had proceeded far with the MS. it<br /> occurred to me to refer to Sir Walter Scott’s<br /> “Quentin Durward,” in order to refresh my<br /> memory regarding medieval modes of expression.<br /> To the best of my recollection I had never read the<br /> book, but nevertheless I thought it was probable<br /> I should find what I wanted in it. There was<br /> some difficulty in procuring a copy, and at length<br /> I purchased one, when, turning over the pages at<br /> random, the following was the first paragraph<br /> <br /> AUTHOR.<br /> <br /> e<br /> <br /> 295<br /> <br /> that attracted my attention: ‘“‘To read and<br /> wite!’ exclaimed Le Balafré, who was one of<br /> those sort of people who think all knowledge is<br /> miraculous which chances to exceed their own.”<br /> <br /> I have now perused Sir Walter’s admirable<br /> romance, and am quite convinced that I never<br /> did so before. The circumstances attending this<br /> unconscious plagiarism appear to me so extraor-<br /> dinary that I am induced to lay them b fore the<br /> readers of the Author. H. R Greene.<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> RS. SPENDER’S Christmas<br /> d Year books are “ Awaking,’”’ a new and<br /> <br /> cheaper edition (illustrated, 3s. 6d.),<br /> and a family story book for girls, called ‘No<br /> Humdrum Life for Me” (illustrated, 5s.). Both<br /> are published by Hutchinson.<br /> <br /> Mr. Reynolds Ball, editor of “ Mediterranean<br /> Winter Resorts,” is writing a series of papers on<br /> “Coming Winter Resorts’’ in the Queen news-<br /> paper. He contributes also an article on “ Sicilian<br /> Puppet Shows” to the January number of the<br /> Theatre, under his nom de guerre ‘“ Evelyn<br /> Ballantyne.”<br /> <br /> “In the Gun Room” is the title of a series of<br /> sketches in prose and verse by Mr. H. Knight<br /> Horsfield (Eden, Remington, and Co.). It is a<br /> book for sportsmen—for those who love the rod<br /> and gun.<br /> <br /> ‘‘The March of Shem” and other poems, by<br /> Alfred Hayes, author of “The Last Crusade,”<br /> &amp;c. (Macmillan and Co.). has advanced to a<br /> second edition. Let us note the fact as another<br /> indication of the increased interest felt in poetry.<br /> <br /> <br /> <br /> and New<br /> <br /> <br /> <br /> Russian Lirerature.—An analysis has been<br /> prepared by the Russian bibliographer Pavlenkoff<br /> of the works published in Russia during the year<br /> 1891. It seems that—excluding Finland—there<br /> appeared in Russia 9053 books ani pamphlets,<br /> with an aggregate sale of 29,000,000 copies. Of<br /> these 6588, with a total of 23,000,000 copies,<br /> were in the Russian language, 840 in the Polish,<br /> 393 in German, 380 in Hebrew, and 219 in<br /> Lettisch. One of the most popular forms of<br /> literature in Russia seems to be calendars, of<br /> which 229 were published, many of them having<br /> editions of upwards of 500,000. The most<br /> notable event in the Russian book world during<br /> this period was the expiration of the copyright of<br /> Lermontoff’s works, in consequence of which<br /> g2 editions of them appeared, having a total<br /> sale of upwards of 1,000,000 copies. The largest<br /> <br /> <br /> <br /> <br /> i<br /> i<br /> <br /> <br /> <br /> <br /> 296 THK AUTHOR.<br /> <br /> lass of publications was that of educational<br /> works, to the number of 574, exceeding bedles-<br /> lettres by 65. The third largest section was that<br /> of medical works. More thana third of the whole<br /> amount of Russian literature appeared in<br /> St. Petersburg alone.<br /> <br /> The Rev. F. Baring-Gould, M.A. (author of<br /> “Mehalah”’) has written a new story for the<br /> Queen newspaper. Its chief character is a female<br /> Cheap Jack—‘“ Cheap Jack Zita” is her name<br /> —and under this title the work will be published.<br /> <br /> Lady Violet Greville’s new novel is called<br /> “That hated Saxon,” and is to be published by<br /> Messrs. Ward and Downey.<br /> <br /> Canon Ainger will give three lectures on Tenny-<br /> son at the Royal Institution on Jan. 19, Jan 26,<br /> and Feb. 2.<br /> <br /> Mr. Alfred Austin’s new poem, “ Fortunatus,<br /> the Pessimist,” is going into a new edition.<br /> <br /> Mr. George Allen (of London and Orpington)<br /> is preparing for publication an interesting volume<br /> which will throw new light on that side of Mr.<br /> Ruskin’s character least known to his readers.<br /> This work, which will include many anecdotes,<br /> both pathetic and humorous, never before pub-<br /> lished, is being compiled by Mr. Arthur Severn,<br /> R.I., whose recollections and reminiscences of Mr.<br /> Ruskin dates from his (Mr. Severn’s) boyhood ;<br /> the illustrations will comprise various charac-<br /> teristic sketches made by Mr. Severn when accom-<br /> panying Mr. Ruskin on his driving tours.<br /> <br /> Mr. Allen has also in hand a “ Life of the late<br /> Lady Waterford,” Mr. Augustus J. OC. Hare, of<br /> which fuller particulars will be given shortly.<br /> <br /> “The World of Music” is the generic title<br /> which Anna Comtesse de Brémont has given to<br /> the three volumes she has written, and Mr.<br /> W. W. Gibbings has published “The great Com-<br /> posers,’ “The great Singers,” and “The great<br /> Virtuosi.” The volumes have been carefully and<br /> feelingly compiled, and the author has succeeded<br /> ina somewhat difficult task. In a future series<br /> the authoress contemplates dealing with com-<br /> posers, virtuosi, and singers of the day,<br /> <br /> “ The Successful Life” by “ An Elder Brother,”<br /> which has been published by Cassell and Co.,<br /> contains many weighty words of counsel, comfort<br /> and warning to young men commencing business.<br /> It is written in a shrewd, practical, and distinctly<br /> wholesome vein, and may be placed with confi-<br /> dence in any young man’s hands. “ An Hider<br /> Brother,” is obviously sincere in every word he<br /> has written, and his book is intended for those<br /> who are peculiarly susceptible to the influence of<br /> Sincerity.<br /> <br /> Mrs. L. T. Meade’s “A Medicine Lady,”<br /> which has just been published in three volume<br /> form by Casselland Co , will rank amongst her best<br /> stories. A difficult motif has been delicately<br /> handled. Mrs. Meade has kept well abreast of<br /> medical science, and has woven round what<br /> it has accomplished shapes to accomplish a<br /> story which is distinctly human and profoundly<br /> pathetic.<br /> <br /> A new edition of the “ Records of a Naturalist<br /> on the Amazons,” by the late Henry Walter<br /> Bates, is about to be issued (John Murray). The<br /> edition is to be unabridged, and will be accom-<br /> panied by a memoir of the author by Edward<br /> Clodd.<br /> <br /> “One Land—One Law.” This is the title<br /> of Mrs. Crafton-Smith’s new novel, to be com-<br /> menced in Sala’s Journal early in February.<br /> Mrs. Crafton-Smith is known under the name of<br /> “Nomad*” as the author of “The Milroys,”<br /> “A Railway Foundling,” “Holly,” &amp;e.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> History and Bioeraphy.<br /> AUTOBIOGRAPHICAL AND FULL HisTORICAL ACCOUNT OF<br /> THE PERSECUTION OF HamiEetT NicHoLson in his<br /> opposition to Ritualism at the Rochdale Parish Church.<br /> Barber and Farnworth, Manchester.<br /> <br /> Barnett-Smiru, G. History of the English Parliament,<br /> with an account of the Parliaments of Scotland and<br /> Ireland. 2vols. Ward, Lock. 24s.<br /> <br /> Buacx, Heten C. Notable Women Anthors of the Day.<br /> Biographical sketches, with portraits. David Bryce,<br /> Glasgow. 10s. 6d. é<br /> <br /> Bootu-Tucker, F. p—E L. The Life of Catherine Booth,<br /> the Mother of the Salvation Army. 2 vols. Inter-<br /> national Headquarters, Queen Victoria-street, E.C., or<br /> Simpkin, Marshall. 153.<br /> <br /> Bovurrinot, J. G. Historical and Descriptive Account of<br /> the Island of Cape Breton, and of its memorials of the<br /> French régime, with bibliographical, historical, and<br /> critical notes. Foster, Brown, and Co., Montreal.<br /> <br /> CassELL’s New BroGRAPHicaAL DicTIOoNARY, containing<br /> memoirs of the most eminent men and women of all<br /> ages and countries. Cassell. 7s. 6d.<br /> <br /> CLASSICAL PicTURE GALLERY, a Series of 144 reproduc-<br /> tions of the choicest paintings of the old masters, taken<br /> from the originals in the galleries and private collec-<br /> tions of Europe. Edited, with biographical notices, by<br /> Professor F. von Reber and Dr. A. Bayersdorfer,<br /> directors of the Munich Pinakothek. H. Grevel and<br /> Co., King-street, Covent-garden. 21s.<br /> <br /> Cooxn, Rev. G. A. The History and Song of Deborah.<br /> Judges IV, and V. Henry: Frowde. Paper covers.<br /> Is. 6d.<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 /> Courtney, W.L. The Life and Work of Hubert Herkomer,<br /> R. A. The Art Annual, with illustrations. Also the<br /> Art Journal for 1892. Art Journal Office, Ivy-lane,<br /> Paternoster-row.<br /> <br /> CunNINGHAM, PrerTerR, F.S.A. The Story of Nell Gwyn,<br /> and the sayings of Charles II., related and collected by.<br /> Edited, with introduction and life of the author, bv<br /> Henry B. Wheatley, F.S.A. W. W. Gibbings, Bury-<br /> street, W.C.<br /> <br /> Dasent, Jonn Rocue. Acts of the Privy Council of<br /> England. New series. Vol. V., A.D. 1554-1550. Edited<br /> by. Eyre and Spottiswoode.<br /> <br /> FisHGuARD Invasion by the French in 1797. Some<br /> passages taken from the diary of the late Reverend<br /> Daniel Rowlands, sometime vicar of Llanfiangelpeny-<br /> bont. Fisher Unwin. 55.<br /> <br /> FirzmauricE-Keuuiy, J. The Life of Miguel de Cervantes<br /> Saavedra. A Biographical, Literary, and Historical<br /> Study, with a tentative Bibliography from 1585 to<br /> 1892, and an annotated appendix on the Canto de<br /> Caliope. Chapman and Hall. 16s.<br /> <br /> Forses, 8S. Russett. The Holy City: Jerusalem: its<br /> topography, walls, and temples; a new light on an<br /> ancient subject. Durrant and Company, Chelmsford.<br /> <br /> Grant Durr, Sir M. E. Sir Henry Mayne; a brief<br /> memoir of his life by. With some of his Indian speeches<br /> and minutes selected and edited by Whitley Stokes,<br /> D.C.L. With portrait. Murray.<br /> <br /> HakrckEL, Ernst. The History of Creation; or, the<br /> development of the earth and its inhabitants by the<br /> action of natural causes. A popular exposition of the<br /> doctrine of evolution in general and of that of Darwin,<br /> Goethe, and Lamarck in particular. From the eighth<br /> German edition. The translation revised by EH. Ray<br /> Laneastor, M.A., LL.D., F.R.S. Fourth edition, in two<br /> vols. 32s.<br /> <br /> Hopexin, Tuomas, D.C.L. Italy and her Invaders.<br /> Dublin. Vol. I. (in two parts), the Visigothic Invasion ;<br /> vol. II. the Hunnish Invasion; the Vandal Invasion,<br /> and the Herulian meeting. Second edition, revised<br /> and enlarged, with maps and illustrations. At the<br /> Clarendon Press, London. Henry Frowae, £2 2s.<br /> <br /> Invine,, WASHINGTON. The Life and Voyages of<br /> Christopher Columbus. Author’s revised edition.<br /> Nelson and Sons. 4s.<br /> <br /> JENKINSON ARTHUR. Alfred, Lord Tennyson, Poet<br /> Laureate: a brief study of his life and poetry. James<br /> <br /> Nisbet.<br /> <br /> Lecky, W.E.H. A History of Ireland in the Highteenth<br /> Century. New edition. Vol. V. Longmans. 6s.<br /> <br /> Lzz, Freprerick Groren, D.D. The Church under Queen<br /> <br /> Elizabeth: an historical sketch. New and revised<br /> edition. W.H. Allen and Co.<br /> Macaunay, Lorp. The Earl of Chatham. Cassell’s<br /> <br /> National Library. Cloth, 6d.<br /> <br /> Mackarness, Rev. C. C. Memorials of the Episcopate<br /> of John Fielder Mackarness, D.D., Bishop of Oxford<br /> from 1870 to 1888. Second edition, with portrait.<br /> James Parkes and Co., Southampton-street, W.C.<br /> <br /> Maisty, GENERAL F. C. Sanchi and its Remains: a full<br /> description of the ancient buildings, sculptures, and<br /> inscriptions at Sanchi, near Bhilsa, in Central India.<br /> With 40 plates. An introductory note by Major-<br /> General Sir Alex. Cunningham. Kegan Paul. 50s.<br /> <br /> 297<br /> <br /> Fifty Years in the Making of<br /> vols., with portraits. Long-<br /> <br /> PARKES, Sirk HENRY.<br /> Australian History. 2<br /> mans. 32s.<br /> <br /> Perry, THomas 8. The Princess of Cleves, by Madame<br /> de la Fayette, translated by. With illustrations drawn<br /> by Jules Garnier. 2vols. 21s.<br /> <br /> PrinGur, Nichout J. Victor Hugo: a sketch of his life<br /> and works. Swan Sonnenschein.<br /> <br /> History of the United States from the<br /> <br /> 2vols. Macmillan. 24s.<br /> <br /> Ripon Minuenary: A record of the festival. Also a<br /> history of the city, arranged under its Wakemen and<br /> Mayors from the year 1400. W. Harrison, Ripon.<br /> <br /> Ruopzs, J. Forp.<br /> compromise of 1850.<br /> <br /> <br /> <br /> Rogers, ALEXANDER. The Land Revenue of Bombay: a<br /> history of its administration, rise, and progress. In<br /> <br /> W. H. Allen and Co.<br /> <br /> Three Generations of English Women—<br /> <br /> of Susannah Taylor,<br /> <br /> With portraits.<br /> <br /> 2 vols.<br /> Ross, JANET.<br /> memoirs and correspondence<br /> Sarah Austin, and Lady Daff Gordon.<br /> A new, revised, and enlarged edition.<br /> The Private Life of the Great Com-<br /> Isbister and Co. 7s. 6d.<br /> <br /> ROWBOTHAM, J. F.<br /> posers. With portraits.<br /> The Duchess of Berry and<br /> Translated by Elizabeth<br /> Hutchinson. §s.<br /> <br /> SAINT-AMAND, IMBERT DE.<br /> the Court of Louis XVIII.<br /> Gilbert Martin. With portrait.<br /> <br /> Sevecr Liprary or NICENE AND Post-NICENE FATHERS<br /> OF THE CHRISTIAN CHurcH. Vol. III. Theodoret,<br /> Jerome, Gennadius, Rufinus, historical writings, &amp;e.<br /> James Parker and Co., Oxford.<br /> <br /> SHarp, Mary. The History of Upton Court, of the<br /> parish of Upton, in Berkshire, and of the Perkins<br /> Family. Compiled from ancient records. Elliot Stock.<br /> To subscribers, 16s., to others, 25s.<br /> <br /> The Church of Scotland, from the<br /> <br /> Alex-<br /> <br /> STEWART, R. Morris.<br /> time of Queen Margaret to the Reformation.<br /> ander Gardner.<br /> <br /> Old Italian Masters.<br /> <br /> With historical notes.<br /> <br /> Fisher Unwin. 42s.<br /> <br /> Storms, Ricuarp 8S. Bernard of Clairvaux: the Times,<br /> the Man, and his Work. Hodder and Stoughton. gs.<br /> <br /> Surrner, Berroa von. Lay Down your Arms. The<br /> autobiography of Martha von Tilling. Authorised<br /> translation by T. Holmes. Revised by the authoress.<br /> Longmans. 7s. 6d.<br /> <br /> TowNSHEND, RicHARD AND Dororuea, An Officer of<br /> the Long Parliament and his Descendants. Being<br /> some account of the life and times of Colonel Richard<br /> Townesend, of Castletown (Castletownshend), and a<br /> chronicle of his family, with illustrations. Edited by.<br /> Henry Frowde. tos. 6d.<br /> <br /> Wixs, Samveu, anp Berrany, G. T. A Biographical<br /> History of Guy’s Hospital. Ward, Lock, and Bowden.<br /> <br /> Engraved by<br /> Brief comments<br /> <br /> STILLMAN, W. J.<br /> Timothy Cole.<br /> by the engraver.<br /> <br /> General Literature.<br /> The Cry of the Children, an essay in<br /> Williams and Norgate. Paper<br /> <br /> A Freep LANcE.<br /> tyranny and ignorance.<br /> covers.<br /> <br /> AGRICULTURAL ANNUAL AND MArK-LANE EXPRESS<br /> ALMANAC, 18093, THE. Office of the Mark-Lane<br /> Express, Strand. Paper covers, 6d.<br /> <br /> <br /> .<br /> !<br /> i<br /> i;<br /> i<br /> <br /> <br /> <br /> 298<br /> <br /> <br /> <br /> <br /> ANDERSON, Linpsay. Story of Allan Gordon; or, From<br /> Cabin-boy to Quarterdeck. With illustrations. Chap-<br /> manand Hall. 5s.<br /> <br /> ANDREWS, WuituIAm. Bygone Yorkshire. Edited by.<br /> Simpkin, Marshal (A. Brown and Sons, Hull and York).<br /> <br /> Bau, E. A. Reynotps. Mediterranean Winter Resorts :<br /> a practical handbook to the principal health and plea-<br /> sure resorts on the shores of the Mediterranean, with<br /> special articles on the principal invalid stations by<br /> resident English physicians. With illustrations and a<br /> map. Second edition, revised and partly rewritten.<br /> Stanford.<br /> <br /> BAMPFIELD, Rev. G. Spots in the Sun; some faults in<br /> Hamlet and the ‘‘ Paradise Lost.’ St. Andrew’s Press,<br /> Barnet. Paper covers.<br /> <br /> Boppy, A. A. With Russian Pilgrims: an account of a<br /> sojourn in the White Sea Monastery and a journey by<br /> the old trade route from the Arctic Sea to Moscow,<br /> with map and illustrations. Wells Gardner, and Co.<br /> 78. 6d.<br /> <br /> Boppy, J. H. Profitable Fruit and Flower Culture, under<br /> glass and in the open air, or the tale of an acre and a<br /> half of land. With an introduction by Sampson<br /> Morgan. Boot, Old Bailey. Paper covers, 3d.<br /> <br /> BROWNLEE, W.M. Whist Ledger, with leads, maxims, and<br /> whist etiquette, Arrowsmith. Paper covers, 6d.<br /> <br /> “ BUILDER ALBUM” oF RoyaL ACADEMY ARCHITECTURE,<br /> 1892, THE. Office of the Builder, Catherine-street,<br /> W.C.<br /> <br /> Buxton, E. Norru. Short Stalks: or Hunting Camps,<br /> North, South, East, and West. With illustrations.<br /> Stanford.<br /> <br /> CAREER IN Inp1A, A, as affected by the continued deprecia-<br /> tion of the rupee and the non-fulfilment of the promises<br /> made by the Government. E. W. Allen, Ave Maria-<br /> lane, E.C. Paper covers. 3d.<br /> <br /> Coatss, LizuT.-CoLONEL. Capital and Labour; or, How<br /> to Avert Strikes—a few suggestions and words of<br /> advice to masters and the working classes. Arrow-<br /> smith. Paper covers, 3d.<br /> <br /> CouRSING AND Fatconry. Coursing by Harding Cox;<br /> Falconry by the Hon Gerald Lascelles. With illustra-<br /> tions by John Charlton, R. H. Moore, Lancelot Speed,<br /> and G. EH. Lodge, and from photographs. Longmans.<br /> 10s. 6d.<br /> <br /> Day, Joun. The Homing Pigeon. The Stockkeeper Pub-<br /> lishing Company, Fleet-street. Paper covers, Is.<br /> <br /> Deakin, Hon. AtFrepD. Irrigated India: An Australian<br /> View of India and Ceylon, their Irrigation and<br /> Agriculture.<br /> <br /> Dewar, J.C. Voyage of the Nyanza, R.N.Y.C., with map<br /> and illustrations; The Handbook of British Honduras<br /> for 1892-93, by Lindsay W. Bristowe. Blackwood.<br /> <br /> DicTionaRy OF TERMS USED IN THE PRACTICE OF<br /> MrcHANICAL ENGINEERING, edited by a Foreman<br /> Pattern Maker. Second edition, revised, with additions.<br /> Crosby Lockwood.<br /> <br /> Doveuty, H. M. Our Wherry in Wendish Lands, from<br /> <br /> Friesland through the Mecklenburg Lakes to Bohemia.<br /> Illustrated by his daughter. Jarrold and Sons.<br /> <br /> DRumMonD, Proressor. The City without a Church. An<br /> Address. Hodder and Stoughton, Paper covers. 1s.<br /> <br /> THE AUTHOR.<br /> <br /> F. A. A. How to Establish a Fixed Ratio between Gold<br /> and Silver. Effingham Wilson. Paper covers, 6d.<br /> <br /> FRrEencH-SHELDON, M. Sultan to Sultan: Adventures<br /> among the Masai and other tribes of Hast Africa,<br /> “ Bébé Bwana.” Saxon and Co., Bouverie-street, E.0,<br /> <br /> GILBERT, J. H. and Lawzs, Sir J. B. Allotments and<br /> Small Holdings. Reprinted from the Journal of the<br /> Royal Agricultural Society. Spottiswoode and Oo,<br /> Paper covers.<br /> <br /> Gorpon, W. J. Our Country’s Birds, and How to Know<br /> Them. A guide to all the birds of Great Britain.<br /> With illustrationsanddiagrams. Simpkin Marshall. 6s.<br /> <br /> GREAT STREETS OF THE WoRLD, Tue. By Richard<br /> Harding Davis, W. W. Story, Andrew Lang, Henry<br /> James, Francisque Sarcey, Paul Lindau, and Isabel F.<br /> Hapgood. Illustrated. J. R. Osgood, M‘Ilvaine, and<br /> Co. 18s.<br /> <br /> GREAT Wak OF 189—, THE: a Forecast. By Rear-Admi-<br /> ral P. Colomb, Colonel J. F. Maurice, R.A., Captain<br /> F. N. Maude, Archibald Forbes, Charles Lowe, D.<br /> Christie Murray,and F. Scudamore. With illustrations<br /> from sketches made for Black and White, by F.<br /> Villiers. Heinemann. 12s. 6d.<br /> <br /> Hamerton, P.G. Man in Art, studies in religious and<br /> historical art, portrait and genre. Withplates in line<br /> engraving, mezzotint, photogravure, hyalography,<br /> etching, and wood engraving. Macmillan. £3 138. 6d.<br /> <br /> HAMILTON, GENERAL Dovuauas. Records of Sport in<br /> Southern India and Elsewhere. With portrait and<br /> illustrations from his original sketches. Edited by<br /> his brother. R.H. Porter, Princes-street, Cavendish-<br /> square. 30s. net.<br /> <br /> HANDBOOK FOR TRAVELLERS ON THE RiviERA from Mar-<br /> seilles to Pisa. With new maps and plans. John<br /> Murray.<br /> <br /> Hayes, Atice. The Horsewoman. A practical gnide to<br /> side-saddle riding. Edited by M. Horace Hayes.,<br /> F.R.C.V.S., late Captain “the Buffs.” With illustra-<br /> tions. W. Thacker and Company, Newgate-street.<br /> Tos. 6d.<br /> <br /> Hazuitr, W. Carew. The Essays of Michel de Mon-<br /> taigne. Translated by Charles Cotton. Edited, with<br /> <br /> some account of the life of the author and note, by. —<br /> <br /> Second edition, revised. 3 vols. George Bell.<br /> <br /> Hers, Sir Artuur. Essays and Aphorisms, with an<br /> introduction by E. A. Helps. Walter Scott. 18. 6d.<br /> <br /> Howarp, Lapy Constance. Tasty Tit-bits and Dishes ~<br /> <br /> Dainty. The Record Press. 1s. 6d.<br /> <br /> Huisu, Marcus B. Japan and its Art. Second edition, —<br /> <br /> revised, and enlarged. Simpkin Marshall. 12s.<br /> <br /> Hunt, Viouer. The Great Poets’ Birthday Album, with —<br /> <br /> Portraits and with preface. Hyre and Spottiswoode.<br /> 3s. Od.<br /> <br /> Hutcurnson, Rev. H. N. Extinct Monsters; a popular —<br /> <br /> account of some of the larger forms of ancient animal life.<br /> With iliustrations. Chapman and Hall, 12s.<br /> <br /> Laxr, Nancy. Daily Dinners: a collection of 366 dis-<br /> tinct menus in English and French. 2s. 6d.<br /> <br /> Lancaster, CHARLES. The Art of Shooting: an illus-<br /> trated treatise, with extracts from the best authorities.<br /> 4th edition. 151, New Bond-street.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> J<br /> <br /> a<br /> <br /> THE AUTHOR.<br /> <br /> A Nonsense Birthday Book; compiled<br /> <br /> Lear, EDWARD.<br /> from “ The Book of Nonsence ” and ‘“‘ More Nonsense.”<br /> <br /> F. Warne.<br /> <br /> Lez, EDMUND.<br /> street. 58.<br /> <br /> 38. 6d.<br /> <br /> Some Noble Sisters. James Clarke, Fleet-<br /> <br /> Lerrizr-Arnim, A. Eight Simple Exercises without<br /> Apparatus for S2curing Warm Hands and Warm Feet.<br /> 2, Hinde-street, W. Is.<br /> <br /> Lussock, Str Joun. A Contribution to our Knowledge<br /> <br /> of Seedlings. With figures. 2 vols. Kegan Paul.<br /> 36s. net.<br /> <br /> Lucy, Henry W. A Diary of the Salisbury Parliament,<br /> 1886-1892. llustrated by Harry Furniss. Cassell.<br /> <br /> Bis.<br /> <br /> Luxes-Browne, A. J. The Building of the British Isles:<br /> a study in geographical evolution. Illustrated by maps<br /> and woodcuts. 2nd edition, revised. George Bell.<br /> 7s. 6d.<br /> <br /> LytTeLton, Hon. Mrs. N. How to Pack, How to Dress,<br /> How to Keep Well on a Winter Tour in India.<br /> Stanford. Paper covers. 1s.<br /> <br /> Mothers and Sons, or<br /> 38. 6d.<br /> <br /> LyTTLEeTON, Rev. THE Hon. E.<br /> Problems in the Home Training of Boys.<br /> <br /> Macponeuu, ArtHuUR A. A Sanskrit-English Dictionary.<br /> A practical handbook with transliteration, accentuation,<br /> and etymological analysis throughout. Compiled by.<br /> Longmans. 42s.<br /> <br /> Macrar, Davin. Little Tiz, and other tales.<br /> Brothers, Glasgow. Paper covers, Is.<br /> <br /> Morison<br /> <br /> Marrnanp, Sir James. On Stocking Rivers, Streams,<br /> Lakes, Ponds, and Reservoirs with Salmonide. 4th<br /> edition. J. R. Guy, Secretary, Howietoun Fishery,<br /> Stirling, N.B. Paper covers.<br /> <br /> The Broker’s Correspondent, a Letter-<br /> Effingham Wil-<br /> <br /> Martin, JAMES.<br /> Writer for Stock Exchange Business.<br /> son. Is.<br /> <br /> Masters, Eten T. The Victoria Library for Gentle-<br /> women. The Gentlewomen’s Book of Art Needlework.<br /> Illustrated. Henry and Co. 6s.<br /> <br /> Meap, G. R. S. Simon Magus. Anessay. Theosophical<br /> Publishing Company, Duke-street, Adelphi.<br /> <br /> MENNELL, Puinuie. The Coming Colony. Practical Notes<br /> of Western Australia. Second edition. Hutchinson.<br /> <br /> Paper covers. ts. 6d.<br /> Monvtaau, Irvine. Absolutely True. Written and illus-<br /> trated by. W. H. Allen.<br /> <br /> Mortimer, REGINALD. The Gothenberg Licensing System.<br /> A Statement of facts. The Country Brewers’ Society.<br /> Paper covers. 6d.<br /> <br /> Nein, James, M.A. Picture Stories from the Holy Land,<br /> for children. Ilustrations by H. A. Harper. Lang, Neil,<br /> and Company, Chancery-lane. 2s. 6d.<br /> <br /> OurHAnT, Mrs. and F. R. The Victorian Age of English<br /> Literature. Two vols. Percival. 6s. each.<br /> <br /> A General Catalogue of Books<br /> Part XVI.<br /> <br /> QuaARITCH, BERNARD.<br /> offered to the public at the affixed prices.<br /> The general index. Quaritch, Piccadilly.<br /> <br /> Preferences in Art, Life, and<br /> Only 280 copies<br /> <br /> QuitteR, Harry, M.A.<br /> Literature. Swann Sonnenschein.<br /> printed.<br /> <br /> <br /> <br /> 20<br /> <br /> Rapcuirre, F. P. Detmé. The Noble Science. A few<br /> general ideas on Foxhunting. New edition, revised,<br /> corrected, and enlarged by William C. A. Blew, M.A,<br /> With engravings. J.C. Nimmo. ats. net.<br /> <br /> Royat INDIAN ENGINEERING COLLEGE, COOPERS-HILL,<br /> Tau. Calendar for 1892-93. W.H. Allen.<br /> <br /> British ARCHITECTS — TRANS-<br /> LATIONS. Vol. WII. New Series. No. 9, Conduit-<br /> street, Hanover-square. 24s.<br /> <br /> Ruskin, Joun. The Poetry of Architecture, or the archi-<br /> tecture of the nations of Europe considered in its associa-<br /> tion with national scenery and national character.<br /> With illustrations by the author. Reprinted from<br /> Loudon’s Magazine for the first time in book form.<br /> George Allen, Bell-yard, Temple Bar. 21s.<br /> <br /> A Trip to South Africa.<br /> <br /> Roya INSTITUTE OF<br /> <br /> SALTER-WHITER, JAMES. W.<br /> <br /> Pile, Sutton, Surrey.<br /> <br /> SELBORNE, ROUNDELL Ear or. Hymns, their history<br /> and development in the Greek and Latin Churches,<br /> Germany, and Great Britain. A. and C. Black.<br /> <br /> SHALL GIRLS PRroposu? and other papers. on love and<br /> marriage. By a “Speculative Bachelor.” Gay and<br /> Bird. 1s. 6d.<br /> <br /> Sour MratuH Exection Petition. Verbatim report of<br /> the proceedings, reprinted from the Irish Daily Inde-<br /> The Independent Printing and Publishing<br /> <br /> pendent.<br /> Paper covers, Is. 6d.<br /> <br /> Company, Dublin.<br /> SroppArT,C.A. Spanish Cities, with Glimpses of Gibraltar<br /> and Tangier. Illustrated. Chapmanand Hall. 7s. 6d.<br /> <br /> SuccessruL Lieu, THe. Practical words of counsel,<br /> comfort, and warning addressed to young Englishmen<br /> commencing business. By an Elder Brother. Cassell.<br /> 3s. Od.<br /> <br /> TALLERMAN, D. Farm Produce Realisation. With maps<br /> and illustrations. Second edition. Simpkin, Marshall.<br /> <br /> 14s.<br /> <br /> Tras, J. Notes on Indian Currency and the Indian Ex-<br /> change on London. John Heywood. Paper covers,<br /> Is.<br /> <br /> THompson, Gzorar E. Around the Roman Campagna.<br /> With illustrations. Simpkin, Marshall.<br /> <br /> Tuompson, Herspert M. The Theory of Wages and its<br /> application to the eight hours question and other<br /> labour problems. 338. 6d.<br /> <br /> TraIuu,-H. D. anD Brett, Nancy. The Capitals of the<br /> World. Edited by. ‘T&#039;wo vols., illustrated. Sampson<br /> <br /> Low.<br /> Warner, C.D. In the Levant. Illustrated with photo-<br /> gravures. Two vols. Osgood and M‘Ilvaine. 21s.<br /> <br /> Wepmore. FrepericK. Renunciations—a Chemist in the<br /> Suburbs ; a Confidence at the Savile; the North Coast<br /> and Eleanor. Elkin Matthews and John Lane.<br /> <br /> Werner, A. The Humour of Italy, selected and trans-<br /> lated, with introduction, biographical index, and notes,<br /> with illustrations. Walter Scott. 3s. 6d.<br /> <br /> Wuitine, Dwient. Fruit Farming for Profit in California.<br /> Illustrated. Griffith Farran.<br /> <br /> Witurams, Harry. The Steam Navy of England— past,<br /> present, and future. W.H. Allen. 12s. 6d.<br /> <br /> Wittiams, Montague, Q.C. Round London: Down East<br /> and Up West. 15s.<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 300<br /> <br /> WoRDSWORTH, CHARLES, D.D. Shakespeare’s Knowledge<br /> and Use of the Bible. Fourth edition, revised. Eden,<br /> <br /> Remington. 53s.<br /> Youne STANDARD-BEARER, 1892, THE. Illustrated.<br /> Wells Gardner, Darton, and Co. 1s. 6d.<br /> <br /> Fiction,<br /> <br /> AInsLiz, Percy. The Priceless Orchid, a story of adventure<br /> in the forests of Yucatan. Sampson Low and Co.<br /> <br /> Auan St. Ausyn. Modest Little Sara. Chatto and<br /> <br /> Windus. is. 6d.<br /> <br /> AusTEN, FRANCES V. Elfie’s<br /> Moon, or the tricks of E-ma-ji-na-shun.<br /> by E. J. Austen. Sampson Low.<br /> <br /> BaLLantyne, R. M. The Coral Island, a Tale of the<br /> <br /> Pacific Ocean. New and cheaper editions. T. Nelson<br /> and Sons. 2s. 6d. each.<br /> <br /> BaRR, AMELIA E. A Rose of a Hundred Leaves.<br /> story. James Clarke, Fleet-street. 6s.<br /> <br /> Barr, AMELIA E. The Preacher’s Daughter, a domestic<br /> romance. Sampson Low.<br /> <br /> Visit to Cloudland and the<br /> Illustrated<br /> <br /> A love<br /> <br /> Barrineton, Mrs. Russeuy. Lena’s Picture: a Story of<br /> Love. 2 vols. David Douglas.<br /> <br /> Biees, C. H. W. My Noah’s Ark, by. Biggs and Co.,<br /> Salisbury-court, E.C. 6d. each.<br /> <br /> Biack, Wm. White Wings, a yachting romance.<br /> and revised edition. Sampson Low. 2s. 6d.<br /> <br /> BuaYpDEN, Mrs. G. Pixie ; or, Two Little English Girls in<br /> France. Illustrated. Ward and Downey. 3s. 6d.<br /> <br /> Bray, Captain C. Randall Davenant, a tale of the<br /> Mahrattas. With illustrations. F. Warne. 5s.<br /> <br /> Burcu, Frorence, E. Chris Willoughby, a Tale for Boys.<br /> Nelson and Sons. 33s. 6d.<br /> <br /> BurnanD, F. C. The Real Adventures of Robinson<br /> Crusoe. With illustrations by Linley Sambourne.<br /> Bradbury, Agnew.<br /> <br /> New<br /> <br /> CoLLInGwoop, Harry. The Doctor of the Juliet, a story<br /> of the sea. Both illustrated. Methuen.<br /> <br /> Croker, B. M. A. Sketch in the Himalayas.<br /> Chatto and Windus.<br /> <br /> CUTHELL, EpirH E. Only a Guard-room Dog. Methuen.<br /> 6s.<br /> <br /> Crnicus. The Fatal Smile: A fairy tale. Written and<br /> illustrated by. Published at his studio, 59, Drury-lane.<br /> <br /> Dark: A Tale of the Down Country. Smith,<br /> Elder.<br /> <br /> Davipson, JoHN and Wiuus, C. J. Laura Ruthven’s<br /> Widowhood. 3 vols. Lawrence and Bullen.<br /> <br /> Dickens, CHARLES. David Copperfield. Facsimile of the<br /> original edition, with reproductions of etchings by<br /> “ Phiz”’ (H. K. Browne). John Dicks. Paper covers.<br /> 6d.<br /> <br /> Dickson, NicHouas. The Auld Scotch Minister. Sketched<br /> in anecdote and story. Morison Brothers, Glasgow.<br /> Paper covers. 1s.<br /> <br /> 3 vols.<br /> <br /> 2 vols.<br /> <br /> Doveuas, Str GEorar. The New Border Tales. With<br /> illustrations. Walter Scott. 3. 6d.<br /> <br /> Fuietcuer, T. 8S. When Charles the First was King.<br /> Three vols. Bentley.<br /> <br /> AUTHOR.<br /> <br /> Foster, A. J. and Curueny, E. E. The Robber Baron of<br /> Bedford Castle, a story of the 13th century. 2s.<br /> <br /> GREENHOW, SuRGEON-Masor H. M. The Bow of Fate,<br /> W. H. Allen.<br /> <br /> GryYPH, Pynx. The Princess Heliotrope, or Peter Stummel<br /> and the Magic Cherries, with thirty-four illustrations<br /> by Gertrude Trotter. T. Fisher Unwin. 43. 6d.<br /> <br /> HENDERSON, FLorENcE L. Was She Right? Masters,<br /> New Bond-street. 3s. 6d.<br /> <br /> Horrmann, E.T. A. Nutcracker and Mouse King and<br /> “The Educated Cat.” Translated from the German<br /> by Ascott R. Hope. The “‘ Children’s Library.” Fisher<br /> <br /> Unwin. 2s. 6d.<br /> <br /> Hume, Fereus. Aladdin in London: a romance. A. and,<br /> Black.<br /> <br /> HUNGERFORD, Mrs. Nora Creina: a novel. Three vols,<br /> F. V. White.<br /> <br /> Hunt, Mrs. AtFRED. Mrs. Juliet. Three vols. Chatto<br /> and Windus.<br /> <br /> HutcHeson, J. C.<br /> Leigh’s Log.<br /> <br /> On Board the Esmeralda, or Martin<br /> Cassell. 2s. 6d.<br /> <br /> Kine, RicHarp AsHE. A Geraldine. Two vols. Ward<br /> <br /> and Downey.<br /> Larrp-CLowres, W. The Captain of the Mary Rose: a<br /> <br /> Tale of To-morrow. With illustrations. Tower Pub-<br /> lishing Company, Minories, E.<br /> Leyton, Franx. The Shadows of the Lake. 3rd edition.<br /> <br /> Longmans. 7s. 6d.<br /> <br /> Lirrte, ARcHipatp. The Rat’s Plaint, an old legend,<br /> translated from the original Chinese. Printed on<br /> Japanese paper. Illustrated. Sampson Low. 53s.<br /> <br /> Mauuock, W. H. Human Document: a Novel. New<br /> edition, in one volume. Chapman and Hall. 3s. 6d.<br /> <br /> Meapz, L. T. Bashful Fifteen. Tlustrated. Cassell.<br /> 3s. Od.<br /> <br /> Merriman, Henry S. The Slave of the Lamp. New<br /> <br /> edition. Smith, Elder. 6s.<br /> <br /> Niuus; a Story of the Nile, by the authoresses of “ Grey-<br /> Truelove and Shirley, Oxford-street. ©<br /> <br /> stone Grange.”<br /> 28.<br /> <br /> PaTron-BretHunE, F. Debonnair Dick. Eden, Remington. —<br /> <br /> 2s. 6d.<br /> <br /> ProssrER, E. B. The King’s Arrow, and other stories. —<br /> <br /> Is. 6d.<br /> PuErRis REVERENTIA.<br /> <br /> Bemrose.<br /> A story for boys and masters.<br /> <br /> Simpkin, Marshall (Brown and Co., Salisbury). 5s.<br /> <br /> Ricuarps, Laura E. Captain January. With Ilustra-—<br /> <br /> tions by Frank T. Merrill. Sampson Low.<br /> <br /> Rozinson. F. Maser. A Woman of the World, an every<br /> day story. A New Edition. Smith Elder. 6s.<br /> <br /> St. Jonnston, ALFRED. In Quest of Gold: or under the<br /> Whanga Falls. Cassell. 2s. 6d,<br /> <br /> Scorr, Str WALTER. Guy Mannering. With introductory<br /> essay and notes by Andrew Lang. 2 vols. Border<br /> edition. J. C. Nimmo. 6s.<br /> <br /> SinautarLy Detupep. By the author of “Ideala, a study<br /> from life.’<br /> <br /> Blackwood. 6s.<br /> <br /> By<br /> the author of “ The Fight at Dame Europa’s School.” ~<br /> <br /> <br /> <br /> <br /> <br /> <br /> 7<br /> <br /> <br /> <br /> <br />  <br /> <br /> WM<br /> <br /> <br /> <br /> THE AUTHOR. 301<br /> <br /> Storres FRoM “ BLACK AND WHuiTE.” By W. E. Norris,<br /> W. Clark Russell, Thomas Hardy, Mrs. E. Lynn<br /> Linton, James Payn, J. M. Barrie, Mrs. Oliphant, and<br /> Grant Allen. Illustrated. Chapman and Hall.<br /> <br /> SwyNNERTON, Rev. CHARLES. Indian Nights’ Entertain-<br /> <br /> ment; or Folk-tales from the Upper Indus. With<br /> illustrations by native hands. Elliott Stock. 31s. 6d.<br /> <br /> Weser, Auice. An Affair of Honour. Illustrated. 3s. 6d.<br /> Griffith, Farran.<br /> <br /> WESTALL, WILLIAM.<br /> Ward and Downey.<br /> <br /> Roy of Roy’s Court. Two vols.<br /> <br /> Wicks, FrepErick. The Veiled Hand: a novel of the<br /> Sixties, the Seventies, and the Eighties. T[lustrations<br /> by Jean de Paleologue. Second edition. Eden,<br /> Remington, and Co. tos. 6d.<br /> <br /> Witrrs, Mary E. Jame Field. A novel. Osgood,<br /> <br /> M‘Tlvaine. 6s.<br /> <br /> Wits, C. J. John Squire’s Secret: a novel. Lawrence<br /> and Bullen. 3s. 6d.<br /> <br /> Wray, J. Jackson. Betwixt Two Fires. James Nisbet.<br /> 38- 6d.<br /> <br /> Wrieut, THomas. The Mystery of St. Dunstan’s: a<br /> realistic and sensational story of Fleet-street in 1724.<br /> Two vols. Sampson Low and Co.<br /> <br /> Yonce, CHARLOTTE M. That Stick. Macmillan. 3s. 6d.<br /> <br /> Poetry and the Drama.<br /> <br /> Barraup, CLement W. Saint Thomas of Canterbury and<br /> Saint Elizabeth of Hungary, historical dramas. Long-<br /> mans. 58.<br /> <br /> Brooke, J. M. S. Opus Consummayi, a question of the<br /> Passion Play. Printed by Bowles and Sons, George-<br /> street, Mansion-house. Paper covers.<br /> <br /> Burrarp, W. Durron. Out of the Depths, poems.<br /> Kegan Paul. 2s. 6d.<br /> <br /> Doszson, Austin. The Ballad of Beau Brocade, and other<br /> Poems of the eighteenth century. With illustrations<br /> by Hugh Thomson. Kegan Paul. 5s.<br /> <br /> Grant, Joun CAMERON. Poems of Petroleum. Third<br /> edition. E. W. Allen, Ave Maria-lane, E.C. Paper<br /> covers, 2s.<br /> <br /> Gremn, A. O. A Collection of Modern Arabic Stories,<br /> Ballads, Poems, and Proverbs. Compiled by. London,<br /> Henry Frowde, Amen-corner. 3s. 6d.<br /> <br /> Kerrie, Rosa Mackenziz. Furze Blossoms: Stories and<br /> Poems for all Seasons. Second edition. T. Fisher<br /> Unwin. 338. 6d.<br /> <br /> Kietine, Rupyarp. Barrack-room Ballads, and other<br /> Verses. Special presentation edition. Methuen.<br /> 78. 6d.<br /> <br /> Linton, Sir James D. King Henry VIIL., with twelve<br /> illustrations, with an introduction by Edward Dowden,<br /> LL.D. The International Shakespeare. India Proof<br /> Edition, limited to 250 copies. Cassell.<br /> <br /> Marreiius. Joy and Health: verses. Cassell.<br /> <br /> Meyneut, Atice. Poems and The Rhythm of Life, and<br /> other essays. Bythesame. Elkin Matthews and John<br /> Lane. 538. each net.<br /> <br /> Monroz, Harriet. Valeria, and other poems. M‘Clurg<br /> and Co., Chicago. 1 dol. 50 cents.<br /> <br /> NEWBIGGING, THomAS. Old Gamul:a Lyric Play. Fisher<br /> Unwin. 2s. 6d.<br /> <br /> PALGRAVE, Francis T. Amenophis and other Poems,<br /> sacred and secular. Professor of Poetry in the Uni-<br /> versity of Oxford. Macmillan.<br /> <br /> PortTicaL Works or SHELLEY, THE. With life, portrait,<br /> and illustratious. John Dicks, Strand. Paper covers,<br /> 6d. Also in cloth.<br /> <br /> SKRINE, Joon H. Columba, a Drama, Warden of Glen-<br /> almond. Blackwood.<br /> <br /> THREE PuAys—Deacon Brodie, Beau Austin, Admiral<br /> Guinea. By W. E. Henley and R. L. Stevenson. David<br /> Nutt.<br /> <br /> Trmxey. The A. B. C. Ballads. Tlustrated. Morison<br /> Brothers, Glasgow. Paper covers.<br /> <br /> Tynan, Karnuarine. Irish Love Songs, selected by.<br /> Cameo Series (3s. 6d.); also thirteen volumes of the<br /> Children’s Library. Fisher Unwin.<br /> <br /> Educational.<br /> <br /> BERESFORD-WeEsB, A. S. German Historical Reading<br /> Book. With map. Percival. 5s.<br /> <br /> CarTEeR, GEORGE. Explanation of Grammatical Terms, for<br /> the use of candidates preparing for the Oxford and<br /> Cambridge Local and other examinations, compiled by.<br /> Paper covers. 6d. Relfe Brothers, Charterhouse-<br /> buildings, Aldersgate, H.C.<br /> <br /> Doyruz, Very Rey. F.C. An Introduction to the Study of<br /> Rhetoric, for the use of schools. Swann Sonnenschein.<br /> <br /> Fream, W. Elements of Agriculture : a text-book prepared<br /> under the authority of the Royal Agricultural Society<br /> of England. Fourth edition. John Murray.<br /> <br /> Hoskins, L.M. The Elements of Graphic Statics, a Text-<br /> book for Students of Engineering. tos. net. Mac-<br /> millan.<br /> <br /> Hurst, Georar H. Painters’ Colours, Oils, and Varnishes.<br /> A practical manual. With illustrations. Charles<br /> Griffin and Co. 12s. 6d.<br /> <br /> Louty, G., and Gongon, S. J. F. The Illustrated French<br /> Grammar, first course. ts. 6d.<br /> <br /> M‘GreGor-RoBerTson, T., M.A. An Elementary Text-<br /> book of Physiology. Second edition, revised and<br /> enlarged. Blackie and Son. 4s.<br /> <br /> Meissner, A. L. An Introduction to French Prose<br /> Composition. Percival. 3s. 6d.<br /> <br /> Perren Maycocx, W. Electric Lighting and Power<br /> Distribution. Anelementary manual. PartI. Whittaker<br /> and Co., Whitehart-street, E.C. Paper covers, 2s. 6d.<br /> <br /> PETERSON, W. Quintiliani Institutionis Oratorie Liber X.<br /> A revised text. Edited, with introduction and notes,<br /> for the use of colleges and schools. At the Clarendon<br /> Press, London, Henry Frowde. 3s. 6d.<br /> <br /> Puinuies, Cou. A. N. Hindustani Idioms, with vocabu-<br /> lary and explanatory notes, for the use of candidates<br /> for the higher standard. Kegan Paul. 53s.<br /> <br /> Scnuavermann, F. Lovurs. Theory and Analysis of<br /> Ornament, applied to the work of elementary and<br /> technical schools, with diagrams and illustrations.<br /> Sampson Low and Co.<br /> <br /> <br /> <br /> i<br /> ii<br /> <br /> (<br /> <br /> ee<br /> <br /> a<br /> ‘<br /> i<br /> 4<br /> i<br /> <br /> <br />  <br /> <br /> STuDENT’s HANDBOOK TO THE UNIVERSITY AND COLLEGES<br /> <br /> or Oxrorp, Tur. Twelfth edition. Revised to August,<br /> 1892. At the Clarendon Press, London: Henry Frowde.<br /> 2s. 6d.<br /> <br /> Sweet, Henry. A Manual of Current Shorthand,<br /> Orthographic and Phonetic. At the Clarendon Press,<br /> London: Henry Frowde, 4s. 6d.<br /> <br /> SweEET, Henry, M.A. A Short Historical English Grammar.<br /> At the Clarendon Press, London: Henry Frowde.<br /> 4s. 6d.<br /> <br /> Tarn, E. WynpHAM. The Mechanics of Architecture: a<br /> treatise on applied mechanics especially adapted to the<br /> use of architects. Illustrated. Crosby Lockwood.<br /> <br /> Science.<br /> <br /> Bau, Sir R. S. An Atlas of Astronomy. A series of<br /> 72 plates, with introduction and notes. George Philip.<br /> 158.<br /> <br /> BuRNLEY, JAMES. The Romance of Invention. Vignettes<br /> from the Annals of Industry and Science. Cheap<br /> editions. Cassell. 2s. 6d.<br /> <br /> FEerGuson, GEorGE. Our Earth: Night to Twilight.<br /> Vol. 2. T. Fisher Unwin. 3s.<br /> <br /> Frita, Henry. The Romance of Engineering. TIllus-<br /> trated. Ward, Lock, Bowden, and Co. 3s. 6d.<br /> <br /> JOHNSTON’S CATECHISM OF AGRICULTURAL CHEMISTRY,<br /> from the edition by Sir Charles A. Cameron, M.D.,<br /> F.R.C.S.I. Revised and enlarged by C. M. Aikman,<br /> M.A., B.Sc. g2nd thousand. Blackwood. ts.<br /> <br /> Keating, J. M., and Davis, E. P. Mother and Child.<br /> Lippincott Company, Henrietta-street, Covent-garden.<br /> 10s. 6d.<br /> <br /> M‘Lacutan, D. B. Reformed Logic: A system based on<br /> Berkeley’s philosophy, with an entirely new method of<br /> dialectic. Swann Sonnenschein.<br /> <br /> Pootz, T. Doxsson. Vaccination Eruptions: Original<br /> Research. Livingstone, Edinburgh.<br /> <br /> Pritcis or Mopern Tactics, A. Originally compiled in<br /> 1873, by Colonel Robert Howe. Revised and rewritten<br /> by Lieutenant-Colonel Sisson C. Pratt. Eyre and<br /> Spottiswoode. 4s. 6d.<br /> <br /> Proctor, Ricoarp A. Old and New Astronomy. Com-<br /> pleted by A. Cowper Ranyard. With plates and wood-<br /> cuts. Longmans. 36s.<br /> <br /> RussELL, Hon. R. Observations on Dew and Frost.<br /> Stanford. Paper covers. 6d.<br /> <br /> SzLpy, A. L. Elementary Mechanics of Solids and Fluids.<br /> At the Clarendon Press, London. Henry Frowde.<br /> 7s. 6d.<br /> <br /> WELupDon, J. E.C. The Nicomachean Ethics of Aristotle,<br /> translated, with an analysis and critical notes.<br /> Methuen. 7s. 6d.<br /> <br /> Wricut, G. FREDERICK, D.D. Man and the Glacial Period.<br /> With an appendix on Tertiary Man, by Professor H. W.<br /> Haynes. With illustrations and maps. International<br /> Scientific Series. Kegan Paul. 5s.<br /> <br /> Law.<br /> <br /> Broucuton, Herpert M. Reminders for Conveyancers,<br /> with references to some of the best precedents. By<br /> Herbert M. Broughton, of the Inner Temple. Horace<br /> Cox.<br /> <br /> 302 THE AUTHOR.<br /> <br /> Empen, Mr. ReGistrar, AND SNow, THomas. The Annnal<br /> (Winding-up) Practice, 1893. Clowes. 12s. 6d.<br /> <br /> GEARY, Nevinue. The Law of Marriage and Family<br /> Relations, a manual of practical law. 123s. 6d.<br /> <br /> Norman, A. W. A Digest of the Death Duties. With<br /> examples illustrating their incidence. With index and<br /> appendix of statutes. Clowes. 21s.<br /> <br /> Pavitt, A. A Guide to the French Laws of 1889 on<br /> Nationality and Military Service as Affecting British<br /> Subjects. Stevens and Haynes. Paper covers. 1s.<br /> <br /> Pieagort, F. Tayuor. Service out of the Jurisdiction,<br /> <br /> Clowes. 158.<br /> <br /> Preston, F. Montagu. A Manual of Railway Law.<br /> <br /> A.and C. Black. 53s.<br /> <br /> SHEARMAN, MonTAGUE, AND Haycrorr, THomas W.<br /> London Chamber of Arbitration: a guide to the law<br /> and practice. Effingham Wilson. 2s. 6d.<br /> <br /> SPENCER, AUBREY J. The Small Holdings Act, 1892.<br /> With explanatory notes and the rules and forms issued<br /> under the Act. Stevens and Sons. 2s. 6d.<br /> <br /> STEPHEN, H. LusuHineton. Oke’s Magisterial Formulist.<br /> Seventh edition. Butterworth, Fleet-street. 353.<br /> <br /> Parliamentary Papers.<br /> Return as to Alien Immigration during November (}d.);<br /> Accounts relating to Trade and Navigation of the<br /> United Kingdom for November (6d.). Fourteenth<br /> <br /> report of the General Prisons Board, Ireland, 1891-92<br /> <br /> (8d.). Statistical report of the Health of the Navy<br /> for 1891 (1s. o}d.). Pauperism in England and<br /> Wales. Return B. for July (5d.). Gas Undertakings,<br /> Local Authorities, Return (43d.). Other Gas under-<br /> takings; Return (gd.). Historical Manuscripts Com-<br /> mission. 13th report, Appendix, Part IV. The MSS.<br /> of Rye and Hereford Corporation, Captain Loder-<br /> Symonds, Mr. E. R. Wodehouse, M.P., and others<br /> (2s. 4d.). Royal Commission on Labour: Answers to<br /> schedules of questions in Group C.; Comparative<br /> <br /> Statement of Pauperism for September (2d.) ; Answers —<br /> to schedules of questions issued by the Royal Com-<br /> <br /> mission on Labour, Group “B.” (1s. 6d.). Return,<br /> Railways, Time of Trains (2d.).<br /> <br /> The Agricultural —<br /> <br /> ct See<br /> <br /> Statistics of Ireland for 1891 (1s. 5d.). Local<br /> Government Act Commission — Minutes of evidence,<br /> <br /> with orders and appendices (ss. 3d.). Colonial<br /> and other possessions, statistical abstract for each<br /> year from 1877 to 1891 (9d.). Schools (Ireland)<br /> Return (2s.). Margarine Act, 1887 (Manufactories),<br /> Return of names and addresses (4d.) Minutes of Evi-<br /> <br /> dence taken before Group B. of the Royal Commission ~<br /> <br /> on Labour, Vol. II. (3s. 6d.). Report of Departmental<br /> <br /> Committee, appointed by the Board of Agriculture to<br /> <br /> inquire into the Adulteratiou of Artificial Manures and<br /> <br /> Fertilisers and Feeding stuffs nsed in Agriculture, with<br /> Railways (Continuous Breaks) ©<br /> <br /> evidence, &amp;c. (18. 6d.).<br /> <br /> Return (1s.). Royal Commission on Labour: Answer ~ 4<br /> <br /> to the Schedules of questions. Group B. Transport<br /> and Agriculture (1s. 6d.).<br /> <br /> <br /> <br /> C. Textile, Clothing, Chemical, Building and miscel<br /> laneous Trades; answers to schedules of questions.<br /> (7s. 8d.). Eyre and Spottiswoode. :<br /> <br /> Royal Commission on 3<br /> Labour, Digest of the Evidence taken before Group B.<br /> Vol. II. (1s. 5d.) Royal Commission on Labour: Group<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> Je0<br /> <br /> <br /> <br /> <br /> <br /> PTT AN<br /> <br /> <br /> <br /> raureyal | A mNGe<br /> ab oe<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> LEADERS<br /> RE riven every week on current and<br /> interesting topics.<br /> <br /> SATURDAY.<br /> <br /> COLOURED FASHION PLATES<br /> <br /> RE given gratis with THE QUEEN of<br /> A the first Saturday of every month.<br /> <br /> <br /> <br /> “GAZETTE DES DAMES”<br /> Ces all events of special in-<br /> terest to ladies. It also contains<br /> correspondence on the social subjects<br /> that are within the province of women.<br /> <br /> <br /> <br /> “MUSIC AND MUSICIANS ”<br /> ‘.REATS of all the Musical Societies, the<br /> Operas, and the new Vocal and<br /> Instrumental Music.<br /> <br /> <br /> <br /> “THE DRAMA.”<br /> C™tendon of all Performances at the<br /> London Theatres, Theatrical Gossip,<br /> <br /> <br /> <br /> tee AND BIOGRAPHIES<br /> () the most celebrated Personages,<br /> <br /> both men and women, of the<br /> past and present ages, are frequently<br /> given.<br /> <br /> <br /> <br /> THE “WORK TABLE”<br /> 8 devoted to designs and Reece one<br /> of all new and useful work.<br /> mental Feather Work, Fretwork, Solid<br /> Wood Carving, Church Embroidery,<br /> Crochet, Tatting, Leatherwork, Knitting,<br /> &amp;c., &amp;c., are all fully treated.<br /> <br /> “THE PARIS FASHIONS”<br /> Gee Tlustrations and Descriptions<br /> of the Dresses worn in Paris at the<br /> Promenades, Balls, Fétes, and elsewhere<br /> <br /> <br /> <br /> EMBROIDERY, CROCHET, AND<br /> TATTING<br /> <br /> A all treated by Ladies well qualified |<br /> to<br /> <br /> 0880.<br /> <br /> “CAUSERIE DE PARIS”<br /> 1 a weekly letter from Paris, giving all<br /> the chit-chat and doings of that city.<br /> <br /> <br /> <br /> “THE COURT CHRONICLE”<br /> Grtvss all the fashionable movements at<br /> home and abroad.<br /> <br /> <br /> <br /> THE DOINGS OF THE UPPER<br /> TEN THOUSAND<br /> A I Home and Abroad are chronicled.<br /> <br /> LETTERS<br /> ROM Paris and Vienna, with Notes<br /> from Scotland, Ireland, and else-<br /> where, are given weekly.<br /> <br /> [Price 6d.<br /> <br /> | THE NEW BOOKS ‘<br /> | (ee would be likely to interest Ladies<br /> | are carefully reviewed.<br /> <br /> |<br /> <br /> “LYRA DOMESTICA”<br /> | (ONEEINS Original Poetry.<br /> LON?<br /> <br /> <br /> <br /> AY the NEW MUSIC is noticed.<br /> <br /> <br /> <br /> “THE TOURIST”<br /> Gy account of Travel and Places.<br /> <br /> “NATURAL HISTORY”<br /> OR ladies also ferms a feature of<br /> THE QUEEN.<br /> COLOURED PATTERNS<br /> Ae given, gratis, monthly.<br /> <br /> “THE EXCHANGE”<br /> <br /> li a department of THE QUEEN that<br /> <br /> enables ladies and others to procure<br /> articles that they want for those for<br /> which they have no further use. Crests,<br /> Monograms, Seals, Stamps, Feathers,<br /> Coins, Objects of Art or Vertu, Patterns,<br /> Jewellery, or, in short, any of those mul-<br /> titudinous articles that interest, or are<br /> of use to, ladies, are readily disposed of.<br /> <br /> <br /> <br /> THE BOUDOIR<br /> ‘hg set apart for Notes and Queries on<br /> Etiquette and such-like.<br /> <br /> NOTES AND QUESTIONS,<br /> ITH their Answers, on every subject<br /> relating to Ladies, will be found in<br /> their respective departments.<br /> <br /> PATTERNS<br /> ()% all kinds, both coloured and plain,<br /> including Traced Paper Patterns,<br /> Braiding Patterns, Cut Paper Patterns,<br /> Crest Album Designs, Wood-Carving De-<br /> signs, Berlin Wool Patterns, Fretwork<br /> Pattecns, &amp;c., &amp;c., are given.<br /> <br /> <br /> <br /> THE QUEEN<br /> EE published every Saturday, price 6éd.,<br /> stamped 64d.<br /> <br /> <br /> <br /> “PASTIMES ”<br /> NCLUDE Acrostics, Croquet, Chess,<br /> Acting Charades &amp;c., &amp;.<br /> <br /> “THE GARDEN”<br /> 8 a column set apart for instructions for<br /> Ladies’ Gardening.<br /> <br /> “THE HOUSEWIFE”<br /> Gus practical instructions for the<br /> management of a household, useful<br /> and valuable recipes for cooking, pre-<br /> serving, pickling, &amp;c. &amp;c<br /> <br /> <br /> <br /> “THE LIBRARY TABLE”<br /> \IVES reviews of the New Books,<br /> Literary, Artistic, and Scientific<br /> Gossip, Notes and Queries about Authors<br /> and Books, &amp;c.<br /> <br /> ORNAMENTAL WORK<br /> OF every kind is fully discussed.<br /> <br /> <br /> <br /> LL interesting TOPICS are treated<br /> no writers well-known in the literary<br /> wor<br /> <br /> _ ILLUSTRATIONS<br /> igs @ conspicuous feature of the<br /> paper.<br /> <br /> | ‘SUBSCRIPTION:<br /> UARTERLY, 7s.; Half-yearly, 14s.<br /> | Yearly, £1 ‘Be,<br /> <br /> <br /> <br /> | OFFICE:<br /> 346, STRAND LONDON, W.C<br /> <br /> <br /> <br /> <br /> <br /> FORM OF ORDER.<br /> <br /> <br /> <br /> To Mr. Horace Cox, Bream’s Buildings, London, E.C.<br /> Please send me THE QuEEN, commencing with last Satwrday’s number, and continue<br /> sending it until countermanded. I enclose £ : :<br /> <br /> Subscription in advamer.<br /> Date<br /> <br /> <br /> <br /> Name<br /> Address<br /> <br /> <br /> <br /> for<br /> <br /> <br /> <br /> pecan pe<br /> <br /> oatemeacacttermumnoneers<br /> <br /> <br />  <br /> <br /> 304<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> IT MAKES WRITING EASY.<br /> <br /> <br /> <br /> <br /> <br /> SENT ON FREE TRIAL,<br /> <br /> RANKS FIRST<br /> EVERY WAY<br /> LITERARY MEN.<br /> <br /> IN<br /> <br /> FOR<br /> <br /> See Testimonials.<br /> <br /> <br /> <br /> APPLY TO<br /> <br /> THE TYPEWRITER COMPANY LIMITED,<br /> <br /> 12 &amp; i4,<br /> <br /> QUEEN VICTORIA STREET, LONDON. F.C.<br /> <br /> LOCAL AGENTS IN ALL DISTRICTS.<br /> <br /> By Special Warrant Makers to H.M. the Queen.<br /> <br /> Contractors to H.M. Government.<br /> <br /> <br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Toe Leraprennatt Preuss Lrp., H.C.)<br /> a<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siapence each: 5s. per dozen, ruled or plain.<br /> <br /> <br /> <br /> A VALUABLE AID to all engaged or interested in<br /> LITERARY PURSUITS is<br /> <br /> THE WRITER,<br /> <br /> Six Numbers of which have been issued, price Sixpence each.<br /> The set of six will be sent, post free, on receipt of postal<br /> order for 2s. 6d.; or single copies will be sent on receipt of<br /> Sixpence.—En@LisH PuBLisHiING Co., 73, Ludgate-hill, H.C.<br /> <br /> Twenty-fourth Issue, Super-royal 8vo., price 15s., post free.<br /> <br /> Ce CLERICAL DIRECTORY 1892.<br /> Being a Statistical Book of Reference for facts relating to the<br /> Clergy in England, Wales, Scotland, Ireland, and the Colonies; with<br /> a fuller Index relating to Parishes and Benefices than any ever yet<br /> given to the public.<br /> Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> HE AUTHORS’ AGENCY. Established 1879.<br /> <br /> The interests of Authors capably represented. Proposed agreements and estimates _<br /> MS. placed with Publishers.<br /> practical experience in all kinds of publishing and book producing. Consultation free.<br /> <br /> 1, Paternoster Row.<br /> examined on behalf of Authors.<br /> <br /> <br /> <br /> MRS. GiLg,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;e., 1s. 3d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br /> <br /> Miss PATTEAEN,<br /> TYPIST,<br /> <br /> 44, Oakley Street Flats, Chelsea, S.W.<br /> <br /> rmitted<br /> <br /> Authors’ MSS. carefully transcribed. References kindly<br /> sq., and<br /> <br /> to George Augustus Sala, Esq., Justin Huntly’ McCarthy,<br /> <br /> many other well-known ‘Authors.<br /> Fire - Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> Stickphast<br /> <br /> PASTE<br /> for joining papers and sticking in scraps:<br /> Sixpence and One Shilling, with strong useful brush.<br /> <br /> Proprietor, Mr. A. M. BURGHES,<br /> <br /> Transfers carefully conducted. Twenty-five years’<br /> <br /> leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horacr Cox, Windsor House, Bream’s-buildings, London, H.C.<br /> <br /> <br /> <br /> <br /> <br /> Terms and testimonials from	https://historysoa.com/files/original/5/446/1893-01-02-The-Author-3-8.pdf	publications, The Author