448 | https://historysoa.com/items/show/448 | The Author, Vol. 03 Issue 10 (March 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+10+%28March+1893%29"><em>The Author</em>, Vol. 03 Issue 10 (March 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> | 1893-03-01-The-Author-3-10 | | | | | 345–384 | | | | | | | | | | | | | | | | | | <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=1893-03-01">1893-03-01</a> | | | | | | | 10 | | | 18930301 | The Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
MARCH 1, 1893.<br />
<br />
<br />
<br />
Vot. [l—No. 10.]<br />
<br />
PAGE.<br />
Warnings ae oe ee eee eee aie es Seu wee B47<br />
How to Use the Society... ae sa 6 ie 205 «-. 348<br />
The Authors’ Syndicate... pee ae me sae ao wo. 348<br />
Notices... & ie tat oe re awe ae Bae wes B49<br />
<br />
Literary Property—<br />
1.—The Rights of the Nameless<br />
2.—Copyright and Magazines<br />
3.—In Bankruptcy :<br />
4.—American Copyright see ee ae<br />
5.—The French Society of Dramatic Authors<br />
6.—Publishers’ Accounts eS oe ee<br />
7.—The Output, 1800 and 1892<br />
8.—A Case of Collaboration ...<br />
9.—Is this Fair?... as<br />
10.—A Tale of a Journal<br />
11.—Lost MSS. ... aS<br />
12.—Artistic Copyright...<br />
13.—Title and Copyright<br />
Hardships of Publishing ... sue ae ons on<br />
An Omnium Gatherum for March. By J. M. Lely ...<br />
<br />
<br />
<br />
<br />
<br />
[PRicE SIXPENCE.<br />
<br />
What they Read<br />
Defoe and the Publishers<br />
A New Translation of Rabelais ee<br />
Notes from Paris. By Robert H. Sherard<br />
The Conveyance of a Gift ... ae as<br />
Notes and News. By the Editor...<br />
The Professor's Pheenix ... ne iF<br />
Carlyle on the Position of Literary Men<br />
Correspondence—<br />
1.—A Register of Books Wanted<br />
2.—Misstatements in Review... ties<br />
3.—The Example of Richard Savage<br />
4.—Inaccuracy in Fiction aS<br />
5.—Unknown Writers ...<br />
6.—Times of Payment ...<br />
7.—Prompt Payments ... ise<br />
8.—The Record Press Company Fe<br />
“At the Sign of the Author’s Head”’ ... a0 ate ak wee O16<br />
New Books and New Editions... ts nee eae aoe «we 88<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
<br />
<br />
<br />
1, The Annual Report. That for January 1892 can be had on application to the Secretary.<br />
9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
<br />
Property. Issued to all Members.<br />
<br />
The Grievances of Authors.<br />
<br />
od<br />
<br />
(The Leadenhall Press.) 1s.<br />
<br />
The Report of three Meetings on<br />
<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
95, Strand, W.C.) 3s.<br />
<br />
the Society. Is.<br />
<br />
o ov Be<br />
<br />
Literature and the Pension List. By W. Morris CoLzzs, Barrister-at-Law. (Henry Glaisher,<br />
<br />
The History of the Sociéte des Gens de Lettres. By S. Squrrm Spricar, late Secretary to<br />
<br />
The Cost of Production. In this work specimens are given of the most important forms of type,<br />
<br />
size of page, &c., with estimates showing what it costs to produce the more common kinds of<br />
<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7. The Various Methods of Publication.<br />
<br />
By S. Squrre SpriecE.<br />
<br />
In this work, compiled from the<br />
<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
I J g<br />
<br />
Henry Glaisher, 95, Strand, W.C. 35.<br />
<br />
8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
<br />
ment.<br />
<br />
With Extracts from the Report of the Commission of 1878, and an Appendix<br />
<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br />
<br />
and Spottiswoode. 1s. 6d.<br />
<br />
<br />
<br />
<br />
<br />
346 ADVERTISEMENTS.<br />
Che Society of Authors (Sncorporated),<br />
PRESIDENT.<br />
<br />
GHRORGH MEREDITH.<br />
<br />
COUNCIL.<br />
<br />
<br />
<br />
<br />
<br />
st<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Srr Epwin Arno.p, K.C.LE., C.S.1. OswaLpD CRAWFuRD, C.M.G. Lewis Morris.<br />
<br />
ALFRED AUSTIN. Tue Earu or Desart. Pror. Max Mi.urr.<br />
<br />
J. M. BARRIE. Austin Dosson. J. C. PARKINSON. ;<br />
<br />
A. W. A Becxert. A. W. Dusoure. THE Ear. OF PEMBROKE AND Mont- — =, ¢<br />
Rosert BaTeman. J. Eric Ericusen, F.R.S. GOMERY.<br />
<br />
Sir Henry Berane, K.C.M.G. Pror. MicHaru Foster, F.B.S. Siz FREDERICK PoLiock, Bart., LL.D. a<br />
WALTER BESANT. HERBERT GARDNER, M.P. Water Herrizs Poutock.<br />
<br />
AUGUSTINE BIRRELL, M.P. RicHAaRD GARNETT, LL.D. A. G. Ross.<br />
<br />
R. D. Buackmore. EpmunpD Gossz. GrorGe AuGausTUs SALA.<br />
<br />
Rev. Pror. Bonney, F.RB.S. H. Riper Hace@arp. W. BaprisTE Scoonss.<br />
<br />
Lord BRABOURNE. THomas Harpy. G. R. Sms.<br />
<br />
James Bryce, M.P. JEROME K. Jerome. S. Squrre SPRIGGE.<br />
<br />
Hatt Carne. Rupyarp Kipuine. J. J. STEVENSON.<br />
<br />
P. W. CLaYDEN. Pror. E. Ray LAnxester, F.R.S. Jas. SULLY.<br />
<br />
Epwarp Cropp. J. M. Leny. : WItiiAm Moy Tuomas. i<br />
W. Morris Couusgs. Rev. W. J. Lorrin, F.S.A. H. D. Traru, D.C.L. i<br />
Hon. JoHNn Couturier. Pror. J. M. D. MErKLEJoHN. Baron HENRY DE Worms, MP.,<br />
<br />
W. Martin Conway. Herman C. MERIVALE. F.RB.S.<br />
<br />
F. Marion CRAWFORD. Rev. C. H. Mippueron-Waxe F.L.S.| Epmunp Yates.<br />
<br />
<br />
<br />
<br />
<br />
Hon. Counsel—E. M. UNpERDowy, Q.C.<br />
Solicitors—Messrs Fiznp, Roscoxz, and Co., Lincoln’s Inn Fields.<br />
Secretary—C. HERBERT THRING, B.A.<br />
<br />
OFFICES.<br />
<br />
4, Portugat Street, Lincoun’s Inn Freups, W.C.<br />
<br />
aan<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, 4<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 />
GHORGH HENRY JENNINGS.<br />
CONTENTS.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Part I.—Rise and Progress of Parliamentary Institutions. | APPENDIx.—(A) Lists of the Parliaments of England and —<br />
<br />
Part II.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br />
Morley. (B) Speakers of the House of Commons. :<br />
Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br />
clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br />
3. Parliamentary Usages, &c. 4. Varieties. 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 | ‘It is a work that possesses both a practical and an historical<br />
of good things, is more than ever rich in doth instruction and amuse- value, and is altogether unique in character."—Kentish Observer.<br />
<br />
ment. ”—Scotsman. ‘* We can heartily recommend this work to the politician, whatever<br />
“Iti . . may be his party leanings.”—WNorthern Echo. 5<br />
<br />
seat tee get oa page aga Zc and in its | ‘‘Here we have the whole company of Parliamentary celebrities,<br />
<br />
: A i | past and present, reduced to puppets, so to speak, and made to<br />
<br />
‘Its advantage to those who are seeking seats in Parliament, or | repeat their best and most approved rhetorical performances for our<br />
<br />
}<br />
<br />
wio may have occasion to assist as speakers during the electoral leisurely entertainment, which is not less enjoyable from being allied<br />
vempaign, is incumparable.”—Sala’s Journal, | with edification.” —Ziverpool Courier.<br />
<br />
<br />
<br />
<br />
a Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br />
<br />
<br />
<br />
<br />
Che HMuthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. III.—No. 10.]<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible.<br />
<br />
<br />
<br />
HE Secretary begs to give notice that all<br />
remittances are acknowledged by return of<br />
post, and requests that all 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 />
Oe<br />
<br />
WARNINGS.<br />
<br />
<br />
<br />
Serian Ricuts.—In selling Serial Rights<br />
stipulate that you are selling simultaneous serial<br />
right only, otherwise you may find your work<br />
serialized for years, to the detriment of your<br />
volume form.<br />
<br />
<br />
<br />
Stamp your AcreEMENTS.—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 />
<br />
VOL. III.<br />
<br />
MARCH 1, 1893.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
all the agreements of members stamped for them<br />
at no expense to themselves except the cost of the<br />
stamp.<br />
<br />
fT<br />
<br />
ASCERTAIN WHAT A PROPOSED AGREEMENT<br />
GIVES TO BOTH SIDES BEFORE SIGNING IT.-<br />
Remember that an arrangement as to a joint<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 />
Literary AceEnts.—Be very careful. You<br />
cannot be too careful as to the person whom you<br />
appoint as youragent. Remember that you place<br />
your property almost unreservedly in his hands.<br />
Your only safety is in consulting the Society, or<br />
some friend who has had personal experience of<br />
the agent.<br />
<br />
<br />
<br />
Reavers 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 />
eight years’ workupon the dangers to which literary<br />
property is exposed :—<br />
<br />
(1.) Nevzr 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.) NEveRr 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 />
<br />
yourself down for future work to any-<br />
one.<br />
<br />
(4.) NevER accept any proposal of royalty<br />
until you have ascertained what the<br />
DD Z<br />
<br />
<br />
<br />
<br />
348<br />
<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 />
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, unless for a substantial<br />
consideration. If the publisher insists,<br />
take away the MS. and offer it 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 />
(io.) 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, Porrueat Street, Lincoun’s Inn Frewps.<br />
<br />
_—_—_— oS Oe<br />
<br />
HOW TO USE THE SOCIETY,<br />
<br />
<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 />
THE AUTHOR.<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 hag<br />
been the nature of your agreements and the<br />
results to author and publisher respectively so<br />
far. The secretary will always be glad to have<br />
any agreements, new or old, for inspection and<br />
note. The information thus obtained may prove<br />
invaluable.<br />
<br />
4. If the examination of your previous business<br />
transactions by the Secretary proves unfavour-<br />
able, you should take advice as toa change of<br />
publishers.<br />
<br />
5. Before signing any agreement whatever,<br />
send the proposed form to the Society for<br />
examination.<br />
<br />
6. The Society is acquainted with the methods,<br />
and—in the case of fraudulent houses—the tricks,<br />
of every publishing firm in the country.<br />
Remember that there are certain houses which live<br />
entirely by trickery.<br />
<br />
7. 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 />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
SPECIAL report of the Authors’ Syndi-<br />
cate has been prepared, and will be issued<br />
to those members of the Society for whom<br />
<br />
the Syndicate has transacted business. The<br />
accounts of the Syndicate for 1891-92 have been<br />
audited by Messrs. Oscar Berry, and Carr. A<br />
transcript of every client’s account as audited<br />
and vouched, has been sent to that client.<br />
<br />
Members are informed :<br />
<br />
1. That the Authors’ Syndicate takes charge of<br />
the business of members of the Society. With,<br />
when necessary, the assistance of the legal advisers<br />
of the Society, it concludes agreements, collects<br />
royalties, examines and passes accounts, and<br />
generally relieves members of the trouble of<br />
managing business details.<br />
<br />
2. That the expenses of the Authors’ Syndi-<br />
cate are defrayed entirely out of the commission<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
charged on rights placed through its intervention.<br />
This charge is reduced to the lowest possible<br />
amount compatible with efficiency. Meanwhile<br />
members will please accept this intimation that<br />
they are not entitled to the services of the Syndi-<br />
cate gratis, a misapprehension which appears to<br />
widely exist.<br />
<br />
3. That the Authors’ Syndicate works for none<br />
but those members of the Society whose work<br />
possesses a market value.<br />
<br />
4. That the business of the Syndicate is not to<br />
advise members of the Society, but to manage<br />
their affairs for them.<br />
<br />
5. That the Syndicate can only undertake<br />
arrangements of any character on the distinct<br />
understanding that those arrangements are placed<br />
exclusively in its hands, and that all negotiations<br />
relating thereto are referred to it.<br />
<br />
6. That clients can only be seen personally by<br />
appointment, and that, when possible, at least<br />
four days’ notice should be given. The work of<br />
the Syndicate is now so heavy, that only a limited<br />
number of interviews can be arranged.<br />
<br />
7. That every attempt is made to deal with the<br />
correspondence promptly, but that owing to the<br />
enormous number of letters received, some delay<br />
is inevitable. That stamps should, in all cases,<br />
be sent to defray postage.<br />
<br />
8. That the Authors’ Syndicate does not invite<br />
MSS. without previous correspondence, and does<br />
not hold itself responsible for MSS. forwarded<br />
without notice.<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 />
ee<br />
<br />
NOTICES.<br />
<br />
<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 />
349<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 />
Communications for the Author should reach<br />
the editor not later than the 21st of each month.<br />
<br />
<br />
<br />
All persons engaged in literary work of any<br />
kind, whether members of the Society or not,<br />
are invited to communicate to the Editor any<br />
points connected with their work which it would<br />
be advisable in the general interest to publish.<br />
<br />
<br />
<br />
Members and others who wish their MSS. read<br />
are requested not to send them to the Office with-<br />
out previously communicating with the Secretary.<br />
The utmost practicable despatch is aimed at, and<br />
MSS. are read in the order in which they are<br />
received. It must also be distinctly understood<br />
that the Society does not, under any circum-<br />
stances, undertake the publication of MSS.<br />
<br />
—<br />
<br />
The Authors’ Club is now opened in temporary<br />
premises, at 17, St. James’s Place, St. James’s<br />
Street. Address the Secretary for information,<br />
rules of admission, &c.<br />
<br />
<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 o9f<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 P<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
<br />
<br />
359<br />
<br />
Those who possess the “Cost of Production”<br />
are requested to note that the cost of binding has<br />
advanced 15 per cent. This means, for those who<br />
do not like the trouble of “doing sums,” the<br />
addition of three shillings in the pound on this<br />
head. In other words, if the cost of binding is<br />
set down in our book at eight pounds, to this must<br />
now be added twenty-four shillings more, so that<br />
it now stands at £9 4s. The figures in our book<br />
are as near the exact truth as can be procured:<br />
but a printer’s, or a binder’s, bill is so elastic a<br />
thing that nothing more exact can be arrived at.<br />
<br />
<br />
<br />
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 />
sums 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 />
ee<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
I.<br />
<br />
Tuer Ricuts or tHE NAMELESS.<br />
I.<br />
<br />
HE following letter appeared in the<br />
I Athenzxum of Feb. 11 :—<br />
<br />
A Warnine To AUTHORS.<br />
<br />
Please let me recount my experience of Messrs. Warne<br />
and Co., publishers.<br />
<br />
Sixteen years ago I wrote a semi-religious story for girls.<br />
It appeared in the Quiver in 1877, and was called “ Their<br />
Summer Day.” In 1883 I offered the copyright of it to<br />
Messrs. Warne. They bought it for £20 or £25. I stipn-<br />
lated that my name should not appear, orI should not, even<br />
then, have sold a story for sosmallasum. Mr. Warne, I<br />
think, did not send me proofs; he certainly altered the<br />
name to “Marie May; or, Changed Aims,” without con-<br />
sulting me. It was published by him in 1884 in a series of<br />
juvenile books by different authors. No name was printed<br />
on the title-page, only the titles of a few other early stories<br />
that had also been written for the Quiver.<br />
<br />
Yesterday, to my surprise, I came across this book for<br />
girls—published sixteen years ago in a religious magazine,<br />
and nine years ago in the manner I haye described, by<br />
Messrs. Warne themselves—got upin the guise of a new<br />
novel, with my name upon and in it, as well as those of<br />
<br />
AUTHOR.<br />
<br />
the works I have quite recently published. Moreover there<br />
is no date on the title page, so that unsuspecting editors<br />
may review, and innocent readers buy, as a new book this<br />
very old one.<br />
<br />
Iam aware that Messrs. Warne had a right to republish<br />
the story, but I feel that they have taken advantage of my<br />
foolishness in not having the clause about the book being<br />
anonymous put into the agreement; that I made the con-<br />
dition the title-page of the early edition shows. In regard<br />
to the story itself, I hope I may not be judged by it. Itis<br />
uninteresting and rather foolish, so that Messrs. Cassell (who<br />
were always very kind to me) gave me back the copyright,<br />
not caring themselves to reprint it. offered it to Messrs.<br />
Macmillan, who had just published my children’s book<br />
(m 1883); but though they are my intimate friends,<br />
they could not bring themselves to think this story good<br />
enough forthem. I therefore took it to Messrs. Warne ;<br />
but I should not have allowed them to publish it, except on<br />
the understanding I have stated. I think it was quite up to<br />
the average of the semi-juvenile series in which they first<br />
published it ; but I contend that it is most unjust to put<br />
it forth, with a dateless title-page, in a manner that shall<br />
make it pass as my recent work. :<br />
<br />
Lucy Cuirrorp (Mrs. W. K. Currrorp).<br />
<br />
II.<br />
The following appeared in reply, Feb. 18<br />
1893 :—<br />
<br />
?<br />
<br />
Chandos House, Bedford-street, Strand,<br />
Feb. 14, 1893.<br />
<br />
An ex parte statement having appeared in your columns<br />
from the pen of Mrs. W. K. Clifford, re her work “ Marie<br />
May,” you will please allow us to place your readers in pos-<br />
session of the facts by publishing this letter.<br />
<br />
Mrs. Clifford makes three statements :—<br />
<br />
1. That we changed the title of the book without con-<br />
sulting her.<br />
<br />
2. That the present edition is got up in the guise of a<br />
new novel.<br />
<br />
3. That an understanding was given—not mentioned in<br />
the agreement—that the book should be issued anony-<br />
mously.<br />
<br />
Lastly, she complains of there being no date on the<br />
title-page.<br />
<br />
The first of these statements is untrue, as a proof of<br />
which we hold Mrs. Clifford’s duly completed receipt for<br />
£25, transferring the entire copyright to us under the title<br />
of “‘ Marie May,” distinctly.<br />
<br />
The second is wilfully misleading. The book is not got<br />
up in the guise of a new novel, but is issued in a series of<br />
cheap reprints, published in the usual form, at 2s. picture<br />
boards and 2s. 6d. cloth.<br />
<br />
Re the third. No condition whatever was made as to<br />
anonymous publication, and we are morally certain that the<br />
matter was never broached at all, The fact that the first<br />
edition was issued anonymously in no way proves the<br />
contrary,as the book was first placed in a series where a<br />
large proportion of volumes were issued in the same way.<br />
Further, the insertion of her name at that date would have<br />
been of no assistance to the sale of the book.<br />
<br />
Fourthly. Re the dateless title-page. Surely Mrs.<br />
Clifford puts herself altogether in the wrong on this point.<br />
<br />
If the title had borne the date 1893, both she and the public —<br />
<br />
might have had cause for complaint. The fact that it was<br />
not dated, and that the book was not sent for review (as she<br />
too eagerly concludes it was), proves our bona fides in the<br />
matter.<br />
<br />
In view of these facts, while expressing no opinion of<br />
the book itself, we maintain our perfect right—as holders<br />
<br />
<br />
<br />
<br />
<br />
ae<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
of the copyright—to issue the volume in its present form,<br />
with any advantage that may accrue from Mrs. Clifford’s<br />
name having become better known to the public. At the<br />
same time we decline to take a lesson in just dealing from a<br />
lady whose principles may best be judged by the fact that<br />
she has been willing to sell a work—which she herself<br />
designates as “uninteresting and foolish’—for the sum<br />
of £25, and afterwards to decry it.<br />
<br />
Further, it appears to us a moot question whether a<br />
journal like the Athenewm should open its columns for<br />
ex parte statements of this nature without ascertaining if<br />
there is any justification for them.<br />
<br />
FREDERICK WARNE AND CoO.<br />
<br />
III.<br />
To this Mrs. Clifford makes rejoinder to the<br />
Author :—<br />
<br />
I did not give any receipt at all (for an obvious reason)<br />
till some time after the publication of the story. I could<br />
hardly have given it under any other title than that by<br />
which it had been published. If Messrs. Warne publish it<br />
now as a reprint or new edition, why do they not say so on<br />
cover or titlepage? There is no hint of it, nor of its being<br />
one of a series. And why is it announced in the Publishers’<br />
Circular for Jan. 28 and the Bookseller for February as a<br />
new book? If I did not make the anonymous condition<br />
why did Messrs. Warne not use my name? It was of no<br />
value in 1877 when this story was written; but it must<br />
have been worth something in 1883 when they republished<br />
it. For in 1881 Messrs. Wells, Gardner, and Darton had<br />
published a little book called “ Children Busy,” of which<br />
31,000 copies were sold in the first year. The stories were<br />
known to be mine though they were not signed. In 18821<br />
published “ Anyhow Stories” with Messrs. Macmillan, so<br />
that my name must have had some value even then, and<br />
the inference is that Messrs. Warne would have used it had<br />
they been at liberty to do so. Lucy CLIFFORD.<br />
<br />
LY:<br />
<br />
The St. James’s Gazette and the Westminster<br />
Gazette comment upon the case as follows :—<br />
<br />
I.<br />
<br />
We referred only a month ago to a dispute Mr. Clark<br />
Russell had with Messrs. Kegan Paul and Co. as to their<br />
right, as assignees of copyrights purchased from Messrs.<br />
H. S. King and Co., to republish to-day, under Mr. Russell’s<br />
name, youthful work contributed years ago, under a pseu-<br />
donym, to the Liverpool Daily Post. The alleged right<br />
struck us, we confess, as wholly untenable. Mrs. W. K.<br />
Clifford has to complain of a similar and flagrant grievance<br />
against Messrs. Warne and Co.<br />
<br />
Il.<br />
<br />
A curious case in the ethics of publishing is raised by the<br />
treatment to which Mrs. W. K. Clifford has been subjected<br />
by a certain firs. In her early days, when her intellectual<br />
standpoint was very different from what it is now, she wrote<br />
some goody-goody but (if she will pardon us for saying it)<br />
somewhat dull stories for the Quiver. In 1883 she sold the<br />
copyright of one of them to the firm in question, stipulating<br />
that it should be published anonymously, though she<br />
neglected to put this stipulation in the agreement. In 1884<br />
the story was duly published in a series of religious books<br />
for young people.<br />
<br />
So far so good. But the other day, without a word to the<br />
authoress, the publishers re-issued the work, in the guise of<br />
a new novel, with the name of Mrs. Clifford on the title-<br />
page, to which they added the titles of her recent books<br />
(“* Mrs. Keith’s Crime,” “ Aunt Anne,” &c.). In charity one<br />
<br />
AUTHOR.<br />
<br />
351<br />
<br />
must suppose that the publishers meant no harm; but the<br />
effect is that an unsuspecting public will imagine this imma-<br />
ture story, written by Mrs. Clifford when she was a girl, to<br />
be a new book written in direct succession to ‘‘ Aunt Anne.”<br />
Doubtless the firm in question have acted entirely within<br />
their legal rights. But is the proceeding one which com-<br />
mends itself to the publishing conscience? When the<br />
Publishers’ Union is an accomplished fact perhaps we shall<br />
know. Meanwhile, what does the Society of Authors think<br />
of the case?<br />
<br />
v.<br />
<br />
These letters speak for themselves. The<br />
author says that there was the condition of<br />
anonymous publishing; that the title was<br />
<br />
changed without consulting her; that the new<br />
edition is presented as a new novel ; and that there<br />
is no date on the title-page. The publisher says<br />
that there were no conditions. Very well.<br />
There is, perhaps, no written agreement. But the<br />
book was published anonymously. Why? The<br />
publisher says that the insertion of the author’s<br />
name would not have helped the sale. Then are<br />
we to understand that a publisher is to please<br />
himself whether a name is to be given or not?<br />
In that case what becomes of reputation? How<br />
is a name to be made? If a book is anonymous,<br />
the world always understands that it isso ordered<br />
by the author.<br />
<br />
Such a case as this seems to us one that should<br />
be decided by the courts of law. It seems a<br />
simple thing. The point does not appear to<br />
have ever arisen and been decided at law, but<br />
it seems at least arguable that the publisher<br />
of an anonymous book buys the work, but not<br />
the name. Otherwise one may conceive of a<br />
great deal of mischief being done to a writer.<br />
We all have our beginnings; some of us have<br />
our necessities. When these are surmounted,<br />
the most serious injury might be done by reviving<br />
immature work for the sake of trading upon an<br />
honourable and popular name. Once more, the<br />
case is another warning for every writer.<br />
<br />
it<br />
CopyrigHt and MaGazines.<br />
<br />
With reference to the article appearing in your<br />
last issue, p. 313, on the subject of magazines and<br />
copyright, there is one point on which I would<br />
venture to differ from the opinion expressed by<br />
Mr. Hardy on sect. 18 of the Copyright Act, 1842.<br />
Mr. Hardy suggests three conditions which must<br />
be fulfilled before the proprietor can become<br />
entitled to the copyright in articles written for<br />
him by others. The second of these conditions<br />
is, ‘that the articles must be written on the<br />
terms that the copyright therein shall belong to<br />
the proprietor,” and in support of this contention<br />
he cites the case of Layland y. Stewart (4 Ch.<br />
<br />
<br />
<br />
<br />
352 THE<br />
<br />
Div. 419) — but that case, I would submit,<br />
only shows that, where an author enters into an<br />
agreement for the publication of his work, no<br />
copyright will pass to the publisher without an<br />
assignment in writing, and that it does not<br />
govern a transaction in which the author has<br />
written an article which he was employed to write<br />
for his employer. Such a case, I submit, would<br />
be governed by the decision in Sweet v. Benning<br />
(24 L. J. 175, C. P.), where it was held that in<br />
order to give the proprietor of a periodical a<br />
copyright in articles composed for him by others,<br />
and paid for by him, under the 18th section of<br />
the Copyright Act (5 & 6 Vict. ¢. 45), it is not<br />
necessary that there should be an express con-<br />
tract that he should have the property in the<br />
copyright. E. CuartEris.<br />
Temple, Feb. 7.<br />
<br />
Seen<br />
<br />
IIT.<br />
In Bankruptcy.<br />
<br />
A publisher who has agreed to produce an<br />
author’s book on royalty, becom-s bankrupt, and<br />
offers a composition of, say, 5s. inthe pound. The<br />
composition isaccepted. Hethen carries on his busi-<br />
ness as before, and sells a number of copies of the<br />
book in question. Upon these sales he proposes to<br />
pay one-quarter of the stipulated royalty. But<br />
the author says: “No; I consented to accept 5s.<br />
inthe pound on all debts due to me at the date<br />
of your composition. I did not consent to accept<br />
5s in the pound on any debts that might be<br />
incurred afterwards. I want my royalty in full.”<br />
Which is right, author or publisher? Will<br />
some member, who is learned in the law, please<br />
answer, quoting the cases on which his opinion is<br />
based ? D.<br />
<br />
=e<br />
<br />
IV.<br />
AMERICAN COPYRIGHT.<br />
<br />
An author arranges to bring out a book on<br />
royalty in England, and also sells the American<br />
rights. The American firm who agree to buy<br />
are informed of the date when it will be pro-<br />
duced in England; but in spite of that fact, for<br />
reasons of their own, delay publication, and the<br />
American copyright is lost. As the book is thus<br />
rendered practically valueless to them they refuse<br />
to complete their contract. What is the author<br />
todo? If he were to sue in the American courts,<br />
I suppose his evidence could be taken upon com-<br />
mission; but even then would not the expense be<br />
enormous? Also upon what basis should he<br />
assess damages? It they were considered too<br />
<br />
<br />
<br />
high, would not he be mulcted in part of the<br />
The matter is important, as two cases of<br />
<br />
costs r<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
the sort have already occurred, and though in<br />
both the American firms involved have even tually<br />
paid, other cases are sure to crop up. In order<br />
to protect the interest of members, would not it<br />
be possible for the Society to co-operate with the<br />
American Association of Authors, a small addi.<br />
tional subscription being paid for this service ?<br />
Each subscriber would then practically become a<br />
member of the Association, and enjoy all the<br />
rights of membership. Of course, a similar<br />
privilege should be offered to all who belong to<br />
the American Association. It seems to me that<br />
some such arrangement would greatly benefit<br />
authors in both countries, D.<br />
<br />
<br />
<br />
Vv.<br />
THe Frencu Society or Dramatic AUTHORS.<br />
<br />
The French Society of Dramatic Authors, in<br />
their capacity as a syndicate, collected in 1890-91<br />
no less than £136,444 as authors’ rights for its<br />
members. Beaumarchais was the real originator<br />
of this society. Having given his first two pieces,<br />
The Enigma and The Two Friends, to the actors,<br />
free, gratis, for nothing, when it came to the<br />
Barber of Seville and its tremendous vogue, he<br />
claimed an author’s share of the profits. The<br />
comedians sent him 4500 livres, which would be<br />
some £450 to-day, but without any account or<br />
computation of the sum. Beaumarcbais brought<br />
the matter before the licenser of plays—then a<br />
gentleman of the King’s bed-chamber, the Due<br />
de Duras—who suggested to him to get the<br />
dramatic authors together, and draft a regulation<br />
for the future. Diderot, La Harpe, and others<br />
opposed Beaumarchais—these authors always<br />
will have a sylit—but he, in 1777, got together<br />
some twenty-three colleagues, and in 1780<br />
succeeded in fixing an author’s rights in his play<br />
at one-seventh of the net receipts. For the sixty-<br />
five first performances of the Marriage of Figaro,<br />
for example, Beaumarchais thus obtained 41,440<br />
livres, say, nowadays, some £4140. The National<br />
Assembly made the first legislative recognition of<br />
dramatic copyright in January, 1791, but Beau-<br />
marchais had to petition about this law in the<br />
following December. Out of this petition came<br />
another unsatisfactory law in 1792; but at length,<br />
on Sept. 1, 1793, the playwright was assimilated<br />
to any other writer in the ownership of his own<br />
works ; and ever since then—for just a hundred<br />
years—the Society that the indefatigable Beau-<br />
marchais started has gone on prospering, and<br />
earning their bread for all its members. ‘Lhe<br />
Revue de Belgique contains an article on the<br />
subject which is of interest to us all.<br />
<br />
J. O'NEILL.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
VE<br />
PusLIsHERS ACCOUNTS.<br />
<br />
The following judgment has been pronounced by<br />
the Court of Cassation in Paris on a case between<br />
publisher and author. The case is still pending,<br />
this decision being only a step im its progress.<br />
When it is finally settled we hope to report the<br />
whole :<br />
<br />
“ When, in the carrying out of a contract between<br />
publisher and author, the publisher, in order to<br />
increase his profits and reduce those of the<br />
author, renders accounts which dissimulate the<br />
real number of copies in the editions, and at the<br />
same time falsifies his books to make them agree<br />
with the accounts rendered, this combination of<br />
fraud and falsification presents the character of<br />
the crimes of forgery and of the employment of<br />
forged documents.”<br />
<br />
And the Court of Cassation has accordingly<br />
sent down the case anew to the “ Chambre des<br />
mises en accusation,’ or Court of Indictment, as<br />
it might be translated—being a sort of grand-<br />
jury of judges. If they now find a true bill,<br />
the case will then at length be tried by some<br />
Court of First Instance.<br />
<br />
VEL.<br />
Tux Output, 1800 AND 1892.<br />
<br />
The following is a classified list of new books<br />
for the year 1800. The population of the three<br />
kingdoms was then 15,000,000. It is now, counting<br />
English readers in the colonies and India, about<br />
four times as great. We have therefore placed in<br />
parallel columns what would be the output of to-<br />
day in the same proportion, and what is the actual<br />
<br />
<br />
<br />
output. The arrangement of the Publishers’<br />
Circular is followed.<br />
<br />
| 1800. | 1892 1893<br />
<br />
| (in same (actual).<br />
<br />
| | propor-<br />
<br />
| | tion).<br />
eae oe | Se |<br />
Theology and Sermons | 96 384 528<br />
Educational, Classical,<br />
<br />
Piilological .......:... | 56.31. 200 579<br />
ae... (2 | ie 1147<br />
Law, Jurisprudence, &c. | Bio | Lee 61<br />
Political and Social |<br />
<br />
Economy, Trade, and |<br />
<br />
Commerce ............ | 137 |< 048 151<br />
Arts, Sciences, and | |<br />
<br />
Tllustrated Works ...| 63 | 252 147<br />
Voyages and Travels ... | 20 80 250<br />
History and Biography | 52 | 208 293<br />
Poetry and the Drama | 110 440 185<br />
Medicine and Surgery... | 60 | 240 127<br />
<br />
The second and third columns show (1)<br />
VOL. III.<br />
<br />
‘ accident.<br />
<br />
3§3<br />
<br />
the increased proportion of readers to population,<br />
and (2) the changes which have taken place in<br />
their reading. Thus, without change, we should<br />
have had 384 new books on theology, we actually<br />
get 528. Now the people who read theological<br />
works certainly use the old standard books more<br />
than new ones. Educational books are multiplied<br />
by nearly three, which shows the immense spread<br />
of education. Novels are multiplied, in propor-<br />
tion, by five, but then a very large number of<br />
those which swell our numbers are stuff which no<br />
one will publish except at the author’s expense.<br />
Voyages and Travels are multiplied by three,<br />
History and Biography by one andahalf. Poetry<br />
and the Drama have decreased by from 446 to 146.<br />
Books on Medicine are diminished by one-half.<br />
Political and Social Economy, Trade and Com-<br />
merce, reduced from 548 to 105. The propor-<br />
tional increase is not so great as we might have<br />
expected, but it grows; in ten years’ time, one<br />
ventures to predict, the increase in educational<br />
books will be very great indeed ; there will be a<br />
great decrease in novels; there will be a large<br />
increase in poetry and the drama, and a decrease<br />
in voyages and travels. Lastly, the whole output<br />
of new books in 1892 in the same proportion to<br />
that of 1800, when it was 693, should have been<br />
2772: instead, it was, excluding year books and<br />
serials, 4555, or nearly double. The number of<br />
those who read books is therefore doubled in<br />
proportion to the population. The case, how-<br />
ever, cannot be disposed of in this simple way,<br />
because the editions are now very much larger<br />
than they were formerly, and the apparent<br />
increase by no means represents the real increase.<br />
<br />
<br />
<br />
VALE.<br />
A Cask oF COLLABORATION.<br />
<br />
A lady translated a series of stories from the<br />
French, and arranged with a gentleman to super-<br />
vise the MS., and correct any errors that might<br />
occur. He was further to try and place the<br />
stories in magazines and other suitable periodicals.<br />
The financial arrangement was based on_ half<br />
profits. Under the circumstances, a fairly equi-<br />
table arrangement, though what advantage there<br />
was lay on the side of the man, the lady being a<br />
<br />
erson of some literary attainment and culture,<br />
and therefore needing in her MS. not much cor-<br />
rection. In due course a story was placed in<br />
a well-known weekly journal. No mention of the<br />
fact was made; the truth was discovered by<br />
The lady, who constantly met the<br />
gentleman in society, taxed him with it, and<br />
was informed that she should receive a cheque in<br />
due course, but the cheque never came, and a<br />
EE<br />
<br />
<br />
<br />
<br />
354<br />
<br />
<br />
<br />
year has passed. Another story has been placed,<br />
and no cheque has as yet arrived. Under ordi-<br />
nary circumstances an action at law would be an<br />
easy way to awaken the male partner to a sense<br />
of duty and responsibility. Unfortunately the<br />
lady lives abroad, and this point is a safeguard<br />
to her partner. He knows the fact, and trades<br />
upon it.<br />
<br />
<br />
<br />
IX.<br />
Is tHis Farr?<br />
<br />
An editor of a certain journal or periodical<br />
happens to be also a member of the Society. In<br />
the information column of his journal he is asked<br />
several difficult questions concerning copyright,<br />
and various particulars about publishers. As a<br />
member of the Society he writes off to the<br />
Secretary, stating the complicated legal conun-<br />
drums, and asking advice generally as to the<br />
publishers referred to. The Secretary, in the<br />
innocence of his heart, writes him a full letter<br />
containing valuable information and critical ex-<br />
planations. In the next week’s issue of the<br />
periodical the correspondents are fully answered.<br />
Is this fair to the Society? A member who<br />
really had the work of the Society at heart ought<br />
to refer correspondents to the Secretary, and not<br />
suck the Secretary’s brains for his own aggran-<br />
disement, and to the detriment of the Society, or,<br />
at least, he might acknowledge the source of his<br />
information.<br />
<br />
<br />
<br />
X.<br />
A TALE oF a JOURNAL.<br />
<br />
The public life of third-rate journals and perio-<br />
dicals is full of interest, not only as showing the<br />
ingenuity of the human mind, but as setting<br />
forth the dangers attendant on MSS. forwarded<br />
for insertion in their columns. A limited liability<br />
company is generally the first step in the career of<br />
vice. In the memorandum of association powers<br />
are taken to publish a magazine, paper, book, or<br />
anything that may be printed. The paper is in<br />
due course floated. With the little money pro-<br />
duced from the sale of shares and collected from<br />
the gullible public, advertisements for MSS. are<br />
freely posted. In a short time quite a collection<br />
of literary wares is brought together, but the<br />
printer is left unpaid, and the landlord is clamour-<br />
ing for rent, and the contributors are wild for<br />
their small pittances. There is only one haven of<br />
rest—the bankruptcy court. Now is the editor’s<br />
or proprietor’s chance, the chance of the man who<br />
conceived the brilliant idea, the chance of the<br />
man who knew of its inevitable failure. All the<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
assets of the company are sold for the benefit of<br />
the creditors. The proprietor puts forward a<br />
nominee and buys them in at a small knock-down<br />
value. There is nothing for the creditor. The<br />
printer rages and the contributors are in tears,<br />
But the former proprietor, in a nice new office, is<br />
running a fresh and perhaps successful magazine<br />
of his own with this distinct advantage that for<br />
some time at least he has no contributors to pay.<br />
<br />
<br />
<br />
Xi.<br />
Lost MSS.<br />
<br />
It is curious to hear of the difficulties<br />
encountered in finding MSS., when the impatient<br />
owner, after long delay, at length clamours for<br />
their return. A few cases may suffice to put this<br />
before the minds of the readers of the Author.<br />
One publisher, in a case brought before us, could<br />
only discover an MS. when the irate author with<br />
his back to the door of the private office threatened<br />
personal violence, This is not every one’s chance,<br />
but this author was an accomplished athlete,<br />
Another writer, a lady of gentle and patient<br />
disposition, who could in no other way get her<br />
MS., took her lunch and a novel, and sat down<br />
in the office to wait, stating her readiness to wait<br />
all day and every day. Presently the MS. was<br />
handed to her from a shelf quite close to where<br />
she was sitting. In another case the address had<br />
been lost, and in another the author’s letter had<br />
been mislaid. Authors, however, are not without<br />
blame. They forward the MSS. recklessly.<br />
They give inadequate instructions as to their<br />
return, and they demand infallibility.<br />
<br />
<br />
<br />
XIi.<br />
Artistic CopyRiGcuHt.<br />
<br />
The society has been applied to recently by<br />
one or two artists for advice on questions of copy-<br />
right, and for help in the negotiation of terms<br />
with publishers and engravers. This is no doubt<br />
a wide field, but it is a field in which the society,<br />
through its knowledge of copyright, can be of<br />
great assistance to fellow workers. Many artists<br />
are, of course, also authors. Many, however, are<br />
not. One or two elections of artists have been<br />
made whose contracts are similar to those of<br />
authors and to whom the society’s experience<br />
may be of equal service.<br />
<br />
<br />
<br />
a<br />
a<br />
Af<br />
a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
XIii.<br />
<br />
TirLE AND COPYRIGHT.<br />
<br />
A novel difficulty in regard to the law of copyright has<br />
just come under my notice. A retired naval officer wrote a<br />
nautical novel, and for some time before it was complete<br />
spent considerable sums in advertisements and “ prelimi-<br />
nary puffs.” Just as the work was on the eve of production<br />
another astute novelist brought outa book with the title<br />
which the first writer has been sedulously advertising. He<br />
thus appropriates a great part of the fruits of his rival’s<br />
expenditure. So far as I can see, the injured scribe has no<br />
redress; what is more, there appears to be no means by<br />
which an author desirous of advertising his work before pub-<br />
lication can guard against this form of piracy. The Society<br />
of Authors might well address themselves to the amendment<br />
of the law in this respect.<br />
<br />
The above is from 7ruth. It certainly seems<br />
a most flagrant case. But a similar case has<br />
has already been decided in the courts in Max-<br />
well v. Hogg and Hogg v. Maawell (15 L.T.<br />
204).<br />
<br />
The whole question of title was dealt with at<br />
some length in our issue of December, 1892, and<br />
we would refer readers who are interested to that<br />
number for information.<br />
<br />
HARDSHIPS OF PUBLISHING.<br />
<br />
laa has been little of importance added<br />
<br />
<br />
<br />
to the talk in the Athenewn on_ the<br />
<br />
“Hardsbips of Publishing.” Mr. John<br />
Murray wrote (Jan. 28) to say that he has lost<br />
about £7000 by three books. We might very<br />
fairly contend that we were talking of dealings<br />
with authors, not of reference books. But as<br />
nobody ever supposed that Mr. Murray never<br />
takes risks, we are quite prepared to admit that<br />
Mr. Murray is one of the “few publishers who<br />
take risks.” The fact does not in the least alter<br />
our position. And Mr. Rudyard Kipling (Feb. 18)<br />
sends the following :-—<br />
<br />
At this distance I cannot quite see what in the world my<br />
private notes have to do with Mr. William Heinemann’s<br />
public scufflings. If he had told me that he wanted my<br />
views on the hardships of publishers for publication, I<br />
should have been most happy to have forwarded them,<br />
though I do not think that he would then have considered<br />
them of interest to your readers.<br />
<br />
What I wrote to him was an ordinary civil acknowledg-<br />
ment of his letter to the Atheneum. If I had imagined that<br />
he was going to give my letter to the public, I should<br />
not have been at such pains to dwell upon what seemed to<br />
me his one fair contention. Nor should I have confined my<br />
remarks to the justice on his side. My practice (for I have<br />
bought my experience in the market) is to deal with pub-<br />
lishers entirely through an agent. RupyARD KIPLING.<br />
<br />
VOL. III.<br />
<br />
AUTHOR.<br />
<br />
355<br />
<br />
To this appears the following reply (Feb. 25) :<br />
<br />
21, Bedford-street, W.C., Feb. 20, 1893.<br />
<br />
Mr. Rudyard Kipling’s letter to you has grieved and<br />
surprised me. Ihave written to him to express my regret.<br />
But I also remind him, and hope you will let me inform<br />
your readers, that my action was caused by a complete<br />
misunderstanding of his views. In the letter from which I<br />
made-the quotation for the Athenzwm, Mr. Kipling wrote,<br />
in reference to another controversial matter :<br />
<br />
“If you choose to quote anything I said that<br />
you think will do you good, of course I can’t stop it, and I<br />
shouldn’t kick at it. Your mistake lay in asking.”<br />
<br />
In the next paragraph there occurred the words I sent to<br />
you for publication. How could I know that what applied<br />
to Jack was not intended to apply to Jill?<br />
<br />
W. HEINEMANN.<br />
<br />
The “one fair contention” alluded to is the prac-<br />
tice, too common among authors, of attributing<br />
failure of their books to the publisher, whose<br />
interest it certainly is to do all he can to make<br />
them succeed.<br />
<br />
The result of the rather angry controversy is<br />
that nothing whatever has been done to shake our<br />
contention—based upon such an experience of<br />
publishing houses as no single person can have—<br />
that few publishers take risks; or that few risks<br />
are taken by publishers. This is not, of course,<br />
saying that no risks are ever taken. Next, that<br />
after asserting that the society, or any one con-<br />
nected with it, has ever called publishers “in a<br />
lump, thieves,” the accuser, to support his charge,<br />
has to interpret such an adjective “ widespread ”<br />
as “universal” ; and, lastly, that where an offer<br />
has been made, and been refused, to undertake<br />
work at the alleged “cost of production,” the<br />
refusal to accept that offer is virtuously inter-<br />
preted to be based on a desire not to sweat the<br />
poor printer. This is a very fine result of the<br />
last attack. Let us now await the next.<br />
<br />
<br />
<br />
Why do publishers, whenever they talk about<br />
risks, constantly assume that they are all carrying<br />
on business in the same way, with the same<br />
capital, and the same power of ineurring risks ?<br />
When some penniless clerk, backed by a little<br />
credit with a printer, startes publishing, what risk<br />
can he afford torun? The small amount of capital<br />
with which many publishing houses have to work<br />
for years, and until they ‘turn the corner,”<br />
absolutely precludes the possibility of taking<br />
risk. It is vitally necessary for them, not only<br />
that a book shall pay for its cost of production,<br />
but that it shall also pay some margin of profit. It<br />
is in order to secure this margim that so many<br />
frauds have been introduced—overcharge of<br />
printing, paper, binding, advertisements—getting<br />
large discounts on every item and pocketing the<br />
whole. In advertisements, for imstance. an<br />
<br />
EE 2<br />
<br />
<br />
356<br />
<br />
advertising agent recently informed a member<br />
of this society that he does not take publishers’<br />
business because they want such large dis-<br />
counts. Some of them ask, he says, as much<br />
as 40 per cent. discount—not, of course, in the<br />
great papers, but in the smaller journals. Do<br />
any of these discounts appear in the accounts?<br />
Would it not be more dignified for the great<br />
Houses when they read our experience, embodied<br />
in the form of a perfectly true statement, such as<br />
“‘ Few publishers take risks,” or “ Few risks are<br />
aken by publishers,” to assume that everybody<br />
knows that they are of the “few”? For instance,<br />
when one says, which is perfectly true, that many<br />
solicitors are—what many solicitors’ certainly are<br />
<br />
we do not see our own friends, who are solicitors,<br />
writing to the papers to say that they are not—<br />
they really are not—such as these gentry. They<br />
take it for granted that the world knows them tou<br />
well to suppose that they are meant. Nor, if<br />
one mentions the word “ Quack”’ in the presence<br />
of a medical man, does our personal friend the<br />
doctor jump up with a red face and fiery eyes to<br />
explain that he himself.is a qualified practitioner<br />
and an M.D. of London. Besides, our statement<br />
<br />
about risks is in itself so plainly and manifestly<br />
true, to every one who has any real knowledge of<br />
<br />
the trade and its conditions, that it is wonderful<br />
to see publishers objecting to it. Why should they<br />
take risks when they can avoid risks? The<br />
small Houses have not the capital which would<br />
enable them to take risks. The large Houses<br />
alone, which can afford to wait, may at times<br />
take needless risks, and sometimes make money<br />
and sometimes lose it. They may also make<br />
mistakes. There is in most men of business<br />
a certain element of the gambler. Perhaps<br />
without a little speculation trade would be<br />
dull. Is it, again, quite dignified to announce<br />
the fact of these failures? We do not find<br />
other business men advertising their losses.<br />
Mistakes must be made, it is certain, when<br />
speculation is introduced; all that is claimed is<br />
(1) that there are, and should be, few mistakes in<br />
publishing, considering the reputation and the<br />
position of certain writers ; (2) that the majority<br />
of Houses, which include the hundreds outside<br />
the few generally placed in the first line, either<br />
cannot afford, or will not afford, to run any<br />
risk whatever, and if they publish a risky book<br />
they make the author pay. Therefore, to repeat<br />
again and again, few publishers take risks,<br />
or publishers take few risks. And again, by risk<br />
we mean the speedy recouping of the cost of<br />
production, which in most cases is not paid until<br />
the sales have covered it, so that there is no cost<br />
at all. But we do not mean the expectation of<br />
profit, which is another question altogether.<br />
<br />
THE AUTHOR.<br />
<br />
Here is an illustration of the curious attitude<br />
of mind which is assumed by many in arranging<br />
for the publication of a book. “I have just;<br />
left,” said a certain person to the Secretary the<br />
other day, “the office of Messrs. They<br />
showed me by their own accounts that they are<br />
always losing money by their books. It is quite<br />
wrong to say that they never take risks.’ Well,<br />
nobody says that they never take risks. But<br />
consider what this means. The partners of this<br />
firm live in great opulence; they have arrived at<br />
their present prosperity by the publication of<br />
successful books. Their success proves their per-<br />
ception of what is wanted ; it isa faculty of which<br />
they may be justly proud because it has made<br />
them rich; yet they are constantly pretending<br />
and professing that they lose money by publishing<br />
books. That they do sometimes lose a little is<br />
quite intelligible; that they ever knowingly pro-<br />
duce a book which will probably or certainly fail<br />
to pay expenses may be doubted—except for<br />
reasons which are not apparent to the world,<br />
Then why this pretence? Is there any other<br />
business in the world in which the principals<br />
live in great houses, and yet are always publicly<br />
wailing over their losses? And, of course, to say<br />
that they prove these losses to a visitor by afford.<br />
ing him a glimpse of accounts is perfectly ridicu-<br />
lous, and for this reason, An account, to prove<br />
anything, must be audited. And in auditing a<br />
book account, many things have to be examined, as,<br />
for instance, the vouchers and receipts of printers,<br />
paper makers, and binders. And it must be proved<br />
how much was actually paid, and to what papers,<br />
for advertisements. And, again in the case of<br />
advertisements, not what is the tariff price, but<br />
what discounts were allowed; and not what is<br />
the scale for such and such a magazine, but, was<br />
the advertisement an exchange? And what adver-<br />
tisements, if any, are charged for the House's<br />
own magazine? Imagine, if you can, one of the<br />
great drapers of Regent-street driving home in<br />
his carriage and pair to sit down and lament<br />
over his daily losses! Now, if the more consider-<br />
able houses, which chiefly concern us, will give<br />
over publicly protesting or suggesting that their<br />
business is entirely a gambling one, and that the<br />
more they publish the more they lose, and will<br />
acknowledge, what every man of common sense<br />
perfectly well knows, that they must, as men of<br />
business, do their very best to run as few risks<br />
as possible ; then the smaller fry will have to leave<br />
off too, and shall be able to discuss matters as<br />
reasonable beings. Meanwhile we have at least<br />
given to the world the figures which show what<br />
book publishing means.<br />
<br />
———<br />
<br />
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<br />
THe AUTHOR.<br />
<br />
There are no fewer than 416 publishers in the<br />
London Trade Directory. A few more—religious<br />
societies—are not on the list. There are, there-<br />
fore, say, 420 houses which profess to call them-<br />
selves publishers. A rough division of this list<br />
shows that there are about twelve which may be<br />
called first-class houses, having regard to the<br />
class of literature they produce, their resources<br />
and history, and the general character they possess<br />
for integrity—but in this list we must be careful<br />
not to include all the firms which advertise long<br />
lists. Among those in the first rank are pub-<br />
lished most of the books--not at the author’s<br />
expense—which carry risk. Next to them stand<br />
some seventeen houses which we may fairly place<br />
in the second class; after them about sixteen of<br />
the third class. Then a few hangers-on in general<br />
literature ; chiefly, they publish the inferior<br />
novel. As for the rest they are American and<br />
foreign houses; religious houses; theological,<br />
scientific, legal, medical, geographical, and tech-<br />
nical houses; publishers of elementary educa-<br />
tional books; some printers who sometimes<br />
publish; some papers whose proprietors call<br />
themselves publishers; the producers of penny<br />
novelettes. For purposes of general literature<br />
there are between forty and fifty houses which<br />
need to be considered at all. And in some of<br />
these the unwary will most certainly be robbed,<br />
while in many of them he will be entrapped into<br />
aone-sided agreement Considering these things,<br />
writers, it cannot be too often repeated, should<br />
take the advice of the Society before sending<br />
MSS., and should, above all, seek the advice of<br />
the Society before signing agreements.<br />
<br />
<br />
<br />
spect<br />
<br />
AN OMNIUM GATHERUM FOR MARCH.<br />
<br />
<br />
<br />
Suggestions for Books or Articles.—A History<br />
of Publishing, with special reference to plural<br />
publication, as that of Chalmers’ “ British<br />
Essayists ” in 1823, in the publication of which<br />
fifty-seven publishers joined; The Force of<br />
Jealousy in Politics, Literature, and Art; The<br />
Duty of Delight; The Budgets of 1842, 1846,<br />
1853, 1869, and 1892; The History of the three<br />
Reform Acts; The disadvantages of Civilisation ;<br />
The Rise and probably approaching Fall of<br />
Party Government in England; “ One Woman,<br />
Two-thirds of a Vote,” with special reference to<br />
Plato’s Republic, book v.<br />
<br />
A Publishers’ Union—The rumoured Pub-<br />
Jishers’ Union seems to have been given up.<br />
How sad! Authors have everything to gain and<br />
nothing to lose from such a Union.<br />
<br />
3o/<br />
<br />
Prefaces—It is unfortunate that so little<br />
labour should frequently be bestowed on prefaces.<br />
In novels they are almost unknown. Why<br />
should this be? Wilkie Collins, I believe, never<br />
wrote a novel without a preface. Beyond doubt<br />
the preface assists the reviewer, and conduces to<br />
a favourable review.<br />
<br />
Dedications.—These, which used to be almost<br />
universal, seem to be dying out, which is rather<br />
a pity. They afford opportunity for a pretty<br />
compliment, but it is suggested that the author<br />
should not dedicate to a person much above him<br />
in social or literary position.<br />
<br />
Bedside Books.—As good “bedside books”<br />
for those who may suffer from sleeplessness, I<br />
would respectfully recommend “ Le Mie Prigioni,”<br />
of Silvio Pellico, Boswell’s “Life of Johnson,”<br />
and Burton’s “Anatomy of Melancholy.” For<br />
the first to take the desired effect, the reader<br />
should know enough Italian to enjoy it, but not<br />
so much as to dispense wi' h an occasional puzzling<br />
over it.<br />
<br />
Copyright.—Is not the principal point of<br />
Copyright Law which requires amendment that<br />
clumsy 18th section of the Copyright Act of<br />
1842, which irregulates (if such a word may be<br />
coined) the respective rights of the magazine<br />
proprietor and his contributors ? Is there a<br />
single human being who would oppose the<br />
amendment of it, suggested by the Royal Com-<br />
mission of 1878?<br />
<br />
Advertisements.—Should not an auth r exercise<br />
some control over the advertisements cof his<br />
books, so that, e.g., the favourable extracts from<br />
reviews should not be too profusely printed ?<br />
<br />
Books sent for Review.—Ought not a book<br />
sent for review and not reviewed to be returned<br />
to the sender? J. M. Lety.<br />
<br />
a<br />
<br />
WHAT THEY READ.<br />
<br />
ee<br />
<br />
OFTEN hear it asserted that the public<br />
read “what they like.” That is said with<br />
reference to circulating libraries, and the<br />
books which there “read best.’ It is said with<br />
reference to “ public libraries” formed under the<br />
new Act, and the works which “go out’? most<br />
often, It is said to authors — as an end of<br />
all controversy respecting why some books are<br />
successful and some are not. Certainly there is<br />
no person whom the point concerns more than<br />
the author.<br />
Now, I may be mistaken, but I believe that<br />
<br />
<br />
358<br />
<br />
people do not read ‘“‘ what they like,” but what<br />
they can get.<br />
<br />
This is certainly the case at the new public<br />
libraries. People go, day after day, for weeks,<br />
hoping to secure some wished-for book. They<br />
look at the “indicator,” discover that the work<br />
which they wish to have is “out,” and take in-<br />
stead—what they can get. I believe that it<br />
would be no exaggeration to say that, at the<br />
public libraries, for one volume which people take<br />
from choice, they take ten others, because they<br />
cannot get what they want.<br />
<br />
At the circulating libraries the case is rather<br />
different. Itis very different at the headquarters<br />
of the great London libraries. There a good many<br />
people do get what they choose. But not all.<br />
Some folk are wonderfully easily persuaded to<br />
believe that new works are “at present out,’ and<br />
to read instead something which they are told<br />
“they are certain to like.” Nor does anyone get<br />
all he wishes. I have been asking for e ght<br />
weeks for a small French work out of print<br />
which I desire to see before a certain date.<br />
Some other man has had the only copy all<br />
the time. I suppose he is learning it by heart;<br />
for to read it through would take scarcely two<br />
hours.<br />
<br />
But all this applies to the great libraries in<br />
the metropolis. What is to be said about the<br />
country libraries? Do they always promise their<br />
customers the books they wish to see? The<br />
other day a country girl said to me, “Ifa book is<br />
at all popular we frequently cannot get it. If we<br />
ask for it as soon as we hear of it, we are told,<br />
‘It has not yet been sent down.’ Next, ‘It is<br />
out. Afterwards, ‘It bas gone back to<br />
London.’” Did this lady read what she liked, or<br />
what she could get ¥<br />
<br />
Still, a book not out of print can always be<br />
bought. Can it? Is there no such thing asa<br />
prohibitive price? Is there no such case as its<br />
not being upon the bookstall when Belinda, who<br />
has resolved to read it in the train, asks for it ?<br />
Is the e no such thing as not having heard of a<br />
work? — It will be said that, at present, everthing<br />
possible is done to bring books under the notice<br />
of people whom they are likely to interest. That<br />
may be true. It is most important that it should<br />
be true. Even so, does anyone really believe that<br />
the persistent efforts of the publisher and of the<br />
bookseller to make the public buy, not what they<br />
would like to purchase, but what these tradesmen<br />
have to sell, are altogether without result? Of<br />
course they are not without result. The whole<br />
effect of these efforts of tradesmen, combined<br />
with the other circumstances mentioned above, is<br />
enormous. The reading public really peruses<br />
with a small proportion of works chosen by itself,<br />
<br />
THE AUTHOR.<br />
<br />
a vastly larger number of other works which are<br />
forced upon it by countless ingenious contrivances,<br />
E. K.<br />
<br />
DEFOE AND THE PUBLISHERS.<br />
<br />
N his preface to the “True Born English.<br />
man,” Defoe, in 1701, wrote that “No<br />
author is now capable of preserving the<br />
<br />
purity of his style—no, nor the native product of<br />
his thought—to posterity; since, after the first<br />
edition of his work has shown itself, and perhaps<br />
sinks into a few hands, piratic printers or hackney<br />
abridgers fill the world, the first with spurious<br />
and incorrect copies, and the latter with imper-<br />
fect and absurd representations, both in fact,<br />
style, and design.<br />
<br />
“The ‘True Born Englishman’ is a remark-<br />
able example. By it the author, though in it he<br />
eyed no profit, had he been to enjoy the profit of<br />
his own labour, had gained above a £1000... A<br />
book that, besides nine editions of the author, has<br />
been twelve times printed by other hands ; some<br />
of which have been sold for a penny, others for<br />
twopence, and others for sixpence. The author’s<br />
edition, being fairly printed and on good paper,<br />
could not be sold under a shilling ; 80,000 of the<br />
small ones have been sold in the streets for two-<br />
pence or at a penny; and the author, thus abused<br />
and discouraged, had no remedy but patience.<br />
And yet he had received no mortification at this,<br />
had his copy been transmitted fairly to the world.<br />
But the monstrous abuses of that kind are hardly<br />
credible. Twenty-five, and in some places sixty,<br />
lines were left out in a place; others were turned,<br />
spoiled, and so intolerably mangled that the<br />
parent of the brat could not know his own<br />
ehild.”’<br />
<br />
Authors were thus certainly worse off as<br />
regards their copyrights two centuries ago.<br />
Before two more come about perhaps they may<br />
hope to be in the full enjoyment of their own<br />
again.<br />
<br />
Later, in the “ True Collection” of his works,<br />
Defoe wrote that ‘A certain printer, whose practice<br />
that way is too well known to need a name,<br />
printed [1703] a spurious and erroneous copy of<br />
sundry things which he called mine, and intituled<br />
them a Collection of the Works of the Author of<br />
the ‘True Born Englishman.’”’ Among these<br />
was the “Shortest Way with the Dissenters” (of<br />
1702), and “the most absurd and ridiculous mis-<br />
takes in the copies’’ (note this word. which then<br />
had the exact meaning that survives in ‘“‘ copy- —<br />
right”) ‘“ were such as rendered it a double<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 />
cheat, the author having in his first perusal of it,<br />
detected above 350 errors in the printing.<br />
<br />
“The author having expressed himself, though<br />
in decent terms, against the foulness of this<br />
practice, the printer (having no plea to the<br />
barbarity of the fact) justifies it, and says, ‘He<br />
will do the like by anything an author prints on<br />
his own account, since authors have no right to<br />
employ a printer, unless they have served their<br />
time to a bookseller.’ This ridiculous allegation<br />
seems to me [Defoe] to be as if, a man’s house<br />
being on fire, he had no right to get help for the<br />
quenching of it of anybody but the imsurer’s<br />
firemen.”<br />
<br />
Whence we may see that the publisher’s lien<br />
on the hapless author, body and brains, is no new<br />
thing, and that he has always boldly defended<br />
his spoils.<br />
<br />
J. O'NEILL.<br />
<br />
De<br />
<br />
A NEW TRANSLATION OF RABELAIS.<br />
<br />
———So<br />
<br />
HE appearance of a new translation of<br />
Rabelais, after that by Urquhart and<br />
Motteux has held the field unchallenged by<br />
<br />
any rival, is a literary event. Mr. W. F. Smith,<br />
Fellow and Lecturer of St. John’s, Cambridge,<br />
has achieved this task, one of amazing difficulty,<br />
and now sends it forth with learned notes, appen-<br />
dices, and introductions. Tbe work makes two<br />
large volumes of royal 8vo, of 600 pages each. It<br />
has been a work of love extending over many<br />
years. The notes seem to leave nothing unex-<br />
plained. They give the origines of incidents,<br />
phrases, and characters; they are as valuable for<br />
their Touraine folk lore as for their classical<br />
references. The first edition is limited to 750<br />
copies, of which 250 go to America.<br />
<br />
Urquhart’s translation, as Mr. Smith frankly<br />
acknowledges, is spirited from beginning to end,<br />
and written in idiomatic English. A slavish trans-<br />
lation of Rabelais would, in fact, be absurd. But<br />
Urquhart, and in amuch greater degree Motteux,<br />
amplified. He made use of Cotgrave’s French<br />
Dictionary, in which is embodied a remarkable<br />
glossary of Rabelaisian words often marked<br />
“Rab.” In translating a single word of French,<br />
Urquhart sometimes empties into his page every<br />
synonym that he finds in his dictionary. Motteux<br />
not only does this, but adds words out of his<br />
own varied English vocabulary; and when he<br />
lights upon a piece comic after the fashion of<br />
Rabelasian fun he plays with it, amplifies and<br />
adds to it.<br />
<br />
The new translator has so far recognised the<br />
merits of Urquhart that he has done his own work<br />
<br />
309<br />
<br />
with Urquhart always open before him. He thus<br />
preserves something of the archaic style, which is<br />
one of the chief charms in Urquhart, and suits<br />
especially a writer of the age to which Rabelais<br />
belonged. A comparison of two passages taken<br />
almost at random will show the differences and<br />
the similarities of the two versions. The passage<br />
is from the famous Eulogy of Debt. The first is<br />
from Urquhart’s translation; the second from<br />
<br />
_M. W. F. Smith’s.<br />
<br />
1. ‘ Yet doth it not lie in the power of every<br />
one to be a debtor. To acquire creditors is not<br />
at the disposure of each man’s arbitrament.<br />
You nevertheless would deprive me of this<br />
supreme felicity You ask me when I will be<br />
out of debt. Well, to go yet further on, and<br />
possibly worse in your conceit, may Saint Bablin,<br />
the good saint, snatch me if I have not all my<br />
lifetime held debt to be as an union or conjunc-<br />
tion of the Heavens with the Earth, and the<br />
whole cement whereby the race of mankind is<br />
kept together ; yea, of such virtue and efficacy,<br />
that I say the whole progeny of Adam would<br />
very suddenly perish without it. Therefore,<br />
perhaps, I do not think it amiss when I repute it<br />
to be the great soul of the universe, which<br />
according to the opinion of the academics<br />
vivifyeth all manner of things.”<br />
<br />
2. “ Notwithstanding it is not every one who<br />
wishes that is a Debtor; it is not every one who<br />
wishes that mak~s Creditors. And yet you would<br />
deprive me of this sovereign felicity. You ask<br />
me when I shall be out of Debt.<br />
<br />
‘And the Case is far worse than that. I give<br />
myself to Saint Babolin, the good saint, if<br />
have not all my life looked upon Debts as a<br />
Connection and Colligation of the Heavens and<br />
the Earth, the one single Mainstay of the Race<br />
of Mankind. I say, that without which all<br />
human Beings would soon perish—perhaps that<br />
is the great soul of the universe, which according<br />
to the academics, gives Life to ali things.”<br />
<br />
The latter version is shorter and quite as effec-<br />
tive. In fewer words it conveys the idea more<br />
clearly. But let us compare the two passages<br />
with the French.<br />
<br />
“Toutes foys, il n’est debteur qui veult; il ne<br />
faict crediteurs qui veult. Et vous me voulez<br />
debouter de ceste felicité soubeline, vous me de-<br />
mandez quand seray hors de debtes? Bien pis y<br />
ha, je me donne 4 Sainct Babolin, le bon sainct,<br />
en cas que toute ma vie je n’aye estimé debtes<br />
estre comme une connexion et colligence des<br />
cieulx et terre; ung entretenement unicque de<br />
Vhumain lignaige (je dy sans lequel bien tost tous<br />
humains periroyent) ; estre par adventure celle<br />
grande ame de l’univers, laquelle, selon les acade-<br />
micques, toutes choses vivifie.”’<br />
<br />
<br />
360<br />
<br />
Similar comparisons made here and there show<br />
that the new translation, while it preserves the<br />
spirit, and even some of the style of Urquhart, is<br />
both closer to the original and stronger. It is to<br />
be hoped that this smail first edition will be<br />
speedily followed by a cheaper edition. Two or<br />
three chapters are left in the original. But, as<br />
everyone who has seriously read Rabelais knows,<br />
the common charge against him has been grossly<br />
exaggerated, and considering what things are<br />
suffered among our Elizabethans it seems super-<br />
fluous either to bring it at all or to defend it.<br />
Let it be acknowledged that he is a great sinner,<br />
and, that tribute paid to an age of cleaner<br />
exterior, let us pass on.<br />
<br />
NOTES FROM PARIS.<br />
<br />
EFORE the réprise of Musette at the<br />
Gymnase Theatre, de Maupassant’s friends<br />
thought to make the communication of<br />
<br />
the news that his successful piece was to be put<br />
on the stage again, a test of what intelligence<br />
and memory might remain in him. When the<br />
poor Master had heard the news he merely shook<br />
his head and said, ‘“‘ Ah, c’est bien mauvais.”<br />
<br />
Maupassant is neither better nor worse than he<br />
ever has been since his first attack. The mind has<br />
quite gone, but the body remains strong and<br />
vigorous. He spends his days in working hard<br />
in the garden of the maison de santé, and seems<br />
to take pleasure in tiring himself out. His<br />
appetite is good, and he looks better than he did<br />
in the old days, when he seemed constantly jaded<br />
and overwrought. I may also contradict the<br />
report that his financial affairs are so embarrassed<br />
that there has been some difficulty about the pay-<br />
ment of his pension at Doctor Blanche’s hospit-<br />
able house. No such difficulty has ever existed<br />
or would be allowed to exist.<br />
<br />
Zola has finished about a half of his new novel<br />
“Le Docteur Pascal,” and one-third of the<br />
manuscript is already in the hands of the pro-<br />
prietors of the Weekly Times and Echo, in which<br />
paper it is to appear as a serial, commencing in<br />
March. Zola told me that heis satisfied with the<br />
realisation of his conception, as far as it has<br />
gone. It certainly must be giving him very much<br />
less trouble than ‘‘ La Débacle.”’<br />
<br />
THE AUTHOR.<br />
<br />
Pierre Louys, who is one of the most remark-<br />
able poets of the young generation, has been<br />
discharged from the army as unfit for service,<br />
and is now back in Paris, where, in conjunction<br />
with Hérold, the grandson of the composer, he is<br />
engaged on a prose translation of certain of the<br />
librettos of Wagner’s operas, with the consent of<br />
Madame Wagner. He is also finishing his verse<br />
translation of Meleager.<br />
<br />
Taine is not expected to live very much longer.<br />
He himself seems to have abandoned all hope of<br />
life. Only a few days ago he wrote a pathetic<br />
note to the poet de Hérédia, who at last has made<br />
up his mind to publish his sonnets, begging him<br />
to send him the proofs of his book, as he did not<br />
expect to live until it should be published. It may<br />
earnestly be hoped that his mournful anticipa-<br />
tions will not be realised, as Taine is one of the<br />
most valuable men that France possesses. He is<br />
one of the few Frenchmen who know anything<br />
whatever of English literature.<br />
<br />
Taine always led a most healthy life, bemg a<br />
great believer in exercise, fresh air, and regular<br />
hours. He had a huge pair of dumb bells in the<br />
antechamber of his fine apartment in the Rue<br />
Cassette, and told me that he practised with them<br />
regularly every morning and every evening. He<br />
had also the English habit of the daily tub of<br />
cold water. When down at his country house he<br />
used to take long walks. He has always been a<br />
man of a very sober, temperate life, though an<br />
incessant smoker of cigarettes. One day I had<br />
an hour’s conversation with him, and during that<br />
period we emptied a box of Khedives between us.<br />
Taine is a kind-hearted, amiable man, but has<br />
very fixed opinions on matters in general and on<br />
literary affairs in particular. For instance, he<br />
would never hear of Zola as an Academician.<br />
<br />
Monsieur Berthelot, the savant, who was set<br />
up against Zola as candidate for Ernest Renan’s<br />
fauteuil at the Academy, told me yesterday that<br />
he was no longer a candidate, that it had<br />
amused his friends to put up his name, and that,<br />
no result having been obtained, he had now with-<br />
drawn. He shrugged his shoulders when speak-<br />
ing of the Academy, and said that people largely<br />
exaggerated its importance, and that personally<br />
he had no wishes or expectations on the subject.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
Tam rejoiced to see from the papers that my<br />
good friend H. E. the General Tcheng-ki-Tong<br />
has not only been discharged exonerated from all<br />
the charges brought against him of malpractices<br />
and so forth, but has been re-instated in office, and<br />
is now even more of a Mandarin than ever. It<br />
was not so very long ago that his friends in Paris<br />
understood that bastinado, decapitation, or worse,<br />
waited the spirituel Chinaman, and the regret<br />
was universal here. Tcheng-li-Tong was a model<br />
homme de lettres and a wonderfully well-informed<br />
man. He wrote several books about life in China,<br />
besides poems, novels, magazine articles, and so<br />
forth. He had quite caught the Parisian turn of<br />
thought and fashion of style, and held a high<br />
place in the esteem of his confréres. He was a<br />
good linguist. I once translated one of his books<br />
for Trischler and Co., and sent him the revised<br />
proofs. He pointed out to me about thirty errors<br />
which I had overlooked, and set me right on one<br />
or two points in which in writing I had not had<br />
my Lindley Murray before my eyes. He was a<br />
bright charming man, and his face was familiar<br />
in all the worlds of Paris from the highest to the<br />
lowest. And he had the most wonderful tea and<br />
tobacco that I have ever tasted. The tea was<br />
perfumed with dried Howers, and the tobacco was<br />
some which the young Emperor of China had<br />
sent him as a present, and which he himself had<br />
received from the Sultan of Turkey. We used to<br />
smoke it in Chinese pipes after the Chinese<br />
fashion, loading the pipe afresh for each whiff.<br />
<br />
<br />
<br />
Stéphane Mallarmé presided at the last dinner<br />
of La Plume. Verlaine was also p esent and in<br />
high spirits. Whistler had been expected, but<br />
was not able to come. We dined, about one<br />
hundred strong, at the Café du Palais, and the<br />
bill of fare was ornamented with an allegorical<br />
device in whih pigs and geese represented<br />
certain well-known critics. I sat next to Stuart<br />
Merrill, who is one of the most charming poets<br />
that I know. M. Léon Deschamps announced,<br />
after Mallarmé had read us a sonnet in guise of a<br />
speech, that Paul Verlaine would be our next<br />
President, an announcement which was loudly<br />
applauded. The evening after dinner was spent<br />
in the sous-sol of the Soleil d’Or, where various<br />
poets recited verses. Mallarmé’s, Verlaine’s, and<br />
Stuart Merrill’s verse was the favourite, and a<br />
young poet named De Maré¢s, who is considered<br />
very talented, also recited some verses of his own<br />
composition, which were greatly applauded. It<br />
was a novel experience, and very French. Much<br />
of the verse we heard was really of the first order,<br />
and the whole nature of the evening was highly<br />
interesting.<br />
<br />
VOL, III.<br />
<br />
AUTHOR. 361<br />
<br />
x<br />
<br />
Stuart Merrill is a young American of some<br />
fortune who has lived many years in France, and<br />
who has published a volume of poems, which are<br />
considered masterpieces in the world of letters.<br />
He is immensely liked by his confréres, and his<br />
Friday evenings at home in the Bohemian lodg-<br />
ings he has in the Rue de Seine are always<br />
crowded with literary men. Everybody of interest<br />
amongst the younger men may be met there. He<br />
is a singularly modest man, and this quality is<br />
the more to be appreciated that it is rather rare<br />
amongst the poets of the other side of the Seine,<br />
and that Merrill might really be very proud of<br />
what he has written. He is a great Wagnerian,<br />
and detests New York, but piously spends a certain<br />
number of months there each year for the sake<br />
of his family.<br />
<br />
<br />
<br />
Writing about Taine above, I said that the<br />
majority of Frenchmen are wofully ignorant of<br />
English literature. As an example of this igno-<br />
rance | may mention that a day or two ago one of<br />
the best known of our French Jlitterateurs asked<br />
me whether English poets rhymed their verses or<br />
not, his belief being that we used nothing but<br />
blank verse.<br />
<br />
Sa<br />
<br />
Alphonse Daudet receives his literary friends<br />
on Sunday mornings, and very interesting and<br />
agreeable the hours spent with him are. Daudet<br />
is a brillant talker, and there are always present<br />
people who are also worth listening to. The last<br />
time I was at his house there was present a very<br />
clever young man, whom, by the way, Daudet calls<br />
“mon fils,’ and says “thou” to, whom Daudet<br />
asked to relate what he had felt on the evening<br />
on which his play, which failed, was produced.<br />
The young man said that he had watched the<br />
performance from a stage box, and that all the<br />
time he had been thinking how singularly ugly<br />
was the director of the theatre. He afterwards<br />
added that what had most troubled him when his<br />
play was condemned was that he had made his<br />
wife come up from the country to assist at the<br />
premicre, and that he knew how disappointed she<br />
would be Daudet said that henever was present<br />
at any premiere, and that it was only from the<br />
demeanour of his concierge next morning that he<br />
knew whether his play had succeeded or not. If<br />
it had succeeded the concierge was abject, but, if<br />
not, her manners were those of pity blended with<br />
contempt. Daudet’s maxim is that every sin<br />
which a man commits on earth is punished during<br />
this life. I told him that Goethe had held the<br />
same views, and had, indeed, expressed them in<br />
the line. ‘Denn jede Schuld recht sich auf<br />
Erden,” and Daudet said that Goethe was quite<br />
<br />
FR<br />
362<br />
<br />
right. “My fault,’ he added, “is that I have<br />
been too happy. I am paying for it now” he<br />
said raising the crutch with which he moves about<br />
the room.<br />
<br />
Rozsert H. SHEerarp.<br />
<br />
THE CONVEYANCE OF A GIFT.<br />
<br />
HE following letters speak for themselves :—<br />
<br />
Dear Bssant,<br />
<br />
It is with unusual pleasure that we have to<br />
announce to you to-day the desire of no fewer<br />
than 360 members of the Society of Authors<br />
(whose names are given on the enclosed list), that<br />
you will favour them by accepting the accom-<br />
panying service of plate as a very small expres-<br />
sion of their gratitude and attachment to you.<br />
<br />
This feeling, which all alike have expressed to<br />
us, is no new one on the part of the members of<br />
the Society, but your retirement from the chair-<br />
manship, a step which you have with difficulty<br />
persuaded your friends to permit you to take,<br />
seems to offer an apt occasion for a review of past<br />
services. In taking such a review, the members<br />
of the Society are at a loss to find words for their<br />
appreciation of your unselfish goodness and of the<br />
value of your powerful advocacy. They contem-<br />
plate the present flourishing state of the Society,<br />
and they are tempted to attribute nearly the whole<br />
of its success to you.<br />
<br />
Pray believe us to be, dear Besant,<br />
Yours very sincerely,<br />
<br />
(Signed) J. M. Barris.<br />
<br />
Epwarp CLopp.<br />
<br />
Epmunp Gossz.<br />
<br />
THomas Harpy.<br />
<br />
W. Houtman Hunt.<br />
<br />
Water Herries Poutock.<br />
Aurx. Gaut Ross.<br />
<br />
S. Squire SPRIGGE.<br />
<br />
123, Chancery-lane, W.C.<br />
Feb. 4, 1893.<br />
<br />
My prEArR Ciopp,<br />
<br />
I received last night your letter of the 4th,<br />
together with the noble service of plate therein<br />
referred to.<br />
<br />
Your letter alone, signed as it is by the names<br />
of those who composed your committee, would be<br />
in itself, without the plate, a gift of priceless value<br />
to me. I beg that you will kindly convey to these<br />
gentlemen—my friends—my most sincere grati-<br />
<br />
THE AUTHOR.<br />
<br />
tude for this expression of appreciation of my<br />
humble labours.<br />
<br />
I should like you also, if you can, to thank all<br />
those members of the Society who have joined<br />
you in this generous gift. I value it especially,<br />
because, although I have never hoped to carry with<br />
me allour members in all my own views, it shows<br />
that in the essentials which constitute the strength<br />
of the Society we are all agreed.<br />
<br />
I am in great hopes that the initial difficulties<br />
of the Society have now been successfully over-<br />
come, and that so strong a feeling for the neces-<br />
sity of association and associated action has been<br />
created that the Society is on a stable basis, and<br />
will advance more and more every year in numbers,<br />
honour, and respect. As for me, I desire nothing<br />
more than to be permitted to serve the Society in<br />
any capacity in which I may be useful.<br />
<br />
I remain, my dear Clodd,<br />
Very sincerely yours,<br />
(Signed) Waurer Besant.<br />
Frognal End, N.W.<br />
Feb. 7, 1893.<br />
<br />
NOTES AND NEWS.<br />
<br />
EADERS are requested to consider the<br />
appeal made by Mr. Sherard. The secre-<br />
tary, Mr. Herbert Thring, will receive,<br />
<br />
acknowledge, and forward all contributions for<br />
this object.<br />
<br />
“The committee for the Baudelaire Memorial,<br />
which is presided over by M. Leconte de Lisle,<br />
being aware that the poet Baudelaire has<br />
numerous admirers in England, has asked me to<br />
see if any of these admirers would care to con-<br />
tribute a trifle to the fund which is being<br />
collected for the Baudelaire Memorial. The<br />
committee is formed of all the leading Litterateurs<br />
of France, including Paul Bourget, Francois<br />
Coppée, Stéphane Mallarmé, Paul Verlaine, and<br />
Emile Zola. Our own Master, Swinburne, is a<br />
member. The statue will be executed by<br />
Auguste Rodin in a manner worthy of the sub-<br />
ject. I should be glad to receive any subscrip-<br />
tions for this fund, and to transmit them to M.<br />
Léon Deschamps, the treasurer, who will acknow-<br />
ledge them in the magazine La Plume. I may<br />
add that money is needed for the completion of<br />
the work, and that the Philistines will exult if<br />
for want of funds the project cannot be realised.<br />
<br />
R. H. SHerarp.”<br />
<br />
—<br />
<br />
<br />
<br />
<br />
oot<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The following paragraphs are extracted from the<br />
Queen of Feb. 25:<br />
<br />
The Author is sent to me every month, and from no<br />
comic paper do I get so much enjoyment. Its delightful<br />
suggestions as to why editors should not be compelled to<br />
do this and publishers to do that are really too funny.<br />
<br />
By the way, the Author has a double function in<br />
journalism. It not only trots out the woes of authors and<br />
journalists, and the iniquities of publishers and editors, but<br />
it gives these last a hint or two. I, for example, know an<br />
editor who says he never knew how ridiculously he overpaid<br />
his contributors until he read in the Author the plaints of<br />
some of that unhappy class. May.<br />
<br />
The only reason why these little malignities,<br />
which do us no harm, are continually perpetrated<br />
must be that some person who ardently desires<br />
to rob and sweat writers has been either prevented<br />
or detected. The Author has certainly done good<br />
service both to publishers, editors, and writers<br />
alike, by ascertaining the law as it exists with<br />
regard to their contracts, and it will go on in<br />
the same course. The present relations of editor<br />
and contributor in all high-class journals, daily,<br />
weekly, or monthly, are apparently quite satis-<br />
factory, and it certainly is not the mtention or<br />
the desire of this journal to interfere with,<br />
or to disturb, these relations. As regards the<br />
treatment of certain writers by the humbler<br />
journals—the miserable pay, the delay in pay-<br />
ment, the refusal of payment—the Author will<br />
certainly not desist from the publication of these<br />
facts. The writer of the above paragraphs has a<br />
friend—they are probably kin spirits—who has<br />
found out from this paper how ridiculously he<br />
overpays his contributors. Very likely. There is<br />
everywhere a lower deep. The only figures pub-<br />
lished here have been those of the worst kind of<br />
sweaters. One can always, in sweating, “ go one<br />
better ” than the worst sweater on record. Yes;<br />
many a hint may be picked up from the Author<br />
by the sweater.<br />
<br />
<br />
<br />
<br />
<br />
I am asked by Mr. Colles to call attention to<br />
two or three points in connection with the<br />
Authors’ Syndicate. They are these: (1) That<br />
the report for the year 1892 has been prepared<br />
and is now ready; (2) that the accounts have<br />
been examined by professional auditors, Messrs.<br />
Oscar Berry and Carr, and that they certify to<br />
the effect that no moneys have been expended<br />
except on the necessary establishment, so that<br />
nobody makes any profit except the authors<br />
themselves. I should like to add that, to my<br />
certain knowledge, Mr. Colles has made very<br />
considerable pecuniary sacrifices in carrying on<br />
this work. Many difficulties were interposed at<br />
the outset. The more successful authors for the<br />
most part were already pledged to others or<br />
<br />
363<br />
<br />
engaged a long way ahead. It was difflcult to<br />
persuade authors that this was not a scheme for<br />
personal plunder, even though the Syndicate<br />
sprang out of the Society itself. The difficulty<br />
now appears to be, that while authors accept the<br />
work done for them, they seem to think that it<br />
should be done for nothing. Well: but there are<br />
clerks to pay; rent, stationery, postage—the last<br />
item alone is about £5a month. Is Mr. Colles to<br />
give all this as well? This grumble is called for<br />
by the fact reported to me that some who have been<br />
greatly helped by the Syndicate—helped, I mean,<br />
to the extent of getting work placed where they<br />
could not by themselves have placed it—have<br />
resented the small charge which the Syndicate has<br />
imposed, There may, again, be some suspicion<br />
in the minds of members, that the so-called<br />
“advisory committee” have knowledge of the<br />
private and pecuniary affairs of those whose work<br />
goes to the Director. They may rest assured<br />
that this is not the case. The ‘advisory com-<br />
mittee” are only there in order to act as referees<br />
in case of dispute or misunderstanding. Its<br />
members are not informed of the transactions<br />
undertaken by the Director—who is sole Director<br />
—and they are not in any other way responsible<br />
for the conduct of the Syndicate.<br />
<br />
<br />
<br />
<br />
<br />
A correspondent, writing on the question of<br />
remuneration for articles and stories supplied to<br />
magazines, compares the writer who accepts a<br />
miserably small fee with a general practitioner<br />
who charges sixpence for advice with a bottle of<br />
physic. Such a man, he says, is deservedly held<br />
in contempt. Quite so. And an author who<br />
writes for a few shillings a column stands<br />
certainly in the same rank as_ the sixpenny<br />
“doctor,” and is entitled to all the contempt,<br />
whatever that may be, which poverty deserves.<br />
But our correspondent must note that the SIX-<br />
penny medical adviser cannot be got rid of. He<br />
is necessary. So—alas!—is the sixpenny author.<br />
Tt isa lamentable fact that men and women are<br />
found to write for next to nothing. Necessity<br />
compels them; the sweater is merciless. It 1s<br />
also lamentable that many magazines are simply<br />
not able to pay those who stand above the<br />
sixpenny author. “The only way,” says my<br />
correspondent, “to exact our just dues, is to com-<br />
bine—strike, boycott, or whatever else may be the<br />
best name for sticking up for our rights. Is it<br />
hopeless to expect this?” No, it is not hopeless.<br />
On the contrary, the combination of authors for<br />
any just and reasonable object is becoming<br />
distinctly possible and even visible. | But the<br />
possibility has not yet arrived. And it must be<br />
remembered that no hard and fast rule as to what<br />
364<br />
<br />
is right pay for a contributor—no minimum—will<br />
ever be possible ; first, because there are so many<br />
magazines which are written for a limited circle<br />
only, e. g., the journal of the Royal Astronomical<br />
Society, a Law journal, a Cuneiform Literature<br />
journal—if there were one: and next, because so<br />
many exist which are quite poor, and are written<br />
by quite poor people, glad to take what may be<br />
offered.<br />
<br />
Ss<br />
<br />
In another column will be found the testimony<br />
of a member to the benefit he has reveived from<br />
the society. He also advocates, like Mr. Haes<br />
(Author, Jan. 1893), that the committee should<br />
do something to facilitate the publication of new<br />
books by new and unknown authors. It is one of<br />
the stock charges against us that we are helping<br />
to flood the market with new books. The exact<br />
contrary is, as our correspondent writes, the truth,<br />
that we do little or nothing for young authors.<br />
First of all, it is not part of our programme to<br />
do anything for them. We exist for the defence,<br />
not the creation, of literature. But, if we desired<br />
to help them, a thing greatly desired by many of<br />
us, what could we do? So faras I can see, nobody<br />
but himself can possibly help the young author.<br />
He often writes to me and asks for my “in.<br />
fluence”’ with editors. I know a great many<br />
editors, but there is not one with whom I have<br />
any such “influence.” Editors, strange to say, are<br />
guided solely by the interests of their papers.<br />
Nobody, therefore, can help the young author<br />
but his own wit and his own pen. At the same<br />
time, if our correspondents can suggest anything,<br />
the advice would be gratefully received. “It has<br />
been proposed that the Society should recommend<br />
works, and that publishers should accept their<br />
recommendations. Very good, and if I were a<br />
publisher I should give to the opinions furnished<br />
by the Society’s readers respectful considera-<br />
tion, but I,should still refer the MS. to my own<br />
reader.<br />
<br />
The Authors’ Club has its rooms at Whitehall<br />
Court nearly ready; the Club will take up its<br />
quarters in a week or two; the next monthly<br />
dinner will be held in the new rooms. The<br />
Directors invite all the members of the Society to<br />
inspect the rooms. The shares have been taken<br />
up very well so far; the original number, how-<br />
ever, is not yet allotted. The design of the<br />
Directors has been to provide a club which shall<br />
be simple in its fittings, good in everything<br />
provided, and extremely cheap. Every member<br />
will be supposed to know every other member; the<br />
situation is as central as can be desired. As a<br />
cheerful, but not a noisy, club, as a meeting-<br />
<br />
THE AUTHOR.<br />
<br />
place of men of letters, as a central place for<br />
lunch, dinner, or supper, or as a place for quiet<br />
work, it is hoped to make the club attractive and<br />
pleasant. The “ Uncut Leaves” will continue. The<br />
Chairman is Mr. Oswald Craufurd, C.MG. The<br />
Honorary Secretary is Mr. Douglas Sladen,<br />
<br />
Is marriage fit for literary men? The question<br />
is treated in a little volume published in the year<br />
1769 by one P.H.M.D. It professes to be a trans-<br />
lation from the Italian of one Cocchi, formerly a<br />
physician, of Florence. The subject is treated from<br />
many points of view: that of passion; that of affec-<br />
tion; that of friendship; that of esteem ; that of<br />
the weakness and frivolity of women—our author<br />
is not polite to the other sex—and many others.<br />
The literary man, it appears from the book, is unfit<br />
for the state of marriage for many reasons. He<br />
cannot bear the ignorance and the folly of women,<br />
their love of fashion, their ungoverned tempers—<br />
the author was an Italian—the necessity of re-<br />
ducing a shrew to silence is “ most disagreeable<br />
to a thinking and literary man.’’ He cannot bear<br />
the expense and trouble of children. He does<br />
not want to be hampered with the new ties of his<br />
wife’s relations. Unless he marries a woman with<br />
money he increases that poverty which is the<br />
recognised accompaniment of the literary calling,<br />
“otherwise the poor devil of a husband, oppressed<br />
by grinding poverty, must be overwhelmed with<br />
want and misery; for a wretched man of genius,<br />
with a wretched wife and a group of wretched<br />
children, is a most shocking sight and a flagrant<br />
disgrace to literature.” Finally, the literary man<br />
must not allow his mind to be disturbed from his<br />
favourite occupations and concentrations by the<br />
light thoughts of love or the desire to pay court to<br />
a girl, or to find amusement for a wife. The<br />
question is so thoroughly and completely<br />
answered that there is not a word to be said<br />
on the other side, except, perhaps, that all the<br />
arguments apply with equal force to every pro-<br />
fession or vocation whatever. And in spite of<br />
this excellent and convincing body of argument,<br />
literary men have gone on marrying as much as<br />
any other men. Perhaps that is the chief cause<br />
of the inferior nature of modern literature.<br />
<br />
The Zimes, taking its figures from the ‘‘ News-<br />
paper Piess Directory,” points out that while in<br />
the year 1846 there were 551 journals—weekly<br />
or daily—published in Great Britain, there are<br />
now 2268; that while there were then only 14<br />
daily papers, there are now 192; that there are<br />
to-day 1961 magazines, mostly monthly, and that<br />
456 of these are of a religious or sectarian<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
kind. The population of these islands was then<br />
26,000,000. It is now 37,000,000. There was<br />
then one newspaper to every company of 47,000<br />
people ; there is now one for every company of<br />
16,300; while, therefore, the population has<br />
increased by less than 50 per cent., the propor-<br />
tion of papers to population has increased. three-<br />
fold. But even this means little, unless we con-<br />
sider the increase in circulation as well as in the<br />
number of papers, and this has gone up in-<br />
credibly. Sixty years ago the Daily News, the<br />
Daily Telegraph, the Standard, the Daily<br />
Chronicle did not exist. The combined circula-<br />
tion of the London daily papers alone must now<br />
be three-quarters of a million. And we must con-<br />
sider the vast improvements in the provincial<br />
papers. Some of them are as well written, as<br />
ably supplied with news, as imperial or national<br />
in their character, as a great London daily.<br />
Where is the house in the whole country, removed<br />
by but one step from the working man’s house,<br />
which has not its morning paper? Inthe trains,<br />
in the omnibuses, in the trams, all the people are<br />
reading—when they are not reading the paper<br />
they are reading a magazine. It is difficult to<br />
realise this vast—this enormous—increase in the<br />
area of readers; we cannot understand that<br />
men hitherto thought hardly worth considering<br />
as factors of the national intelligence, whose<br />
vote we have granted grudgingly, and still regard<br />
the act with regret, actually read the same lead-<br />
ing articles, debates, speeches, arguments, and<br />
news, as ourselves. They are taught the same<br />
doctrines; they are led by the same considera-<br />
tions. Nothing of all the changes that a middle-<br />
aged man remembers is so extraordinary as this<br />
change of Great Britain and Ireland into a<br />
nation of readers. They do not, as yet, greatly<br />
desire books; but that will come; it is, indeed,<br />
fast coming. What the influence of the demand<br />
upon literature will be one hardly ventures to<br />
predict. Enormous popularity for a few writers,<br />
certainly. What writers? Purveyors of trash<br />
and garbage? I think not. The penny novelette ?<br />
This is the literature of the servant-maid and<br />
the factory girl. They will always be with us.<br />
<br />
Men will not read the penny novelette. What<br />
will they read? Fiction? Perhaps. But it<br />
will have to be dramatic. Trash? Not much.<br />
<br />
Poetry? I fear not. History, politics, socio-<br />
logy of the simpler kind, science of some kind—<br />
books on these subjects will, I believe, become in<br />
great demand. Life to the craftsman is a serious<br />
thing ; he will read, as he works, seriously. There<br />
will also be produced for the baser sort a litera-<br />
ture just as base as the law allows. Meantime,<br />
<br />
those who consider the revolution which is quietly<br />
going on, of which we unconsciously form a part,<br />
<br />
365<br />
<br />
will do well to watch the popular journals, and<br />
above all, the popular magazines, which circulate,<br />
not by thousands like their respectable elder<br />
brothers, but by hundreds of thousands—and to<br />
inquire carefully into the characteristics of these<br />
magazines. For they indicate what this new<br />
nation of readers will want to read.<br />
<br />
————$ ><br />
<br />
We are going to make an attempt to carry into<br />
effect a proposal advanced in a nother column<br />
(p. 373) and to institute in the Author a Register<br />
of Books wanted. This paper circulates exclu-<br />
sively among men and women of letters, so, if they<br />
please to make known their wants in these<br />
columns, the fact will certainly become known<br />
among our friends the second-hand booksellers,<br />
who have at present, so far as is known by the<br />
writer, no means at all of knowing what their<br />
customers are looking for. We will begin with the<br />
nextnumber. Care will be taken that the booksellers<br />
shall learn what we are attempting. Most of us<br />
have friends among these benefactors of literary<br />
men and women, and would willingly oblige them<br />
if we can. Even by reading their catalogues it is<br />
impossible for us to ascertain if they have what<br />
we want, because a catalogue does not contain a<br />
tenth part of the books which form a large book-<br />
seller’s stock, And we have no time to go about<br />
from shop to shop inquiring what they have.<br />
<br />
What isto be done with those booksellers’ assis-<br />
tints who save themselves trouble, and injure<br />
their masters’ interests, by saying that a book is<br />
out of print? Theard the other day this anecdote<br />
of a certain bookseller’s assistant in a well-<br />
known watering place. A clergyman, either in<br />
a lecture or a sermon, invited his congregation<br />
to read a book belonging to Arrowsmith’s well-<br />
known Bristol Library. They therefore asked<br />
for it at the shop. “Out of print” was all<br />
the answer they could get. One of them asked<br />
me for information as to the cause of this eclipse<br />
of the book. I wrote to headquarters at once,<br />
and learned that, as I expected, the Bristol Library<br />
is very much alive indeed. Perhaps that young<br />
man somehow will hear of it.<br />
<br />
————<br />
<br />
The Lady’s Pictorial announces that the<br />
Society of Authors “ will in future allow young<br />
poet members to read aloud their unpublished<br />
works at the Society’s festive gatherings!” The<br />
Society, unhappily, has no festive gatherings<br />
except the Annual Dinner, and the committee<br />
have not yet expressed their intention of having<br />
<br />
<br />
366<br />
<br />
unpublished poems read at the Banquet; there-<br />
fore, the Lady’s Pictorial has been wrongly in-<br />
formed. The Authors’ Club has started the<br />
“Uncut Leaves” readings, but the Club is not<br />
the Society. The writer goes on to say that the<br />
poet is sure to read his things very badly, and<br />
gives reasons for this opinion. Alas! Theory<br />
and practice so often contradict each other!<br />
There is so much of independence even in a poet.<br />
So far, the poets have read their verses admirably.<br />
<br />
<br />
<br />
Should we—it has been suggested — hold<br />
memorial lectures on our deceased members ?<br />
Why not? We should have a Tennyson—a<br />
Browning—a Lowell—a Matthew Arnold—a<br />
Wilkie Collins—a Charles Reade — Memorial<br />
Lecture. Should it be held every year? And,<br />
if so, for how many years in succession? And<br />
who is to decide upon its continuation? Should<br />
it be a plébiscite of all the members? And<br />
who should deliver the lectures? The idea is<br />
interesting, but opens up many questions.<br />
<br />
<br />
<br />
Here is a case which seems to warrant us in<br />
asking assistance from our members. The lady<br />
is one of those who write stories for girls. Her<br />
stories are very good, and, I believe, popular. TI<br />
have submitted two of them to the criticism of<br />
the age for which they are written, and have<br />
obtained a review most laudatory. I have not<br />
myself read the books, because I am neither a<br />
maiden nor am I young. This lady was attacked<br />
by influenza last year; her chest was affected ;<br />
she could do no work for many months. The<br />
Royal Literary Fund found itself unable to help<br />
her. She has two young nieces or cousins<br />
to support ; she has no private means at all ; she<br />
is too weak to undertake any other kind of work.<br />
Indeed, she can do no other kind of work. She<br />
is now in debt to her doctor and to her landlady.<br />
Perhaps some of our readers will take pity on<br />
this poor lady, and send her something. If they<br />
will have confidence, so far, in me, I will receive<br />
and forward anything, and I will communicate the<br />
name and address of the lady to the donor.<br />
<br />
<br />
<br />
A libel case was recently heard before the courts<br />
in which a close relation to the author of a certain<br />
work had been callednames. The thing is new in<br />
criticism, and introduces quite a novel terror. We<br />
may shortly expect to see the parents, brothers,<br />
sisters, children, of an author, trembling lest the<br />
daily paper should bring them, too, into the scathing<br />
review of the new book. The case, otherwise, does<br />
not concern ourselves, except for a remark which<br />
<br />
THE AUTHOR.<br />
<br />
was made by the counsel for the plaintiff. He ig<br />
reported to have said, “ Authors must, of course,<br />
in these days expect harshand brutal criticism from<br />
the Press, and the law protects them with the shield<br />
of what is humorously called ‘ the doctrine of fair<br />
criticism.’”” The counsel for the defence did<br />
not repudiate this statement, nor did the judge<br />
object to it; the statement was accepted. Dowe,<br />
then, expect harsh and brutal criticism? Is the<br />
criticism of the Press always harsh and brutal ?<br />
Certainly not. We neither expect brutality, nor,<br />
as a rule, do we receive brutality. The bludgeon<br />
is, happily, going out of use; the laws of good<br />
manners are, for the most part, obeyed, even in<br />
criticism. But one notes the statement here as<br />
showing the popular estimation of criticism. Old<br />
habits of thought are very difficult to change.<br />
An author is still, in the mind of the world, a<br />
helpless, starving wretch ; a publisher is a man<br />
with a great bag of gold, which he distributes<br />
capriciously to needy authors, losing by all his<br />
books, and getting rich on the quantity ; a critic<br />
is still a man with a bludgeon. Little by little we<br />
may change these views. Meanwhile, they linger.<br />
<br />
<br />
<br />
A correspondent tells me that the Society for<br />
Promoting Christian Knowledge has adopted a<br />
new and uniform system in buying books. That<br />
is to say, they now pay £1 for every penny in the<br />
published price, or £30 for a 2s. 6d. book, £60 for<br />
a 5s. book and soon. I do not know if this infor-<br />
mation is correct, but let us see how it might work<br />
out. A 5s. book would presumably be less costly<br />
than a6s. book. Let us take off only 10 per cent.<br />
from our published estimate. Now, a 6s. book in<br />
small pica, of seventeen sheets, and about 258<br />
words to a page can be produced, according to our<br />
published estimates, for an edition of 3000 at less<br />
than £146. Let us therefore estimate £128 for<br />
the 5s. book, and let us grant £20 for advertising.<br />
We have, therefore, the following table :<br />
<br />
Cost :—<br />
<br />
& s. d.<br />
<br />
Composition, Printing, Binding, Paper, Adver-<br />
Tsing ee 148 0 0<br />
Author a 60 0 0<br />
Totals Ge 208 0 0<br />
<br />
By Sales :—<br />
<br />
Baad<br />
3000 copies at Be. 2... 450 0 0<br />
Profit to SPOCK oe 242 0 0<br />
Profit to Author... 60 0 0<br />
<br />
Now, I do not adopt my correspondent’s statement<br />
as true, but I put the case, and what it would<br />
mean, supposing it to be true. Observe that in<br />
all future editions, the whole profit would go to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the Society.<br />
in approaching the question from the equitable<br />
<br />
There are two. simple considerations<br />
<br />
or righteous or religious point of view. First,<br />
whether the wage paid to the author is a just<br />
and proper wage, with reference to the commercial<br />
value of the work, the time given to the work, the<br />
character of the work, the position of the work-<br />
man in the craft, and the necessities of life.<br />
Second, the proportion which the distributor of<br />
the work should receive for himself, and, therefore<br />
the proportion which the creator of the work<br />
should receive. With regard to the first, there<br />
are not many who could produce two good books<br />
of this kind ina year. To give, therefore, no<br />
more than £60 could only be defended on the<br />
ground of a very limited sale. To give only £60<br />
when the publisher knows that he is going to make<br />
four times—six times—ten times that amount<br />
is—what? Is it not, in the case of a religious<br />
society, to cumber the courts of the Temple with<br />
the stalls and tables of the money-makers? I<br />
shall be glad to hear that my correspondent has<br />
been misinformed.<br />
<br />
So<br />
<br />
At last—after all these years—there is to be a<br />
life of Douglas Jerrold, with his letters. It is<br />
very much to be regretted that, while there are<br />
still two or three authors living who remember<br />
that group of writers of which he was one, some<br />
account of the literary circles of the Forties and the<br />
Fiftics has not before this been written down.<br />
The life abovementioned will be written by Mr.<br />
Walter Jerrold.<br />
<br />
<br />
<br />
In every college and in every University, except<br />
Cambridge, there is a Professor of English<br />
Literature. But I have never heard that any single<br />
Professor in any college or university, English<br />
or American, has ever given a course of lectures<br />
on the History and Development of the Novel.<br />
Single lectures by professors and critics have<br />
undoubtedly been delivered. And we all know<br />
that when subjects are lacking, an article on the<br />
Decay of the Modern Novel by one who cannot<br />
write novels and never reads any ; or by one who<br />
has written novels and failed; can always be put<br />
into a magazine to fill up. But, so far, learned Pro-<br />
fessors have avoided the subject, being themselves,<br />
probably, under the illusion so beautifully ex-<br />
pressed by a recent lady writer in the Spectator<br />
that novels grow of their own accord, and that the<br />
novelist has only to sit down and write. Strange,<br />
that a Fine Art should have grown up all over<br />
the world in. the last two hundred years without<br />
the least recognition until recently—and even<br />
now only grudgingly—that it is one of the<br />
Fine Arts! Mr. Brander Matthews, Professor<br />
<br />
367<br />
<br />
of English Literature in Columbia College,<br />
has been holding a course of lectures on the<br />
History of Fiction and the Development of the<br />
<br />
Modern Novel. He has up to the present<br />
reached the beginning of this century. He has<br />
sent me the enclosed examination paper. I pre-<br />
<br />
sume, from the date upon it, that the examina-<br />
tion was held on Feb. 7, so that no mischief will<br />
be done by publishing the paper for our readers.<br />
<br />
CoLumBIA COLLEGE IN THE City oF New YoRK.<br />
Mid-Year Examination.<br />
LITERATURE II.<br />
<br />
1. Explain the successive stages of the development of<br />
the art of fiction from the Gesta Romanorum to Don<br />
Quixote.<br />
<br />
2. Explain the distinction between the Rabelaisian tradi-<br />
tion and the Cervantine. Give the names of such writers<br />
of fiction as are followers of Rabelais. Give the names of<br />
such as are followers of Cervantes.<br />
<br />
3. Explain what is meant by the sense of form. Mention<br />
several works of fiction having the merit of form; and give<br />
your reasons for crediting them with this quality.<br />
<br />
4. Give a brief sketch of the life either of Cervantes or of<br />
Goldsmith.<br />
<br />
5. Give a brief outline of the plot either of Clarissa<br />
Harlowe or of Pride and Prejudice.<br />
<br />
6. Give a critical explanation for the abiding popularity<br />
of Robinson Crusoe and of Gulliver’s Travels.<br />
<br />
7. Arrange the following in chronological sequence, giving<br />
the dates of publication and the full names of the authors :<br />
Sorrows of Werther, Tristram Shandy, Vicar of Wakefield,<br />
Humphrey Clinker, Tom Jones, Paul and Virginia, Castle<br />
Rackrent.<br />
<br />
8. Why is the Castle of Otranto important in the history<br />
of fiction? Why is the Princess of Oleves? Why is Paul<br />
and Virginia? Why is Wilhelm Meister ?<br />
<br />
9. Do women novelists regard life from a different point<br />
of view from men? Llustrate your answer from the novels<br />
of Madame de Lafayette, Miss Edgeworth, and Miss Austen,<br />
as compared with the novels by Le Sage, Fielding, and<br />
Goethe.<br />
<br />
10. What benefit, if any, have you derived from this<br />
course P<br />
<br />
Tuesday, Feb. 7, 1893.<br />
<br />
oo<br />
<br />
What a fine field would be open to the Society<br />
if we could institute examinations for critics,<br />
so that no one should be allowed to criticise any-<br />
thing without our certificate! Imagine the wail-<br />
ing when the uncertificated critic should find him-<br />
self firmly put aside! For the examinations<br />
would have to be stiff. The dramatic critic would<br />
have to show that he knew the principles of<br />
dramatic art; that he had read and studied the<br />
plays of two countries at least ; and that he could<br />
himself construct a play—if not a great play, at<br />
least a play artistically constructed. And so with<br />
everything else. The Society could, as we said<br />
last month, confer those magic letters which are<br />
so ardently desired by the members of the Society<br />
mentioned below, though the Society of Authors<br />
will never, I fear, rise to the Greatness of a<br />
<br />
<br />
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368<br />
<br />
Gown and Hood, a Ring, and a Badge; the<br />
Badge, especially, we must regret.<br />
<br />
<<<br />
<br />
There exists—one is happy in making it. better<br />
known—an association known as the Society of<br />
Science, Letters, and Art, of London. The<br />
“International” Society of Literature and<br />
Science, under the management of the notorious<br />
Morgan, is immediately suggested by this title.<br />
There is, however, no connection between the two<br />
societies, and very little resemblance. Morgan’s<br />
association was a bogus: this is a real thing, é.e.,<br />
it actually does, as shall be shown, what it<br />
professes to do. You can:become a “ Fellow ” of<br />
the society, and you can call yourself F.8.Sc., by<br />
sending a trifling subscription of two guineas a<br />
year. Think of being an “ F.S.Sc.”—nothing<br />
short of that—for two guineas a year! There, as<br />
the advertisers say,is Value! If you can only<br />
afford a guinea, you can still be a Member. The<br />
following is a list of the splendid achievements<br />
of the society up to the present date :—First,<br />
they meet once a month, and, after passing<br />
minutes and electing more distinguished men,<br />
who want nothing but the F.S.Sc. to complete<br />
the glory of their career, they sing songs and<br />
listen to papers. Many of the Fellows have,<br />
it 1s stated—actually, many !—written books—<br />
actually, books !—in Science, Literature, and<br />
Art. The society has endeavoured to introduce<br />
Volapuk—a most useful attempt. The society<br />
has issued a register of American colleges, a step<br />
calculated to advance enormously the cause of<br />
Science, Literature, and Art in this country. The<br />
society has photographed a map. The society has<br />
given women a new occupation—that of cameo<br />
cutting. The society has sent papers to exhibi-<br />
tions. And the society has instituted a set of<br />
examinations called the Kensington Locals. In<br />
fact, the work of this society, except for its<br />
song-singing, reads exactly like a parody of<br />
that of the Society of Arts—local examinations<br />
and all. But, as was said above, it is manifest<br />
from the account of their work that this is<br />
no bogus society. The committee do what they<br />
profess to do. But is it not wonderful that<br />
2000 people—they say there are 2000 members—<br />
should pay two guineas a year for the sake of<br />
calling themselves F.S.Sc.? And is it not more<br />
wonderful still that schools should be found to<br />
prefer the examinations of such a body to the<br />
examinations of Oxford and Cambridge? It is,<br />
however, stated, and this is so far satisfactory,<br />
that the accounts are duly laid before the<br />
members, and “ passed unanimously.” Humph<br />
<br />
<br />
<br />
—Yes—But—are they audited and published ?<br />
We must not forget to mention that the<br />
<br />
THE AUTHOR.<br />
<br />
Fellows are entitled to wear Gowns and Hoods,<br />
and to carry a gold or silver Badge, thus resem.<br />
bling a Master of Arts, a parish Beadle, and an<br />
omnibus Conductor all rolled into one. Think of<br />
the Glory of it! 4<br />
<br />
<br />
<br />
<br />
<br />
Atarecent meeting of the Society of American<br />
Authors (Colonet Thomas Wentworth Higginson,<br />
President) Mrs. Kate Tennant-Woods, among<br />
others, was elected a member. The importance<br />
of this election, over and above the adhesion of<br />
Mrs. Woods to the Society, lies in the fact that<br />
some years ago Mrs. Woods organised an associa-<br />
tion of ladies only, called the “ Guild of Authors,”<br />
and that by this election she acknowledges that<br />
all literary men and women should write and work<br />
together for the common object.<br />
<br />
<br />
<br />
An American magazine was so very good, the<br />
other day, as to expose the tricks, cajolements,<br />
and flatteries and arts by which autographs are<br />
procured, and persons whose autographs are<br />
desired, are induced to write letters. After this<br />
exposure, the following note may perhaps be<br />
regarded as suspicious:<br />
<br />
Dear Sir,<br />
<br />
Will you kindly tell me your opinion of Alphonse Daudet<br />
compared with Dickens as a novelist ?<br />
<br />
I see that a critic in one of our magazines says his<br />
<br />
“Sappho” is infinitely better than anything Dickens ever<br />
wrote.<br />
<br />
Tam personally unknown to you, but should like very<br />
much to know what you think of this, and trust, if your<br />
time permit, you will answer,—Very respectfully<br />
<br />
An AMERICAN ADMIRER OF YouRS.<br />
<br />
Then follows the name and address, at a “ whole-<br />
sale Dry Goods and Notions” establishment.<br />
The writer, bearing in mind the article referred<br />
to, must not take it unkindly if no answer should<br />
be sent.<br />
<br />
<br />
<br />
The book of the month is Mr. Walter Pater’s<br />
“Plato and Platonism” (Macmillan and Co.).<br />
Another book of the month is Mr. W. F. Smith’s<br />
Translation of Rabelais, noticed elsewhere. 'To<br />
this a third may be added in “Salome,” the<br />
forbidden play by Oscar Wilde.<br />
<br />
Watter Besant.<br />
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Ae<br />
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THE, AUTHOR. 369<br />
<br />
THE PROFESSOR’S PHENIX.<br />
<br />
<br />
<br />
o ATHER, couldn’t you make the story end<br />
<br />
-K there? It is such a pretty bit—it seems<br />
<br />
a pity to add anything more.”<br />
<br />
“No, no, my dear ; you don’t understand. The<br />
paragraph you want to suppress is the most<br />
important in the book. Are you ready ? Then<br />
let us proceed.”<br />
<br />
And the Professor resumed his slow tramp up<br />
anddown the room, his hands clasped bekind him,<br />
his eyes rolling “in fine frenzy” in spite of their<br />
restlessness, while he dictated certain ponderous<br />
sentences with the air of a man inspired.<br />
<br />
“There, Ihave done!” he cried at last. “‘ This,<br />
I think, should rouse the world. It will be<br />
forced to hear my voice now—though I stand on<br />
the threshold of the grave, I have strength<br />
enough left to drive the lesson home. The world<br />
must hear—must attend. This voice of mine will<br />
preach to it still when I myself have passed away ;<br />
this book will be as it were a Phcenix rising from<br />
my ashes—unique, beautiful, strong. Oh, glorious<br />
thought !”<br />
<br />
He threw himself into an arm-chair, resting<br />
his white head on his hands, and smiling to him-<br />
self; but presently he sighed.<br />
<br />
“ Ella, if this work is not recognised I think I<br />
shall die! But it cannot fa'l—it is a beautiful<br />
story. You, even you, can see that it is a<br />
beautiful story.”<br />
<br />
“Yes, yes,” cried the girl eagerly ; “ it is a<br />
beautiful story—one of which I could never<br />
tire—”’<br />
<br />
“ Full of fancy and delicate feeling ¢<br />
<br />
“ Full of fancy and feeling.”<br />
<br />
“And then the style,’ went on the old man,<br />
leaning forward and speaking excitedly, “ culti-<br />
vated, polished, dignitied; every word giving<br />
evidence of erudition and research. As for the<br />
message which it is given to me to deliver, do I<br />
not trumpet it forth for all the universe to hear?<br />
Why, each page contains its lesson. Iam a<br />
teacher, Ella, a teacher before everything, and<br />
this book is, I may say, an epitome of all my<br />
other work ; it is the ripe and perfect fruit of all<br />
my wisdom and experience—it must succeed.”<br />
<br />
The girl rose, and, leaning over her father’s<br />
chair, drew him gently backwards so that his<br />
head rested on the cushions. Then she kissed<br />
his upturned face.<br />
<br />
“You must rest,” she said; “your work is<br />
done.”<br />
<br />
“Yes, yes,” he assented, “it is done, and I<br />
await the reward. Make a parcel of the manu-<br />
<br />
script quickly, dear; we must send it off at<br />
once.”<br />
<br />
”<br />
<br />
Ella gathered up the papers, and left the room<br />
stifling a sigh. For well she knew what was<br />
likely to be the result of her father’s labours,<br />
All his life he had been fanciful, and imprac-<br />
ticable, and didactic. He could indeed conceive<br />
a charming story, rich in incident, full of delicacy<br />
and tenderness; but he invariably marred it m<br />
the telling. He must needs paint his lily; he<br />
must point his moral and adorn his tale. No<br />
simple everyday language was good enough to<br />
convey his meaning; he must wrap it round in<br />
a curious antiquated jargon of his own, illustrate<br />
it with a thousand flowery figures of speech,<br />
interlard it with cheap wisdom and secondhand<br />
philosophy. He had a passion for teaching, poor,<br />
good, simple old fellow! and having long ago<br />
resigned his Professorship, and being unable of<br />
late years, by reason of his blindness, even to<br />
take pupils, he had devoted himself to the task<br />
of instructing the world at large. Treatises,<br />
essays, tales — he composed them by the dozen,<br />
and Ella’s little fingers ached with writing them ;<br />
but as he was too poor to bring them out at his<br />
own expense, no publisher could be induced to<br />
produce them, and, indeed, it is doubtful if, even in<br />
the event of their seeing the light, anyone could<br />
have been persuaded to read them.<br />
<br />
“ Dear father,” Ella would say, half pleadingly,<br />
half impatiently, “if you would only let me write<br />
your stories as you tell them to me sometimes, as<br />
we piece them together by the fire, in—in plain<br />
words, I know they would be more successful.”<br />
<br />
“ Nonsense, child! What are you thinking<br />
of? I tell them to you in that way, to give you<br />
just an idea of them; but when I speak to the<br />
world I must use language of a different kind—<br />
language that readers of intellect and learning<br />
may not cavil at.’ And another overwhelming<br />
sentence would come booming out. It seemed to<br />
Ella in her despair that every remonstrance ot<br />
hers rendered his phraseology more bombastic,<br />
and whetted his appetite for words of five<br />
syllables.<br />
<br />
“ ] think his heart will break if this book fails<br />
too!” she thought as she mounted the stars.<br />
“ And yet of course it must. Poor dear! as he<br />
says, he has put all his wisdom, all his wisdom<br />
in it—all those dreadful little bits which ruined<br />
his other books, and those terrible long words<br />
which make one feel hot all over!”<br />
<br />
She had gained her room, now, and unlocking<br />
a drawer took out the remainder of the manu-<br />
script.<br />
<br />
« Let me see, though ; perhaps, after all it is i<br />
that am wrong in not sufficiently appreciating it.<br />
Let me try to imagine myself a publisher’s reader<br />
<br />
lancing through the work for the first time.”<br />
<br />
She sat down and read half a page with a<br />
<br />
A A OIE<br />
<br />
<br />
<br />
<br />
37°<br />
<br />
most business-like expression on her small, bright<br />
<br />
face. She was small and bright altogether, this<br />
little eager creature—small and bright and<br />
brown. Her eyes were bright and brown, too,<br />
<br />
but large—the only Jarge things about her—and<br />
very alert and intelligent. She had little quick<br />
movements, and saucy ways, and occasional<br />
flashes of temper, such tiny flashes that people<br />
only laughed at them. Her father called her<br />
The Robin, and the name suited her.<br />
<br />
“Tt’s no use!’ she sighed presently, pushing<br />
away that MS. “Oh, my dear precious old<br />
father, why will you not do justice to yourself ? ”<br />
<br />
When the parcel came back—as was inevitable<br />
—from the publisher towhom Ella had entrusted<br />
it, it chanced that the Professor was unwell, and<br />
the girl, not liking to distress him, concealed the<br />
fact of the failure of his book from him. She<br />
undid the fastenings, and glanced mechanically<br />
through the: papers. The first two or three<br />
pages were slightly soiled indeed, but the<br />
remainder were painfully, ironically clean—a<br />
very little of the intellectual feast within had<br />
apparently sufficed to satiate the reader. And<br />
yet, as Ella turned overthe pages with a kind of<br />
ind'gnant anguish, her eyes fell on the descrip-<br />
tion of what was really a pretty scene, deliberately<br />
imagined. The old man had in truth something<br />
to say if he did but know how to say it!<br />
<br />
Suddenly a thought struck the girl, so daring,<br />
so tremendous, that she reddened to the very<br />
roots of her hair, and her heart began to thump<br />
wildly.<br />
<br />
“Tl do it,’ she said. “It’s wicked, it’s de-<br />
ceitful ; it’s base in every way, but I’ll do it. He<br />
shan’t break his heart—his dear, kind old heart—<br />
he shan’t be disappointed again; his story shall<br />
be read!”<br />
<br />
She sat down then and there, and wrote out the<br />
first chapter of her father’s book in her own way<br />
and her own words. Those big eyes of hers were<br />
not -o wide open and intelligent for nothing, and<br />
those curly brown locks covered a very clever little<br />
head. Sbe had read much and appreciatively, and<br />
was, besides, endowed with a naturally acute<br />
literary sense, a nice perception of artistic pro-<br />
portion. As she went on the work interested<br />
her more and more; the characters became real<br />
to her ; and by-and-bye, not content with lopping,<br />
and paring, and reproducing, she began to develop<br />
and to create. After many days, the book was<br />
finished, and she read it through, startled at her<br />
own temerity, and yet triumphant at her success.<br />
The success was undeniable. The theme, always<br />
fascinating and now divested of its florid orna-<br />
mentation, proved itself to be a fine melody,<br />
<br />
appealing to the heart with direct and simple<br />
force.<br />
<br />
THE AUTHOR.<br />
<br />
Palpitating with anxiety Ella despatched the<br />
book once more, and one morning received a<br />
letter from the publisher announcing his willing-<br />
ness to produce it, and offering certain terms;<br />
not high ones, for it was a first book and in one<br />
volume, but fair. ;<br />
<br />
She went up to her father’s room to tell him<br />
the joyful news—joyful, but rather embarrassing<br />
too—how should she break. to him her share in<br />
the transaction ?<br />
<br />
He was still in bed, and looked very frail and<br />
feeble.<br />
<br />
“Father,” she began, hesitatingly, ““I—I have<br />
heard from the publisher, Mr. S<br />
<br />
“ Well, child, well? Don’t tell me he has sent<br />
back the book—don’t tell me! Iam not able to<br />
bear it.”<br />
<br />
“No, dear, no—it’s all right.<br />
keep it, he a<br />
<br />
“He wants to keep it!” cried the old man with<br />
a shout of triumph. ‘Oh God,I thank Thee!<br />
My life has not been without fruit afterall. I<br />
had a mission—you see, Ella, I was right! I<br />
knew I was right—and now it is fulfilled.”<br />
<br />
“Yes, but, dear father, I have not told you<br />
everything yet. There are—some drawbacks.<br />
The first publisher I sent it to—”<br />
<br />
“ There, Ella, I don’t wish to hear, Let me be<br />
happy for once—entirely happy! Don’t you<br />
know what a relief it is to make yourself heard<br />
when you have been calling a person for a long<br />
time? I have been calling, calling, calling, all<br />
these years, all my life, to a whole world full<br />
of people, and found no one to listen to me—<br />
not one! Think what it must be to know that<br />
my voice is heard at last. It isa relief and a<br />
joy; do not disturb the blessedness of it. Let<br />
me rest now; my work is done. I wish to hear<br />
nothing more until you place the book in my<br />
hand. I leave the management of all the minor<br />
details to you. Make what terms you like;<br />
correct the proofs. Ido not even want to know<br />
when they come, I might be tempted to alter<br />
and perhaps spoil my work, and it is perfect as it<br />
is. I must not change a word.”<br />
<br />
Ella’s intended confession died on her lips.<br />
How could she bring herself to wake her father<br />
from his dream of bliss? She wished now that<br />
she had not begun to practise this deception, but<br />
since, after all, it made him so happy, and since<br />
he was, alas! so easily deceived, why not carry it<br />
out to the end? Why need he ever know that<br />
this which he hugged to his bosom was not the<br />
child of his fancy, but a changeling? Nay, it<br />
was his child, after all—did it not owe its beg<br />
tohim? Ella had but dressed it in other clothes.<br />
So she said, trying to comfort herself and to<br />
quiet her conscience, for, as the days passed, she<br />
<br />
<br />
<br />
He wants to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
found it mcre and more impossible to tell him<br />
the truth.<br />
<br />
When, however, at last she laid the little<br />
yolume in the Professor’s guileless hands, she<br />
acknowledged that it was worth while running<br />
any risks, and enduring any number of secret<br />
pangs to see the old man’s ecstacy. How he<br />
fondled the book! With what eager trembling<br />
fingers he examined paper and binding, with<br />
what a deep sigh of content be laid it down at<br />
last !<br />
<br />
“My Phenix, Ella!”<br />
<br />
Presently he requested her to sit down and<br />
read him the story from beginning to end, and<br />
1etiring to a safe distance she proceeded to read<br />
the original manuscript with which she had<br />
thoughtfully provided herself, blushing fiercely<br />
with shame the while, and feeling a very monster<br />
of deceit. But the Professor had:no misgivings.<br />
He sat listening with a smile, rapturously happy.<br />
Now and then he would interrupt with an inter-<br />
jection of approval, or ask her to read a sentence<br />
or a paragraph again.<br />
<br />
“That will make a point, my dear,” he<br />
would say. “You'll see. The book will make<br />
a hit.”<br />
<br />
Curiously enough it did. This youthful render-<br />
ing of an old man’s fancy had a fresh, charm-<br />
ing, unusual flavour which suited the public<br />
taste. It went into a second edition almost<br />
immediately, and the reviews were unanimous in<br />
praise.<br />
<br />
Ella’s satisfaction, however, was not unmixed ;<br />
she lived in dread of her secret being discovered,<br />
though, thanks to the retired life led by her<br />
father, and to her judicious ‘ cooking” of the<br />
notices which she read to him, there did not seem<br />
much chance of his being enlightened.<br />
<br />
But was there ever a labyrinth of which some<br />
one did not solve the mystery? Did not the<br />
Serpent find his way even into the Garden of<br />
Eden? How could the Professor remain secure<br />
in his fool’s paradise? It happened that one of<br />
his former pupils—Bodersham by name, if that<br />
matters—a journalist and critic, but still in some<br />
ways quite human—chanced to find the name of<br />
his old tutor on the title-page of a book of which<br />
he and his brother reviewers approved, and was<br />
genuinely pleased. It seemed to him, indeed,<br />
that he could do no less than congratulate his<br />
friend in person, and accordingly one day he<br />
betook himself to the small house in the little<br />
suburb, where the old man had set up his house-<br />
hold Gods.<br />
<br />
Ella was out, but the Professor received him with<br />
pleasure, accepting his congratulations with entire<br />
satisfaction, enumerating the compliments be-<br />
stowed.on the work iv question, and speaking of<br />
<br />
AUTHOR. 371<br />
<br />
his publishers, his profits, his reviewers, with a<br />
gleeful sense of importance. “I agree with the<br />
Times,” remarked young Mr. Bodersham, presently,<br />
“the scene just before the parting of the lovers is<br />
the finest in the book. You ought to feel<br />
flattered—they have quoted nearly the whole of<br />
it.<br />
<br />
“Bh? Havethey? Let me see. Imust have<br />
missed that. I dont remember Ella reading it<br />
to me. Find it for me, that’s a good fellow.<br />
Here’s the book. Excuse the impatience of an<br />
author—a young author who has just brought<br />
out his first book! Eh? A young author of<br />
seventy-five !””<br />
<br />
He rubbed his hands and chuckled; preparing<br />
himself to listen, and already blushing with grati-<br />
tied vanity. But, as Bodersham read, the smile<br />
died out of his face, and a puzzled and startled<br />
look came there instead.<br />
<br />
“1 —T don’t remember that bit,” he said, as the<br />
young man ceased. “ What has happened to my<br />
book? I—cannot recollect—it is strange. Go<br />
on, go on—let me hear more.’<br />
<br />
Bodersham read on, but presently paused<br />
again.<br />
<br />
“ What an exquisite sentence!” he exclaimed.<br />
<br />
“ Exquisite perhaps, but not mine. I never<br />
wrote a word of it. Good God! Someone has<br />
been tampering with my book—that fool of a<br />
publisher, perhaps. Bodersham, for Heaven’s<br />
sake turn to the beginning of the chapter—does<br />
it open thus:—‘ There are sundry idiosyncracies<br />
easily recognisable in certain individuals, in whom<br />
an adept in pathognomy may readily detect<br />
infallible signs—— ’”’<br />
<br />
“No, nothing of the sort. It begins with a<br />
conversation—— ” and he read a few lines.<br />
<br />
“As I thought!” groaned the Professor.<br />
“Someone has been meddling with it—it is not<br />
my book at all—not mine, but so like it. Someone<br />
has stolen my ideas, and made another work of<br />
it. Yet then again! Taat little conversation<br />
was mine. What has happened? What shall I<br />
do? There is hideous wrong somewhere, and I<br />
am so helpless, so helpless, they can impose on Us<br />
as they like. But Ella, Ella should have<br />
known !”<br />
<br />
He fell back in his chair, panting, trembling,<br />
straining bis poor sightless eyes, and at this<br />
moment Ella walked in, rosy, fresh, smiling, and<br />
laden with packages. One glance told her what<br />
had happened, and, flinging down her purchases,<br />
she rushed to her father’s side. “It’s all your<br />
fault!” she cried, glancing furiously at the<br />
bewildered Bodersham, and immediately bursting<br />
into tears.<br />
<br />
“Qh Ella, Ella child—something dreadful has<br />
happened — something inconceivable! I have<br />
<br />
IEE<br />
<br />
<br />
<br />
<br />
372<br />
<br />
been robbed—deceived! This is not my book—<br />
_you know it is not my book ?”<br />
<br />
“ Yes, dear, it is yours,” cried Ella, flmging her<br />
arms round his neck. “It is indeed yours—your<br />
story, and your beautiful idea, only—only a little<br />
altered and modernised. ’<br />
<br />
“Then you knew,” faltered the old man, feebly<br />
pushing her away from him. ‘ You knew—and<br />
you let them do it!”<br />
<br />
“Oh, dearest father, how shall I tell you? and<br />
yet you must know, since people will meddle so,”<br />
pausing to scowl through her tears at poor Mr.<br />
Bodersham. “It was I did it. I, Imyself! I wrote<br />
it out and changed it.”<br />
<br />
“You did it!” he repeated, almost in a<br />
whisper. ‘ You /—because I was blind!”<br />
<br />
It was the only reproach he made her, but it<br />
almost broke her heart. She threw herself on<br />
her knees beside him, kissing his hand, and<br />
gasping out her confession between her passion-<br />
ate sobs. He accepted her caresses passively at<br />
first, but, presently, moved by her distress, he<br />
stooped and kissed her.<br />
<br />
“Poor child,’ he said, “do not ery. You<br />
meant well, and of course my work was of no use.<br />
They would not have it. -But it would have been<br />
kinder not to have deceived me. Yet I should<br />
not reproach you, for I have been deceiving<br />
myself all these years I—I thought I was a<br />
venius, and I am only—a fool.”<br />
<br />
There was infinite pathos in words and tone—<br />
pathos, and a certain dignity for all their naiveté.<br />
Bodersham, standing by the table, miserable and<br />
awkward, felt a lump rising in his throat. The<br />
Professor presently addressed him :<br />
<br />
‘“‘ Bodersham, will you be so good as to read<br />
<br />
the book to me from the beginning? It will not<br />
take you long, and I should be grateful.”<br />
_ The young man complied, his voice, somewhat<br />
husky at first but clearing and steadying itself<br />
as he went on. Ella, turning a pettish shoulder<br />
on him, curled herself up at her father’s feet, and<br />
buried her face in her hands. He listened for the<br />
most part in silence, though he interrupted<br />
now and then with a muttered commentary,<br />
There was a moment’s pause when the reading<br />
ceased, and then Ella, raising her head timidly,<br />
saw that his face was glowing, and working<br />
oddly.<br />
<br />
“My little girl,” he said, “it is beautiful. I<br />
am foolish and old . . . but I can see that.<br />
Though I should have thought,” he added, rub-<br />
bing his nose meditatively, ‘that it might have<br />
improved it to amplify a little now and then—but<br />
perhaps I am wrong. I have antiquated notions,<br />
Iknow. Ah,” he cried with sudden exultation,<br />
‘my little bird can sing—my little bird can sing!<br />
You are a wonderful little woman. I think that<br />
<br />
THE AUTHOR.<br />
<br />
you—you—you—are my Phenix! Yes—yes—<br />
not my book at all—but you—you—you.”<br />
M. E. Francis,<br />
<br />
CARLYLE ON THE POSITION OF LITERARY<br />
MEN.<br />
<br />
<br />
<br />
HAT had Carlyle to say on the status and<br />
organisation of literary men? Take<br />
his ‘“‘ Hero as Man of Letters,” and<br />
<br />
much will be found on a subject which has<br />
received new interest and impetus from the death<br />
of the Poet Laureate. When “Hero Worship ”<br />
was written, Carlyle felt deeply on the then gene-<br />
rally disorganised condition of society:—<br />
“perhaps if we look at this of Books and the<br />
Writers of Books, we shall find here, as it were,<br />
the summary of all other disorganisations ; a<br />
sort of heart from which, and to which, all other<br />
confusion circulates in the world.” The sage<br />
dwells for pages upon the art of writing, upon<br />
the marvellous effect of writing, the revolutions<br />
it has created in thought, in art, in politics, in<br />
government, in education, in religion. It has<br />
made democracy inevitable, “it is the purest<br />
embodiment a thought of man can have. No<br />
wonder it is, in all ways, the activest and noblest.”<br />
Admitting all this, Carlyle then goes on to pro-<br />
phecy: “If men of letters are so incalculably<br />
influential, actually performing such work for us<br />
from age to age, and even from day to day, then<br />
I think we may conclude that men of letters will<br />
not always wander, like unrecognised, unregulated<br />
Ishmaelites, among us. Whatsoever thing has<br />
virtual unnoticed power will cast off its wrap-<br />
pages, bandages, and step forth one day with<br />
palpably articulated, universally visible power.<br />
That one man wear the clothes, and take the<br />
wages, of a function which is done by quite<br />
<br />
another: there can be no profit in this; this is_<br />
<br />
not right, it is wrong. And yet, alas! the making<br />
of it right,—what a business, for long times -to<br />
come. Sure enough this that we call Organisa-<br />
tion of the Literary Guild is still a great way off,<br />
encumbered with all manner of complexities. If<br />
you asked me what were the best possible orga-<br />
nisation for the Man of Letters in modern Society;<br />
the arrangement of furtherance and regulation,<br />
grounded the most accurately on the actual facts<br />
of their position and of the world’s position, I<br />
should beg to say that the problem far exceeded<br />
my faculty! It is not one man’s faculty; it is<br />
<br />
that of many successive men turned earnestly<br />
upon it, that will bring out alone an approximate<br />
solution, What the best arrangement were, none<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THe AUTHOR. 373:<br />
<br />
of us could say. But if you ask, which is the<br />
worst? I answer: This which we have now,<br />
that Chaos should sit umpire in it; this is the<br />
worst. To the best or any good one, there is yet<br />
a long way.”<br />
<br />
Thus wrote Carlylein 1840. He was convinced<br />
that the regulation of the literary life was coming.<br />
“This is a prophesy,” said he, “one can risk.<br />
For so soon as men g-t to discern the importance<br />
of a thing, they do infallibly set about arranging<br />
it, facilitating, forwarding it; and rest not till,<br />
in some approximate degree, they have accom-<br />
plished that ‘Literature will take<br />
care of itself,’ answered Pitt, when applied<br />
to for some help for Burns. ‘Yes,’ adds Mr.<br />
Southey, ‘it will take care of itself, and<br />
of you too, if you do not look to it?”<br />
Carlyle had in his mind, when he wrote these<br />
words, Jean Jacques Rousseau, driven to<br />
exasperation and lighting the torch of Revo-<br />
lution by his paradoxical writing ; and he might<br />
have added the name of Theobald Wolfe Tone,<br />
who, instead of fom-nting Irish revolution, might<br />
have been a British governor in some quarter of<br />
the Empire, had he been given employment by<br />
Pitt when he asked for it.<br />
<br />
But what would Carlyle have said to the reten-<br />
tion of the Laureateship? Generally he would<br />
have been in favour of it, if we may judge by his<br />
writings in these lectures on Hero worship. Not<br />
that he cared much, or at all. for money and<br />
rank. He even doubted whether there ought not<br />
to be literary men poor, to show whether they<br />
were genuine or not. But recognition of worth<br />
was what he craved for himself, and for all strong<br />
men born in the lower classes of life, ‘‘ who ought<br />
to stand elsewhere than there.’ He was con-<br />
vinced that it deeply concerned society “whether it<br />
will set its light on high places, to walk thereby ;<br />
or trample it under foot and scatter it in all ways<br />
of wild waste (not without conflagration) as here-<br />
tofere. Light (he continues) is the one thing<br />
wanted for the world. Put wisdom in the head<br />
of the world, the world will fight its battles vic-<br />
toriously, and be the best world man can make<br />
it.” If light is the one thing wanted for the<br />
world, we may well ask why hesitate to put it<br />
on a candlestick, that it may give light unto<br />
all who are in the House of Literature, and out-<br />
side it too? All that need be insisted on is that<br />
the best candle be placed in the candlestick. We<br />
must have the best illuminant in our Poetic<br />
Beacon. Po. B:<br />
<br />
eo<br />
<br />
CORRESPONDENCE.<br />
<br />
iE<br />
A RectsterR oF Books WANTED.<br />
<br />
PREGNANT thought arises out of the<br />
fact that the writer of these lines, in<br />
common, no doubt, with many other<br />
members of his club (which contains a fair<br />
number of literary men) is in the habit of<br />
receiving from dealers in second-hand books,<br />
not only in London but in some provincial<br />
towns, printed catalogues of the works they<br />
have to offer, comprising several hundreds in<br />
<br />
number, and alphabetically arranged as regards,<br />
<br />
the names of their authors. The compilation<br />
of these lists, including a short description of<br />
contents of each book and a statement of price,<br />
<br />
must be for certain a work involving very con-.<br />
<br />
siderable time and labour, and the revision of<br />
the proofs must require exceeding accuracy and<br />
care. It would be, perhaps, a safe guess to say<br />
that the mere cost price of each catalogue cannot<br />
be much under 2d., to say nothing of postage.<br />
How many of the receivers of these lists ever<br />
buy (if at all) or even peruse them, there is no<br />
means of knowing. The writer, indeed, does<br />
make a habit of glancing through them; and<br />
very occasionally he makes a purchase. Not<br />
having that amount of spare time or money<br />
<br />
which should make him wish to possess books. or-<br />
<br />
indeed a library wherein to place them, he is<br />
obliged to content himself with the large facili-<br />
ties for the reading of books offered by public<br />
libraries. Still he does want a book sometimes,<br />
but he is willing te give for it only a fair second-<br />
hand price. How can his want be met? He<br />
may collect these catalogues by the score or by<br />
the hundred, or. visit shop after shop in. a vain.<br />
search for it; and all the while it may be lying<br />
in some shop down a back street within a few<br />
yards of the ground over which he has just<br />
passed.<br />
<br />
It seems to me that the present plan inverts<br />
the whole process by which —as proved by<br />
Beecham, Pears, and others—the old adage has,<br />
been falsified, and now “Supply [er rather the<br />
advertisement of it] creates the demand.” Every<br />
one wants soap; millions want—or think they<br />
want—pills ; and the public buy. the article the<br />
name of which is stamped on their brain. But<br />
these puffers advertise one thing only; and the<br />
cost to them, when divided among the millions<br />
who read, who cannot help reading, is almost as<br />
a drop of water in the ocean. On the other<br />
hand, the booksellers spend, say, 2d. or 3d. in.<br />
sending-to a few individuals catalogues of several<br />
<br />
<br />
o14<br />
<br />
hundred books, of which the great majority need<br />
not one, and by chance a single person, here or<br />
there, may want one or two.<br />
<br />
What is required is a catalogue (or register) of<br />
“hooks wanted,” properly classified and arranged,<br />
the fee paid by the “ wanter” for imsertion being<br />
divided between him and the “supplier” on<br />
completion of the bargain. The scheme would<br />
require organisation, and, probably, in the end<br />
an office and a staff. I can only here indicate<br />
the bare outlines of such a scheme; but I enter-<br />
tain no shadow of a doubt that, if once properly<br />
started and supported by the hearty co-operation<br />
of the second-hand booksellers, they would save<br />
many thousands of pounds in the cost of all but<br />
useless catalogues, and gain many other thou-<br />
sands in the quicker and better sale of ‘ Books<br />
wanted,’ which now cumber their shelves and lie<br />
there year after year, representing so much sunk<br />
capital and a prey to dust, moth, damp, and the<br />
destructive habits of rats and mice.<br />
<br />
E. F. Wourerstan.<br />
<br />
+<br />
<br />
II.<br />
MissTaTEMENTS IN REVIEW.<br />
You have, I think, expressed the opinion in the<br />
<br />
Author, that the reviews written about a book<br />
influence to some extent its sale. If this is the<br />
case, it is the duty of a reviewer to be careful as<br />
to the accuracy of his statements; it is also, I<br />
venture to think, the duty of an editor to allow<br />
space to an author to correct any misstatements<br />
which have appeared in a review in his paper,<br />
always supposing that the nature of the paper in<br />
question admits of letters or explanatory para-<br />
graphs. The same publicity ought m common<br />
fairness to be given to the correction of a mis-<br />
statement as was given to the misstatement itself.<br />
This, unfortunately, does not appear to be the<br />
opinion of the editor of the Atheneum. Some<br />
weeks ago (Dec. 10, 1892) a notice of a book of<br />
mine—* Animal Coloration ’—was published in<br />
that review. The reviewer said that I bad not<br />
given “references” to the investigations of a<br />
certain physiologist, and expatiated upon this<br />
supposed omission to the extent of one-third of<br />
the whole notice, thereby perhaps giving the<br />
impression that my book was defective in an<br />
important particular. As a matter of fact, I had<br />
referred both to the name of the physiologist and<br />
to the journal where most of his papers were to<br />
be found. I accordingly wrote to the editor and<br />
pointed this out, in a perfectly civil way, begging<br />
him to correct the error. At first he declined to<br />
do anything, stating that the reviewer saw no<br />
reason for altering anything written, since I had<br />
<br />
THE AUTHOR.<br />
<br />
not given any account of the discoveries<br />
mentioned. I wrote again to the editor, suggesting<br />
that a reference to an author and his work and a<br />
discussion of his results were two very different<br />
things; finally he published (Feb. 3, 1893), not<br />
a letter stating the bare facts which I had sent<br />
him, but a paragraph grudgingly admitting that<br />
I had mentioned the name of the author in<br />
question, but omitting to mention the equally<br />
important fact that I had given a reference to<br />
the journa! where the author’s papers were pub-<br />
lished; in fact, having said in the notice that I<br />
had neglected a reference, he preferred to stick to<br />
that misstatement. Frank E. Bepparp.<br />
<br />
TI.<br />
Tur EXaMpLeE OF RICHARD SAVAGE.<br />
<br />
There is one aspect of the perennial author-<br />
publisher question which we might sometimes<br />
consider with ourselves. Just 150 years ago John-<br />
son sent forth his admirable “ Life of Savage,”<br />
which was republished in the still more admir-<br />
able “Lives of the Poets” some six-and-thirty<br />
<br />
ears later. Speakivg of Savage’s production<br />
“ The Wanderer,” he said :<br />
<br />
From a poem so diligently laboured, and so successfully<br />
finished, it might be reasonably expected that he should<br />
have gained considerable advantage; nor can it, without<br />
some degree of indignation and concern, be told that he sold<br />
the copy for ten guineas, of which he afterwards returned<br />
two, that the two last sheets of the work might be re-<br />
printed; of which he had, in his absence, intrusted the<br />
correction to a friend, who was too indolent to perform it<br />
with accuracy.<br />
<br />
That he sold so valuable a performance for so small a<br />
price was not to be imputed either to necessity (by which<br />
the learned and ingenious are often obliged to submit to<br />
very hard conditions), or to avarice (by which the book-<br />
sellers are frequently incited to oppress that genius by which<br />
they are supported), but to that intemperate desire of<br />
pleasure and habitual slavery to his passions which involved<br />
him [Savage] in many perplexities. He happened at that<br />
time to be engaged in the pursuit of some trifling gratifica-<br />
tion, and, being without money for the present occasion, sold<br />
his poem to the first bidder—and perhaps for the first price<br />
that was proposed—and would probably have been content<br />
with less, if less had been offered him.<br />
<br />
Authors have a great deal of human nature in<br />
them; so, indeed, have publishers, but it shows<br />
itself in a different aspect. Savage’s particular<br />
exhibition of human nature is perhaps incurable,<br />
ineradicable; but had he been in the habit of<br />
resorting to an Authors’ Syndicate, it is just<br />
possible that his feet would have turned quite<br />
naturally in that direction, and deposited the<br />
copy of “The Wanderer” in its safe custody ;<br />
finding there, too, perhaps—waiting for him from<br />
some such previous famous performance as “The<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 375<br />
<br />
Author to be Let ”’—the means for his “ trifling<br />
gratification.”<br />
<br />
And the mention of that last pamphlet, which<br />
Johnson said “ would do honour to the greatest<br />
names,” leads one to add the confession that we<br />
still have our Iscariot Hackneys with us, and<br />
that some of them do now attack the Society of<br />
Authors, and ring the changes, with ‘“ damned<br />
iterations ” unartful aid on the dull, short list of<br />
oft-refuted empty charges against it. Johnson<br />
sometimes used strong language, and he described<br />
Iscariot Hackney as “a prostitute scribbler.”<br />
<br />
ee<br />
<br />
LV:<br />
Tnaccuracy IN Fiction.<br />
<br />
If room could be found in the pages of the<br />
Author, it would be interesting to know what<br />
opinions some of our leading authors hold re-<br />
specting inaccuracy in fiction, and the duty of the<br />
novelist to be exact in his handling of circum-<br />
stances drawn from real life.<br />
<br />
Perhaps an instance should be cited. This one<br />
I read, not long since, in an exceedingly clever<br />
and successful tale. Two people rush to catch a<br />
certain train leaving a London terminus. A gate<br />
is slammed behind them so that a third person<br />
cannot follow. The time of the departure of the<br />
train has also been advanced ten minutes. These<br />
circumstances completely account for very impor-<br />
tant incidents which follow.<br />
<br />
But the time of the departure of important<br />
trains isnot advanced by ten minutes without great<br />
care being taken to inform the public of the fact,<br />
and here a man who made due inquiries at the<br />
terminus a few days before is ignorant of it, and,<br />
as a fact, no gate prevents access to the platform<br />
from which this train starts. I speak from expe-<br />
rience, haviog travelled by it.<br />
<br />
Now anyone who reads many novels will be<br />
able to think of similar instances of inaccuracy.<br />
<br />
It would be vastly convenient to be permitted<br />
to take such liberties, when the exigencies of the<br />
tale demanded them. Are they to be held legiti-<br />
mate?<br />
<br />
I can perfectly understand the man who says,<br />
“Tf the tale be a good tale, what do such trifles<br />
matter f”<br />
<br />
But I know others who assert that inaccuracies<br />
of this kind quite spoil their interest in a story.<br />
It was one such man that first pointed out to me<br />
Dickens’s mistake of putting red lights in front<br />
of a train (“ Dombey and Son,” chapter 55, not<br />
far from the end). A more striking inaccuracy<br />
oceurs in “ Oliver Twist” (chapter 46), where<br />
sunshine is, in the morning, reflected on the ceil-<br />
ing from blood spilled on the floor, in “‘ the faint<br />
<br />
light of breaking day.” The blood must have<br />
coagulated in less than half an hour—rather in a<br />
comparatively few minutes. If a novelist could<br />
keep blood liquid as long as he liked he could<br />
probably raise the dead.<br />
<br />
But how far does the novelist’s privilege of<br />
doing as he pleases extend ?<br />
<br />
Henry CrEssweLL.<br />
<br />
MG<br />
UnkNown WRITERS.<br />
<br />
I do not consider myself sufficiently experienced<br />
in literary matters to “suggest anything prac-<br />
tical” in the matter of authors and publishers to<br />
such a body as the Committee of the Society of<br />
Authors; but I still think that Mr. Haes’s sug-<br />
gestion that “some development and combination<br />
of work now performed by the Society, and the<br />
syndicate ” might be arranged that would facili-<br />
tate the publication of works by unknown but<br />
able writers.<br />
<br />
In every other respect save the one in question,<br />
the Society is doing immense service, and I<br />
gladly take this opportunity of bearing testi-<br />
mony to the valuable, and most cordial and<br />
kindly help it affords to young or struggling<br />
authors. Substantial help, as I hope the malig-<br />
nant critic of the Daily Chronicle will duly note,<br />
so far from “receiving no earthly advantage”<br />
from my guinea subscription, I have, taking only<br />
the past year, received back, through the inter-<br />
vention of the Society, that exact amount (as<br />
compensation for detention of MSS.), besides<br />
payment of a much larger sum which I should<br />
not otherwise have obtained without considerable<br />
trouble and expense. This in addition to the<br />
monthly copy of the Author, and valuable advice<br />
upon various matters connected with my work.<br />
<br />
As for ‘‘a share in the management,” every<br />
member has that, through the pages of the<br />
Author, and will have it so long as criticisms and<br />
suggestions receive the courteous consideration<br />
which they do at present, e.g., the valuable sug-<br />
gestions in Mr. J. M. Lely’s recent “ Omnium<br />
Gatherum,” which will doubtless bear fruit.—<br />
Hh.<br />
<br />
VI.<br />
Times oF PaYMENT.<br />
<br />
The question of the regular times of payment<br />
to writers in magazines has been broached in the<br />
Author, and one writer expresses a pious wish<br />
that all journals should pay ona recognised date.<br />
There is another similar question on which<br />
opinion might be expressed, and this is, the times<br />
<br />
<br />
<br />
<br />
376<br />
<br />
of payment of accounts to authors of books.<br />
Usually, when a fixed time is mentioned, the<br />
publishers stipulate for payment every six months.<br />
This is often, it would seem, somewhat of a<br />
hardship on the author, especially if a beginner,<br />
and the book is successful. The publisher gets<br />
in his return, and holds the money. Why should<br />
not at least quarterly accounts be the rule?<br />
The difficulty of balancing accounts at least<br />
approximately quarterly should not prevent such<br />
an arrangement. Only rich men can well afford<br />
to wait six months. H.<br />
{Should not our correspondent consider the<br />
great trouble of making up accounts every three<br />
months? In cases where money is due to<br />
authors, many publishers of the first rank are<br />
constantly advancing sums on account.—Eb. |<br />
<br />
<br />
<br />
VII.<br />
Prompt PayMENTs.<br />
<br />
“W.” writes to point out certain journals<br />
which follow the good example set by most of<br />
the daily papers in promptitude of payment.<br />
He says that “we should discriminate and not<br />
class all together.” Certainly. But has anything<br />
been said which has led our readers to class all<br />
together? In that case great injustice would be<br />
committed. Surely, however, no one has been<br />
so foolish as to suppose that proprietors of<br />
great and important papers are accused of these<br />
injurious delays. The sinners are the small<br />
papers, very poor themselves, who not only have<br />
to pay little, but also seek to postpone or to avoid<br />
payment as long as possible.<br />
<br />
<br />
<br />
VIII.<br />
Tue Recorp Press Company.<br />
<br />
The manager of the “ Record Press Company,<br />
Limited,” 376, Strand, asks publicity for the fact<br />
that the company has no connection at all with<br />
the “ Literary Society,” now defunct. It appears<br />
that the Company is the third tenant of these<br />
offices since the lamented decease of that admir-<br />
able association. The “Society” has been<br />
exposed over and over again; it has been<br />
succeeded by publishing firms carrying on the<br />
<br />
same game—one, at least, still exists and still.<br />
<br />
attracts the credulous; it has been exposed in<br />
these pages, in the daily press, in every- way.<br />
Yet, says the manager of the Company, not a<br />
week passes without some one—chiefly ladies and<br />
country clergymen— applying for membership<br />
and forwarding postal orders. Why do they<br />
want to become members? Is it — like the<br />
<br />
THE AUTHOR.<br />
<br />
“ Fellows ”’ of the Society above mentioned—ijp<br />
order to wear a hood and gown and a badge? Ig<br />
it for some imaginary distinction? Is it to assist<br />
the imagination and to further the belief that the<br />
“member” is a literary person? We ought—<br />
we must, the nation demands it—we ought<br />
without any delay to create an order—a distinc.<br />
tion—for the undistinguished. It should consist<br />
of a hood and gown with a badge. Then every.<br />
body will be perfectly happy.<br />
<br />
oct<br />
<br />
“AT THE SIGN OF THE AUTHOR’S HEAD.”<br />
<br />
<br />
<br />
“ CYALOME. Drame in un Acte.<br />
Wilde.”’ The forbidden play is published<br />
at last. It appears in a first edition of<br />
<br />
600, and-is produced by Messrs. Elkin Matthews,<br />
<br />
and John Lane (Vigo-street). There can be no<br />
<br />
doubt that the first edition will be run out in a<br />
<br />
few days, and very little doubt that copies will be<br />
<br />
at a premium a few days later. There the play<br />
is, and those who please may consider the Lord<br />
<br />
Chamberlain justified or not in his action.<br />
<br />
The poems of a young writer, whose poems are<br />
greatly extolled by those who know him and his<br />
work — Mr. John Gray — are also to be pro-<br />
<br />
duced by the same publishers in a very limited ~<br />
<br />
edition of 250 copies. The book will be called<br />
<br />
“ Silverpoints.”’<br />
<br />
Mr. James Ashcroft Noble, whose name is<br />
known in connection with good and delicate work,<br />
both in poetry and criticism, will immediately<br />
produce (also through Messrs. Matthews and<br />
Lane) a book of essays, called “‘The Sonnet in<br />
England.”<br />
<br />
The new Handbook (Murray) of Constanti-<br />
nople, “Brusa aud the Troad,” is edited by Col.<br />
Sir Charles Wilson, G.C.B.<br />
<br />
Mr. John Cordy Jeaffreson’s “ Victoria, Queen,<br />
and Empress” is now ready at Mr. Heinemann’s.<br />
<br />
Charles Leland’s translation of “ Heme” has<br />
now advanced to the 7th and 8th volumes.<br />
<br />
Messrs. Chatto and Windus have produced a<br />
separate edition of Charles Reade’s masterpiece,<br />
“The Cloister and the Hearth.” It is in four<br />
volumes, with an introduction by the editor of<br />
this paper.<br />
<br />
There is a new book by the author of ‘Some<br />
Emotions and a Moral.” It is called “ A Study<br />
<br />
in Temptations” (Fisher Unwin). -<br />
<br />
Mr. Andrew Lang’s new book ‘‘ Homer and the<br />
Epic,” is nearly ready.<br />
<br />
(Longmans. )<br />
<br />
Par Oscar<br />
<br />
<br />
<br />
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<br />
<br />
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<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
It is pleasant to notice the growing recognition<br />
of Mrs. Croker’s powers. The Times of Feb. 24<br />
selected it for a review of a column and a quarter<br />
in length of “ A Family Likeness.” Sucha review<br />
has been a turning-point on the road to popularity<br />
for many an author. “Her tales,” says the<br />
reviewer, “are buoyant, romantic, satirical, and,<br />
above all, picturesque.” Among other good<br />
novels of the season, Messrs. Chatto and Windus<br />
have this book of Mrs. Croker’s, Mrs, Hunger-<br />
ford’s “Lady Verner's Flight,’ Mr. Christie<br />
Murray’s ‘“‘Time’s Revenges,’ Bret Harte’s<br />
“ Susy,” and Grant Allen’s “ Blood Royal.”<br />
<br />
Miss Mary Angela Dickens has produced a new<br />
novel called “ A Mere Cipher.’ The publishers<br />
are Messrs. Macmillan and Co.)<br />
<br />
‘Personal and Social Evolution, with the key<br />
of the Science of History in the Old and New<br />
World of Thought and Opinion, containing the<br />
Mental Development of a Modern Scientist ;<br />
Sociological Miniatures of the Great Religions of<br />
Mankind: the Pedigree, Periods, Products, and<br />
Prospects of the Leading Nations of the Old and<br />
New World; and a Review of the New Revelation<br />
of the Modern Sciences which has dispelled the<br />
hereditary survivals and superstitions of Primitive<br />
Culture.” This is rather a long title, but it is<br />
copied from the title-page, and it is here repro-<br />
duced in full, because the author—‘“a historical<br />
scientist ’’—evidently desires to convey in the<br />
title an abstract of the contents and scope<br />
of the book. It is cast in the form of<br />
dialogues, in which the topics promised m the<br />
title are all discussed. It is published by Fisher<br />
Unwin.<br />
<br />
“The Scientific Study of Theology ’’ is the title<br />
of a little book on a great subject. ‘The author is<br />
the Rev. W. L. Paige Cox; the publishers are<br />
Messrs. Skeffington and Son. The work treats<br />
of the Scientific Study (1) of the Nature of God ;<br />
(2) of the Future Life; (3) of Miracles; (4) of<br />
Worship. ‘There is nothing,” the author says,<br />
“of such profound importance to man as to know<br />
what his religious beliefs should be.” That is quite<br />
true. it is also quite true that the greater part<br />
of mankind have not the power of ascertaining<br />
what their religious beliefs should be—all they<br />
can do is to apply such limited knowledge as they<br />
possess to the examination of religious beliefs<br />
offered them. The book is written with the in-<br />
tention of clear.ng ther minds and stating the<br />
case before they apply that limited knowledge.<br />
That differences in religious belief must always<br />
remain is absolutely certain, even with all the<br />
knowledge that the greatest scholars can ever<br />
acquire, but it is well to know the conditions of<br />
the problem.<br />
<br />
|<br />
<br />
Mr. Joseph Skipsey has collected his songs and<br />
lyrics. They are published by Walter Scott.<br />
These verses, by a self-taught poet, have the true<br />
ring. Their flight is not very high nor is it very<br />
long; nor are the wings of the singer. very<br />
strong; but they are sweet and pure. Among<br />
the minor poets of the century Mr. Skipsey<br />
should find a place.<br />
<br />
The Descent of Charlotte Baroness Compton,<br />
daughter of James, fifth Earl of Northampton,<br />
and Elizabeth Shirley, Baroness Ferrers de<br />
Chartley, has been examined by Isabella G. C.<br />
Clifford, her great granddaughter (Methuen). It<br />
is more than a merely genaological study ; itis the<br />
history of a house which includes among its<br />
members the Cliffords, the Howards, the<br />
Devereux, and the Comptons, with stories of each.<br />
Genealogists, heralds, and family antiquaries are<br />
not found in great numbers, but this little book<br />
should please the few to whom it appeals.<br />
<br />
Mrs. Macquoid’s new novel—a tale of modern<br />
English country life—is named “Berris.”” It<br />
will be published immediately by Messrs. Ward<br />
and Downey in two volumes.<br />
<br />
Miss Eleanor Holmes’s new novel, “‘ Through<br />
Another Man’s Eyes,” in three volumes, is now<br />
ready. The publishers are Hurst and Blackett.<br />
<br />
Miss Iza Duffus Hardy has arranged with<br />
Messrs. F. V. White and Co. for the publication<br />
of her new novel (2 vols.), called “ A Woman's<br />
Loyalty.”” It has been running as a serial in<br />
Belgravia.<br />
<br />
The author of the “ Story of a Penitent Soul”<br />
is bringing out a new edition in one volume,<br />
with Messrs. Heinemann.<br />
<br />
Mr. Dykes Campbell has completed the Life<br />
of Coleridge. It will appear in an introduction<br />
to the new edition of Coleridge’s ‘Collected<br />
Poetical Works.” Tne Life contains a great<br />
deal that is quite new, or at least much more<br />
accurate than anything previously published.<br />
And there are many poems, fragments, &c., pre-<br />
viously unpublished. ‘The book will be uniform<br />
with the Macmillan’s one volume editions of<br />
Tennyson, Shelley, and Wordsworth.<br />
<br />
A dinner at Edinburgh celebrated the com-<br />
pletion of “‘ Chambers’s Encyclopedia.” The con-<br />
tributors presented their photographs in an album<br />
to Mr. David Patrick, the editor.<br />
<br />
Mr. Joseph Hatton’s new novel, “ Under the<br />
Great Seal,” 3 vuls., will be published by<br />
Messrs. Hutchinson.<br />
<br />
A selection from the works of Jeremy Taylor<br />
has been made by Mr. John Dennis for Messrs.<br />
Innes and Co.<br />
<br />
<br />
378<br />
<br />
Mr. John Underhill has been engaged for<br />
some time upon a new edition of Gay for “The<br />
Muses’ Library.” It is now nearly ready, and is<br />
announced for next month.<br />
<br />
Mr. Rudyard Kipling will shortly publish a<br />
new volume of verse.<br />
<br />
Mr. William Watson, who is reported to be<br />
much better, will produce immediately a volume<br />
called “ Excursions in Criticism.”<br />
<br />
Mr. Quiller Couch has issued a book of verses<br />
called “ Green Bays, Verses and Parodies, by Q.”<br />
(Methuen and Co.)<br />
<br />
spec:<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
Theology.<br />
<br />
A PLEA FoR TRUE Union between the Sister Churches in<br />
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“ Books of Common Prayer,” with the same Scripture<br />
references. Castle and Lamb, Salisbury-square. 6d.<br />
<br />
BricHt, James W. The Gospel of St. Luke, in Anglo-<br />
Saxon, edited from the manuscripts, with an introduc-<br />
tion, notes, and a glossary. Oxford, at the Clarendon<br />
Press; London, Henry Frowde. 5s.<br />
<br />
Byne, Hon. Mrs. Francis. Friends and Foes at the Cross<br />
of Jesus ;_a Good Friday Service of Song. Skeffington.<br />
<br />
CaiRD, Epwarp. The Evolution of Religion. The Gifford<br />
lectures delivered before the University of St. Andrews<br />
in sessions 1890-91 and 1891-92. 2 vols. Maclehose,<br />
Glasgow. 14s. net.<br />
<br />
CuurRcH BELLs— special part, containing the weekly<br />
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<br />
Church Bells Office, Southampton-street, Strand. Paper<br />
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<br />
COLLINGRIDGE, Rev. C.F. The Civil Principality, or the<br />
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<br />
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See.<br />
<br />
Drx, Morgan. The Sacramental System, considered as the<br />
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<br />
Fiemine, Rev. James, B.D. Family Prayers for Four<br />
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GREEN, E. TyRRELL. Notes on the Teaching of St. Paul,<br />
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<br />
Hau, JoserH, D.D. Christ Mystical, or the Blessed Union<br />
of Christ and His Members. From General Gordon’s<br />
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<br />
Gordon, by the Rev. H. Carruthers Wilson, M.A.<br />
Hodder and Stoughton.<br />
<br />
Heatitey, R. H., M.A. The Gospel according to St.<br />
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Edited by. 2s. net. Percival and Co.<br />
<br />
IntincwortH, J. R., M.A. University and Cathedral<br />
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<br />
JoserH, Rev. Morris. The Ideal in Judaism, and other<br />
sermons. Preached during 1890-91-92. David Nutt.<br />
58.<br />
<br />
THE AUTHOR.<br />
<br />
MactareEn, A., D.D. The Expositor’s Bible.<br />
Vol. I.—Psalms<br />
78. 6d.<br />
<br />
Miuiiegan, WiLu1aM, D.D. Discussions on the Apocalypse.<br />
Macmillan. 55s.<br />
<br />
Pace Cox, W. L., M.A.—The Scientific Study of Theology.<br />
Skeffington.<br />
<br />
Rainy, Ropert, DD. The Epistle to the Philippians.<br />
Volume of the LExpositor’s Bible. Hodder and<br />
Stoughton. 7s. 6d.<br />
<br />
RANDALL, VERY Rev. R. W. Addresses and Meditations<br />
for a Retreat. With a preface by the Bishop of Lin-<br />
coln. Second edition. W.H. Allen.<br />
<br />
Rogers, Henry. The Superhuman Origin of the Bible,<br />
inferred from itself. With a memoir by R. W. Dale,<br />
LL.D. Eighth edition. Hodder and Stoughton. 5s.<br />
<br />
Sixes, Rev. THomas. England’s Prayer Book, a short and<br />
practical exposition of the services. Second edition,<br />
revised andenlarged. Skeffington.<br />
<br />
WAKEFORD, JoHN. Behold the Man!<br />
introduction by the<br />
Gardner, Darton. 2s.<br />
<br />
WAKEFORD, JoHN. The Athanasian Hymn, with notes of<br />
history and doctrine. And preface by the Dean of St.<br />
Panl’s. Paper covers. Wells, Darton, and Co. 4d.<br />
<br />
Witiink, ArtHurR. The World of the Unseen. An<br />
Essay on the relation of higher space to things<br />
eternal. Macmillan. 6s.<br />
<br />
The Psalms.<br />
i-xxxvili. Hodder and Stoughton.<br />
<br />
Addresses, with an<br />
Bishop of Chichester. Wells<br />
<br />
History and Biography.<br />
<br />
ANDERSON, Sir C. H. J. The Lincoln Pocket Guide;<br />
being a short account of the churches and antiquities<br />
of the county and of the minster. Third edition.<br />
Edited and revised by the Rev. A. R. Maddison, M.A.<br />
Edward Stanford.<br />
<br />
BLATHWAYT, RAYMOND. Interviews. With portraits and<br />
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offi e, Hutton-street, E.C. 3s. 6d.<br />
<br />
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denda, and index. Edited by Mary Anne Everett<br />
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CarRL WILHELM ScHEELE, Pharmacist and Chemist. A<br />
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the Pharmaceutical Journal. Pharmaceutical Society<br />
of Great Britain.<br />
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Conver, C. BR. D.C.L. The Tell Amarna Tablets.<br />
Translated by. Published for the Committee of the<br />
Palestine Exploration Fund by A. P. Watt, Paternoster-<br />
square. 3s. 6d. (To non-subscribers, 5s.)<br />
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Cox, HomersHam, M.A. The First Century of Christianity.<br />
Second edition, carefully revised. 2 vols. Griffith<br />
Farran. 2s 6d. each.<br />
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Frovupr, James AnrHony. The Divorce of Catherine of<br />
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Laicorum. Being a supplementary volume to the<br />
author’s ‘‘ History of England.” Longmans. 6s.<br />
<br />
Gorpon, Hon. Sir ArrHur. The Earl of Aberdeen.<br />
“The Prime Ministers of Queen Victoria’”’ series.<br />
Sampson Low.<br />
<br />
Gorpon, J. E. Bernardin de St. Pierre, by Arvédne<br />
Barine. Translated by. With a preface by Augustine<br />
Birrell and portrait. Fisher Unwin. 3s. 6d.<br />
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THE AUTHOR.<br />
<br />
Hurcuinson, Jonn. Men of Kent and Kentishmen. A<br />
manual of Kentish Biography. Cross and Jackson,<br />
Canterbury. 58.<br />
<br />
JEAFFRESON, JoHN CorpDy. Victoria, Queen and Empress.<br />
With two portraits. Two volumes. Heinemann.<br />
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Latmer, Joun. The annals of Bristol in the Eighteenth<br />
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LETHBRIDGE, Sir Roper, K.C.I.E. The Golden Book of<br />
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Macmillan.<br />
<br />
Lock, Water. John Keble: 4 biography. With a<br />
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Methuen. 5s.<br />
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Lucxock, H. Mortimer, D.D. The Church in Scotland.<br />
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Ditchfield, M.A. Wells Gardner. 6s.<br />
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LYALL, Srr ALFRED. The Rise of the British Dominion<br />
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John Murray. 4s. 6d.<br />
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Morrison, J., M.A. Russia under Alexander III. and in<br />
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<br />
Fisher Unwin. 6s.<br />
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REYNOLDS, OSBORNE. Memoir of James Prescott Joule.<br />
Manchester Literary and Philosophical Society.<br />
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Ross, Masor, F.R.G.S. The Marquess of Hastings, and<br />
the final overthrow of the Mardthé Power. (Rulers of<br />
India Series, edited by Sir W. W. Hunter). Oxford, at<br />
the Clarendon Press ; London, Henry Frowde. 2s. 6d.<br />
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Smiru, W. F. Rabelais : the five books and minor writings,<br />
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<br />
3728<br />
<br />
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Waterways.<br />
Lawrence and Bullen.<br />
<br />
Barry, JOHN WARREN.<br />
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<br />
BARTHOLOMEW, T. Plan of West London.<br />
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Jackson, Paternoster-row.<br />
<br />
Cuuss, PercivaL. Essays of Montaigne. Selected and<br />
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<br />
CoLeripGE, M. E. The Seven Sleepers of Ephesus.<br />
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Crepaz, ADELE. The Emancipation of Women and its<br />
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tinuous prose. Oxford, at the Clarendon Press; London,<br />
Henry Frowde. 4s. 6d.<br />
<br />
Rern, Pror. W. Outlines of Pedagogics. Translated by —<br />
<br />
C. C.and Ida J. Van Liew, with notes by the former. —<br />
Swan Sonnenschein.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
NEW NOVEL BY JAMES PAYN.<br />
<br />
<br />
<br />
Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols,<br />
crown 8vo, cloth extra, price 21s.<br />
<br />
A STUMBLE ON THE THRESHOLD,<br />
<br />
i y<br />
<br />
tS owe eS PAY WN .<br />
<br />
OPINIONS OF THE PRESS.<br />
<br />
THE TIMES:<br />
<br />
‘'Mr. James Payn’s pleasant story contains a startling<br />
novelty. he leading actors are a group of<br />
undergraduates of Cambridge University. Mr. Payn’s<br />
picture of University society is frankly exceptional.<br />
Exceptional, if not unique, is the ‘nice little college’ of<br />
St. Neot’s. Cambridge men will have little difficulty i in<br />
recognising this snug refuge of the ‘ploughed.’ .<br />
<br />
An ingenious plot, clever characters, and, above all, a<br />
plentiful seasoning of genial wit. The uxorious<br />
<br />
master of St. Neot's is chs armingly conceived. If only for<br />
his reminiscences of his deceased wives, ‘A Stumble on<br />
the Threshold’ deserves to be treasured. We<br />
<br />
turn over Mr. Payn’s delightful pages, so full of surprises<br />
and whimsical dialogue.<br />
<br />
DAILY News<br />
<br />
‘The dramatic story is told ah an excellent wit. It<br />
abounds in lively presentation of character and in shrewd<br />
sayings concerning life and manners. - That study of<br />
mankind which is ‘man’ has furnished a liberal educa-<br />
tion to this genial humorist. The men and women he<br />
pourtrays move before us, as do our friends and<br />
acquaintances, distinct individualities, yet each possessed<br />
of that reserve of mystery a touch of which in the<br />
delineation of human nature, is more convincing than<br />
pages of analysis. Needham, Fellow of St.<br />
Neot’s, Cambridge—simple, loyal, gently independent—is<br />
a beautiful study. The story alternates in its setting<br />
between Bournemouth, Cambridge, and some charming<br />
spots near the Thames. The description of life in the<br />
<br />
Alma Mater on the banks of the Cam gives Mr. Payn<br />
opportunities for humorous sketches of professors and<br />
students, and he shows himself in the light of an excellent<br />
raconteur. This part of the narrative furnishes some<br />
delightful reading; we seem to be listening to the best<br />
talk, incisive, racy, and to the point. Space will not<br />
allow us to quote some of the wise and witty sayings,<br />
tinged it may be with cynicism, which are the outcome of<br />
Mr. Payn’s philosophy of life, and which are not the least<br />
entertaining part of this attractive novel.”<br />
<br />
DAILY CHRONICLE:<br />
<br />
‘‘Mr. James Payn is here quite at his usual level all<br />
through, and that level is quite high enough to please<br />
most people. . The character drawing is good.<br />
The story of the master sounds strangely like truth.<br />
<br />
A book to read distinctly.”<br />
DAILY GRAPHIC:<br />
. . . The dramatic unity of time, place, and cir-<br />
cumstance has never had a more novel setting.<br />
<br />
‘6<br />
<br />
<br />
<br />
SATURDAY REVIEW:<br />
<br />
‘A very interesting story, and one that excels in clever<br />
<br />
contrast of character and close study of individualism.<br />
The characters make the impression of reality on<br />
the reader. . Extremely pleasant are the sketches<br />
of University life.”<br />
THE WORLD:<br />
<br />
‘‘The most sensational story which the author has<br />
written since his capital novel, ‘By Proxy.’<br />
Never flags for a moment.”<br />
<br />
BLACK AND WHITE:<br />
. . . Ingenious and original. Mr. Payn knows<br />
how to invent and lead up to a mystery.”<br />
LEEDS MERCURY:<br />
<br />
‘Three more distinctive characters have, perhaps,<br />
never been drawn by Mr. James Payn than in Walter<br />
Blythe, Robert Grey, and George Needham, Cambridge<br />
undergraduates, who figure prominently in ‘A Stumble<br />
on the Threshold.’”<br />
<br />
GLASGOW HERALD:<br />
<br />
ee . Mr. Payn’s latest invention in sensational<br />
episode ; “put wild horses will not drag from us a<br />
statement of the mystery. It is new and thoroughly<br />
original, and worthy of the ingenuity of the loser of Sir<br />
Massingberd.”<br />
<br />
“<br />
<br />
BATLEY REPORTER:<br />
Is most attractive reading.”<br />
<br />
ir<br />
<br />
HAMPSHIRE TELEGRAPH AND CHRONICLE:<br />
<br />
‘‘Mr. James Payn’s latest story, ‘A Stumble on the<br />
Threshold,’ which has been the chief attraction in the<br />
‘ Queen’ during the last few months—where, by the way,<br />
it was most admirably illustrated—has just been issued<br />
in two handsome vols. by Mr. Horace Cox. The story is<br />
written in Mr. Payn’s happiest vein; it sparkles with wit,<br />
the characters are most unconventional. and the old, old<br />
theme is worked out on quite novel lines.’<br />
<br />
HEREFORD TIMES:<br />
<br />
‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br />
would not be complete without the dread Nemesis,<br />
mysterious in operation, and casting suspicion for a<br />
time on every side but the right one. The novel is<br />
thoroughly attractive, and a credit to the practised hand<br />
<br />
which penned it.’<br />
<br />
<br />
<br />
THE OBSERVER:<br />
. Is a characteristic story, remarkably<br />
quietly told, always pleasing and satisfying, and pro-<br />
viding a startling incident at a moment when everything<br />
seems serene.’<br />
<br />
“<br />
<br />
<br />
<br />
London :<br />
<br />
HORACE COX, Windsor House,<br />
<br />
Bream’s Buildings, E.C.<br />
<br />
"CHEAP JACK ZITA”<br />
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NEW SERIAL STORY<br />
<br />
Be S&S. SARIN G-<br />
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ao U- ty. ,<br />
<br />
ENTITLED<br />
<br />
. CHEAP JACK ZITA,’<br />
<br />
Wi-h Illustrations by a Prominent Artist, commenced in the “<br />
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Queen” on Jan. 7.<br />
<br />
<br />
384<br />
<br />
ADVERTISEMENTS.<br />
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<br />
<br />
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<br />
TYPISTS,<br />
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= QUEEN ALMANACK, and Lady’s Calendar,<br />
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CROCKFORD'S CLERICAL DIRECTORY<br />
<br />
HOF<br />
<br />
1892<br />
<br />
Being a Statistical Book of Reference for Facts relating to the Clergy in England,<br />
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<br />
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LETTERS TO A LAW STUDENT.<br />
BY Tem LATE ME. SHRIBANT COX.<br />
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RE-ISSUE (SIXTH THOUSAND).<br />
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PRICE 7s. 6d.<br />
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Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C, | https://historysoa.com/files/original/5/448/1893-03-01-The-Author-3-10.pdf | publications, The Author |