453 | https://historysoa.com/items/show/453 | The Author, Vol. 04 Issue 03 (August 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.+04+Issue+03+%28August+1893%29"><em>The Author</em>, Vol. 04 Issue 03 (August 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> | 1893-08-01-The-Author-4-3 | | | | | 73–108 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-08-01">1893-08-01</a> | | | | | | | 3 | | | 18930801 | The HMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
Vou. IV.—No. 3.] AUGUST 1, 1893. [PRicE SIXPENCE.<br />
CONTENTS.<br />
<br />
PAGE | PAGE<br />
<br />
Warnings and Notices See es ee as oe ee age Guy de Maupassant ... ae oe ies a cas ae ise eae:<br />
<br />
Lterary Property— Feuilleton. ‘tA Method of Advertisement” ... ae os ae UE<br />
<br />
1.—Editor and Contributor ... ies ee Ae gee Shean So-So Sociology aes ee a Sg ae Se oe en 206<br />
<br />
s ; 2.—Editorial Announcements ae ea er we wets A Bridesong of Britain Bs tbe tee aes ay oy yee OF<br />
<br />
3.—The Ethics of Mutilation ... ‘ a oa eae Ses ke Correspondence—<br />
<br />
4.—Authors and Editors See are see oe eae see oO 1.—Payment for Interviews... oe SS a wae ee 8<br />
<br />
A Hard Case. ‘The L. P. A. Limited” a es se 00 2.—Copyright in New Zealand i ne ise ane wee, C98<br />
Omnium Gatherum for August ... ees aes ae ae tee SOE What the Papers Say—<br />
<br />
American Notes and News. By the Editor ... acs ses Bee. | 1,.—The Preternatural Story... oe Ses ae fe sae 90<br />
<br />
The Congress of Authors ... cae ae te ace ee ce oe 2.—Withdrawn from Circulatien ... ay ar cue ces oo<br />
<br />
Notes and News te cae se aye nee eee oe Gow (ae At the Sign of the Author’s Head oe ae Lae Ses ne 99<br />
<br />
Notes from Paris... ne ag ots ee as sre ae 0 New Books and New Editions... BE ue ae oon wow LOT<br />
<br />
<br />
<br />
<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
<br />
<br />
<br />
<br />
<br />
1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br />
<br />
9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members.<br />
<br />
3. The Grievances of Authors. (The Leadenhall Press.) 1s.. The Report of three Meetings on<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
4. Literature and the Pension List. By W. Morris Coxxss, Barrister-at-Law. (Henry Glaisher,<br />
g5, Strand, W.C.) 3s.<br />
<br />
5. The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br />
the Society. Is.<br />
<br />
<br />
<br />
6. The Cost of Production. In this work specimens.are jiven of he most important forms of type,<br />
size of page, &c., with estimates showing what it costs =, --- ‘xe more common kinds of<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7. The Various Methods of Publication. By S. Squrrz Sprices. In this work, compiled from the<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
‘Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 3s.<br />
<br />
8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill, By J. M.Lrny. Eyre<br />
and Spottiswoode. 1s. 6d.<br />
<br />
9, The Society of Authors. A Record of its Action from its Foundation. By Water Besant<br />
(Chairman of Committee, 1888—1892). 1s.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
74<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
The Society of Authors (Sncorporated).<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
GHORGH MBREDITHEH,.<br />
<br />
COUNCIL.<br />
<br />
Sir Epwin ARNOLD, K.C.LE., C.8.1.<br />
ALFRED AUSTIN.<br />
<br />
J. M. BARRIE.<br />
<br />
A. W. A Beckett.<br />
<br />
RoseErt BATEMAN.<br />
<br />
Sir Henry Berens, K.C.M.G.<br />
WALTER BESANT.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
R. D. BuAcKMORE.<br />
<br />
Rev. Pror. Bonney, F.R.S.<br />
Rieut Hon. James Bryce, M.P.<br />
Hatt CAINE.<br />
<br />
EGERTON CASTLE.<br />
<br />
P. W. CLAYDEN.<br />
<br />
EDWARD CLODD.<br />
<br />
W. Morris Cougs.<br />
<br />
Hon. JoHN COLLIER.<br />
<br />
W. Martin Conway.<br />
<br />
F. Marion CRAWFORD.<br />
<br />
Austin DoBson.<br />
A. W. Duzsoura.<br />
<br />
EpMuND GossE.<br />
<br />
Tuomas Harpy.<br />
<br />
J. M. Lety.<br />
<br />
<br />
<br />
OswALD CRAWFURD, C.M.G.<br />
THE EARL or DEsaRT.<br />
<br />
J. Exic Exnicusen, F.R.S.<br />
<br />
Pror. MicHasEt Foster, F.R.S.<br />
Rieut Hon. HERBERT GARDNER, M.P.<br />
RICHARD GARNETT, LL.D.<br />
<br />
H. Riper HaGearp.<br />
<br />
JEROME K. JEROME.<br />
RupyYaRD KIpPuina.<br />
Pror. E. Ray Lanxestsr, F.R.S.<br />
<br />
Rev. W. J. Lortie, F.S.A.<br />
Pror. J. M. D. MEIKLEJOHN.<br />
Herman C. MERIVALE.<br />
<br />
Rev. C. H. MippLETON- WAKE.<br />
<br />
Lewis Morris.<br />
<br />
Pror. Max MULLER.<br />
<br />
J.C. PARKINSON.<br />
<br />
Tue Ear. oF PEMBROKE AND Mont-<br />
GOMERY.<br />
<br />
Sir FREDERICK PoLiock, Bart., LL.D.<br />
<br />
Wa.rerR HERRIES POLLOCK.<br />
<br />
A. G. Ross.<br />
<br />
GEoRGE AUGUSTUS SALA.<br />
<br />
W. Baptiste Scoonzs.<br />
<br />
G. R. Sms.<br />
<br />
S. SqurrE SPRIGGE.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
WiuurAm Moy THOMAS.<br />
<br />
H. D. Traut, D.C.L.<br />
<br />
Baron HENRY DE WoRMS,<br />
F.RB.8.<br />
<br />
EpMuUND YATES.<br />
<br />
M.P.,<br />
<br />
<br />
<br />
Hon. Counsel—E. M. UNDERDOWN, Q.C.<br />
Solicitors—Messrs Freu~p, Roscor, and Co., Lincoln’s Inn Fields.<br />
<br />
Secretary—G. Herpert THRING, B.A.<br />
<br />
OFFICES.<br />
<br />
4, Portugan StrEEet, Lincoin’s Inn Freips, W.C.<br />
<br />
<br />
<br />
Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT,<br />
<br />
From the Earliest Periods to the Present Time.<br />
WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br />
<br />
CoMPILED FROM AUTHENTIC SOURCES BY<br />
<br />
GHORGEH BBW ERY JEN NiNGe.<br />
CONTENTS.<br />
<br />
Part I.—Riseand Progress of Parliamentary Institutions.<br />
<br />
Part II.—Personal Anecdotes: Sir Thomas More to John<br />
Morley.<br />
<br />
Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br />
clusion of Strangers; Publication of Debates.<br />
3. Parliamentary Usages, &c. 4. Varieties.<br />
<br />
Apprnprx.—(A) Lists of the Parliaments of England and<br />
of the United Kingdom.<br />
(B) Speakers of the House of Commons.<br />
(C) Prime Ministers, Lord Chancellors, and<br />
Secretaries of State from 1715 to<br />
1892.<br />
<br />
<br />
<br />
Opinions of the Press<br />
<br />
‘¢The work, which has long been held in high repute as a repertory<br />
of good things, is more than ever rich in doth instruction and amuse-<br />
ment. ’—Scotsman.<br />
<br />
‘Tt is a treasury of useful fact and amusing anecdote, and in its<br />
latest form should have increased popularity.”—Globe.<br />
<br />
‘“‘Tts advantage to those who are seeking seats in Parliament, or<br />
who may have occasion to assist as speakers during the electoral<br />
campaign, is incumparable.”—Sala’s Journal.<br />
<br />
of the Present Edition.<br />
<br />
“Tt is a work that possesses both a practical and an historical<br />
value, and is altogether unique in character.”—Kentish Observer.<br />
<br />
‘We can heartily recommend this work to the politician, whatever<br />
may be his party leanings.”—wNorthern Echo.<br />
<br />
‘Here we have the whole company of Parliamentary ge siege<br />
past and present, reduced to puppets, so to speak, and made to<br />
repeat their best and most approved rhetorical performances for our<br />
leisurely entertainment, which is not less enjoyable from being allied<br />
<br />
<br />
<br />
with edification.” —Liverpool Courier.<br />
<br />
<br />
<br />
= Orders may now be sent to HORACE COX “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br />
<br />
<br />
<br />
<br />
cuaaatal<br />
<br />
<br />
<br />
The HMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. IV.—No. 3.]<br />
<br />
AUGUST 1, 1893.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responstble. None of the papers or para-<br />
<br />
graphs must be taken as expressing the<br />
<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
<br />
Thring, sec.<br />
<br />
<br />
<br />
1. Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
<br />
important communications within two days will write to him<br />
<br />
without delay. All remittances should be crossed Union<br />
<br />
Bank of London, Chancery-lane, or be sent by registered<br />
<br />
letter only.<br />
<br />
<br />
<br />
FP Oe<br />
<br />
AGREEMENTS.<br />
<br />
<br />
<br />
T is not generally understood that the author, as the<br />
vendor, has the absolute right of drafting the agree-<br />
ment upon whatever terms the transaction is to be<br />
<br />
carried out. Authors are strongly advised to exercise that<br />
<br />
right. Inevery other form of business, the right of drawing<br />
the agreement rests with him who sells, leases, or has the<br />
control of the property.<br />
<br />
<br />
<br />
<br />
<br />
pe<br />
<br />
WARNINGS.<br />
<br />
<br />
<br />
EADERS of the Author and members of the Society<br />
are earnestly desired to make the following warnings<br />
as widely known as possible. They are based on the<br />
<br />
experience of nine years’ work by which the dangers<br />
to which literary property is especially exposed have been<br />
discovered :—<br />
<br />
1. SeriaL Ricurs.—In selling Serial Rights stipulate<br />
that you are selling the Serial Right for one paper at a<br />
certain time only, otherwise you may find your work serialized<br />
for years, to the detriment of your volume form.<br />
<br />
VOL. IV.<br />
<br />
2. Stamp YouR AGREEMENTS. — Readers are most<br />
URGENTLY warned not to neglect stamping their agreements<br />
immediately after signature. If this precaution is neglected<br />
for two weeks, a fine of £10 must be paid before the agree-<br />
ment can be used as a legal document. In almost every<br />
case brought to the secretary the agreement, or the letter<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment never neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no expense to themselves<br />
except the cost of the stamp.<br />
<br />
3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br />
BOTH SIDES BEFORE SIGNING 1T.—Remember that an<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself.<br />
<br />
4. Lirerary AGENTS.—Be very careful. You cannot be<br />
too careful as to the person whom you appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
<br />
5. Cost oF PrRopucTion.-—Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
<br />
6. CHoiIck or PuBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienved<br />
friends or by this Society.<br />
<br />
7. FUTURE Worxk.—Never, on any account whatever,<br />
bind yourself down for future work to anyone.<br />
<br />
8. Royaury.—Neyer accept any proposal of royalty until<br />
you have ascertained what the agreement, worked out on<br />
both a small and a large sale, will give to the author and<br />
what to the publisher.<br />
<br />
g. PersonaL Risx.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
<br />
10. Resyectrep MSS.—Never, when a MS. has been re-<br />
<br />
fused by respectable houses, pay others, whatever promises<br />
<br />
they may put forward, for the production of the work.<br />
<br />
11. AmeRicAN Riauts.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration. If the<br />
publisher insists, take away the MS. and offer it to<br />
another.<br />
<br />
G2<br />
ti<br />
ti<br />
<br />
<br />
<br />
<br />
<br />
AES EE SSRIS<br />
<br />
76 THE<br />
<br />
12. CEssion oF CopyRigHT.—Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
<br />
13. ADVERTISEMENTS.—Keep control over the advertise-<br />
ments, if they affect your returns, by a clause in the agree-<br />
ment. Reserve a veto. If you are yourself ignorant of the<br />
subject, make the Society your adviser.<br />
<br />
14. Never forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy,<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
<br />
Society’s Offices :—<br />
4, PoRTUGAL STREET, Lincoun’s INN FIELDS.<br />
<br />
<br />
<br />
pec<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
1. Every member has a right to advice upon his agree-<br />
ments, his choice of a publisher, orany dispute arising inthe<br />
conduct of his business or the administration of his pro-<br />
perty. If the advice sought is such as can be given best by<br />
a solicitor, the member has a right to an opinion frem<br />
the Society’s solicitors. If the case is such that Counsel’s<br />
opinion is desirable, the Committee will obtain for him<br />
Counsel’s opinion. All this without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publisher’s agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not seruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This isin<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
<br />
5. Before signing any agreement whatever, send the pro-<br />
<br />
* posed document to the Society for examination.<br />
<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country. Remember that there are certain<br />
houses which live entirely by trickery.<br />
<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
<br />
<br />
<br />
0<br />
<br />
AUTHOR.<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
EMBERS are informed :<br />
1. That the Authors’ Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
<br />
2. That the expenses of the Authors’ Syndicate are<br />
defrayed mainly out of the commission charged on rights<br />
placed through its intervention. This charge is reduced to<br />
the lowest. possible amount compatible with efficiency.<br />
In consequence of the immense number of MSS. received, it<br />
has become necessary to charge a small booking fee to<br />
cover postage and porterage expenses, in all cases where<br />
there is no current account.<br />
<br />
3. That the Authors’ Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value. :<br />
<br />
4. That the business of the Syndicate is not to advise<br />
members of the Society, but to manage their affairs for<br />
them.<br />
<br />
5. That the Syndicate can only undertake arrangements<br />
of any character on the distinct understanding that those<br />
arrangements are placed exclusively in its hands, and that<br />
all negotiations relating thereto are referred to it.<br />
<br />
6. That clients can only be seen personally by appoint-<br />
ment, and that, when possible, at least four days’ notice<br />
should be given. The work of the Syndicate is now so<br />
heavy, that only a limited number of interviews can be<br />
arranged.<br />
<br />
7. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
of letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage.<br />
<br />
8. That the Authors’ Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice.<br />
<br />
9. The Editor will be glad to receive the titles of pub-<br />
lished novels available for second right serial use.<br />
<br />
It is announced that, by way of a new departure, the<br />
Syndicate has undertaken arrangements for lectures by<br />
some of the leading members of the Society; that a<br />
“Transfer Department,” for the sale and purchase of<br />
journals and periodicals, has been opened ; and that a<br />
“ Register of Wants and Wanted ” has been opened. Terms<br />
on application to the Manager.<br />
<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
<br />
NOTICES.<br />
<br />
<br />
<br />
HE Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write?<br />
<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
andertake the publication of MSS.<br />
<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year? If they will do<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (7). It is a most foolish and a most<br />
disastrous thing to bind yourself to anyone for a term of<br />
years. Let them ask themselves if they would give a<br />
solicitor the collection of their rents for five years to come,<br />
whatever his conduct, whether he was honest or dishonest?<br />
Of course they would not. Why then hesitate for a moment<br />
when they are asked to sign themselves into literary bondage<br />
for three or five years P<br />
<br />
Those who possess the “Cost of Production” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
£9 4s. The figures in our book are as near the exact truth<br />
as canbe procured; but a printer’s, or a binder’s, bill is so<br />
elastic a thing that nothing more exact can be arrived at.<br />
<br />
Some remarks have been made upon the amount charged<br />
in the “ Cost of Production” for advertising. Ofcourse, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher's own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits<br />
eall it.<br />
<br />
Oe<br />
<br />
AUTHOR. 77<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
I.<br />
Epiror AND CONTRIBUTOR.<br />
<br />
HERE is one point touching literary pro-<br />
perty which is of great importance, and<br />
which has never been satisfactorily settled,<br />
<br />
namely, the return or non-return of rejected manu-<br />
scripts.<br />
<br />
On many occasions both parties are in the<br />
wrong.<br />
<br />
The editor screens himself behind a notice<br />
hidden away somewhere among the advertisement<br />
columns of his paper.<br />
<br />
The contributor is careless in sending up his<br />
name and address or the necessary stamped<br />
envelopes.<br />
<br />
In a properly organised business establishment<br />
there should be no difficulty.<br />
<br />
It seems to be entirely and absolutely unfair<br />
that a contributor should be bound by a notice<br />
that he has never seen. Many contributions are<br />
sent without any reference to the columns of the<br />
paper. Under these circumstances, is a contri-<br />
butor bound? It is to be hoped not.<br />
<br />
Tf a contribution is sent wittingly and with full<br />
information, there can be no doubt on whom the<br />
onus lies.<br />
<br />
Take, however, another not uncommon case.<br />
An editor writes, saying he would be glad to read<br />
any contribution forwarded from A. B.—this<br />
editor having a “ no-responsibility ” notice in his<br />
paper.—A. B. sends a contribution and does not<br />
get it returned. On repeated application, the<br />
editor retires behind the notice. Is he respon-<br />
sible ?<br />
<br />
This is the editor’s weakness. It is counter-<br />
balanced by the contributor’s carelessness.<br />
<br />
He forwards an MS. under a pen-name. He<br />
writes under his own. No stamped and ad-<br />
dressed envelope is inclosed. Worse still, the<br />
MS. is forwarded without name, without address,<br />
no stamped envelope is enclosed, and often no<br />
stamps.<br />
<br />
Under these circumstances, notice or no notice,<br />
the editor’s responsibility is enormously lessened,<br />
but is he not still liable as the most irresponsible<br />
of legal bailees, however such an individual may<br />
be defined ?<br />
<br />
The following is thrown out as a suggestion:<br />
<br />
All MSS. received by an editor with insufficient<br />
or no address should be carefully and orderly<br />
placed aside (not in the paper basket), and upon<br />
application being made by a faulty contributor,<br />
he should pay a search fee, say of 2s. 6d.,and the<br />
stamps for postage in addition, if the MS. is<br />
found.<br />
Seeeaenee eer<br />
<br />
i<br />
<br />
<br />
<br />
18 THE AUTHOR.<br />
<br />
This fee would cover any expense the editor<br />
might be put to, and would save many and many<br />
miserable disputes as undignified on the part of<br />
the editor as they are irritating to the author.<br />
<br />
Another suggestion would be an MS. clearing<br />
house. This, however, requires combination, and,<br />
from a chemical point of view, editors and pub-<br />
<br />
lishers are not combinable.<br />
<br />
<br />
<br />
Il.<br />
Epirror1aL ANNOUNCEMENTS.<br />
It might be of some advantage to the readers<br />
of the Author to have a few of these notices placed<br />
<br />
before them.<br />
<br />
The subjoined are a promiscuous collection from<br />
all sorts and conditions of periodicals, and may<br />
therefore be of more use from their variety than<br />
if they had been more carefully gathered and<br />
<br />
assorted.<br />
<br />
It will be observed that some notices, while<br />
inviting the contributions, at the same time state<br />
that the Editor is not and will not hold himself<br />
<br />
responsible.<br />
<br />
Some papers will not be responsible for acci-<br />
dental loss. Others will not be responsible at all.<br />
Others only if certain conditions are regarded.<br />
<br />
There are a few that acknowledge MSS.—a<br />
courteous avowal.<br />
<br />
The reader is, however, left to judge for<br />
<br />
himself.<br />
The Times,<br />
<br />
To CoRRESPONDENTS.—No notice can be taken of anony-<br />
mous communications. Whatever is intended for insertion<br />
must be authenticated by the name and address of the<br />
writer, not necessarily for publication, but as a guarantee<br />
of good faith. We cannot undertake to return rejected<br />
communications. Advertisers are requested not to send<br />
stamps. Post-office orders to be made payable to Mr.<br />
George Edward Wright, at the Chief Office.<br />
<br />
The Lancet.<br />
<br />
Eprroriat Norice.—It is most important that com-<br />
munications relating to the Editorial business of the Lancet<br />
should be addressed exclusively “To the Editors,” and not<br />
in any case to any gentleman who may be supposed to be<br />
connected with the Editorial staff. It is urgently necessary<br />
that attention be given to this notice. It is especially<br />
requested that early intelligence of local events having a<br />
medical interest, or which it is desirable to bring under the<br />
notice of the profession, may be sent direct to this office.<br />
Lectures, original articles, and reports should be written on<br />
one side only of the paper. Letters, whether intended for<br />
insertion or for private information, must be authenticated<br />
by the names and addresses of their writers, not necessarily<br />
for publication. Local papers containing reports or news<br />
paragraphs should be marked and addressed “ To the Sub-<br />
Editor.’ We cannot undertake to return MSS. not used.<br />
<br />
Saturday Review.<br />
Noricz.— We beg leave to state that we cannot return<br />
rejected Communications ; and to this rule we can make no<br />
exception, even if stamps for return of M8. are sent. The<br />
<br />
Editor must also entirely decline to enter into correspon-<br />
dence with the writers of MSS. sent in and not acknow-<br />
ledged.<br />
<br />
The following note is now added to all proofs. ‘‘ Please<br />
note that the sending of the Proof does not carry with it<br />
any Contract that the Article will either be accepted or<br />
published.”<br />
<br />
Athenzeum.<br />
<br />
No notice can be taken of anonymous communications.<br />
<br />
Daily Graphic.<br />
<br />
Sketches have been received from J. S. N., Croydon ;<br />
F. D., Limerick; T. H. L., York; J. J., Newcastle ;<br />
W. Cc. M., Dublin; A. G. W., Barbadoes; A. D. MedJ.,<br />
Stirling; L. E. L., Greenock; H. S., Leeds; F. A. F.,<br />
London Wall, B.C.; R. J. C. T., Lancaster ; J. MeM., Bel-<br />
fast; A. E. H., Edinburgh ; R., Brighton; M., Bros.,,<br />
Cheapside, E.C.; J. M., New Bridge-street, E.C.; H. W.,<br />
Upper ,Norwood, 8.E.; E. C. M., Birmingham; P. O.,<br />
Bristol; M. D., Paris; M. I., Cowes; S. and Son, Read-<br />
ing; C. H. M. J., Cannes; E. A. §5., Blandford; C. R.,<br />
Gateshead; G. G., Tunbridge Wells; T. J. B., Ashbourne ;.<br />
F. W., Crouch End, N.<br />
<br />
Notice To ConrripuTors.—The Proprietors cannot:<br />
hold themselves responsible for loss of or damage to MSS.,<br />
sketches, or other contributions arising from any cause:<br />
whatever. A sufficiently stamped and directed envelope<br />
must accompany contributions where their return is.<br />
<br />
desired.<br />
The Strand Magazine has no notice.<br />
<br />
London Society.<br />
<br />
Notice To CoRRESPONDENTS.—MSS. sent to Editor<br />
should bear the name and address of the writer, and must<br />
be accompanied in all cases by a stamped directed envelope,<br />
for their return if unsuitable. Copies should be kept of all<br />
articles. Every care is taken of the papers forwarded by<br />
correspondents, but no responsibility is assumed in case of<br />
accident. The Editor cannot undertake to return rejected<br />
poems. All communications should be addressed to the<br />
Editor of London Society, to the care of<br />
<br />
Belgravia.<br />
<br />
To CoRRESPONDENTS.—All MSS. should be addressed,<br />
prepaid, to the Editor of Belgravia, 31, Southampton-street,<br />
Strand, W.C. Every MS. should bear the writer’s name<br />
and address, and be accompanied by postage stamps for<br />
its return if not accepted; but the Editor cannot hold<br />
himself responsible for any accidental loss The editor<br />
cannot undertake to return rejected poems.<br />
<br />
Answers.<br />
<br />
“Pur Monry IN THY PursE.”—One guineaacolumnispaid<br />
for original contributions to Answers. Short, bright articles,<br />
dealing with strange occupations and curious phases of life,<br />
are the most acceptable. No copied matter of any kind is.<br />
required. Payment is made immediately upon acceptance.<br />
MSS. are not read unless they are accompanied by a large<br />
fully stamped addressed envelope for return, and in no case<br />
are MSS. returned unless this rule is complied with. <A de-<br />
claration of originality must be enclosed with every contri-<br />
bution. Contributors must write on one side of the paper<br />
only. The full name and address of the author must be<br />
written upon the MS. itself. Short contributions are much<br />
more frequently accepted than long ones. Articles must<br />
not exceed 1400 words in length. All contributions to be<br />
addressed to Answers, Manuscript Department, 108, Fleet-<br />
street, E.C.<br />
<br />
Wuy Don’r you ComprTs ?—One guinea is sent every<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 79<br />
<br />
week to the person who sends in the best “storyette,”<br />
written on a postcard. The anecdote may be original or<br />
selected ; but, if not original, the source from which the<br />
story is copied must be named. No religious anecdotes will<br />
be accepted. The name and address of the sender must be<br />
written plainly at the bottom of the postcard. Answers<br />
reserves the right to use any anecdote sent in.<br />
<br />
Westminster Gazette.<br />
<br />
Notice To Conrrisurors.—The Editor of the West-<br />
minster Gazetle cannot hold himself responsible in any case<br />
for the return of MS. or sketches. He will, however,<br />
always be glad to consider any contributions, literary or<br />
pictorial, which may be submitted to him; and when post-<br />
age stamps are enclosed every effort will be made to return<br />
rejected contributions promptly.<br />
<br />
Piccadilly.<br />
<br />
The Editor cannot be responsible for the safety or return<br />
of manuscripts forwarded for approval. Subscribers are<br />
particularly requested to forward all communications con-<br />
cerning changes of address or additional copies to the<br />
Publisher. All communications for the Editorial Depart-<br />
ment of Piccadilly should be addressed to the Editor, 248,<br />
Craven-street, Strand (end of Northumberland Avenue,<br />
opposite the Hotel Métropole).<br />
<br />
Black and White.<br />
<br />
Notice To ContriputTors.—The Editor of Black and<br />
White does not in any case hold himself responsible for the<br />
return of rejected contributions. He is, however, always<br />
glad to consider MSS. and sketches; and, where stamps are<br />
enclosed, every effort will be made to return rejected contri-<br />
butions promptly.<br />
<br />
Sala’s Journal.<br />
<br />
The Editor cannot undertake to return unsolicited contri-<br />
butions ; therefore all authors forwarding MSS. to Sala’s<br />
Journal are earnestly requested to keep copies thereof.<br />
<br />
The Idler.<br />
<br />
To Conrrisutors. — Contributions are invited, and<br />
receive immediate consideration. Stories and articles sub-<br />
mitted should be short. All MSS. (type-written preferred)<br />
should be addressed to the Editors, Talbot House, Arundel-<br />
street, London, W.C. Every MS. should bear the writer’s<br />
name and address, and be accompanied by stamped envelope<br />
for its return if not accepted. The Editors cannot hold<br />
themselves responsible for any accidental loss.<br />
<br />
The Builder.<br />
<br />
All statements of facts, lists of tenders, &c., must be<br />
accompanied by the name and address of the sender, not<br />
necessarily for publication. We are compelled to decline<br />
pointing out books and giving addresses. Note. — The<br />
responsibility of signed articles, and papers read at public<br />
meetings, rests, of course, with the authors. We cannot<br />
undertake to return rejected communications. Letters or<br />
communications (beyond mere news-items) which have been<br />
duplicated for other journals, are not desired. All com-<br />
munications regarding literary and artistic matters should<br />
be addressed to the Editor; those relating to advertise-<br />
ments and other exclusively business matters should be<br />
addressed to the Publisher, and not to the Editor.<br />
<br />
The Hospital.<br />
<br />
Noricz To CoRRESPONDENTS.—AILl MS., letters, books<br />
for review, and other matters intended for the Editor should<br />
be addressed The Editor, The Lodge, Porchester-square,<br />
London, W. The Editor cannot undertake to return rejected<br />
MS., even when accompanied by stamped directed envelope.<br />
<br />
St. James’s Gazette.<br />
<br />
The Editor cannot undertake to hold himself responsible<br />
for the return of rejected contributions.<br />
<br />
The Rural World.<br />
<br />
Norice.—All communications of a literary character for<br />
publication in The Rural World should be written upon one<br />
side of the paper only ; be addressed to the Editor, 95,<br />
Colmore-row, Birmingham; be accompanied by the name<br />
and address of the writers, and reach that office not later<br />
than the first post on Wednesday.<br />
<br />
The Guardian.<br />
<br />
The Editor is not necessarily responsible for the opinions<br />
expressed in signed articles, or in articles marked ‘“ Com-<br />
municated ”’ or ‘‘ From a Correspondent.”<br />
<br />
Novice TO CoORRESPONDENTS.—The very frequent dis-<br />
regard of our rule about the return of MSS. compels us to<br />
restate it in a slightly different form:—No MS. can be<br />
returned unless a stamped and addressed envelope is sent in<br />
the same cover as that which contains the MS. Stamps<br />
alone, or a stamped and addressed envelope sent afterwards<br />
or in another cover, are not sufficient.<br />
<br />
‘Health.<br />
<br />
Notice TO WRITERS OF ARTICLES.—AII articles sent to<br />
the Editor of Health must be accompanied by stamps to<br />
ensure their return in case of rejection. It must be dis-<br />
tinctly understood that the Editor and Proprietor do not<br />
hold themselves responsible for the loss of rejected commu-<br />
nications.<br />
<br />
<br />
<br />
ITI,<br />
Tur Eruics or Mvuriiation.<br />
<br />
An author, of the sex usually victimised in<br />
such cases, had a work accepted some years ago<br />
by a “religious sweating establishment,” and<br />
received for it the modest sum of £10. It sold<br />
well, which presumably benefited its publishers,<br />
though it made no difference to her; but, not<br />
content with their profits from its production m<br />
its original form, they have since republished it<br />
with a new title and in a totally different cover,<br />
the author not being either consulted or remune-<br />
rated further. We are not concerned with the<br />
position of a purchaser of the work in question<br />
who, already owning it, parts with his money<br />
under the impression that he is buying a new<br />
book, that is a matter which rests between him<br />
and the publisher. As to the position of the lady,<br />
we can only say that, if she has parted with the<br />
copyright of her book without securing any dis-<br />
tinct agreement as to the conditions under which<br />
it was to be published, she has acted in exact con-<br />
trariety to the advice which we unceasingly<br />
reiterate in these columns. It seems clear, from<br />
the judgment given in the case of Lea v.<br />
Gibbings, that an author thus circumstanced has<br />
only one remedy, and that is, damages in a libel<br />
action for detriment to reputation. If, however,<br />
the book is published anonymously, it would be<br />
very difficult to show direct damage. The conclu-<br />
<br />
<br />
sors secs<br />
<br />
80 THE AUTHOR.<br />
<br />
sion must, it seems, be drawn, therefore, that,<br />
under the above circumstances, the writer has no<br />
redress.<br />
<br />
—<br />
<br />
IV.<br />
AvurHors AND EpITors.<br />
<br />
The late Auguste Barbier wrote a sort of ‘one<br />
book” (among several others) called ‘“‘ Iambes,”<br />
which was all the rage in Paris about 1830.<br />
chiefly, of course, for its political acridity of<br />
satire. Dentu was the publisher of these<br />
Tambics, and the poems were republished by him<br />
in 1837, 1864, 1872, and so on. But Dentu’s<br />
being defunct, the business was bought by Capel,<br />
Goupil, et Cie., who proceeded in ordinary<br />
course of trade to bring out another edition, on<br />
their own behalf, upon the occasion of Barbier’s<br />
death, which occurred not long since.<br />
<br />
But the poet’s heirs objected, and pleaded that,<br />
in default of any stipulation to the contrary, an<br />
agreement between author and editor has a<br />
character strictly personal to each of those par-<br />
ties thereto. This view has now been confirmed<br />
by the French commercial courts, and the con-<br />
tract of Barbier with Dentu is classed under the<br />
exceptions in Art. 1122 of the Civil Code ; one<br />
of the grounds of the judgment being that the<br />
author chooses his publisher, for his own personal<br />
reasons, aS a quasi-collaborator ; whereas the<br />
reputation and acts of any substituted publisher<br />
might be morally and materially damaging to the<br />
book and its success.<br />
<br />
Another equitable point laid down, is that it<br />
would be impossible to subject any author and<br />
his works to all the successive transfers to which<br />
the business of a publisher is commercially ex-<br />
posed. The court decided, therefore, that<br />
Auguste Barbier only treated intuitu persone<br />
with Edouard Dentu; and the latter’s successors<br />
are enjoined not to issue any new edition or any<br />
new print (tirage) of Barbier’s “Iambes”’ on<br />
penalty of £8 for every ascertained contra-<br />
vention.<br />
<br />
This is a most important decision, as bearing<br />
upon the often-canvassed case of a publisher’s<br />
bankruptcy. Until something definite be done<br />
here for the protection of the only property the<br />
law deserts, perhaps it would be well for each<br />
agreement to be made personal to A. B. and<br />
C. D., the author and his chosen publisher, sub-<br />
ject to the subsequent power of the author to<br />
continue the contract with the publisher’s suc-<br />
cessor. J. ON.<br />
<br />
A HARD CASE.<br />
<br />
<br />
<br />
«Tye L. P. A. Limrrep.”<br />
<br />
CERTAIN Literary Publishing Associa-<br />
A tion Limited is engaged in the production<br />
<br />
of a monthly journal. As the journal<br />
ig not of much interest to the public, it natu-<br />
rally does not pay, and is soon on the verge of<br />
failure.<br />
<br />
The L. P. A. Limited thereupon looks round<br />
on the gullible and irresponsible body of would-be<br />
authors, and with the view of choosing an editor<br />
for the paper, iuserts an advertisement in some<br />
well-known literary review.<br />
<br />
In a short time the answers come pouring in,<br />
and a young lady who has got a spare £100 to<br />
invest is duly elected to the position on a salary,<br />
provided she takes up 100 £1 shares. Young<br />
authors with £100 to spare are rarz aves. But<br />
there are not a few people who, fancying they<br />
have a literary tendency, and fascinated by a<br />
literary connection, will produce some spare cash<br />
for investment.<br />
<br />
The case is all the more probable when the<br />
investment is painted in glowing colours, and<br />
rich rewards in the shape of dividends and a<br />
salary are offered to the too easy dupe.<br />
<br />
The money is paid. The shares are subscribed<br />
for and allotted.<br />
<br />
Limited companies are delightfully irrespon-<br />
sible bodies; there is no vulnerable point im<br />
the armour; fighting with them is like fight-<br />
ing with thin air. You waste your own<br />
energy without any tangible result. As a con-<br />
sequence the young lady of literary aims and<br />
unbusinesslike qualifications, loses her £100,<br />
and never gets a farthing by way of salary or<br />
dividend.<br />
<br />
The Authors’ Society is implored for advice<br />
and assistance, but alas too late.<br />
<br />
The shares are allotted. The directors cannot<br />
pay a dividend if there are no profits. No<br />
fraudulent statement has been made, and the<br />
manager has perhaps drawn cheques for the £100<br />
as salary.<br />
<br />
An action is useless. It is an expensive luxury<br />
to go to law against an insolvent body.<br />
<br />
So the L. P. A. Limited “ drags its slow length<br />
along.’””<br />
<br />
No doubt when it wants another £50 or £100<br />
it will start another paper, or find another editor,<br />
or perhaps get a fresh director on the board.<br />
Who knows? Men must live, and there is no<br />
better method of facing the battle of life to the<br />
initiated than clad in the armour of a limited<br />
liability company.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
eh<br />
Lo<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 81<br />
<br />
OMNIUM GATHERUM FOR AUGUST.<br />
<br />
<br />
<br />
Subjects for Books or Articles.—The curious<br />
curse of the 18th Article; the Excesses of Des-<br />
criptive Reporting, with a few words on the use<br />
and abuse of the Interview; the Rivalries of<br />
Colleges, Schools, and Watering Places; Com-<br />
pulsory Swimming Lessons for Girls and Boys in<br />
Elementary Schools; Wedding Presents; One<br />
Parliament, One Session; August in Ireland.<br />
<br />
Publication by Subscription—This mode of<br />
publication was the rule and not the exception<br />
in the last century. Now it has become the<br />
exception and not the rule, but the exceptions<br />
seem to be on the increase in the case of county<br />
histories and the like, eg., Mr. Cranage’s<br />
“ Architectural Account of the Churches in<br />
Shropshire” is being brought out in parts, with<br />
a notification that it will be impossible to proceed<br />
with it “unless a certain number of names are<br />
guaranteed.’ Such a very safe mode of issue<br />
might perhaps be more widely tried.<br />
<br />
Illustrations. — Quality before quantity is<br />
wanted here more than in any branch of pro-<br />
duction in connection with literature. Really<br />
good illustrations, such as those of, I think,<br />
Turner to Roger’s “Italy,” are too rare, and instead<br />
of such we have far too frequently good letter-<br />
press choked by pictures little wanted.<br />
<br />
The Vacant Laureateship. — Mr. Gladstone<br />
has announced in the House of Commons, in<br />
answer to Mr. Cobb (see the morning papers of<br />
the 22nd July), that “there is no intention at<br />
present of making any appointment” to the<br />
vacant Poet-Laureateship. Lord Tennyson died<br />
on the 7th October last. The honorarium<br />
attached to the post is about £100 a year, the<br />
annual butt of sherry having been commuted on<br />
the death of Southey for an annual £27, or, as<br />
some say, £29, so that about £80 has been<br />
already saved. But does the appointment rest<br />
with the Sovereign or the Prime Minister? If<br />
with the Prime Minister, how is it that the late<br />
Prince Consort offered it to Rogers (who at the<br />
age of eighty-seven refused it) before its accept-<br />
ance by Tennyson.<br />
<br />
The Dead Languages.—The resurrection of the<br />
dead languages is nowhere better accomplished<br />
than by the representation of Latin plays, suchas<br />
the Westminster play, and Greek plays, such as<br />
that of “Andromache,” so finely given by the<br />
ladies of Queen’s College in Harley-street, nor, as<br />
I humbly think, can the languages themselves be<br />
more encouragingly taught.<br />
<br />
Copyright.—No less than three Consolidation<br />
Bills of importance, dealing with copyhold law,<br />
VOL. Iv.<br />
<br />
the law of the administration of estates, and the<br />
law of trustees, have been in this session sub-<br />
mitted to a joint committee of both Houses of<br />
Parliament. Would it not be possible for the<br />
Government to introduce, and submit to this<br />
joint committee, a Copyright Law Consolidation<br />
and Amendment Bill? The amendments of sub-<br />
stance would be few, though important, and the<br />
controverted points very few indeed. Or perhaps<br />
an amending Bill might come first, and a consoli-<br />
dating Bill afterwards, in the fashion of the<br />
Lunacy Acts of 1889 and 1890. However this<br />
may be, it is to be hoped that those in authority<br />
have read and marked the indignant denuncia-<br />
tions against the form of copyright law which<br />
were transcribed from a recent judgment of<br />
Mr. Justice Chitty in the St. James’s Gazette of<br />
the 21st of last month. Mr. Justice Chitty’s<br />
words were these :<br />
<br />
I could wish, if I am at liberty to express a wish, that the<br />
Legislature could devote some time to the consolidation and<br />
amendment of the mass and congeries of statutes which<br />
represent the result of the legislative mind in such a manner<br />
that it is difficult to understand their meaning. I think it a<br />
matter of great importance to all interested in international<br />
copyright that those statutes should receive attention, and<br />
the statutes placed before, I will not say the courts, but Her<br />
Majesty’s subjects in such a manner that an ordinary man<br />
could understand them.<br />
<br />
Handwriting. — Bad handwriting increases<br />
labour and cost of proofs, and decreases the<br />
chances of acceptance of MSS., besides its waste<br />
of the time and temper of editors and such like.<br />
I respectfully suggest that those of us who write<br />
badly should take lessons in handwriting, but if<br />
we can’t stomach this, we at least take the trouble<br />
(a) to dot our i’s, (6) to cross our t’s, (c) to loop<br />
our e’s, (d) to put in at least our full stops, and<br />
(e) to write our own names and the names of<br />
others with perfect legibility.<br />
<br />
Advertisement of Review Notices.—The plan<br />
(see, e.g., some of the advertisements of ‘ Dodo’’)<br />
which prints unfavourable as well as favourable<br />
notices is much to be commended. It is fair to<br />
the public, it checks careless reviewing, and I<br />
cannot help thinking that it greatly helps a book<br />
if really good. J. M. Lety.<br />
<br />
H<br />
SEE<br />
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<br />
82 THE AUTHOR.<br />
<br />
AMERICAN NOTES AND NEWS.<br />
<br />
Buffalo, July 2.<br />
a following remarks are for novelists<br />
<br />
alone.<br />
<br />
Tf the bookstall may be accepted as an<br />
indication of popularity, it will be useful to note<br />
the books offered for sale at the bookstall of a<br />
reat American hotel. Everybody knows that<br />
a bookstall forms part of that little world, com-<br />
plete in all its parts, known in American as a hotel.<br />
Moreover, if we consider that the hotel in ques-<br />
tion belongs to Boston, and is one of the best<br />
and largest of that intellectual centre, the works<br />
offered may be accepted as some indication of<br />
the taste of the higher average. The catering is,<br />
of course, only for a passing crowd: visitors at<br />
hotels are literary butterflies; they only hover ;<br />
only the lighter works are wanted by them ;<br />
help to pass an hour is all they ask of Literature<br />
Here, then, written in alphabetical order, is a<br />
list of the authors whose books are on the stall<br />
of the Brunswick Hotel, Boston. One or two<br />
foreign writers appear in translation.<br />
<br />
<br />
<br />
Grant Allen. John Harberton.<br />
Robert Appleton. Fergus Hume.<br />
Duke of Argyll. Rudyard Kipling.<br />
J. M. Barrie. H. O’Meara.<br />
Paul Bourget. J. MacAlpine.<br />
Rhoda Broughton. A. McLeod.<br />
<br />
Mrs. Campbell-Praed. Fitzgerald Molloy.<br />
Christabel Coleridge. Alan Muir.<br />
<br />
Marie Corelli. Mrs. Needell.<br />
Robert Drake. Gilbert Parker.<br />
Alex. Dumas. Albert Ross.<br />
<br />
A. Finlay. Clark Russell.<br />
A K. Grew. Paul Schobert.<br />
Gunton.<br />
<br />
<br />
<br />
This list contains, you will observe, eleven<br />
American, thirteen English, and three French<br />
writers. But it is a very short list. If we look<br />
into the long rows of books exposed at the stall of<br />
a great railway station, we shall find the propor-<br />
tion of native to foreign authors somewhat<br />
changed. There are a great many American<br />
novelists of popularity whose very names are un-<br />
known with us. One of them, Mr. Albert Ross,<br />
is represented in the above list. It is, however,<br />
difficult to form from the bookstalls any trust-<br />
worthy conclusion as to the popularity of an indi-<br />
vidual writer. For this reason, that books and<br />
authors offered for sale vary in the most remark-<br />
able and unexpected manner ; but of the thirteen<br />
English writers in the above list perhaps one<br />
alone—Kipling—or two—Barrie and Kipling—<br />
may be found on some other stall. These two<br />
<br />
writers seem to me the two British authors most<br />
popular this day in the States. At the same time,<br />
one may meet the books of Conan Doyle, Hardy,<br />
and others almost as often. So far as one can<br />
judge, and speaking generally, all those novelists<br />
who in Great Britain enjoy popularity, large or<br />
little, are in corresponding demand in America.<br />
<br />
<br />
<br />
As to the question of American rights and their<br />
value, novelists may take note (1) that serial<br />
form is very difficult to secure, for reasons which it<br />
would take too long to explain; (2) that, never-<br />
theless, they must most carefully reserve their<br />
American rights in their agreements; (3) that<br />
they must remember the blessedness of expecting<br />
nothing ; and (4) that American publishers, like<br />
their British brethren, are men of business—some<br />
of them, like some of our brave Britons, “ sharp,”<br />
which means—what we know. A Buffalo paper<br />
in a literary letter gives what professes to<br />
be the opinion ofa librarian. Now the opinion<br />
of a librarian can only be of value if he isa<br />
large librarian, and if he knows the demand.<br />
upon the works in other libraries. This opinion<br />
has a “journalistic” flavour, #.e., I rather believe<br />
thatthe writer invented his librarian. However,<br />
he places Hardy and Conan Doyle at the head<br />
of contemporary novelists in point of American<br />
popularity. It must be owned that the American<br />
public might do worse. Edna Lyall is very<br />
popular. Mary Wilkins, however, is the most<br />
popular of all the women novelists in America<br />
to-day. “Latterly there has been a revival of<br />
Mark Twain’s books.” Did Mark Twain, then,<br />
ever fall off in popularity? Of modern poets<br />
who are in the greatest demand? Tennyson,<br />
Swinburne, Browning, Shelley, Wordsworth ?<br />
Presumptuous islander! Eugene Field, Will<br />
Carleton, and James Whitcomb Riley; while<br />
Longfellow, Whittier, and Holmes are still in<br />
steady demand. Nothing is said about other<br />
branches of literature.<br />
<br />
<br />
<br />
We have already more than once spoken of the<br />
tradition or the prejudice that the British people<br />
do not buy books, while the Americans do. I do<br />
not believe that this belief has any basis whatever<br />
in fact. The Americans, from all that I can<br />
hear, do not buy more books than we do.<br />
Perhaps they buy the dime novels, from which<br />
will now be excluded all the best new books.<br />
But books to keep; books to put on shelves;<br />
books as friends and companions, they do not<br />
buy, I am quite convinced, in anything like the<br />
same proportion as our own people. There are<br />
sixty millions of them as against our thirty-six<br />
millions. Those who live in the towns are much<br />
<br />
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THE AUTHOR. 83<br />
<br />
richer in proportion than those who live in our<br />
towns. There ought to be a demand for books,<br />
considering the excess of numbers as well as of<br />
wealth, nearly double our own. Is there?<br />
Certainly not. You can see, down below, that an<br />
American publisher considers 5000 is a very large<br />
circulation of a popular book. Yet, with us, a very<br />
popular book at 6s, runs into tens of thousands.<br />
I think that cultivated Englishmen and women<br />
buy all the books they can afford. They<br />
cannot afford to buy allthey read; therefore cir-<br />
culating libraries must exist ; their shelves are not<br />
large enough to contain all that they would buy,<br />
but they buy all that they can affordto, They<br />
buy all that they can find room for, and, so far<br />
as I can learn, the Americans as a rule, do not.<br />
Yet, so far as my inquiries have led me, more books<br />
are read here than at home.<br />
<br />
<br />
<br />
A book-shop, whether in America or at home,<br />
may reveal many things and suggest points for<br />
reflection. I have seen two very good book-<br />
shops indeed—that of Little, Brown, and Co., in<br />
Boston, which I take to be one of the best book-<br />
shops—or stores—in the whole world, and that<br />
of Judd’s, in Newhaven, which is an admirable<br />
example of what a book-shop in a university<br />
town ought to be—that is, it reminds one exactly<br />
of Macmillan’s, of Cambridge. From these two<br />
shops one may understand the position of living<br />
English writers of the better sort in America. I<br />
have no hesitation whatever in saying that either<br />
the publishers, or the booksellers, or the public of<br />
America, possess wider sympathies, or greater<br />
intellectual curiosity, than our own. For here,<br />
side by side with the American authors, are all—<br />
actually all—whom we ourselves have selected for<br />
honour. Let us remember that there is a vast<br />
mass of American literature which never gets to us<br />
at all; that there is a period—1620-1775—when<br />
what is American is British also ; that the history<br />
of the colonial times, forgotten and neglected by<br />
ourselves, is full of human and of political interest ;<br />
that there are men belonging to that period whom<br />
we simply cannot afford to forget, if we are to<br />
maintain the continuity of our national life, and to<br />
understand our own development ; that since the<br />
Year of Independence there has been carried on<br />
an experiment—an example—in government and<br />
society unlike anything ever seen before in<br />
the world’s history, and productive of results<br />
which can only be understood, and that most<br />
imperfectly, on the spot; that the colonial his-<br />
tory, the national history, the ways and thoughts<br />
of this Republic of the present; the hopes and<br />
fears of its best men—because they are almost<br />
as full of fears as of hopes—are all to be read in<br />
<br />
VOL. Iv.<br />
<br />
its modern literature; that in such a place as<br />
Little, Brown, and Co.’s, one sees all the books in<br />
which these things are written; and that in no<br />
English publisher’s lists; in no English book-<br />
seller’s shop; in no Englishman’s house, can<br />
these books be found. Of course we get the<br />
novels and the poetry; but the graver books, the<br />
biographies, the histories, as a rule we do not<br />
get. It may be contended that all that is really<br />
best in American literature comes to us. Perhaps,<br />
best for purposes of opinion, of right under-<br />
standing, of forming a just conclusion of the<br />
nation. We want more than the really best; we<br />
want some of the second and third best. For<br />
the function of literature is not always to present<br />
reason, opinion, fact, and fancy, in its best and<br />
noblest form, but reason, opinion, fact, and fancy<br />
as they exist, and as they can be presented by the<br />
average writer. For example, in the reign of<br />
Queen Anne the opinions of the average citizen<br />
are far better illustrated by John Dunton—plain<br />
bourgeois—in his “Athenian Oracle” than by<br />
Addison ; and the present tendencies of America<br />
drift and opmion may be more fully revealed<br />
by the third-rate essayist, poet, or novelist, than<br />
by Lowell or Holmes.<br />
<br />
<br />
<br />
“ Then the talk drifted to the always fascinating topic of<br />
the profits of authors, and one of the company asked of a<br />
publisher present :<br />
<br />
“ What do you call a successful novel, nowadays? How<br />
many copies should be sold, and what does it mean to the<br />
author P”<br />
<br />
“‘ Well,” said the publisher, ‘“‘ a very successful novel will<br />
sell 5000 copies, but the average successful one means<br />
about 2000. A novel must sell the latter number before it<br />
pays either publisher or author. Of course, I speak now of<br />
a novel bound in cloth that sells for a dollar. Take a sale<br />
of 5000 copies of such a novel. The entire proceeds of<br />
such a book will fall considerably under 5000 dols., for it<br />
must be remembered that a dollar book is not always sold<br />
for 100 cents. A 12mo. novel contains about 250 pages, or<br />
75,000 words. Ona rough estimate such a book will cost<br />
the publisher about 30 cents a copy. This includes<br />
composition, printing, and binding. The entire expenses,<br />
including a royalty of 10 per cent. to the author, the usual<br />
rate, and the advertising, will amount to 50 cents. For this<br />
book, which costs the publisher 50 cents, he gets from 60 to<br />
65 cents, leaving him a profit of from 10 to 15 cents. This<br />
profit is generally increased somewhat by the retail sales of<br />
the publishing house. Publishers are bound—and this is<br />
for the protection of the bookstores—to sell a dollar book<br />
for a dollar. Enough books are sold by them at this price<br />
to bring up the average profit, say to 15 cents. Thusa<br />
publisher who sells 5000 copies of a novel will make about<br />
750 dols. out of the transaction—not a very large profit for<br />
the capital invested and the risk involved. The profits of<br />
the author at 10 per cent. will amount to 500 dols., that is<br />
to say, his labour of writing and revising and his time, for<br />
which he is not certain of any return, not to mention the<br />
mental wear and tear, will bring about seven mills a word.<br />
Magnificent pay, and yet he is a successful author. Of<br />
course, there are some books, but they are very few, which<br />
make a phenomenal success, and these are the ones which<br />
<br />
mu 2<br />
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PD GR Re<br />
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<br />
84 THE AUTHOR.<br />
<br />
are read about from one end of the country to another.<br />
Most publishers say that it hardly pays in this present era<br />
of cheap paper-covered novels to publish the more expen-<br />
sive cloth-covered editions.” —Bufalo Courier.<br />
<br />
The above is interesting, as it affords some in-<br />
sight into the American cost of production. A<br />
book of 250 pp. @.e., 153 sheets, of 300 words to a<br />
page, costs, including advertising, 40 cents a<br />
copy. Remark that this means 500 dollars, or<br />
£100, spent in advertising the average book. Are<br />
the exchanges and “our own publications,” which<br />
cost nothing, inciuded in this estimate? In<br />
other words, the publisher’s initial liability on an<br />
average sale of 2000 copies is £160—less the<br />
minimum number of copies he knows he can<br />
place. The difference is the “risk,” which, as<br />
usual, is duly trotted out. If 5000 copies are<br />
sold, the author gets, at 10 per cent., £100; the<br />
publisher £150—“ not a very large profit for the<br />
capital invested and the risk.” But why the<br />
investment of the publisher should produce half<br />
as much again as the investment of the author is<br />
not stated. In England the publisher would<br />
invest in the case of a successful author just<br />
nothing at all, except, perhaps, some of the adver-<br />
tising charges, and there would be no risk.<br />
<br />
Niagara Falls, July 5.<br />
<br />
The stalls, both of the railways and the hotels—<br />
for in this country literature is not left to be<br />
found but is offered—show piles of American<br />
magazines—so do the railway stalls at home.<br />
But where are the English magazines? They do<br />
not exist; they are not apparent ; no one inquires<br />
for them. The “thoughtful” magazines — are<br />
there no thoughtful readers in the States?<br />
Apparently not, unless they are satisfied with<br />
their own thoughtfulness as illustrated by the<br />
Forum and the Arena and the Atlantic Monthly.<br />
But what does it mean that the American<br />
magazines have obtained so firm a hold in Great<br />
Britain, while our own wholly fail and are never<br />
seen on this side? It is a question admitting a<br />
great deal of explanation. Perhaps this may<br />
indicate the nature of the answer. An American<br />
magazine means business. It is provided with a<br />
highly-paid editor, and, in the case of successful<br />
magazines, a highly-paid staff of servants. The<br />
editor and his assistants are supposed to give<br />
their whole time, their thoughts, their strength, to<br />
the interests of the paper. They must be always<br />
thinking of it—providing material well ahead ;<br />
engaging writers at rates of pay which would<br />
make some (so called) first-class English magazine<br />
editors to jump ; they think of their readers, you<br />
see, and lay their lines and set their bait to<br />
attract and to catch them. Compare this with<br />
the casual editing of an English magazine.<br />
<br />
Where is there any thought for what is wanted ?<br />
Where do we find continuity of subject, serial<br />
papers (not serial fiction only)? Papers of the<br />
moment, papers of passing interest, there are in<br />
plenty. But these are not what the reader<br />
wants ; he gets them already in the daily papers ;<br />
he knows beforehand all that the writer in the<br />
monthly or the quarterly can tell him ; nor does<br />
he care twopence for the opinions of Lord A. and<br />
the Right Hon. B. about questions of the day<br />
which are decided for him every morning. It is<br />
not true, as some Americans say, that they have<br />
killed our magazines, but they are inflicting<br />
deadly injury upon them, and they will continue<br />
to do so until our people change their ways.<br />
<br />
<br />
<br />
The autograph hunter has hit upon a new and<br />
most creditable dodge. Audacious invention is,<br />
I find, called by the American Press “nerve.”<br />
This inventor, therefore, must be owned to have<br />
a wonderful nerve. He writes: “ May I trouble<br />
you, my dear Sir, to send me the present address<br />
of your aunt, Mrs. Maria Brown (sister to<br />
Thomas Carlyle), if she is still living? I might<br />
obtain her address elsewhere, but in order to<br />
save time I address you personally. Thanking<br />
you in advance, &c.” Dear me! Is it possible that<br />
the world credits me with being the nephew of<br />
Thomas Carlyle, upon whose face, in the flesh,<br />
I have never gazed? Alas! the poor man is<br />
mistaken, he must be undeceived. Let me sit<br />
down and write a letter of explanation: “My<br />
dear Sir,—The lady whose address you ask, Mrs.<br />
Maria Brown, sister of Thomas Carlyle, is not<br />
my aunt, nor can I claim the honour of any<br />
kinship with that great man. Nor can I give<br />
you her address, or any information concerning<br />
her. I remain, &.’’ Here follows the auto-<br />
graph. Oh! hunter of signatures—Nimrod of<br />
letters—wonderful is thy craft. Behold! the<br />
net is spread; the trap is set; and the silly<br />
fowl is caught.<br />
<br />
Albany, July 17.<br />
<br />
I have just learned from the New York Sun<br />
that Mr. Buchanan is having a “ quarrel” with<br />
me. It generally takes two to make a quarrel,<br />
and I am not one of the two, However, I hope<br />
that Mr. Buchanan is thoroughly enjoying him-<br />
self. When I get home I dare say I may find a<br />
few remarks to make. But that cannot be for<br />
some weeks to come—not, so far as the Author is<br />
concerned, until the September number. cman,<br />
<br />
Water BaEsant.<br />
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<br />
THE AUTHOR.<br />
<br />
THE CONGRESS OF AUTHORS.<br />
<br />
<br />
<br />
T is hardly possible, at a date when the<br />
Literature Congresses have but just com-<br />
pleted their work to take anything like a<br />
<br />
a philosophical survey of the week s proceedings.<br />
We have. however, thought it best, even at the<br />
risk of offering our readers an incomplete and<br />
imperfectly {digested report, to summarize the<br />
series of events that have made the week just<br />
ended noteworthy in the intellectual history of<br />
Chicago. If we may not tell the whole story,<br />
and if our coign of vantage be too near the object<br />
for realisation of the proper perspective, our<br />
report may at least embody the salient features<br />
of the Congresses, and point a possible moral<br />
here and there. As has already been stated in<br />
these pages, Congresses to the number of five<br />
were planned for the week ending July 15, their<br />
subjects being Literature proper, Philology, Folk-<br />
lore, History, and Libraries. They have provided<br />
an intellectual repast, bewildering in variety, and<br />
quite beyond the assimilative powers of such rash<br />
mortals as may have attempted to partake of all<br />
the courses. They have been characterised by<br />
many notable contributions to both general and<br />
special culture, as well as by many of those dis-<br />
cussions and comparisons of diverse views from<br />
which a subject often receives more light than<br />
from some more formal method of treatment.<br />
<br />
The Congresses were happily opened on<br />
Monday evening, July 10, by a general recep-<br />
tion given to such of the participants in the<br />
week’s work as had at that time reached the city.<br />
The reception began with the usal introduction<br />
and handshakings, and ended with a few speeches<br />
of welcome by representatives of the World’s Con-<br />
gress Auxiliary. followed by responses from some<br />
of the more distinguished guests. Under the<br />
latter category come the remarks made by Mr.<br />
Charles Dudley Warner, Mr. Richard Watson<br />
Gilder, Mr. George W. Cable, Mr. Walter Besant,<br />
and Dr. Max Richter. In the course of Mr.<br />
Warner’s remarks, a tribute was paid to the<br />
beauties of the World’s Fair, and the speaker<br />
concluded with these words :<br />
<br />
I fear all the time that the Fair will disappear, and, as I<br />
say, I grudge every moment spent away from it, for it will<br />
go, like everything else that we have created by hand. And<br />
when it has gone these poor scribblers who have not<br />
money enough to create it, and many of them not imagina-<br />
tion enough to put it into poetry or into romance even—<br />
because I don’t know anybody, except St. John in the<br />
Apocalypse, who has hit it off at all so far—these poor<br />
scribblers will have to take up the task of perpetuating this<br />
creation of beauty and of splendour, and the next generation<br />
that wanders about Lake Michigan looking at the ruins of<br />
Chicago—the distant generation of course—will have to<br />
depend upon some wandering bard—who even then won't be<br />
<br />
85<br />
<br />
half paid, I dare say—for the remembranee, for the descrip-<br />
tion of the great achievement of this city of Chicago in 1893.<br />
Mr. Gilder, in a few well-chosen words, contrasted<br />
the literary art with the arts of form and colour,<br />
pointing out that the very subtlety of the former<br />
makes its discussion difficult. Hence the speaker<br />
concluded that a Congress of Authors must of<br />
necessity for the most part deal with the physical<br />
side of literature, with “ the relation of that art to<br />
its presentation through books to the public.”<br />
Probably the most noteworthy incident of all this<br />
speech-making was to be found in the applause<br />
that interrupted Mr. Gilder when he said: “I,<br />
for one, would not have the countenance to stand<br />
up before a World’s Congress of Authors if<br />
within a short time we, as a nation had not wiped<br />
out the unbearable disgrace of international<br />
piracy.”<br />
<br />
The sentiment thus expressed by Mr. Gilder<br />
had many an echoin the subsequent proceedings<br />
of the Congress of Authors. The Tuesday<br />
session of this Congress was devoted to the<br />
general subject of Copyright, and it was pecu-<br />
larly fitting that Mr. George E. Adams should<br />
serve as the presiding officer. The enactment<br />
of the Copyright Law of 1891 was, as our<br />
readers will remember, largely due to the<br />
efforts of Mr. Adams, then a member of the<br />
House of Representatives. Major Kirkland,<br />
who introduced Mr. Adams to the audience,<br />
gracefully alluded to this fact, as did also Mr.<br />
Gilder, when his turn came to share in the<br />
general discussion. That the services of Mr.<br />
Adams had been appreciated, and were still re-<br />
membered by those present, appeared in the<br />
applause that followed every allusion made to<br />
them. The discussion was opened by the pre-<br />
siding officer himself, who read an admirable<br />
paper upon our copyright legislation, past and<br />
future. He took an eminently sane and practical<br />
view of the question, making clear the funda-<br />
mental distinction between a copyright and a<br />
patent (a distinction too often neglected), but<br />
still averring that our future legislation is sure to<br />
be based upon the broad considerations of public<br />
policy rather than upon purely theoretical<br />
grounds. “The question of the so-called moral<br />
right of an author in his book is not likely to<br />
arise in any future movement in this country for<br />
the enlargement of authors’ mghts by Congress.<br />
Such legislation will be supported on the ground<br />
of public policy rather than on the ground of<br />
just protection of property.” Dr. 8. S. Sprigge,<br />
late secretary of the London Society of Authors,<br />
followed Mr. Adams with a brief paper on “The<br />
International Copyright Union,” sent to the<br />
Congress by Sir Henry Bergne, the British<br />
Commissioner at the Berne Conference of 1886.<br />
<br />
<br />
86<br />
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<br />
Dr. Sprigge also read a paper of his own upon<br />
the present complicated condition of copyright<br />
legislation, English and international. The re-<br />
mainder of the session was given up to an<br />
informal discussion, among the participants<br />
being Mr. Gilder, Mr. George W. Cable, Mr.<br />
Charles Dudley Warner, Professor T. R. Louns-<br />
bury of Yale, President C. K. Adams of the<br />
University of Wisconsin, and General A. C.<br />
McClurg. There was general agreement among<br />
the speakers in deprecating the necessity of the<br />
“ manufacturing clause” of the Act of 1891, but<br />
there was an equally general agreement in the<br />
admission that the law, with all its defects, is vastly<br />
better than no law at all. Even Professor Louns-<br />
bury, who proclaimed himself one of the irrecon-<br />
cilables, admitted the justice of this view. The<br />
injury done to writers by the condition of simul-<br />
taneous publication also came up for discussion,<br />
as well as the inadequacy of the term at present<br />
provided. “Nearly all our great American<br />
authors have outlived their copyrights, which is<br />
a ridiculous perversion of justice,’ said Mr.<br />
Gilder; and Mr. Warner, echomg the opinion,<br />
allowed his wit to play upon the thought, greatly<br />
to the delight of h's hearers.<br />
<br />
The copyright question was again brought for-<br />
ward, at the Wednesday session. by Mr. R. R.<br />
Bowker, editor of the Publishers’ Weekly, who<br />
read a carefully prepared paper upon “ The Limi.<br />
tations of Copyright.” We may also mention in<br />
this connection, as an illustration of the interest<br />
taken by foreign countries in the work of the<br />
Congress, that a representative of the French<br />
Syndicat pour la Protection de la Propricté Litté-<br />
raire et Artistique, placed in the hands of the<br />
committee, for distribution among the members<br />
of the Congress, a pamphlet, ‘‘ Note sur l’Acte du<br />
3 Mars 1891,” especially prepared and printed<br />
for the purpose. After congratulating the Copy-<br />
right League upon the successful outcome of its<br />
labours, the pamphlet adds: “Il ne saurait se<br />
présenter une occasion plus favourable que celle de<br />
la réunion du Congrés de 1893 pour exprimer les<br />
remerciements des intéressés & tous ceux qui ont<br />
eu confiance en l’esprit de justice du peuple<br />
Américain.” The special subject of the Wednes-<br />
day session. “The Rights and Interests of<br />
Authors” was introduced by Mr. Walter<br />
Besant, who also presided over the ses-<br />
sion. Myr. Besant’s paper summarised the<br />
<br />
history of the London Society of Authors, ex-<br />
plaining also the reasons for its existence and the<br />
difficulties with which it has had to contend. A<br />
recent editorial in the Dial, upon the subject of<br />
the Society, gave the principal facts embodied in<br />
Mr. Besant’s statement, and it is unnecessary to<br />
repeat them here. To the majority of those who<br />
<br />
THE AUTHOR.<br />
<br />
heard them upon this occasion, they were doubt-<br />
less new, and, as presented by Mr. Besant, they<br />
were given the added force that always charac-<br />
terises a man’s spoken words upon some subject<br />
to which he has devoted years of active thought.<br />
The following is one of the passages of more<br />
general interest contained in Mr. Besant’s<br />
paper :—<br />
<br />
We have made a careful and prolonged inquiry into<br />
the very difficult subject of the present nature and extent<br />
of literary property. A writer of importance in our<br />
language may address an audience drawn from a hundred<br />
millions of English-speaking people. Remember that.<br />
never before in the history of the world has there<br />
been such an audience. There were doubtless more<br />
than a hundred millions under the Roman rule around<br />
the shores of the Mediterranean, but they spoke many<br />
different languages. We have now this enormous multi-<br />
tude, all, with very few exceptions, able to read, and all<br />
reading. Twenty years ago they read the weekly paper ;<br />
there are many who still read nothing more. Now that<br />
no longer satisfies the majority. Every day makes it<br />
plainer and clearer that we have arrived at a time when<br />
the whole of this multitude, which in fifty years’ time will<br />
be two hundred millions, will very soon be reading books.<br />
What kind of books? All kinds, good and bad, but mostly<br />
good; we may be very sure that they will prefer good books<br />
to bad. Even now the direct road to popularity is by<br />
dramatic strength, clear vision, clear dialogue, whether a.<br />
man write a play, a poem, a history, or a novel. We see<br />
magazines suddenly achieving a circulation reckoned by<br />
hundreds of thousands, while our old magazines creep along<br />
with their old circulation of from two to ten thousands.<br />
Hundreds of thousands? How is this popularity achieved P<br />
Is it by pandering to the low, gross, coarse taste commonly<br />
attributed to the multitude? Not so. It is mainly<br />
accomplished by giving them dramatic work stories which<br />
hold and interest them—essays which speak clearly—work<br />
that somehow seems to have a message. If we want a<br />
formula or golden rule for arriving at popularity, I shoulé<br />
propose this: Let the work have a message. Let it have a<br />
thing to say, a story to tell, a living man or woman to<br />
present, a lesson to deliver, clear, strong, unmistakable. *<br />
<br />
The demand for reading is enormous, and it increases<br />
every day. I see plainly—as plainly as eyes can see—a<br />
time—it is even now already upon us—when the popular<br />
writer—the novelist, the poet, the dramatist, the historian,<br />
the physicist, the essayist—will command such an audience<br />
—so vast an audience—es he has never yet even conceived<br />
as possible. Such a writer as Dickens, if he were living<br />
now, would command an audience—all of whom would buy<br />
his works—of twenty millions at least. The world has<br />
never yet witnessed such a popularity—so wide spread—as<br />
awaits the successor of Dickens in the affections of the<br />
English speaking races. The consideration must surely<br />
encourage us to persevere in our endeavours after the<br />
independence and therefore the nobility of our calling,<br />
and therefore the nobility of our work. But you must<br />
not think that this enormous demand is for fiction alone.<br />
One of the things charged upon our Society is that we exist<br />
for novelists alone. That is because literary property is<br />
not understood at all. As a fact educational literature is a.<br />
much larger and more valuable branch than fiction. But<br />
for science, history—everything—except, perhaps, poetry—<br />
the demand is leaping forward year after year in a most<br />
surprising manner. Now, in order to meet this enormous<br />
demand, which has actually begun and will increase more<br />
and more—a demand which we alone can meet and satisfy—<br />
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THE AUTHOR.<br />
<br />
I say that we must claim and that we must havea readjust-<br />
ment of the old machinery—a reconsideration of the old<br />
oo new appeal to principles of equity and fair<br />
play.<br />
<br />
The remainder of this session was taken up by<br />
a paper on “ Syndicate Publishing,” sent by Mr.<br />
W. Morris Colles, of London, by ‘Some Con-<br />
siderations of Publishing,’ a paper sent by Sir<br />
Frederick Pollock, and by a discussion in which<br />
part was taken by Mr. Besant, Mr. Charles<br />
Carleton Coffin, Mrs. Mary Hartwell Catherwood,<br />
and Mrs. D. Lothrop.<br />
<br />
The general subject of ‘Criticism and Litera-<br />
ture” occupied the Thursday session of the Con-<br />
gress. Over this session Mr. Charles Dudley<br />
Warner presided, and read the opening paper,<br />
his subject being “The Function of Literary<br />
Criticism in the United States.’’ Mr. Warner’s<br />
paper is so sound and so suggestive that we feel<br />
justified in reproducing a somewhat lengthy<br />
extract :—<br />
<br />
There seems to be a general impression that in a new<br />
country like the United States, where everything grows<br />
freely, almost spontaneously, as by a new creative impulse,<br />
literature had better be left to develop itself without<br />
criticism, as practically it had been left—every tree to get<br />
as high as it can without reference to shape or character.<br />
I say, as practically it had been left. For while there has<br />
been some good criticism in this country of other literatures,<br />
an application of sound scholarship and wide comparison,<br />
there has been very little of this applied to American<br />
literature. There has been some fault-finding, some<br />
ridicule, a good deal of the slashing personality and the<br />
expression of individual prejudice and like or dislike, which<br />
characterised so much of the British review criticism of the<br />
beginning of this century—much of it utterly conventional<br />
and blind judgment—but almost no attempt to ascertain the<br />
essence and purport of our achievement and to arraign it at<br />
the bar of comparative excellence, both as to form and<br />
substance. I do not deny that there has been some<br />
ingenious and even just exploiting of our literature, with<br />
note of its defects and its excellences, but it will be scarcely<br />
claimed for even this that it is cosmopolitan. How little of<br />
the application of universal principles to specific produc-<br />
tions! We thought it bad taste when Matthew Arnold put<br />
his finger on Emerson as he would put his finger on<br />
Socrates or on Milton. His judgment may have been<br />
wrong, or it may have been right; matter of individual<br />
taste we would have been indifferent to; it seemed as if it<br />
were the universality of the test from which our national<br />
vanity shrank. We have our own standards; if we choose,<br />
a dollar is sixty-five cents., and we resent the commercial<br />
assertion that a dollar is one hundred cents.<br />
<br />
It seems to me that the thing the American literature<br />
needs just now, and needs more than any other literature in<br />
the world, is criticism. In the essay by Matthew Arnold<br />
to which I have referred, and in which, as you remember,<br />
he defines criticism to be “a disinterested endeavour to<br />
learn and propagate the best that is known a 1 thought in<br />
the world,” he would have had smooth sailing it he had not<br />
attempted to apply his principles of criticism to the current<br />
English literature. And this application made the essay<br />
largely an exposition of the British Philistine. The Philis-<br />
tine is, in his origin and character, a very respectable<br />
person, whether he is found in Parliament, or in Exeter<br />
Hall, or in a newspaper office; he is incased in tradition.<br />
<br />
87<br />
<br />
The epithet, borrowed from the German, would not have<br />
stung as it did if Arnold had not further defined the person<br />
to be, what Ruskin found him also in England and Wagner<br />
in Germany, one inaccessible to new ideas.<br />
<br />
Now, we have not in the United States the Philistine, or<br />
Philistinism, at least not much of it, and for the reason<br />
that we have no tradition. We have thrown away, or tried<br />
to throw away, tradition. We are growing in the habit of<br />
being sufficient unto ourselves. We have not Philistinism,<br />
but we have something else. There has been no name<br />
for it yet invented. Some say it is satisfaction in<br />
superficiality, and they point to the common school<br />
and to Chautauqua; the French say that it is satis-<br />
faction in mediocrity. At any rate it is a satisfac-<br />
tion that has a large element of boastfulness in it,<br />
and boastfulness based upon a lack of enlightenment, in<br />
literature especially a want of discrimination, of fine dis-<br />
cernment of quality. It is a habit of looking at literature<br />
as we look at other things—literature in national life never<br />
stands alone—if we condone crookedness in politics and in<br />
business under the name of smartness, we appiy the same<br />
sort of test, that is the test of success, to literature. It is<br />
the test of the late Mr. Barnum. There is in it a disregard<br />
of moral as well as of artistic values and standards. You<br />
see it in the Press, in sermons even, the effort to attract<br />
attention, the lack of moderation, the striving to be sensa-<br />
tional in poetry, in the novel, to shock, to advertise the per-<br />
formance. Everythingisonastrain. No, this is not Philis-<br />
tinism. I am sure, also, that it is not the final expression<br />
of the American spirit, that which will represent its life or<br />
its literature. I trust itis a transient disease, which we<br />
may perhaps call by a transient name—Barnumism.<br />
<br />
Another paper of importance, sent by Mr.<br />
Hamilton W. Mabie (who was unfortunately<br />
absent), had for its subject ‘‘Criticism as an<br />
Educational Force,” Speaking of the change<br />
that has of late years come over the spirit of criti-<br />
cism, Mr. Mabie writes :<br />
<br />
It was not until criticism passed into the hands of men of<br />
insight and creative power that it discovered its chief func-<br />
tion to be that of comprehension, and its principal service<br />
that of interpretation. Not that it has surrendered its<br />
function of judging according to the highest standards,<br />
but that it has discovered that the forms of excel-<br />
lence change from time to time, and that the<br />
question with regard to a work of art is not whether<br />
it conforms to types of excellence already familiar, but<br />
whether it is an ultimate expression of beauty or power.<br />
In every case the artist creates the type and the critic<br />
proves his competency by recognising it; so that while the<br />
critic holds the artist to rigid standards of veracity and<br />
craftmanship it is the artist who lays down the law to the<br />
critic. As an applied art, based on induction and con-<br />
structing its canons apart from the material which literature<br />
furnishes, criticism was notable mainly for its fallibility.<br />
As an art based on deduction, and framing its laws in ac-<br />
cordance with the methods and principles illustrated in the<br />
best literature, it has advanced upon a secondary to a<br />
leading place among the literary forms now most widely<br />
employed and most widely influential.<br />
<br />
Mr. H. D. Traill, of Oxford, sent to the Con-<br />
gress a paper upon “ The Relations of Literature<br />
and Journalism,” from which we quote the open-<br />
ing paragraph :—<br />
<br />
There never was a more promising subject for people who<br />
are fond of a good discursive debate, not likely to be brought<br />
<br />
<br />
<br />
88<br />
<br />
to an abrupt and disappointing close by a sudden agreement<br />
between the disputants, than the subject of the relations<br />
between Literature and Journalism. A discussion of it<br />
combines almost every possible attraction—ambiguity of<br />
terms, indefiniteness of area, uncertainty of aim—everything<br />
in short that the heart of the most ardent controversialist<br />
could desire. I have been privileged to hear many such<br />
discussions and to take part in some of them, and on no<br />
occasion can I remember to have met with any debater<br />
so pedantic as to ask for a definition either of Literature<br />
or Journalism, at any stage of the argument. A sound<br />
instinct seems to warn people that if they were to do that<br />
the particular debate engaged in would immediately branch<br />
off either into a prolonged and probably technical inquiry<br />
into the precise meaning and limits of the term Journalism<br />
or into an interminable and almost certainly violent dispute<br />
as to what constitutes Literature. The latter question in<br />
especial is full of “ excellent differences ” for those who care<br />
to discuss it, because, according to some theorists on the<br />
subject, there would seem to be scarcely any written or<br />
printed matter—when once you have risen above the Post<br />
Office Directory—which is not literature; while, with the<br />
very superfine class of critics, the difficulty is to find any-<br />
thing that is. Literature begins for the former almost<br />
where it began with Dogberry. Anyone who could have<br />
‘pleaded his clergy” in the middle ages would, in their<br />
view, apparently have been a literary man. Between this<br />
estimate and that of the superfine critic who claims to<br />
confine the name of literature to some limited class of com-<br />
position which he happens himself to admire, or perhaps<br />
affect, the gap yawns enormous, and I for one have no<br />
intention of attempting to bridge it. The true definition of<br />
literature no doubt lies somewhere between them ; and will<br />
be fixed on that auspicious day when it is found possible to<br />
determine the exact proportions in which form and matter<br />
enter into the constitution of literary merit. In the mean-<br />
time we must content ourselves with admitting that form is<br />
certainly, if in an undefined degree, the more important of<br />
the two. It would be dangerous to admit any more than<br />
this in a day when so many m‘nor poets are abroad ; for a<br />
considerable number of these, while particularly careful of<br />
form, have reduced the value of their matter to a vanishing<br />
point, and any encouragement to them to carry the process<br />
yet further is to be strongly deprecated. Still, this much,<br />
as I have said, must be admitted: that it is primarily form<br />
rather than matter which constitutes literature.<br />
<br />
Among other papers presented at the Thursday<br />
session was that sent by Mr. Henry Arthur<br />
Jones, who took for his subject “The Future<br />
of the English Drama,” and forecast it with an<br />
optimism quite excusable in the writer of so<br />
many serious and successful plays. While this<br />
session was in progress, the subject of “ Litera-<br />
ture for Children’? was under consideration in<br />
another hall of the building, and papers were<br />
read by Mrs. D. Lothrop, Mrs. Elia W. Peattie,<br />
and Mr. Hezekiah Butterworth. In the after-<br />
noon, a programme of authors’ reading for chil-<br />
dren was carried out in the presence of a very<br />
large audience, composed mostly of young people.<br />
<br />
“ Aspects of Modern Fiction” was the general<br />
subject of the Friday session of the Congress.<br />
Mr. George W. Cable was asked to preside, and<br />
the choice was no less happy than that of the<br />
chairman for the three preceding sessions. Mr.<br />
<br />
THE AUTHOR.<br />
<br />
Cable followed the example of his predecessors<br />
in the chair, and read the opening paper, his sub-<br />
ject being: ‘‘The Uses and Methods of Fiction.”<br />
<br />
We extract a passage from the close of this<br />
paper :<br />
<br />
We live in a day unparalleled by any earlier time in its<br />
love and jealousy for truth. In no field of search after<br />
truth have we been more successful than in science. Our<br />
triumphs here have kindled in us such energy and earnest<br />
enthusiasm, we have been tempted, both readers and writers,<br />
to forget that facts are not the only vehicle of truth. In<br />
our almost daily triumphant search, through the simple<br />
study of facts as they are for the human race’s betterment,<br />
we have learned to yield our imaginations too subserviently<br />
to the rule and discipline of the fact-hunters, and a depiction<br />
of desirable but as yet unrealised conditions across a chasm<br />
of impracticability is often unduly and unwisely resented.<br />
<br />
The world will do well to let its story-tellers be as at<br />
their best they have ever been, ambassadors of hope. The<br />
fealty they owe is not a scientific adherence and confinement<br />
to facts and their photographic display, however benevo-<br />
lently such an attitude may be inspired, save in so far as<br />
they may help them the more delightfully to reveal the<br />
divine perfections of eternal truth and beauty.<br />
<br />
Yet if it is true that there is no more law to compel the<br />
fictionist to teach truth than there is to require the scientist<br />
to be a poet, there are reasons why in more or less degree,<br />
and in the great majority of cases, he will choose to teach.<br />
One of these reasons lies on the surface. It is that in<br />
fictional literature, at least, Truth, duly subordinated to<br />
Beauty as the queen of the realm, is her greatest possible<br />
auxiliary and ally. No page of fiction ought ever to contain<br />
a truth without which the page would be more beautiful<br />
than with it. As certainly when truth ignores beauty as<br />
when beauty ignores truth, a discountfalls upon the value<br />
of both in the economy of the universe. Yet, on the other<br />
hand, beauty in the story-teller’s art, while it may as really,<br />
can never so largely and nobly, minister to the soul’s delight<br />
without the inculcation of truth as with it.<br />
<br />
Hence it is that fiction’s peculiar ministry to the human<br />
soul is the prose depiction, through the lens of beauty, to<br />
the imagination and the emotions, of conflicts of human<br />
passions, wills, duties, and fates; a depiction unaccom-<br />
panied by any tax of intellectual labour, but consistent with<br />
all known truth, though without any necessary intervention<br />
of actual facts. Or, more briefly, it is the contemplation of<br />
the truths of human life as it ought to be, compared with<br />
the facts as they are.<br />
<br />
Tf this is the fictionist’s commission, is not his commis-<br />
sion his passport also in the economist’s world? It would<br />
be easy to follow out the radiations of this function and<br />
show their value by their simple enumeration. In the form<br />
of pure romance it fosters that spirit of adventure which<br />
seeks and finds new worlds and which cannot be lightly<br />
spoken of while we celebrate the discoveries of Columbus.<br />
In all its forms it helps to exercise, expand, and refresh<br />
those powers of the imagination whose decay is the hectic<br />
fever and night-sweat of all search for truth and beauty ; of<br />
science and invention, art, enterprise, and true religion.<br />
Often it gives to the soul otherwise imprisoned by the<br />
cramped walls of the commonplace, spiritual experiences of<br />
life refined from some of their deadliest risks, and cuts<br />
windows in the walls of cramped and commonplace environ-<br />
ments. At its best it elevates our conceptions of the heroic<br />
and opens our eyes to the presence, actuality, and value of a<br />
world of romance that is, and ought to be, in our own lives<br />
and fates.<br />
<br />
Mrs. Mary Hartwell Catherwood followed Mr.<br />
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THE<br />
<br />
‘Cable with a paper on “ Form and Condensation<br />
<br />
in the Novel.” We print a portion of Mrs.<br />
Catherwood’s remarks, regretting that we have<br />
not space for them all.<br />
<br />
Whoever attempts a novel is supposed to have a story to<br />
tell ; and the manner of his telling it is almost as important<br />
<br />
_as the story itself. It is always—whatever variations the<br />
<br />
theme may take—the story of a man and a woman; often a<br />
sad, often an absurd story; but one which is as fresh<br />
with every generation as new grass with the spring.<br />
The dear little maid whom you now call the light of<br />
your house will soon reach her version of it. She tells<br />
you in confidence, and with a stammer on the long word,<br />
that she has a prejudice against boys, and you know<br />
what that prejudice in the course of a few years will do<br />
with the incipient men who are hanging May-baskets or<br />
doing sums for her.<br />
<br />
It seems to me the best form for this story is the dramatic<br />
form. We want intensified life. “It is the quality of the<br />
moment that imports,” says Emerson. Of what interest are<br />
our glacial periods, our slow transitions that change us we<br />
know not why? Everyone can look back on many differing<br />
persons he has been in his time. And everyone is conscious<br />
of undeveloped identities hampered yet within him. The<br />
<br />
sweetest and sincerest natures have repressions and conc eal-<br />
<br />
ments. Itis the result of these things which makes the<br />
story of life. You may put a microscope over a man and<br />
follow his trail day by day ; but, unless he reaches some<br />
stress of loving, suffering, doing, you soon lose interest in<br />
him. I delight in Jane Austen for the quality of her work.<br />
In the same way I enjoy the work of Mr. Howells. It is<br />
‘their dramatic grasp on the commonplace which makes<br />
these realists great.<br />
<br />
The most dramatic treatment cannot wholly present the<br />
beauty of one human soul, and the sternest analysis cannot<br />
reach all its convolutions of evil. Shakespeare knew his<br />
human soul. When we are very young we complain that he<br />
pictures us unfairly ; but when we are older we know. He<br />
took the great moments that counted, and presented his<br />
men and women intensely alive.<br />
<br />
I have heard there are authors who do not rewrite and<br />
condense, who set down at the first stroke the word they<br />
want to use; the word which creates. But I never abso-<br />
lutely laid hands on one. The growth of a story is usually<br />
slow, like the growth of most plants. It is labour and<br />
delight, pain and pleasure, despair and hope. You cannot<br />
escape a pang. You must absolutely live it through; and<br />
then try it by the test of ridicule of common standards, by<br />
the gauge of human nature. I heard a judge say when he<br />
was a college student he kicked all the bark off a log in the<br />
campus, and wore out the backs of a new pair of trousers,<br />
trying to write a poem; and he made up his mind he was<br />
no poet. If the spirit of art had really been in him, he<br />
would have recognised these agonies. It is not easy to<br />
speak the word—except when it is easy; when you<br />
have those moments of clear seeing and that condensing<br />
grasp of your material which sometimes pay for days of<br />
worthless labour.<br />
<br />
The remaimmg papers of the session were as<br />
follows: “The Short Story,’ by Miss Alice<br />
French; “The New Motive in Fiction,” by<br />
Mrs. Anna B. McMahan; “Local Colour in<br />
Fiction,” by Mr. Hamlin Garland; and “ Ebb-<br />
Tide in Realism,” by Mr. Joseph Kirkland. The<br />
Friday session of the Congress seemed to arouse<br />
a more general public interest than any of the<br />
others, and was distinguished from them by the<br />
VoL. Iv.<br />
<br />
AUTHOR. 89<br />
<br />
fact that all the papers presented upon this<br />
occasion were read by their authors.<br />
<br />
Our account has thus far dealt almost ex-<br />
clusively with the special subject of the Congress<br />
of Authors. When we consider the fact that this<br />
Congress has been the first of the sort to be held<br />
by writers in the English language, and the other<br />
fact that there existed in this country no definite<br />
association of literary workers to take charge of<br />
the arrangements, there is reason to congratulate<br />
the committees in charge upon the outcome of<br />
their enterprise. To the non-resident Committee<br />
of Co-operation, and particularly to its secretary,<br />
Professor George E. Woodberry, who laboured<br />
long and strenuously for the success of the work,<br />
a special and hearty word of recognition is due.<br />
It is true that there have been many disappoint-<br />
ments—that some who should have taken part in<br />
the work declined the invitation to do so, and<br />
that others who had promised their help aud<br />
their presence failed to come forward at the final<br />
moment—but, with allowance for all these mis-<br />
haps, it must be admitted that the Congress<br />
achieved a distinct success, that its sessions<br />
were dignified and thought-provoking, that it<br />
attracted the serious attention of a considerable<br />
and influential public, and that it has paved<br />
the way for a better organisation of authorship,<br />
and a better understanding of literature both in<br />
its commercial and its artistic aspects. The pro-<br />
ceedings of the Congress of Authors will have<br />
many echoes in the periodical literature of the<br />
coming weeks; and, if they shall be subsequently<br />
published, as is hoped, in permanent form, their<br />
effect will be felt far beyond the moment, and is<br />
likely to make itself apparent both in predicable<br />
and unpredicable ways.<br />
<br />
Of the four remaining Congresses of the week<br />
we have not, upon the present occasion, space to<br />
speak in detail. We must be content with say-<br />
ing that they brought to Chicago exceptionally<br />
large gatherings of the four classes of specialists<br />
to whom appeal was made, including many Euro-<br />
pean scholars of the first rank; that their pro-<br />
grammes covered a very wide range of original<br />
research; and that, in spite of the tropical<br />
temperature of the week, and the counter attrac-<br />
tions of the World’s Fair, they were attended by<br />
audiences commensurate with the interest and<br />
importance of what the proceedings had to offer.<br />
—From the Chicago Dial, July 16.<br />
<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
HE publication of the Author has been<br />
delayed, in order that the Report of the<br />
Chicago Conference should appear. Only<br />
<br />
a resumé can be published for this number.<br />
<br />
So<br />
<br />
There wasa pleasant gatbering at the Author’s<br />
Club on June 26 to welcome the Dutch writer,<br />
Mr. Maarten Maartens. Mr. Oswald Crawfurd<br />
C.M.G., was to have presided, but, being un-<br />
avoidably absent, Mr. Spielmann took the<br />
chair, surrounded by a company of about<br />
sixty authors and their friends, amongst whom<br />
were P. W. Claden, Barry Pain, J. E. Muddock,<br />
Dr. Todhunter, Sidney Lee, James Baker,<br />
Raymond Blathwayt, Moncure D. Conway,<br />
Fraser Rae, and Douglas Sladen. The toasts<br />
proposed were but two—‘ The Queen,” by Mr.<br />
Spielmann, and “ The Guest of the evening, Mr.<br />
Maartens,” by Mr. Douglas Sladen. In_pro-<br />
posing Mr. Maartens’s health, Mr. Sladen<br />
introduced the author by his real name, Van de<br />
Poorten Schwarz. Mr. Maartens, in rising to<br />
reply, said he should be afraid to make a speech<br />
to them, but, as he had always heard that authors<br />
were not good after-dinner speakers, that took<br />
away the one fear which might have dulled his<br />
joy at their kindly reception of him; a joy which<br />
was now as unclouded as their London sun—this<br />
summer. He felt that he had proved that<br />
English literary men were always heartily glad to<br />
w.leome those who tried to do their best; and, in<br />
concluding, he said he must commit what he had<br />
been told in England was an indiscretion—he<br />
must not only respond, but propose a toast,<br />
“ Suecess to the Authors’ Club,” which was drunk<br />
heartily by the guests present.<br />
<br />
<br />
<br />
No other pen than that of “the anonymous<br />
writer in the Azthor,’ who has so curiously<br />
moved Mr. Andrew Lang to wrath, can worthily<br />
reply to Mr. Lang’s strictures, but we venture<br />
to call the attention of members who have<br />
not seen Longman’s for July, to some of<br />
Mr. Lang’s facetie. ‘‘ When,” says Mr. Lang,<br />
‘an author has written a book, he sends it to his<br />
friend the publisher. The publisher replies,<br />
‘Dear Smith,—Thanks for your MS. We are<br />
prepared to produce it in such and such a shape,<br />
on such and such terms.’ Then the author either<br />
says ‘ All right,’ or he says ‘ You offer too much,<br />
Til take so and so,’ or he says he would rather<br />
have better terms, and the pair agree or disagree ;<br />
in the latter case the author tries somebody<br />
else.” Is there not something inimitable in<br />
that ‘ You offer too much” ?<br />
<br />
THE AUTHOR.<br />
<br />
It may, perhaps, be further permissible to point:<br />
out that Mr. Lang has, in the heat of the moment,.<br />
been betrayed into a slight inaccuracy. “ The<br />
critic in the Author,’ he says, “ decides that there<br />
is a prejudice against literary men “‘as a set of<br />
needy mendicants.” The critic in the Author<br />
decided nothing of the kind. His words were:<br />
“There is no doubt that some of the contempt<br />
which has been freely poured upon the calling of<br />
letters, and is still poured upon it is due to the<br />
prejudice which regards literary men as a set<br />
of needy mendicants.” It is not exactly<br />
fair to quote the contributor to the Author as<br />
responsible for a libel against which his remarks<br />
were a vigorous protest.<br />
<br />
<br />
<br />
The renovation of the grave of Dr. William<br />
Maginn in the churchyard of Walton-on-Thames<br />
—if it can be be identified, and Mr. Michael<br />
Macdonogh has thrown some doubt on this detail<br />
—is a cause which must commend itself to all<br />
those who are associated with the literary life.<br />
Maginn was not, perhaps, a great genius, but he<br />
was a genius, and few of the Fraserians achieved<br />
so many-sided a reputation. At once a poet, a<br />
satirist, a critic, and a scholar, Maginn deserves to<br />
have his memory kept alive in spite of his follies<br />
and foibles. If the spot where he lies buried<br />
cannot be placed beyond doubt, it is to be hoped<br />
that the movement which has been set on foot<br />
will not be allowed to rest until some memorial<br />
has been raised elsewhere.<br />
<br />
ee<br />
<br />
NOTES FROM PARIS.<br />
<br />
<br />
<br />
Paris, July 19, 1893.<br />
<br />
E were sitting on the terrace of the house<br />
<br />
that overlooks the park and the Seine<br />
<br />
beyond. It was after dinner and quite<br />
<br />
dark, just the time, over the cigarettes and the<br />
coffee, to listen to strange stories. And Daudet<br />
was telling them as he can tell them. I presume<br />
that there is no man less superstitious than<br />
Alphonse Daudet, or one who less believes in<br />
supernatural phenomena, yet he declared himself<br />
unable to explain what happened to him one<br />
night as he was walking out in the woods of<br />
Meudon with his friend Alfred Delvau. That<br />
night they were pursued for hours by a horrible<br />
laugh. Daudet imitated the laugh, and one of<br />
the men who were listening to the story said, “It<br />
must have been the laugh of a mad woman.”<br />
“ We first heard it,” said Daudet, “as we were<br />
walking along a hedge-side. It startled me,<br />
<br />
<br />
<br />
<br />
<br />
;<br />
;<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. gI<br />
<br />
coming in the silence of the night, and I asked<br />
Delvau if he had heard it too. Just then it came<br />
again. Delvau cried out to know who was there,<br />
but there was no answer. We walked on, and<br />
again and again we heard the laugh close to our<br />
ears, but coming us it were from the other side<br />
of the hedge. Unable to stand it any longer I<br />
dashed through the hedge cutting my face badly<br />
in so doing. But there was nobody to be seen,<br />
though I searched carefully for a long time. No<br />
sooner had I returned to my friend, and we had<br />
begun walking on again, when once more we<br />
heard the ghastly ‘“He-he-he-he-he.” Delvau<br />
reminded me that there was a lunatic asylum for<br />
females in the neighbourhood, but that explained<br />
nothing, as no woman was in sight nor to be<br />
foun’ by the most careful searching. And, though<br />
neither Delvau nor myself were at all supersti-<br />
tious, we got thoroughly frightened, and the end<br />
of it was, the laugh continuing, that we simply<br />
took to our heels and ran for miles as though a<br />
pack of evil spirits were at our heels. I have<br />
never been able to explain to myself whose laugh<br />
it was.”<br />
<br />
<br />
<br />
Daudet then told us of an adventure, which he<br />
had in Germany when on a foot excursion, with<br />
Delvau, along the banks of the Rhine, and how<br />
they happened into a murder-inn. Daudet had<br />
imprudently shown some hundred-frane gold<br />
pieces, the sight of which had excited the<br />
cupidity of the people of the house. After they<br />
had retired te their room, Daudet standing at<br />
the window overheard some people in the next<br />
room, who were also standing by the open window,<br />
talking together, and though he could not under-<br />
stand all they said, he heard enough to warn him<br />
that an attack was being planned. He acccrd-<br />
ingly awoke Delvau, who, by the way, always used<br />
to go to sleep directly after the evening meal, to<br />
noctambulist Daudet’s despair; a barricade was<br />
thrown up, and the hunting-knives unsheathed<br />
and held in readiness. When a few minutes later<br />
the thieves entered the room, the sight that met<br />
them so appalled them that they ran shrieking<br />
thence. “We did not go to.sleep again,” said<br />
Daudet, “as you may imagine, but left the inn,<br />
without being troubled for our score, as soon as<br />
day broke.”<br />
<br />
<br />
<br />
I was saying how rarely it is that nowadays<br />
romance, though earnestly pursued by many of<br />
us, ever comes our way, and how this had been a<br />
fortunate adventure, when one of the ladies, I<br />
think it was Jeanne Daudet, the granddaughter<br />
of Victor Hugo, came from the drawimg-room<br />
and said: “ De Maupassant is dead.” We had<br />
all been chatting merrily till then, but this piece<br />
<br />
of news thus proclaimed in the dark struck<br />
silence down upon us, and there was a long<br />
pause while we waited for Daudet to speak. But<br />
he said nothing, and it gradually impressed itself<br />
upon us—from this very silence of his—that,<br />
being an invalid himself, this shadow of death<br />
had chilled his heart. Someone at last broke the<br />
painful silence, saying: “It is perhaps a mercy.”<br />
Another said: “ One might almost say, ‘ What,<br />
again?’?”’ But we were all ill at ease, and we<br />
felt that this was a catastrophe on which no com-<br />
ment could be made. But then the New Jour-<br />
nalism broke in upon our reverence. An able<br />
editor on hearing the news had at once despatched<br />
a man down to Champ Rozay, and a letter was<br />
handed in, brought post haste from Paris, praying<br />
the dear and most honoured master to write an<br />
article on the man and on his death. I shall<br />
not forget Dandet’s face, as, by the light of<br />
vestas which we struck and held for him, he read<br />
the letter. Of course he refused. “I have<br />
nothing to say ; I can write nothing. What can<br />
be said ? Poor De Maupassant. Did we not bury<br />
him two years ago?”<br />
<br />
<br />
<br />
Emile Zola has been made an officer of the<br />
Legion of Honour. This distinction has pro-<br />
voked a great deal of spiteful attack against him.<br />
Rochefort, in the Jntransigeant, on the morrow<br />
of his promotion, “went for” him in true<br />
Rochefortian style. He said that it was shame-<br />
ful that a man of letters should accept such a<br />
decoration from the hands of the people who<br />
govern France, and he went on to criticise Zola’s<br />
work in no kindly spirit. He said, to begin with,<br />
that he would give every line that Zola ever<br />
wrote for Daudet’s one book ‘ Sappho,” an<br />
opinion shared, it may be mentioned, by many.<br />
He also said that Zola’s books had no heart in<br />
them, and resembled a gallery of lifeless wax-<br />
work figures. He then pointed out—and I<br />
thought it petty on his part, a Saturday Review<br />
process at the best—a number of mistakes which<br />
Zola has made in his books, as where he speaks,<br />
in the “Faute de VAbbé Mouret,’ of the<br />
“lizards hatching their eggs,” and similar little<br />
slips, which are all too pardonable.<br />
<br />
<br />
<br />
Edouard Drumont, the same day, attacked<br />
Zola most ferociously in his Jew-baiting paper,<br />
La Libre Parole, in a three-column article, headed<br />
“Zola, or the Reward of the Pornographer.”. I<br />
had not patience to read Drumont’s article, which<br />
smelt of hysteria, and I only mention it to show<br />
that there are in Paris many whom Zola’s hard-<br />
earned laurels vex.<br />
<br />
<br />
oe THE AUTHOR.<br />
<br />
I personally was very glad that Zola should<br />
te so distinguished, not that I attach any impor-<br />
tance to decorations, but because the public does,<br />
and because if ever a man deserved distinction<br />
it is Emile Zola. Leaving the literary merits of<br />
his books out of question, no one can fairly deny<br />
that there is a hero in this little man, who has<br />
fought successfully such a fight, and has come<br />
out victorious. Every man of letters should have<br />
Zola’s bust or his portrait in his study, even if<br />
his taste has banished Zola’s works from his<br />
bookshelves. His patience, his industry, his<br />
courage, are qualities which should be taken as<br />
examples, all the more so that they have brought<br />
him to so splendid a victory.<br />
<br />
<br />
<br />
Zola was created a Knight of the Legion of<br />
Honour in 1888, and was severely criticised for<br />
his acceptance of this honour by his so-called<br />
“school,” who drew up, and sent in to the<br />
master, a protestation. I saw him at the time,<br />
and asked him what he had to say about this<br />
protestation, which, if I remember rightly, was<br />
to the effect that it was treachery on the part of<br />
the head of a school of freelances, fighting<br />
against all recognised standards, to accept official<br />
patronage, this being tantamount to surrender.<br />
Zola told me that he had decided to take the red<br />
ribbon because it was a great triumph for the<br />
literary ideas he had fought for, ideas which had<br />
been reviled and persecuted from one end of<br />
Europe to the other. Personally he did not care a<br />
fig for any ribbon, red, blue, or yellow, but he was<br />
delighted to show the idiots in France (this with<br />
a growl), and the idiots out of France, that the<br />
Government appreciated the literary value of his<br />
work, As to the protestation of the school, he<br />
said: “I have no school. I never pretended to<br />
have any. Icannot help people imitating me. I<br />
am completely independent, and I intend to re-<br />
main so.” It was then that he first spoke of his<br />
contesting a seat at the Academy.<br />
<br />
<br />
<br />
Just ten years before that, at the mstance of<br />
Gustave Flaubert and of Alphonse Daudet, the<br />
red ribbon had been promised to Zola by a<br />
Minister named Bardoux. It was Daudet who,<br />
dining with Bardoux, and being consulted by the<br />
latter as to whom he should decorate, had pro-<br />
posed Zola’s name. Bardoux was delighted. with<br />
the suggestion, and said that the matter might<br />
be considered settled. Zola, in consequence, was<br />
invited to call upon Bardoux, and, after his call,<br />
everybody, himself included, expected to see his<br />
name figure on the honour-list of July 14. It<br />
did not, however, appear, nor on Jan. 1 following.<br />
Bardoux had probably been worked upon by<br />
<br />
Zola’s too numerous enemies, and so changed his<br />
mind. Zola used to say, when decorations were<br />
spoken about in his presence: “ I was very nearly<br />
decorated by Bardoux, and that suffices.” ‘To-<br />
day he is officer of the Legion of Honour. It<br />
ig true that Quesnay de Beaurepaire is com-<br />
mander.<br />
<br />
<br />
<br />
Here is a little story about Emile Zola which<br />
shows his kindness of heart Some weeks ago a<br />
young student named Zimmer was arrested and<br />
locked up in Mazas on the charge of trying to<br />
break into a room, the door of which had been<br />
sealed up by the Russian consul and a French<br />
magistrate, pending the settlement of a dispute<br />
as to whom the papers, left in that room by its<br />
former tenant, a Russian student, who had com-<br />
mitted suicide, should be handed. The papers<br />
were of a nature to gravely compromise a number<br />
of Socialists living in Paris and in Russia, and<br />
had been claimed by the Russian consul fora<br />
very obvious purpose. It was alleged by the<br />
authorities that a conspiracy had been formed<br />
amongst a certain number of students to get<br />
possession of these papers and to destroy them.<br />
Anyhow, Zimmer and another student named<br />
Julien were caught by the detectives set to watch<br />
the house, near the attic where the compromising<br />
papers were stored, and it was alleged that they<br />
had already broken one of the seals upon the<br />
door. It may be recorded that, thanks to the<br />
efforts of a very brilliant young barrister, Mr.<br />
Raymond Daly, who, by the way, has succeeded<br />
poor Child as Paris correspondent to the New<br />
York Sun, both Zimmer and Julien were<br />
acquitted. Well, whilst Zimmer was in_ his cell<br />
at Mazas, finding prison life very dull, and having<br />
nothing to read, he wrote to Emile Zola, and,<br />
telling him of his ennui, asked him to send him a<br />
copy or two of his books to help him while away<br />
the time. The next day a huge packet was<br />
delivered to Prisoner No. so-and-so, which was<br />
found to contain Zola’s complete works, together<br />
with a kind letter bidding the young man keep up<br />
heart. Zimmer told me this himself on the night<br />
of his liberation from Mazas, and I could not<br />
help wondering how many distinguished English<br />
novelists would have responded in the same way<br />
to a letter from an unknown person lying in<br />
durance in Holloway under a charge of burglary.<br />
<br />
<br />
<br />
I think it should be a point of etiquette in the<br />
literary world that no person engaged himself in<br />
the production of books should write criticisms<br />
on the works of others, and that editors of news-<br />
papers and reviews should not employ critics who<br />
are authors at the same time. What would be<br />
<br />
<br />
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|<br />
i<br />
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i<br />
i<br />
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<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 93<br />
<br />
thought of a man who, wanting to have an<br />
opinion on a parcel of tea put on the market by<br />
one importer should hand it for examination to<br />
another importer, who has no dearer wish at<br />
heart than to see his own packets of tea univer-<br />
sally accepted as the best and only valuable.<br />
The opinion of the critic, who is also an author,<br />
cannot but be biassed by his own interests, and<br />
it is quite natural that he should use the<br />
weapon wrongfully placed in his hands to destroy,<br />
as far as in his power lies,any and every competitor<br />
that may come his way. I know one or two<br />
gentlemen who eke out incomes derived from the<br />
production of literary wares by commenting on<br />
the literary wares of fellow authors, and I am<br />
sorry to say that in every case they show them-<br />
selves as ferocious as does a dog fighting for his<br />
Lone. Let there be critics certainly, but let<br />
these be critics only and not competitors of the<br />
people upon whose productions they pass judg-<br />
ment. It may be noted that in no other profes-<br />
sion but the literary profession is the critic the<br />
competitor of those whose works he criticises.<br />
<br />
Rosert H. SHERARD.<br />
<br />
GUY DE MAUPASSANT.<br />
<br />
—_—__—<br />
<br />
()' the many sad events which it has been<br />
<br />
<br />
<br />
one’s fate—in this world of sorrow—to<br />
<br />
see, I do not know of any more sad, more<br />
poignant than the long agony and most unhappy<br />
death of our dear and great master. These are a<br />
tragedy so appalling that to express its horror<br />
one should have the pen of Aeschylus or of<br />
Sophocles. Let Guy de Maupassant be conceived<br />
in these last bitter days. Let one remember how<br />
he, reluctant, was inexorably driven down, down,<br />
from a fair sun-lit pinnacle, into the valley of the<br />
shadow of death ; how, recoiling from the hideous<br />
spectacle of this valley of night, and knowing that<br />
he might never retrace his steps to the lofty,<br />
pleasant eminence from which he had come, he<br />
essayed with a sudden stroke—I refer to his<br />
attempt at suicide—to enfranchise himself, and<br />
with reason to abdicate life also.<br />
<br />
But it was not to be, and into the night he was<br />
plunged, and, away from our eyes, who, wandering<br />
on the borders of the pit, could only hope, and<br />
against hope, that he who was lost down there,<br />
might have no recollection of aught in the world<br />
above from which fate the Furies had hounded<br />
him. Oh, the pitiful groping of his in that<br />
shadow land, the dumb wonder that must have<br />
been his at his environment, the poor aching head<br />
<br />
throbbing to remember, to understand, the eyes<br />
straining to pierce the night.<br />
<br />
In God’s goodness in time the end came; the<br />
sounds of the pitiful struggle in the night became<br />
fainter and fainter, and the rest was silence. It<br />
was a long agony, but for the divine mercy it<br />
might have been prolonged and with it our un-<br />
availing sorrow.<br />
<br />
The night has closed in on him, but his work<br />
remains in luminous and splendid testimony of<br />
the master that he was. This aristocrat of<br />
letters will be remembered in the days of<br />
democracy to come. He will be looked back<br />
upon, when literature also has succumbed to trade,<br />
the typewriter having supplanted the quill, the<br />
noisy newspaper having, by bribing these and<br />
starving those, robbed the muse of the last of<br />
her sons, as we look back on the artificers in other<br />
walks, the workers in metal and glass and<br />
leather, the weavers, the carvers, and gold-<br />
smiths, and regret, in the shoddy in which we<br />
are set, that the cunning of commercial specula-<br />
tion has taken the place of the cunning of<br />
glorious hands. When vulgarity is everywhere,<br />
he will be remembered as one of the last<br />
in whom not anything was common. Just<br />
as we finger with admiration tinged with regret<br />
the brocade found in an old armoire, which, in<br />
the days of Louis the King, was worn 'y a great<br />
marquise, and compare it with the lewd passemen-<br />
terie of B.rmingham or of Leipzic-on-the-Elbe,<br />
so shall we admiringly turn over these pages of<br />
his, and sigh for the days when the man of letters had<br />
a lofty ideal of style and the consciousness—akin<br />
to heroism—to realise it. Not one sentence shall<br />
we find in which this ideal was forgotten; from<br />
first to last the work of de Maupassant is that of<br />
a master. This entire refinement of style, this<br />
utter loathing of vulgarity, explains his choice of<br />
subjects. This was a gentleman running tilt at<br />
the vices of a vulgar and an unchivalrous age.<br />
The cowardice, the cruelty, the meanness of men,<br />
the degradation of women, who have always been<br />
in harmony with their natural mates and influ-<br />
enced by them, so that in knightly days we had<br />
heroines, and in cunning days we have tricksters,<br />
are all the outcome of the substitution to the<br />
high ideals, first of physical force, of personal<br />
courage, of ambition, of glory, which charac-<br />
terised the days of aristocracy, of the low ideals<br />
of the days of democracy, of cunning and com-<br />
merce, and all the petty meannesses of the shop<br />
and the counting-house. There was something<br />
of the Don Quixote in de Maupassant’s attitude<br />
towards his contemporaries. He was a gentle-<br />
man, and he scourged the want of gentle quali-<br />
ties in an age where money has replaced honour.<br />
His habits might be described, and conversations<br />
<br />
<br />
<br />
<br />
94<br />
<br />
quoted which would confirm this view of what<br />
prompted him in his choice of subjects, but for<br />
that space is wanting. And it is moreover—in<br />
the freshness of our sorrow—no pleasant task to<br />
dwell upon him, even in warmest eulogy.<br />
<br />
Paris, July 21. Rosert H. SHERARD.<br />
<br />
oc<br />
<br />
FEUILLETON.<br />
<br />
<br />
<br />
A Meruop or ADVERTISEMENT.<br />
<br />
HEY were friends, and lived together in<br />
f3 dirty chambers, in a dirty Inn, and quar-<br />
relled o’ mornings, and o’ nights became<br />
confidential, and would sonorously narrate what<br />
they had done, and shrilly swear what they would<br />
do, and would rail at the timidity of editors, and<br />
the purblindness of the reading world. For<br />
they had literary designs, though as yet they had<br />
not found the road to public recognition. When,<br />
therefore, one of them, Mr. Joshua Jones (I refer<br />
to the now celebrated historian), burst in upon<br />
his companion, Mr. Robert Treves (for a brief<br />
period much be-paragraphed as Robin Trefusis,<br />
the minor poet), and exclaimed, “I saw my<br />
chance and took it,” he excited in his friend’s<br />
mind only a languid curiosity, much disappoint-<br />
ment having made the bard sceptical as to the<br />
value of any chances likely to fall to either of<br />
them.<br />
<br />
“Been to the club, and sneaked a new<br />
umbrella ?” he asked, looking wearily from the<br />
pages of a parchment-covered book, and twisting<br />
up the tip of his flaxen beard.<br />
<br />
“No,” replied Jones. ‘“ This is a real chance.”<br />
<br />
“Mr. Sims has given you a thousand pounds<br />
to write a melodrama without a baronet in it?<br />
No? Going to index a book about Rameses II.,<br />
or to catalogue the MSS. in a brewer’s library ?<br />
No? Hold on! Utknow your limits, and must<br />
guess it soon. It is literary—eh?”’<br />
<br />
“ Yes—I suppose so.”<br />
<br />
“Then you're going to do the historical serial<br />
for the Family Gazette—‘ Count Robert of Roc-<br />
Amadour’ or ‘Eugene, the Cavalier: a Tale of<br />
the Civil War’? No? Well, what?”<br />
<br />
“T’m going to do the poetical T’s for the New<br />
Literary Biographical Series. It looks like a<br />
long job. You've no idea how instinctively<br />
people whose names begin with T drop into<br />
poetry or ”—noticing his friend’s bow’’—er—into<br />
maudlin slush. I’ve just ordered all the books that<br />
have ever been written about Tennyson, Thompson,<br />
Tupper, and similarly obvious people. But there’s<br />
a heap more of them, and I’ve got a free hand to<br />
<br />
THE AUTHOR.<br />
<br />
put in and leave out as I like. And T’ll tell you<br />
what—I’m going to give poor old Robinson<br />
Taylor a show. He shall have his say at last,<br />
poor dear old chap! I shall swear right out that<br />
he was a thundering fine poet. He really wasn’t<br />
bad, you know.”<br />
<br />
« Robinson Taylor! Why he couldn’t write a<br />
cent! He had a trick or two, and that sums him<br />
up. What can you say about him?”<br />
<br />
“T’m going to say something, anyhow. Poor<br />
old Taylor! I remember his first effusion. He<br />
was about fifteen, and very cherubic, all dimples<br />
and smiles. And he brought me a piece of black<br />
introspection beginning, ‘I am a man fulfilled of<br />
sin and shame.’ And we roared over it. No!<br />
He never got a show while he was alive, and Tm<br />
going to give him one now that he’s dead.”<br />
<br />
“Robinson Taylor! Well, you're a staunch<br />
friend. You're prepared to record a heap of lies<br />
in a standard work because you rather liked a<br />
mediocre man as a schoolboy. It’s a prize _per-<br />
formance in log-roling. I wish I was dead.<br />
Perhaps you’d boom me. It might be worth<br />
my while to commit suicide. Would you boom<br />
me, if 1 did? I’m as good as Robinson Taylor.”<br />
<br />
“Better, my dear chap. I can say that con-<br />
scientiously.”<br />
<br />
« And I’ve been waiting a dreadful long time.”<br />
<br />
“ But you’ve never done anything.”<br />
<br />
“ Why, that’s true,” assented the poet musingly.<br />
<br />
“There’s deuced little of me in print. But.<br />
doesn’t that make what there is more precious?<br />
This is a commercial age, and the scarcity of<br />
my wares should enhance their value. 1 have a.<br />
notion that that is what is called political<br />
economy. And I’ve got a book ready, you know.<br />
Tt’s not my fault that it has not yet been pub-<br />
lished. All that is wanted now is the common<br />
publisher to reimburse me for my risk, in giving<br />
up so much time to what is probably going to be<br />
an unremunerative task. And all that could be<br />
worked, if I died, and you boomed me.”<br />
<br />
“Yes, it could” (absently).<br />
<br />
“ My book, I say, would be printed and would<br />
go, if I died and you boomed me.”<br />
<br />
“ Yes, it would” (indifferently). ;<br />
<br />
“My book” (beginning again very slowly, and<br />
stopping as Jones at last looked attentively at<br />
him)<br />
<br />
“What do you mean? ”’ said Jones.<br />
<br />
“Nothing,” said the poet hastily. “ Nothing.<br />
I’m only a little mad.” And he burst into<br />
laughter as the full development of his idea<br />
became manifest to him.<br />
<br />
* * * * *<br />
<br />
Mr Rutherford, the famous publisher of small<br />
editions, was an enterprising man, and Treves<br />
entered to him, knowing that he need not scruple<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i!<br />
4<br />
ay<br />
{<br />
i<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
to lay bare his plan, because it was a flighty and<br />
irregular one, while he could show that the<br />
chances of practical success were fair. Mr.<br />
Rutherford listened politely, smoking slowly as<br />
his visitor talked, and then replied promptly—<br />
<br />
“Yes. It’s a goodish idea—quite a good idea<br />
in fact. But,I must not be mixed up in anything<br />
of that sort. Understand me there. I shall be<br />
innocent, brightly radiantly innocent. But the<br />
chance of selling sufficient copies to pay me for<br />
putting the book on the market is so good, if<br />
you can really secure an advertisement of that<br />
sort, that I am willing to print your poems.<br />
You’ll be reviewed everywhere. I do not offer<br />
you any money for them, for you are a new hand,<br />
and it would be absurd to do so. But I refrain<br />
from charging you anything. And if you like<br />
to tell any one that I gave you a hundred pounds<br />
or so, why do; I shall not contradict you. The<br />
statement would reflect great credit upon both of<br />
us. AndIJ’ll help you to work the fake, if you<br />
are quite sure that you will be discreet.”<br />
<br />
“Tm not likely to talk,” said the poet. ‘Tm<br />
ashamed of the dodge. But I’m going to do it,<br />
because J will be talked of.”<br />
<br />
“Do you tell your friend, the biographer? Or<br />
is he to genuinely mourn a deceased friend in<br />
<br />
our<br />
<br />
“Ql<br />
to.”<br />
<br />
“Yes. Well it would certainly be injudicious,<br />
to keep him in the dark. If he stands in with<br />
us, only pretending to think you dead, he will<br />
say nothing of you except the good. But if he<br />
thinks you are really out of the way, and that<br />
you can never reproach him for his virtue, he<br />
might be tempted to do his duty—to be exactly<br />
honest—and so on.”<br />
<br />
“‘That’s the man!” said Treves. ‘‘ He would<br />
swagger about his honesty, and would slate me<br />
right and left, and take credit to himself for the<br />
pain he was causing himself. I'll tell him.”<br />
<br />
And this is how it came about that Robert<br />
Treves’s book was published, and this is why<br />
some six months later the poet disappeared on to<br />
the Continent laughing, while the following para-<br />
graph appeared in the New Literary Biographical<br />
Series :<br />
<br />
“ Treves, Robert (Robin Trefusis). Born July,<br />
1862, at Ovington Manor, Norfolk. Died May,<br />
1893, at Davos Platz. By the premature death<br />
of this young singer, England has lost a poet<br />
who, as his voice grew stronger—more certain in<br />
execution and more extended in range—would<br />
have done her high honour. His youth, in as<br />
great a degree as his fastidiousness, accounts for<br />
the scantiness of the work he has left behind<br />
him; but by none of our recent verse-makers<br />
<br />
I shall tell him. It would be brutal not<br />
<br />
95<br />
<br />
has his dexterity of treatment been excelled, and<br />
few have been inspired with loftier themes. The<br />
brevity of our notice has been dictated not by the<br />
obscurity of the poet, but by the fact that a<br />
biography can take cognizance only of perform-<br />
ance, and not at all of promise. But if the per-<br />
formance here has been small, it has been good,<br />
and the promise very great. No record of the<br />
poets of the Victorian era can be considered<br />
complete, without mention of the name of Robin<br />
Trefusis; and some of the more individual and<br />
characteristic portions of his one slender volume<br />
will be found to constitute a valid claim to his<br />
admission into this Series.”<br />
<br />
* * * * *<br />
<br />
“And now,” said Mr. Rutherford gleefully,<br />
‘* it’s time for me to work the racket.”<br />
<br />
So he sent letters to all the literary papers<br />
explaining the fact that Mr. Treeves was still<br />
alive, and that his name had got into the bio-<br />
graphical series by a culpable error that was<br />
likely to give great pain, not only to Mr. Treves’s<br />
immediate friends, but to all lovers of English<br />
literature. Then the erring biographer was<br />
ordered by his employers to make an abject.<br />
apology in all those literary papers for’ his<br />
egregious carelessness, and he did so. And the<br />
incident furnished copy to journalists of all<br />
sorts for many days, while the book received<br />
serious attention from every review of note in the<br />
kingdom. So that it is not surprising that in the<br />
absence of Mr. Treeves his bed-maker was inter-<br />
viewed in a society paper, and the great British<br />
public were duly aroused to the fact that the<br />
new poet wore side-spring boots, read the Daily<br />
Telegraph, and threw cigarette ends all over the<br />
floor.<br />
<br />
“Tt’s working beyond my expectation,” said Mr.<br />
Rutherford, and he prepared a second edition,<br />
with a black cover to it. ‘I begin to wonder the<br />
chap does not come and ask for some money.”<br />
<br />
Then an omniscient and an indefatigable<br />
statesman, who was sparing time from the<br />
government of the Hmpire to deliver a lecture on<br />
the “ Evolution of Poesy” to the Asiatic Society,<br />
quoted from the book. Immediately two school-<br />
fellows of Robert’s wrote to the papers about<br />
him. One gave anecdotes to prove that he was a<br />
morose and stupid boy. The other described<br />
him as a perpetual ray of clever sunshine, the<br />
darling and despair of his tutors, the tyrant and<br />
idol of his companions. And thirteen requests<br />
for his autograph were sent to his chambers.<br />
And a parody of one of his poems appeared in<br />
Punch. And a man who knew him at Cambridge<br />
called to borrow a trifle. Briefly, Robert Treves<br />
was on the road to fame.<br />
<br />
“ Now Ido wonder he doesn’t turn up,” said<br />
<br />
<br />
<br />
96<br />
<br />
Mr. Rutherford. “If he doesn’t want the bread,<br />
surely he would like the butter.” And he got a<br />
cheap edition in paper covers with the sub-title,<br />
“ From beyond the bar,” and an édition de luxe<br />
in white vellum, limited to two hundred and fifty<br />
impressions, with a copper-coloured etching of<br />
the poet as a frontispiece.<br />
<br />
And still there came no news.<br />
<br />
“ Where the deuce is he?” said Mr. Ruther-<br />
ford, at last, with a little irritation in his voice,<br />
addressing Mr. Joshua Jones. “ He can do me<br />
another book if he likes. He can’t really write<br />
very much—at least I don’t think so, and he<br />
would soon wear thin—but he’s a safe draw just<br />
now. Write to him, and ask him about it. Tell<br />
him I'll pay for the next one—and stretch a<br />
point and give him something on the old one<br />
too, if he likes. Where is he Te<br />
<br />
“< FIe’s in Paris,” said Jones. “ He telegraphed<br />
this morning from there, saying that a letter<br />
wo 1d follow.”<br />
<br />
“Capital! Then there’s no bother about it at<br />
all. Write to him and tell him so. If he<br />
hasn’t got anything by him, let him set to work<br />
and translate some of those new French beggars<br />
—Sensitivistes and Hystériques—you know. And<br />
let him use the simplest and oldest ballad<br />
metres, particularly when the sentiment is com-<br />
plicated and new. He might take ‘ Old Mother<br />
Hubbard’ as a model. I can sell him. Tell<br />
him that. I can sell him. I know a man who<br />
draws vile clumsy things on the wood, with<br />
Durer’s perspective and Bouguerau’s faces, and<br />
he’ll illustrate the book, and we'll get the tail-<br />
pieces from tra ings at the British Museum.<br />
You write about it to him at once. There’s<br />
money in it just now. But he’s got to be quick.<br />
You write at once.”<br />
<br />
* * * * *<br />
<br />
Mr. Joshua Jones promised, but he never kept<br />
his promise. For that evening he received a<br />
letter from his friend.<br />
<br />
“My dear Jones,” it ran, “We have played a<br />
dirty trick, and I leave you to repent, for I<br />
always shirk a duty. I have read what you said<br />
of me, and also what all the critical people have<br />
said since. I know that Ihave run into editions,<br />
but I also know that I have written nothing par-<br />
ticularly good, and that I can never write any-<br />
thing so good again. J have decided therefore to<br />
restore you to your position as an accurate man<br />
by constituting myself a dead poet. Yes, when<br />
you read this I shall be a dead poet. You<br />
needn’t worry about me, I shouldn’t worry much<br />
about you.—Yours very sincerely,<br />
<br />
“ RoBert TREVES.<br />
<br />
“P.§,—Tell Rutherford I fancy he will see his<br />
<br />
THE AUTHOR.<br />
<br />
way to a new edition upon the strength of my<br />
furnishing this new advertisement.<br />
<br />
“ Second P.S.—I haven’t a relation in the world<br />
nearer than the cousin who black-balled me for<br />
the Blenheim. Have my things sold, pay your-<br />
self for your trouble, don’t pay my debts, give<br />
our admirable Mrs. Thompson a fiver for the<br />
article which appeared in ‘‘ The Smart Review ”<br />
about me—I am sure the editor has not troubled<br />
to do so—and send the balance, with my dog, to<br />
the Dog’s Home. Good-bye.” O. J.<br />
<br />
ee<br />
<br />
$0-SO SOCIOLOGY.<br />
<br />
<br />
<br />
1. Philosophy helps Man to be serene ; science,<br />
to be sure ; religion, to be sane; and misfortune,<br />
to be strong.<br />
<br />
2. Everyone was born, and will die, in debt to<br />
human society.<br />
<br />
3. There are two main kinds of history—the<br />
popular and the precise.<br />
<br />
4. Who learns only on authority, believes only<br />
by memory.<br />
<br />
5. The greatest are those who can, if they<br />
must, best stand alone.<br />
<br />
6. The rare is equally liable to reverence and to<br />
ridicule. :<br />
<br />
7. Without pain, no progress; without pleasure,<br />
no permanence.<br />
<br />
8. Self-conceit differs from self-confidence, as<br />
dreams from deeds.<br />
<br />
g. Contempt is a common compliment from the<br />
contemptible.<br />
<br />
10 The present seems degenerate to the degene-<br />
rating.<br />
<br />
11. Who thinks too little of social opinion is a<br />
cynic : too much, a slave.<br />
<br />
12. Candour is virtue or vice, according to<br />
motive.<br />
<br />
13. Absence of heart is no sure sign or proof<br />
of presence of head.<br />
<br />
14. Right religion and sure science are twin<br />
phases of true truth.<br />
<br />
15. Only the useful ever deserves to be.<br />
<br />
16. The highest use of beauty is not to please,<br />
but to raise.<br />
<br />
17. Nature may often seem hard, but can never<br />
be unjust.<br />
<br />
18. No one ever broke a natural law; it<br />
simply broke him, when unwise enough to try.<br />
<br />
19. Nature’s chief function is to grow ; Man’s,<br />
to adjust.<br />
<br />
20. Who knows character and understands<br />
circumstance may foretell conduct.<br />
<br />
21. In life, as in light, focus makes for force.<br />
<br />
i<br />
.<br />
Vs<br />
iS<br />
i<br />
i<br />
H<br />
.<br />
i<br />
i<br />
i<br />
]<br />
i<br />
q<br />
3<br />
i<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
We<br />
<br />
<br />
<br />
THE<br />
<br />
22. Cleanliness, as much as courage, is a<br />
phase of brain-power.<br />
<br />
23. Creed is much more a matter of chance<br />
than of choice.<br />
<br />
24. Shallowness is as readily mistaken for<br />
optimism, as pessimism for poetry.<br />
<br />
PHINLAY GLENELG.<br />
<br />
——— rr<br />
<br />
A BRIDESONG OF BRITAIN.<br />
<br />
<br />
<br />
Sunny of soul is Britain. This day does her heart behold<br />
<br />
A world spread wide for her goings upon ways by her seers<br />
foretold.<br />
<br />
Faces thereon and thereover shine back on her throne from<br />
afar,—<br />
<br />
Faces of children made bright in the light of her rising Star.<br />
<br />
Up from their eyes it ascends towards its zenith of hope,<br />
and its goal<br />
<br />
In that Sabbath of kindreds and kingdoms foretold unto<br />
man by his soul.<br />
<br />
One blood, of one speech, one purpose, to her loyalty of<br />
purpose fast,<br />
<br />
Her babes eat fruit of her sowing; yet the stores of her<br />
storied past<br />
<br />
Wane, and are small accounted, by wealth which her sons<br />
shall bring,<br />
<br />
Tilth of the wastes, and tribute of ocean, and garnering<br />
<br />
Freewill gifts of the soul, all the broad Earth’s hidden store<br />
<br />
Hoarded of time and chaos from the spoilers who spoiled<br />
before.<br />
<br />
Oh, Crown of the one great kindred, wax mighty! let Earth<br />
resound<br />
<br />
Thy praises, our Island Mother, by thy young lions guarded<br />
round<br />
<br />
In the gates of thy seawalled fortress! Therefrom shall the<br />
nations seek<br />
<br />
Ensample of freedom, wisdom in counsel, aid for the weak<br />
<br />
*Neath the shield of the ‘‘ Peace of Britain,’ man’s armour<br />
of breast and brow,<br />
<br />
Wherefrom in spray shall the swords be splintered, where-<br />
through no blow<br />
<br />
May shatter the orb she upholds to the sun, or avail to<br />
break<br />
<br />
Her spirit’s purpose, or hinder the thing that her hand<br />
would make.<br />
<br />
To the teeming promise of time heart-awakened by<br />
marriage bells,<br />
<br />
An answer of praise and rejoicing in the bosom of Britain<br />
<br />
swells :<br />
<br />
Music above and about her is one with a psalm in her<br />
breast<br />
<br />
Rising on high, carried wide on all winds of the Hast and<br />
the West,<br />
<br />
And of North and of South by her offspring. Oh, hymn of<br />
the loyal and free,<br />
<br />
Oh psalm of our love and our longing, ring ever by land and<br />
by sea<br />
<br />
Increasing in prophecy, valiant, victorious, a song of desire ;<br />
<br />
Ring proud over palace and city, ring blythe over home-<br />
stead and byre.<br />
<br />
Strong swordsong, attempered of Saxon, of Norman, of<br />
Celt and of Dane,<br />
<br />
Where ploughshares are forged of the swordblades our<br />
smithying wakes thee again.<br />
<br />
AUTHOR. 97<br />
<br />
This day thou art thundered by cannon, rung out by the<br />
jubilant bells,<br />
<br />
Our lovesong, our bridesong, our birthsong, a song that<br />
forestalls and foretells.<br />
<br />
In the ends of the earth, and those gates of the foe which<br />
are ours, let it rise.<br />
<br />
Ring it north, ring it south, oh ye bells.<br />
ring forth to the skies.<br />
<br />
Hope of Britain,<br />
<br />
Tall city belfry, hidden hamlet spire,<br />
Ring out, ring out your loudest, proudest chime :<br />
Ring hope at dawn, ring joy at eventime ;<br />
Ring round your cadences of crowned desire.<br />
Land and sea are listening<br />
To your merry marriage madness ;<br />
Quiring to the chimes ye ring<br />
Choruses of loving gladness.<br />
Ring for Britain and her Queen,<br />
For the world-spread commonweal<br />
Basing one far-sheltering throne,<br />
Fullest hope the years have seen,<br />
Kindliest longings men may feel,<br />
Widest bond the world hath known,<br />
In kinship, kingship, all our own.<br />
Ring; Ring Britain’s marriage peal.<br />
Britain calls to this day’s feast<br />
Her first and foremost, last and least.<br />
On her breast this marriage night<br />
Shall her gems outshine the sky,<br />
Every hill be tipped with light,<br />
Every happy home be bright<br />
With a realm’s festivity.<br />
Not upon her sleeve is worn<br />
Britain’s heart. Her smile and tear,<br />
Every hope which she holds dear,<br />
Consecrate this marriage morn<br />
Of sailor Prince and English Maid,<br />
On whom her love and trust are stayed,<br />
To all her children yet unborn.<br />
Oh, happy bridal pair,<br />
To whom all hearts are gathered as ye stand<br />
This day to plight your lives, your native land<br />
Crowns you with love and prayer.<br />
Give back untarnished into Britain’s hand<br />
These crowns which all may share ;<br />
So, from the unnumbered loyal breasts<br />
Whereon our Greater Britian rests,<br />
Win ceaseless increase of your love and prayer, as she,<br />
Our Queen, hath harvest of our prayer and love<br />
From seed of lovingkindness, purity,<br />
Womanly wealth of sympathy above,<br />
Past record amongst rulers of mankind,<br />
And, best resource in need,<br />
That Light whereby to find<br />
High hope and righteous deed.<br />
<br />
Such gifts she gives us. Make her gifts your own,<br />
That so these buttressed bases of the throne<br />
May stand; which through Victoria’s reign have grown<br />
To golden strength, beyond each ’dizened story,<br />
On warrior-builded tombs where sleeps an empire’s glory.<br />
Great is your vantage to have been<br />
Our own from birth, and dear to England’s Queen,<br />
Beloved in girlhood, wifehood, widowhood,<br />
Revered for love of him we name “the Good” ;<br />
Mother of Princes whose fair courtesy<br />
Is timely helpful to our empire’s wants,<br />
Princesses whose nice-fingered charity<br />
Lays welcome usury on the gift it grants.<br />
<br />
<br />
<br />
98 THE AUTHOR.<br />
<br />
<br />
<br />
With these, with you, with her rejoice, IL.<br />
<br />
Prince and peasant. Britain’s voice<br />
Pours forth her blessings at this festival, Copyricut in New ZEALAND.<br />
<br />
In faith, in hope, in love, in joy for all. It may interest readers of the Author to know<br />
: _ that there is no provision for registering copy-<br />
Fly, fly Bridesong of Britain. Flash from her bosom in right of books in New Zealand ; therefore that<br />
<br />
ares of fire. ae g : f<br />
Wing, wing till thy world-girt ring shall cling deep-linked P9 tion of the Act of 1886 which provides that<br />
<br />
.,<br />
|.<br />
<br />
with her sons’ desire. registration in a colony is sufficient to secure<br />
Go where the Sunlands, go where the Norlands greet thee, copyright throughout the British dominions is<br />
meet thee with mirth again. strangely inoperative as regards the colony afore-<br />
<br />
Gather all greetings of Sunland and Norland ; twist them<br />
as strands of thy marriage strain.<br />
Brood and ’bide upon bridegroom and bride ; ’bide in bless-<br />
<br />
said.<br />
The ‘ Copyright Ordinance,’ 1842 (N.Z.),<br />
<br />
ing and brood in love ; reads thus :—<br />
Sing them a mirth-song; bring them a birth-song ; hold Whereas it is desirable that the copyright of books<br />
them and help with thy hymns above. should be secured by law to the authors thereof: Be it<br />
Evermore, over sea and shore, bid thy glad hope soar with enacted by the Governor of New Zealand, with the advice<br />
her bright wings spread. and consent of the Legislative Council, as follows :—<br />
Speed thine own towards the Great White Throne, with the 1. The author of any book which shall hereafter be<br />
Psalm of Life which awakes the dead. printed and published, and his assignees, shall have the<br />
From the farthest height of thy path of flight let thy light ole liberty of printing and reprinting such book for the<br />
be bright unto distant lands. full term of twenty-eight years, to commence from the day<br />
Take meet reward as seer and bard in meed of the deed thy of first publishing the same, and also, if the author shall be<br />
faith demands. living at the end of that period, for the residue of his<br />
Loud be thy song in the strongholds of wrong, yea, loud natural life.<br />
and long for the right’s increase, 2. If any person shall during the period or periods<br />
Zealous and leal to the whole wor\d’s weal, till the last blast aforesaid print, reprint, or import, or cause to be printed,<br />
peal from thy lips in peace. reprinted, or imported, any such book without the consent in<br />
Fly, fly Bridesong of Britain, speak with her sons from clime writing of any author or assignee of the copyright thereof,<br />
to clime. or shall, knowing the same to have been so printed, reprinted,<br />
Warmth of the Sunland, strength of the Norland, blend or imported, without such consent as aforesaid, sell, publish,<br />
them, bind them with chime and rhyme. or expose for sale, or cuuse to be sold, published, or exposed<br />
Byer to echo, ever to eddy, ever to throb in the breast of for sale, or have in his possession for sale, any such books<br />
time. J. A. GoODCHILD. without such consent as aforesaid, every such person shall<br />
<br />
be liable to an action at the suit of the author or assignee,<br />
in which action double costs of suit shall be allowed, and<br />
shall also, upon a verdict being given against him in such<br />
<br />
action as aforesaid, forfeit and pay the sum of fifty pounds<br />
CORRESPONDENCE. to the use of Her Majesty, her heirs and successors, for the<br />
public uses of the Colony, and the support of the Govern-<br />
ment thereof.<br />
<br />
<br />
<br />
<br />
<br />
es<br />
<br />
<br />
<br />
<br />
<br />
L<br />
<br />
The following is an extract from a letter<br />
PayMENT FOR INTERVIEWS.<br />
<br />
: ‘ : : received by me from the Registrar of Copyrights,<br />
Sir,—The interview nuisance has assumed pro- Wellington, dated March 2, 1893 :—<br />
<br />
portions that seem to call for drastic measures on In reply to your letter of the 27th ult., I beg to say that<br />
the part of the interviewed. Not only is every there is no provision for registration in the colony under<br />
popular writer expected to grant interviews to the Ordinance of 1842 (quoted), neither is there any Act<br />
representatives of all and sundry journals, but under which ordinary letterpress books can be registered<br />
a practice is springing up of forwardig an in New Zealand.<br />
<br />
examination paper in advance of this ordeal. If It may be asked, “Then why doesn’t the New<br />
the practice is to continue, I wish to suggest that Zealand Parliament make provision for regis-<br />
the least the editors and proprietors of periodicals tering?” That is the point ce Why?<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
can do when they solicit a favour of this character B. R. F. 1.<br />
is to intimate the terms they are prepared to pay ————09Oq.<<br />
for the privilege. It should be made a matter of i<br />
business. This would take away any sense of WHAT THE PAPERS SAY.<br />
<br />
ungraciousness from a refusal. As it is, one is<br />
<br />
under a sort of compulsion to comply. Specu- I<br />
<br />
lative interviewers, too, threaten to become a a : s<br />
<br />
serious plague to busy writers. XY 2 Tur PRrEerernaturat Story.<br />
<br />
© HERE is an article in this month’s<br />
Author,” the Poet went on, after a pause, E<br />
“on the preternatural story, which<br />
<br />
seemed to me to be full of knowledge and obser-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 99<br />
<br />
vation. In it there is quoted the remark of a well-<br />
known London publisher, that nowadays people<br />
cared for nothing but fairy-tales.”<br />
<br />
“T should think,’ the Ordinary Man said,<br />
“that they must be much harder to write. The<br />
limits of the preternatural are much narrower<br />
than those of the natural.”<br />
<br />
He was here told, almost unanimously, that he<br />
was talking nonsense,<br />
<br />
“JT don’t think so,” he cortinued. ‘“ As long<br />
as you are dealing with the natural, you may<br />
repeat yourself freely and make as many varia-<br />
tions as you like on a common theme—the ordi-<br />
nary human love-story is an instance. But when<br />
we come to the preternatural, repetition is not so<br />
easy; it always suggests plagiarism. I have<br />
never read a story—since ‘Dr. Jekyll and Mr.<br />
Hyde’—that dealt with a divided personality<br />
without thinking that the author was indebted<br />
to Stevenson.”<br />
<br />
“That,” the Poet said, “ would be an argu-<br />
ment in favour of the fairy tale—the story of the<br />
preternatural. If it is more difficult, it is more<br />
desirable. And I don’t want the ghost story to<br />
die out.”<br />
<br />
“Yes,” the Mere Boy said; “tell me not in<br />
Christmas numbers ghosts are but an empty<br />
dream. But why are we all getting so literary ?<br />
I started by talking about the hangman.”<br />
<br />
“But surely,” said the Poet, “you couldn’t<br />
wish all the rest of us to end with him ?”—<br />
Barry Parn, in Black and White.<br />
<br />
<br />
<br />
Il.<br />
WITHDRAWN FROM CIRCULATION.<br />
<br />
The relatives of Claude Bernard, the French<br />
author, are engaged at the present moment in<br />
buying up copies of a book of poems which they<br />
think is below the reputation of the celebrated<br />
physiologist. This is not the first instance of an<br />
author’s works being withdrawn from publication.<br />
M. Alexandre Dumas, fils, once published a book<br />
called (very appropriately) “‘ Péchés de Jeunesse.”<br />
It was in verse of poor quality. M. Dumas never<br />
loses an opportunity of buying up a copy. M. de<br />
Mazade and Wilkie Collins have done the same<br />
thing. So have Feydeau and Sainte-Beuve.<br />
Victor Hugo published a satire in 1819 entitled<br />
the “ Télégraphe,” which he subsequently sought<br />
to suppress. Many works have been practically<br />
withdrawn from circulation because their authors<br />
subsequently changed their political opinions,<br />
and on one occasion the Rothschilds contributed<br />
greatly to the success of a book by Toussenel<br />
called the “ Juifs rois de Epoque” by buying it<br />
up. <A recent edition of the same work passed<br />
unnoticed. Louis Napoléon was the providence<br />
<br />
of publishers. He tried in 1834 to suppress the<br />
‘‘ Révision de la Carte d’Europe,” by himself, as<br />
well as many other publications. In more recent<br />
days the books of M. Turpin, the inventor of<br />
mélinite, and of Maitre Cléry, the eminent Paris<br />
barrister, have been suppressed for political reasons.<br />
The task of exterminating a book which has once<br />
been printed is, however, by no means an easy<br />
one. It recalls the Biblical massacres in which<br />
one warrior, the sole survivor, always escapes to<br />
tell the tale—Pall Mall Gazette.<br />
<br />
<br />
<br />
Pec<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
<br />
<br />
R. WALTER BESANT has prepared for<br />
<br />
the August number of the Contemporary<br />
<br />
Review a revise of his presidential address<br />
<br />
at the opening of the Hoxton Library and Insti-<br />
<br />
tute. It will bear the title ‘The Associated<br />
<br />
Life.”<br />
<br />
“ Round the Red House Farm ”’ is the title of<br />
<br />
a lengthy sketch of Warwickshire country life<br />
<br />
which Mr. George Morley has written for the<br />
<br />
Queen. It deals with the natural history of the<br />
<br />
landscape lying between two farms near Offchurch<br />
<br />
Bury, the seat of the Dowager-Countess of Ayles-<br />
<br />
ford. The Record Press are publishing a book by<br />
<br />
Mr. Morley, entitled “Rambles in Shakespeare’s<br />
<br />
Land.” The same writer has written a paper on<br />
<br />
“Shakespeare Commemorations,’ and also one<br />
<br />
entitled ‘Literary Islington,’ both for early<br />
publication in London Society.<br />
<br />
Dr. Karl Leutzner, the well-known author, was<br />
elected a Fellow of the Royal Society of Literature<br />
of the United Kingdom, at a meeting held in<br />
London on the 28th of June.<br />
<br />
Mr. Frankfort Moore’s novel, “I Forbid the<br />
Bans,” is being translated into German by Miss<br />
Adele Berger, and Baron Tauchnitz has already<br />
added it to his Continental Library. Messrs.<br />
Hutchinson have a cheap edition in the press,<br />
which will be ready immediately. The large<br />
demand for Annie 8. Swan’s new book, “ Home-<br />
spun,” will delay the publication until early in<br />
July.<br />
<br />
The Briar Rose, the organ of the Rose Club,<br />
a literary society for women, has just been<br />
issued. It is edited by Miss Mary A. Woods,<br />
and is a publication which appeals to literary<br />
beginners.<br />
<br />
“Dust and Laurels” is the title of a study in<br />
nineteenth century womanhood, by Mary L.<br />
Pendered, to be published shortly, in one volume,<br />
by Messrs. Griffith, Farran and Co.<br />
<br />
<br />
100<br />
<br />
A new serial by Mrs. R. S. de C. Laffan,<br />
entitled “Through the Ranks,” will commence<br />
in an early number of All the Year Round.<br />
Messrs. Jarrold and Jarrold, publishers, Nor-<br />
wich, are about to issue a complete uniform<br />
edition of the same writer’s works, “ Lewis<br />
Draycott” and «Bonnie Kate” being now in<br />
the press. Other novels will follow in due course,<br />
each work costing three and sixpence. The<br />
serial story for boys, now running in the Strat-<br />
fordian, will ultimately be published in volume<br />
form, illustrated.<br />
<br />
Miss Amy Reade, the author of the circus<br />
story, “ Ruby,” which attracted a good deal of<br />
attention a few years ago, and of “ Slaves of the<br />
Sawdust,” is engaged upon a new novel, to be<br />
entitled “Zerma,” Miss Reade has for collabo-<br />
rator, Mr, Alfred T. Story, author of “The Old<br />
Corner Shop,” and other novels.<br />
<br />
Many Inventions, by Rudyard Kipling (Mac-<br />
millan'and Co.). It is pleasant to welcome<br />
a fresh volume from the hand of the master<br />
writer of short stories. No reader will be dis-<br />
appointed with the new volume as a whole or<br />
will see any falling off from the author’s crisp-<br />
ness of expression, vigour of narration, and<br />
keenness of observation. He is a true artist.<br />
He studies his subject; masters the detail and<br />
places it before the reader, so that the veriest<br />
dullard can follow him and almost fancy himself<br />
as keen an observer as the author. Perhaps the<br />
best story in the book, if it is possible to make<br />
a choice, is “The Record of Badalia Herods-<br />
foot.” Its lurid realism is wonderful, and yet<br />
how artistic and pathetic. Again, as in Mr.<br />
Kipling’s former volumes of short stories, the<br />
variety of subject, apart from the literary and<br />
artistic merit, would save the volume from the<br />
paper basket. There is no monotony of the oft<br />
repeated sentimental love story, or of the as<br />
wearisome tale of hair breadth escape. The book<br />
is thoroughly true to humanity, though drawn<br />
from so many varied sources; as such it is a work<br />
of the highest art, and will appeal to the widest<br />
public.<br />
<br />
Songs, Measures, and Metrical Lines, by J. C.<br />
Graham (Kegan Paul, Trench, and Co., Limited),<br />
is a pleasant little book of verse. Some of the<br />
lines about the country and the flowers are<br />
particularly fresh. “Summer” has a distinct<br />
poetic thought well expressed.<br />
<br />
Lieut.-Gen. Sir George Chesney, K.C.B., M.P.,<br />
the author of “The Battle of Dorking,” “The<br />
Private Secretary,” “A Dilemma,” &c., has just<br />
completed a new novel, which, under the title of<br />
“The Lesters,’”’ will be published in the autumn<br />
by Messrs. Smith, Elder, and Co.<br />
<br />
THE AUTHOR.<br />
<br />
“Dan’l’s Delight,” by Archie Armstrong, which<br />
has been running at St. George’s Hall since<br />
Easter, was withdrawn on July 8 to make way<br />
for a new piece.<br />
<br />
Mr. Arthur Dillon is reissuing his book of<br />
poems, “ River Songs and other Poems,” with<br />
Messrs. Eden, Remington. The volume will<br />
appear shortly.<br />
<br />
“Church and Dissent” is the title of a new<br />
book by the Rev. Richard Free, B.D., author of<br />
“The Decay of Nonconformity,” “ Lux Benigna,”<br />
&c., consisting of a series of lectures which will<br />
shortly be published in one volume.<br />
<br />
Miss Peard’s new novel, ‘“‘The Swing of the<br />
Pendulum,” will be published this autumn by<br />
Messrs. Bentley and Sons. The characters are<br />
English, but the scene is chiefly laid in Norway.<br />
<br />
The Publisher's Circular announces that a<br />
Civil List pension of £200 has been granted to<br />
Mr. John G. Evans, to enable him to continue his<br />
researches in Welsh literature. A pension of<br />
£75 has also been granted to Mrs. Minto, widow<br />
of Professor Minto, and one of £50 to Mrs.<br />
Frances E. Trollope, widow of Mr. Thos. A.<br />
Trollope.<br />
<br />
Mrs. Waugh has translated with marked<br />
dexterity ‘The Two Countesses ” of the Baroness<br />
von Ebner Eschenbach. The volume has been<br />
published by T. Fisher Unwin in his Pseudonym<br />
Library.<br />
<br />
“Gearing and the Economical Transmission of<br />
Power,” by M. Powis Bale, A.M.LC.E., has just<br />
been published as No. 1 of their Technical Series<br />
by Messrs. Wm. Rider and Son Limited.<br />
<br />
“The Index to Periodical Literature of the<br />
World,” covering the year 1892, which has just<br />
been issued from the office of the Review of<br />
Reviews, is a monument of industry and enter-<br />
prise. Not only does it give the contents of the<br />
<br />
principal periodicals of the world for the year<br />
<br />
under review, but it gives a classified table of<br />
magazines with their editors, addresses, and<br />
some extremely useful remarks. Issued at a<br />
merely nominal price of 5s., the publication<br />
deserves the support of every man and woman of<br />
letters, and it would be impossible to find for<br />
them a better investment.<br />
<br />
In spite of the “ bad times,” of which we have<br />
heard so much, yet another firm of publishers has<br />
commenced business—Messrs. Bliss, Sands, and<br />
Foster, of 19, Craven-street, Strand.<br />
<br />
Mr, Grant Allen has written a new story for<br />
Messrs. Raphael Tuck and Co., entitled “An<br />
Army Doctor’s Romance,” which will appear<br />
in the Breezy Library.<br />
<br />
<br />
<br />
<br />
<br />
i<br />
1<br />
it<br />
FS<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“ A Man of Mystery,” a novel by Mrs. Har-<br />
court Roe, will shortly be published by Messrs. J.<br />
Blackwood and Co., price 6s.<br />
<br />
“ A Splendid Cousin,” the successful story in<br />
the Pseudonym Library, by Mrs. Andrew Dean,<br />
is to be translated into French, and will appear<br />
in the columns of the Débats.<br />
<br />
<br />
<br />
Erratum.<br />
<br />
The title of Mr. Mackenzie Bell’s forthcoming<br />
volume of poems is “ Spring’s Immortality and<br />
Other Poems,” xot ‘Spring, Immortality, and<br />
Other Poems” as announced in our June number.<br />
<br />
=><br />
<br />
<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
<br />
<br />
<br />
Theology.<br />
<br />
CLIFFORD, Dr. Jonn. The Christian Certainties: Dis-<br />
courses and Addresses in Exposition and Defence of<br />
the Christian Faith. Isbister and Co. 3s. 6d.<br />
<br />
Hatcu, Epwin, D.D., and Reppatu, H. A. A Concord-<br />
ance to the Septuagint, and the other Greek Versions<br />
of the Old Testament (including the Apocryphal<br />
Books). PartII. '—Ezavos. Oxford, at the Clarendon<br />
Press ; Henry Frowde. Card covers, 21s.<br />
<br />
Howe, Epwarp. Gleaning in Many Fields. Notes on<br />
the New Testament. Collected by the late Thomas<br />
<br />
Hornby, M.A. In2 vols. Liverpool. Simpkin, Mar-<br />
shall.<br />
Juxes, ANDREW. The Order and Connection of the<br />
<br />
Church’s Teaching. Longmans. 2s. 6d.<br />
<br />
KINGsLaAnp, Wm. The Esoteric Basis of Christianity, or<br />
Theosophy and Christian Doctrine. Part II. Genesis.<br />
Theosophical Publishing Company.<br />
<br />
Matz, Rev. Epwarp. St. Thomas Aquinas on the Lord’s<br />
Prayer. Translated from the Latin. Skeffington and<br />
Son.<br />
<br />
Miter, Rev. J. R.,D.D. Come ye Apart; daily readings<br />
in the life of Christ. Author’s edition. Sunday School<br />
Union. 3s. 6d.<br />
<br />
Miunez, Rev. J. R. Considerations of Eucharistic Wor-<br />
ship ; or, True and False Doctrine of the Eucharistic<br />
Sacrifice. Skeffington.<br />
<br />
Money, Acnes L. Thoughts for the Sick (with prayers<br />
and hymns). With a preface by M. E. Townsend.<br />
Second edition. Wells Gardner. ts. 6d.<br />
<br />
Move, Rev. H. C. J. The Cambridge Bible for Schools<br />
and Colleges. The Epistles to the Colossians and to<br />
Philemon. With introduction and notes. Cambridge<br />
University Press.<br />
<br />
Swetz, H. B. D.D. The Akhmim Fragment of the<br />
Apocryphal Gospel of St. Peter, edited, with an intro-<br />
duction, notes, and indices. Macmillan. 5s. net.<br />
<br />
Texts AND Strupies. Contributions to Biblical and<br />
patristic literature, edited by J. Armitage Robinson,<br />
B.D., vol. Il., No. 3; Apocrypha Anecdota, by Montagu<br />
Rhodes James, M.A., paper covers, 6s.; the Philocalia<br />
of Origen, the text revised, with a critical introduction<br />
by J. Armitage Robinson. Cambridge, at the Univer-<br />
sity Press. C.J. Clay and Sons.<br />
<br />
IOI<br />
<br />
History and Biography.<br />
<br />
Aanew, Srr ANDREW.—The Hereditary Sheriffs of Gallo-<br />
way: Their “Forbears” and Friends, their Courts,<br />
and Customs of their Times. With notes of the early<br />
history, ecclesiastical legends, the Baronage, and place<br />
names of the province. In 2 vols. David Douglas.<br />
Edinburgh: Simpkin, Marshall.<br />
<br />
BELLAsIs, Epwarp. Memorials of Mr. Serjeant Bellasis.<br />
Burn and Oates. 10s. 6d.<br />
<br />
Bickrorp-SmirH, A. H. Greece under King George.<br />
Richard Bentley and Son.<br />
<br />
BrsHor, CorTLanpT F., Pu.D. Studies in History, Eco-<br />
nomics, and Public Law. Vol. 3, No. 1. History of<br />
elections in the American Colonies. Columbia College,<br />
New York.<br />
<br />
Brapury, A. G. and Cuampney, A. C. A History of<br />
Marlborough College, during fifty years, from its foun-<br />
dation to the present time. Illustrated. John<br />
Murray, 7s. 6d.<br />
<br />
Burton, IsaBEL.—The Life of Captain Sir Richard F.<br />
Burton. With numerous portraits, illustrations, and<br />
maps. In 2vols. Chapman and Hall. 42s.<br />
<br />
ByGons WARWICKSHIRE. Edited by William Andrews,<br />
F.R.H.S. Hull, W. Andrews; London, Simpkin<br />
Marshall.<br />
<br />
CHUNDER BHOLANAUTH. Raja Digambar Mitra, C.S.L<br />
His life and career. Hare Press, Calcutta.<br />
<br />
Epear, Joun. History of Early Scottish Education.<br />
James Thin, Edinburgh; Simpkin, Marshall.<br />
<br />
FELBERMANN, Louis. The Ancestors of Our Fature Queen,<br />
Griffith, Farran.<br />
<br />
GARDINER, SAMuEL R. History of the Great Civil War,<br />
1642-1649, in 4 volumes, vol. 1., 1642-1644. New edi-<br />
6s. Longmans.<br />
<br />
Hopper Epwin. The Life and Work of the Seventh Earl<br />
of Shaftesbury, K.G. Popular edition. 3s. 6d.<br />
Cassell.<br />
<br />
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ADVERTISEMENTS.<br />
<br />
107<br />
<br />
<br />
<br />
NEW NOVEL BY JAMES PAYN.<br />
<br />
<br />
<br />
AT ALL THE LIBRARIES, BOOKSELLERS’,<br />
AND BOOKSTALLS.<br />
<br />
In 2 vols., crown 8vo., cloth extra, price 21s.<br />
<br />
A STUMBLE ON<br />
<br />
By<br />
<br />
THE THRESHOLD,<br />
<br />
ett esos rFPAYN.<br />
<br />
OPINIONS OF THE PRESS.<br />
<br />
THE TIMES:<br />
‘*Mr. James Payn’s pleasant story contains a startling<br />
novelty. . . . The leading actors are a group of<br />
<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 in<br />
recognising this snug refuge of the ‘ploughed.’ . . .<br />
An ingenious plot, clever characters, and, above all, a<br />
plentiful seasoning of genial wit. . The uxorious<br />
master of St. Neot’s is charmingly conceived. If only for<br />
his reminiscences of. his deceased wives, ‘A Stumble on<br />
the Threshold’ deserves to be treasured. . . . We<br />
turn over Mr. Payn’s delightful pages, so full of surprises<br />
and whimsical dialogue. eet<br />
<br />
DAILY NEWS:<br />
<br />
‘“‘The dramatic story is told with 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 />
<br />
ages of analysis. Needham, Fellow of St.<br />
<br />
eot’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 />
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 />
<br />
DAILY GRAPHIO,<br />
‘ . . . The dramatic unity of time, place, and cir-<br />
-cumstance has never had a more novel setting. o<br />
<br />
<br />
<br />
SATURDAY REVIEW:<br />
<br />
‘A very interesting story, and one that excels in clever<br />
contrast of character and close study of individualism.<br />
<br />
; The characters make the impression of reality on<br />
the reader. i Extremely pleasant are the sketches<br />
of University life.”<br />
<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 />
<br />
“. . . Ingenious and Original. Mr. Payn knows<br />
how to invent and lead up to a mystery.”<br />
<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 />
‘s., . . Mr. Payn’s latest invention in sensational<br />
episode; but 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 />
BATLEY REPORTER:<br />
‘. . . . Is most attractive reading.”<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 />
which penned it.”<br />
<br />
THE OBSERVER:<br />
<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 />
London: HORACE COX, Windsor House, Bream’s Buildings, E.C,<br />
<br />
<br />
<br />
<br />
108<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
MESDAMES BRETT & BOWSER,<br />
<br />
TYPISTS,<br />
SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br />
<br />
Authors’ MSS. carefully and expeditiously copied, from<br />
1s. per 1000 words. Extra carbon copies half price. Refer-<br />
ences kindly permitted to Augustine Birrell, Esq., M.P.<br />
<br />
THE AUTHOR’S HAIRLESS PAPER-PAD.<br />
<br />
(Tue Leapennatt Press Lrp., E.C.) -<br />
ee<br />
Contains hairless paper, over which the pen<br />
<br />
slips with perfect freedom.<br />
Siwpence each: 58. per dozen, ruled or plain.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
MIss R. V. GILT,<br />
<br />
TYPE-WRITING OFFICES,<br />
6, Adam-street, Strand, W.C.<br />
<br />
“re<br />
Authors’ and dramatists’ Work a Speciality. All kinds<br />
of MSS. copied with care. Extra attention given to difficult<br />
hand-writing and to papers or lectures on scientific subjects.<br />
Type-writing from dictation. Shorthand Notes taken<br />
and transcribed.<br />
<br />
<br />
<br />
FURTHER PARTICULARS ON APPLICA TION.<br />
<br />
MISS E. ALLEN & CO.,<br />
TYPE AND SHORTHAND WRITERS,<br />
Scientific Work and Translations a<br />
Special Feature.<br />
39g; LOMBARD ST-., ©.<br />
<br />
References to Authors. Office No. 59 (close to Lift).<br />
<br />
<br />
<br />
FOR SALE,<br />
“PLOTS” FOR NOVELS.<br />
<br />
<br />
<br />
For particulars apply to Miss SmaLLwoop, The Lees,<br />
Great Malvern.<br />
<br />
<br />
<br />
MRS. GILeE,<br />
TYPE-WRITING OFFICE,<br />
<br />
35, LUDGATE HILL, E.C.<br />
(ESTABLISHED 1883.)<br />
<br />
Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br />
&c., 1s. 3d. per 1000 words. Extra copies (carbon) supplied at the<br />
rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br />
2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br />
<br />
Miss PATTEN,<br />
TYPIST,<br />
<br />
44, Oakley Street Flats, Chelsea, S.W.<br />
<br />
Authors’ MSS. carefully transcribed. References kindly permitted<br />
to George Augustus Sala, Esq., Justin Huntly McCarthy, Esq., and<br />
many other well-known Authors.<br />
<br />
Fire - Proof Safe for MSS.<br />
Particulars on Application.<br />
<br />
<br />
<br />
TICKPHAST-<br />
PASTE. 6d. and Is.<br />
<br />
BUY, BEG,<br />
BORROW, or STEAL. 5<br />
<br />
<br />
<br />
LITERARY PRODUCTIONS<br />
<br />
OF EVERY DESCRIPTION<br />
<br />
(ee REVISED and CORRECTED on Mode-<br />
rate Terms by the Author of “ The Queen’s English<br />
up to Date” (see Press Opinions), price 2s.<br />
Address “ Anglophil,” Literary Revision Office, 342,<br />
Strand, W.C.<br />
<br />
NEW NOVEL BY QUILLIM RITTER.<br />
<br />
Now ready, crown 8yo., with Illustrations, price 3s. 6d.,<br />
<br />
THE MARTYRDOM OF SOCIETY.<br />
<br />
QUILLIM RITTER.<br />
eee ees<br />
London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br />
Just published, cloth lettered, price 5s.<br />
<br />
rYRIcs.<br />
<br />
BY<br />
Dr. J. A. GOODCHILD<br />
<br />
London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br />
<br />
COX’S<br />
<br />
ARTS OF READING, WRITING, AND SPEAKING.<br />
<br />
LETTERS TO A LAW STUDENT.<br />
Spy THE Late MR. SHRIBANT CO<br />
<br />
<br />
<br />
RE-ISSUE (SIXTH THOUSAND).<br />
<br />
PRICE 7s. 6d.<br />
<br />
<br />
<br />
LONDON: HORACE COX, “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM'’S BUILDINGS, E.C.<br />
<br />
Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C. | https://historysoa.com/files/original/5/453/1893-08-01-The-Author-4-3.pdf | publications, The Author |