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456	https://historysoa.com/items/show/456	The Author, Vol. 04 Issue 06 (November 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+06+%28November+1893%29"><em>The Author</em>, Vol. 04 Issue 06 (November 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>	1893-11-01-The-Author-4-6					189–228																		<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=1893-11-01">1893-11-01</a>							6			18931101	Che Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> Vou. IV.—No. 6.] NOVEMBER 1, 1893. [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE<br /> Warnings and Notices &lt;n as Ge eae eee oe: olen The Book of the Future<br /> Literary Property— Correspondence—<br /> 1.—Proposed Amendment of American Copyright Law wax 198 1.—Authors and Publishers—<br /> 2.—Stevens v. Benning see oe — me aoe wee 195 1.—By Andrew Lang<br /> 3.—Hole v. Bradbury ... ee ae oe oe Seis Se 197 2.—By the Editor ... oe Sige sioe<br /> 4.—Harper v. Pick-Me-Up ... ue Eee ike eae see LOT 2.—West Indian Stories. By Jeb Slinter...<br /> 5.—Low vy. Volunteer Service Magazine ave sae os woe LOT 3.—Song Publishing... See oh ase<br /> 6.—On Illustrations... ae oo os see a cae 4.—James Defoe. By Hyde Clarke<br /> 7.—Copyright ... ae Ses Sees ees Ss ats «-» 198 5.—Reviewed Books. By X. Y. Z....<br /> The International Copyright Union. By Sir Henry Bergne «.. 198 6.—Literary Paymasters. By H.R.G. ... ae<br /> Omnium Gatherum. By J. M. Lely ... a aay re oss AGO 7.—A ‘Second Edition.” By Daniel Dormer |.<br /> Zola and Anonymity. By H.E. W.... ae ae ose eco ieul 8.—A Contributor’s Experience. By Hubert Haes<br /> The Autumn Publishing Season ... ae os eae ee «+. 203 9.—Anonymous Criticism... ae 2 a<br /> Siti Centenary of Beatrice ... ee as ae one sos a 10.—Poets and Critics. By a Writer of Prose ...<br /> Book Talk ae a oR is mes es ies oe ve From the Papers—<br /> ee I ane 1 Dede ooed of Hawthornden ...<br /> Notes and News. By the Editor... on hee ase son eee 207 2.—Bust of Tennyson ... a<br /> Thackeray’s Women— __ ong 8.—Poet Pilgrims ee oe<br /> ee tits 2<br /> Small Booksellers’ Shops. By the Rey. Henry Cresswell... ssa 210 New Books and New Editions<br /> <br /> PAGE<br /> soe wal.<br /> <br /> s. 212<br /> <br /> 214<br /> 1) 214<br /> <br /> <br /> <br /> <br /> <br /> _ PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> . The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> . The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> <br /> Property. Issued to all Members.<br /> <br /> . The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> <br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 95, Strand, W.C.) 35.<br /> <br /> . The History of the Société des Gens de Lettres. By S. Squrre Spricen, late Secretary to<br /> <br /> the Society. 1s,<br /> <br /> I<br /> 2<br /> 38<br /> 4. Literature and the Pension List, By W. Morris Cotuss, Barrister-at-Law. (Henry Glaisher,<br /> 5<br /> 6<br /> <br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By 8. Seuirz Spricer. 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 /> <br /> Henry Glaisher, 95, Strand, W.C. 38.<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 /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny.<br /> and Spottiswoode. 1s. 6d.<br /> <br /> Eyre<br /> <br /> 9. The Society of Authors, A Record of its Action from its Foundation. By Waurer Besant<br /> <br /> (Chairman of Committee, 1888—1892). 15,<br /> i<br /> j<br /> i<br /> i<br /> ‘<br /> <br /> <br /> <br /> <br /> <br /> <br /> 190 ADVERTISEMENTS.<br /> <br /> The Sociefy of Authors (Suncorporated).<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MbEREDITHE.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.S.I. Tue Ear or DEsART. Lewis Morris.<br /> ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br /> J. M. BARRIE. A. W. Dusoura. J. C. PARKINSON.<br /> A. W. A BEcKETT. J. Enic EricusEn, F.RB.S. Tur Eart oF PEMBROKE AND Mont-<br /> RoBERT BATEMAN. Pror. Micwaz Foster, F.B.S. GOMERY.<br /> Sir Henry Berens, K.C.M.G. Ricut Hon. Herpert GARDNER,| Sir FREDERICK POLLOCK, Bart., LL.D.<br /> WALTER BESANT. M.P. WaLtEerR HERRIES POLLOCK.<br /> AUGUSTINE BIRRELL, M.-P. RIcHARD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F.R.S. EpMUND GOSSE. Grorce AuGusTUS SALA.<br /> Riegut Hon. James Bryce, M.P. H. Riper HaGearp. W. Baptiste SCOONES.<br /> Haut CAINE. Tuomas Harpy. G. R. Srms.<br /> EGERTON CAsTLe, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. RupyARD KIPuinea. J. J. STEVENSON.<br /> Epwarp CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris CouueEs. J. M. Lety. Wittram Moy THomas.<br /> Hon. JoHN COLLIER. Rav. W. J. Lorre, F.S.A. H. D. Trarit, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJOBN. Baron Henry DE Worms, M-P.,<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. E.RB.S.<br /> OswALD CRAWFURD, C.M.G. Rev. C. H. MippnEeton- WAKE. EDMUND YATES.<br /> Hon. Counsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FIELD, Roscox, and Co., Lincoln’s Inn Fields.<br /> Accountants—Messrs. OscaR BERRY and CaRR, Monument-square, H.C. Secretary—G. HERBERT THRING, B.A.<br /> <br /> OFEICES: 4, Porruaan STREET, Lincoun’s Inn Freups, W.C.<br /> <br /> <br /> <br /> 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 /> ComPiILED FROM AUTHENTIC SOURCES BY<br /> GHORGEH Hpea hy JENNINGS.<br /> <br /> CONTENTS.<br /> Part I.—Riseand Progress of Parliamentary Institutions. | ApPENDIx.—(A) Lists of the Parliaments of England and<br /> <br /> Parr Il.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br /> Morley. (B) Speakers of the House of Commons.<br /> <br /> Parr Il.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br /> clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties. | 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> “The work, which has long been held in high repute as a repertory “It is a work that possesses both a practical and an historical<br /> of good things, is more than ever rich in doth instruction and amuse- value. and is altogether unique in character. &#039;—Kentish Observer.<br /> ment. ”—Scotsman. ‘+ We can heartily roomier ugly the politician, whatever<br /> <br /> “Tti *. + may be his party leanings.”’—. hern Echo.<br /> <br /> ‘It isa — of useful fact and amusing anecdote, and in its THe hers the whole company of Parliamentary. celebrities,<br /> latest form should have increased popularity.” —Globe. past and present, reduced to puppets, so to speak, and made to<br /> <br /> “Its advantage to those who are seeking seats in Parliament, or repeat their best and most approved rhetorical performances for our<br /> who may have occasion to assist as speakers during the electoral | leisurely entertainment, which is not less enjoyable from being allied<br /> campaign, is incomparable.”—Sala’s Journal. with edification.”—Liverpool Courier.<br /> <br /> <br /> <br /> <br /> <br /> “= Orders may now be sent to HORACE COX, “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Che #uthor.<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. 6.]<br /> <br /> NOVEMBER 1, 1893.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> oe 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 /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> Communications and letters are invited on all subjects<br /> connected with literature, but on no other subjects what-<br /> ever. Articles which cannot be accepted are returned if<br /> stamps for the purpose accompany the MSS.<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> CT 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 /> carried out. Authors are strongly advised to exercise that<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 /> WARNINGS.<br /> <br /> <br /> <br /> pnb 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 /> experience of nine years’ work by which the dangers<br /> VOL. TV.<br /> <br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> I. SERIAL Riauts.—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 /> 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 IT.—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. Lirzrary AGmnts.—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 or Propuction.-—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. CHoIcE oF PUBLISHERS.—Neyer enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<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.—Never 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 /> 9. PuRSONAL RisK.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. ResEcTED MSS.—Never, when a MS. has been re-<br /> <br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> Q 2<br />  <br /> <br /> 192 THE<br /> <br /> 11. AmericAN RicHts.—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 /> 12. Cess1on or CopyricHt.—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 /> <br /> 4, PORTUGAL STREET, Lincoun’s Inn FIELDS.<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> f. ee member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> 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 scruple<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 ptevious 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 /> 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 /> AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> Bl 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 solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<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 Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor 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 /> 6. 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 /> 7. 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 /> 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.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> <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 /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind members of the<br /> T Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<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 /> 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 /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ie<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 193<br /> <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 /> undertake 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, &amp;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 ?<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 can be 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. Of course, 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 /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> E<br /> THe AMENDMENT OF THE CopyriGHT Law.<br /> <br /> HERE is a movement on foot to petition<br /> the copyright leagues for a commission<br /> to revise the copyright law, in order<br /> <br /> that an appeal may be made to Congress asking<br /> for amendments remedying existing defects.<br /> Although the law, as a whole, has given satis-<br /> faction, much annoyance has resulted from the<br /> ambiguous wording of several of its passages,<br /> and from its failure to provide proper safe-<br /> guards against the registry of unlawful claims<br /> for copyrights. These defects, it is said, have<br /> necessitated frequent appeals to the courts, in-<br /> volving prolonged litigation. These are some<br /> of the causes of complaint: the failure of the<br /> law to secure a renewal of a copyright to its<br /> owners or assigns other than his widow and<br /> children; the condition that a work, whether by<br /> a foreign or domestic author, must be manu-<br /> factured within the United States; the absence<br /> of any requirement that applicants for copyright<br /> shall furnish evidence of ownership ; the depriva-<br /> tion of the rights of authors or owners of copy-<br /> rights to sue for infrmgement after two years,<br /> and the failure of the law to define the word<br /> “ book.”<br /> <br /> George Haven Putnam, who, as a representa-<br /> tive of the league, was active in securing the<br /> passage of the law, when asked to-day what he<br /> thought of the advisability of amendments to<br /> remove these reasons for dissatisfaction, said:<br /> “It has never been the intention of the framers<br /> of the several American copyright laws that any<br /> heirs of the author other than his widow and<br /> children should be entitled to secure an extension<br /> of the copyright beyond the first term of twenty-<br /> eight years to cover a second term of fourteen<br /> years. The privilege of securing such extension<br /> is given only to the author himself in case the<br /> first term may expire during his lifetime, or to<br /> his widow or children. The restriction has<br /> worked hardship in not a few cases. One<br /> instance of such hardship occurred in connection<br /> with the works of Washington Irving. Irving<br /> was never married, but had adopted three nieces,<br /> who, for many years previous to his death, were<br /> members of his household, and were dependent<br /> upon him for support. After their uncle’s death,<br /> these nieces were, however, unable to secure re-<br /> newals of the copyrights of the later works<br /> which were then expiring, and the income from<br /> these copyrights, on which they had mainly<br /> depended, could, therefore, no longer be assured<br /> to them.<br />  <br /> <br /> 194 THE<br /> <br /> “Tt ismy own opinion, in which theauthors, pub-<br /> lishers, and others interested in the literary develop-<br /> ment of the country are, I think, in substantial<br /> accord, that the term of copyright now granted<br /> by the copyright law is inadequate. It does not<br /> secure a sufficient protection for the author even<br /> during his own lifetime, nor does it enable an<br /> author to plan with any certainty for the accu-<br /> mulation of property in the shape of copyrights<br /> for his ch:ldren, grandchildren, or other heirs.<br /> Tt was the case that during the lifetime of Long-<br /> fellow unauthorised editions were printed of the<br /> first unrevised editions of certain of Longfellow’s<br /> earlier works. The injury in this case was two-<br /> fold: the returns to the author for the sale of the<br /> revised authorised editions were diminished to<br /> the extent of the interference with these sales<br /> caused by the circulation of the unauthorised<br /> issues. The injury, which was of greater import-<br /> ance in the author’s estimation, was the wrong<br /> caused to his literary fame by the circulation of<br /> imperfect material bearing his name, and for the<br /> character of which he is made responsible before<br /> the later generation of readers, although such<br /> material has been cancelled and superseded by the<br /> finished work on which he was prepared to have<br /> his literary reputation for posterity based. An<br /> action of this kind is to be regarded as a personal<br /> injury, apart from the property injury. The<br /> possibility of such injurious action cannot be<br /> avoided, of course, after the expiration of a term<br /> of copyright, but the author ought certainly to be<br /> protected by law against such mjury during his<br /> lifetime. A similar injury has been caused to a<br /> number of authors, including, for instance, Donald<br /> G. Mitchell, still living, whose earlier books, now<br /> out of copyright, have been printed in unautho-<br /> rised and unrevised editions, to his business<br /> detriment and personal annoyance.<br /> <br /> “The term of copyright granted by the<br /> American law is the shortest conceded by any<br /> country possessing an important literature, and<br /> is, in fact, the shortest in force anywhere in the<br /> civilised world, excepting in Greece. The term<br /> in England is forty-two years, or the lifetime of<br /> the author and seven years thereafter, whichever<br /> term be the longer. Under this provision the<br /> author is fully protected against the risk of in-<br /> fringement during his life. ‘The German term is<br /> the life of the author and thirty years; the<br /> French, the life of the author and fifty years,<br /> &amp;c. The Bill now pending in the English Parlia-<br /> ment for the English copyright law accepts the<br /> German term. This is the term that ought pro-<br /> perly to be in force in the United States. If the<br /> <br /> author is entitled to work for his children he<br /> ought to be permitted also to work for the benefit<br /> of his grandchildren.<br /> <br /> AUTHOR.<br /> <br /> “The law of 1891, under which the protection<br /> of American copyright was, under certain con-<br /> ditions, granted to foreign authors, did not under-<br /> take to make any changes or amendments in the<br /> copyright law previously in force except by the<br /> insertion of a requirement that a work, whether<br /> by a foreign or domestic author, must be manu-<br /> factured within the United States. It was under-<br /> stood that all the provisions of the copyright<br /> law would probably, within a few years time, be<br /> brought under consideration for revision and<br /> amendment. As was made clear in the record put<br /> into print at the time, the responsibility for<br /> shaping the act of 1891, und for securing for it<br /> the requisite support with the public and with<br /> Congress, rested with two “copyright leagues,”<br /> comprising the leading authors and publishers of<br /> the country. The work of these leagues was<br /> carried on during the five years’ ‘campaign’ by<br /> a joint committee, in which, of course, both the<br /> publishers and the authors were represented, and<br /> which included also representatives of the general<br /> public not pecuniarily interested in literature.<br /> Each step in connection with the drafting of the<br /> original Act and the several modifications finally<br /> assented to, was taken under the substantially<br /> unanimous decision of this joint committee. The<br /> Act as originally recommended by this com-<br /> mittee did not contain the manufacturing<br /> condition, which was finally included in the<br /> law. It was the opinion of the greater<br /> number of the members of the committee<br /> that manufacturing conditions had no logical<br /> connection with the right of authors to control<br /> their productions ; and that if the book manu-<br /> facturing interests needed protection, this should<br /> be secured under separate legislation. It was<br /> found, however, after some consideration of the<br /> matter with the friends of copyright in Washing-<br /> ton and elsewhere, that no law could at that time<br /> be enacted without this concession to the views of<br /> the protectionists in the country, many of whom,<br /> while heartily interested in international copy-<br /> right, believed that its enactment without such<br /> manufacturing restriction might bring serious<br /> detriment to printers and other mechanics<br /> engaged in the manufacture of books.<br /> <br /> “The Copyright Bill was, of course, an un-<br /> partisan measure, but it was impossible to secure<br /> for it adequate support either in the House or in<br /> the Senate without the co-operation of Republican<br /> protectionists as well as of Democratic free<br /> traders. The manufacturing provision, as finally<br /> included in the Bill, represented the views of the<br /> American Typographical Unions, and for the<br /> framing of this provision Mr. Henry C. Lea, of<br /> Philadelphia, was more particularly responsible.<br /> After the suggestions of the Typographical<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Unions had been accepted in regard to this pro-<br /> vision, the co-operation of these unions proved of<br /> very material service in securing for the measure<br /> favourable attention throughout the country and<br /> the necessary support in the two Houses. It is<br /> doubtless the case that if. in place of the intelli-<br /> gent and effective co-operation rendered by these<br /> unions, the Bill had had to encounter their<br /> opposition, it could not have become law at the<br /> time it did. It was my own opinion, and I may<br /> say that of by far the larger proportion of both<br /> the authors and publishers on the joint com-<br /> mittee, that the manufacturing provision would<br /> not further the interests of American publishers,<br /> and was not required for the interests of the<br /> Typographical Unions, and that the prospects of<br /> securing for the members of these unions and<br /> for the other book manufacturing workers of the<br /> country assured and in reasing employment<br /> would be better if no such restrictions should be<br /> put into the shape of law. I am still of opinion<br /> that whenever this restriction shall be abolished,<br /> American type-setters will be able not only to<br /> secure their full share in the book-making done<br /> for the American market, but will also be in a<br /> position, with the improved American methods<br /> for making electrotype plates, &amp;c., to increase<br /> their trade in the exportation of book plates to<br /> England and Australia.<br /> <br /> “The regulations of the several copyright laws<br /> which have been in force in the United States have<br /> never made any provision for the furnishing by ap-<br /> plicants for copyrights of evidence of ownership of<br /> the work entered for copyright. The librarian of<br /> Congress, who has charge, under the law now in<br /> force, of the copyright entries, has no machinery<br /> or facilities for verifying such evidence or for<br /> passing upon it ina judicial capacity. An entry<br /> when made is not evidence that the person in<br /> whose name it stands is owner of the copyright in<br /> question, but is evidence merely that he claims<br /> such ownership. In case the copyright were<br /> infringed, and the person in whose name the<br /> entry had been made applied to the United States<br /> Court for protection against such infringement, it<br /> would then be incumbent upon him, in order to<br /> secure standing in the court, to prove his owner-<br /> ship. It is the case also that the copyright law<br /> of Great Britain, of France, and of Germany<br /> makes no provision for the proving of the right to<br /> the copyright at the time the entry is made. It<br /> is doubtful whether it would be practicable,<br /> under any working arrangements, to place such a<br /> responsibility upon the authorities having charge<br /> of the entries. Under this same general practice<br /> the registry of copyright is granted to anyone<br /> applying for registry for a dramatisation or for<br /> translation of a copyright book. Such entry or<br /> <br /> 195<br /> <br /> registration can, however, be of service to the<br /> person in whose name it has been made, only if he<br /> may later be in a position to protect in the ‘courts<br /> his right to secure profit from such dramatisation<br /> or translation. There is no difficulty, under the<br /> provisions of the American law, on the part of<br /> the author so desiring, in preventing the publica-<br /> tion of an unauthorised dramatisation or transla-<br /> tion of a work duly protected by copyright.<br /> <br /> “Personally, I do not think that the restric-<br /> tion placed upon owners of copyrights, that they<br /> shall take such measures as may be in order for<br /> the defence of tbeir copyrights within the term of<br /> two years after the date of the alleged infringe-<br /> ment, constitutes any serious hardship. If the<br /> work is of value, so that the author’s edition has<br /> been kept before the public, the interference with<br /> its sale that might be caused by the issue of an<br /> unauthorised edition would certainly be manifest<br /> within the term of two years. It was apparently<br /> the intention of those framing this provision, that<br /> if the owner of a copyright abandoned his work,<br /> so that the public were no longer supplied with<br /> copies, at the expiration of a sufficient length of<br /> time from such abandonment the work should<br /> fall into the ‘ public domain,’ and if the public<br /> still called for supplies, that any party should be<br /> free to meet such demand. This provision is in<br /> substantial accord with that of the French and<br /> German law. Under the English law, the action<br /> must be brought within twelve months after the<br /> date of the offence.<br /> <br /> “Neither the American nor the English copy-<br /> right law has undertaken to define the term<br /> ‘book.’ The definition of this term has, however,<br /> been arrived at under various decisions of the<br /> English and American courts. The term is, as I<br /> understand, usually understood to cover material<br /> printed in book form, that is to say, made up in<br /> pages, without limitation as to the number of<br /> pages to be comprised, or as to the nature of the<br /> cover. A pamphlet is, therefore, for the pur-<br /> poses of the copyright law, to be considered as a<br /> book. Sir James Stephen, Q.C., states that<br /> under the interpretation of the English courts,<br /> the word ‘book’ in the English copyright law<br /> ‘means and includes every volume, part or<br /> division of a volume, pamphlet, sheet of letter-<br /> press, sheet of music, map, or chart planned to be<br /> separately published.’ American decisions have<br /> accepted in substance this definition.”—Hvening<br /> Post, New York, Oct. 4, 1893.<br /> <br /> <br /> <br /> Il.<br /> SreveNs v. Bennina.<br /> <br /> In this case, an important one for authors,<br /> an injunction was sought by the plaintiff to<br /> <br /> <br />  <br /> <br /> <br /> 196<br /> <br /> restrain the defendant from publishing a book<br /> entitled “Forsyth on the Law of Composi-<br /> tion with Creditors.” The injunction was not<br /> granted either in the original instance or in the<br /> appeal. The case is one of great importance, as<br /> it practically decided whether a publisher could<br /> assign a contract to publish. This question, so<br /> far as it was decided, was decided in the nega-<br /> tive. The facts of the case were as follows :—<br /> <br /> Mr. Forsyth, the editor of the book, entered<br /> into an agreement with Robert Sanders and<br /> Wiliam Benning, publishers, of which the follow-<br /> ing is a slight abstract :—<br /> <br /> Clause 1. The author undertakes to prepare<br /> the book for the press.<br /> <br /> Clause 2. The publishers direct the mode of<br /> printing the said book, and bear and pay all<br /> charges thereof, and of publishing the same,<br /> except, as thereinafter mentioned, and take all<br /> the risks of publication on themselves.<br /> <br /> Clause 3 referred to the division of profits.<br /> <br /> Clauses 4 and 5 were clauses relating to<br /> accounts.<br /> <br /> Clause 6, to alterations and printer’s errors,<br /> corrections, &amp;c.<br /> <br /> Clause 7 ran as follows: ‘That in case of all<br /> the copies of the book not being sold off, and a<br /> second edition or any subsequent edition of the<br /> said book having been required by the public, the<br /> said author should make all necessary alterations<br /> and additions thereto, and the said publishers<br /> should print and publish the second and other<br /> editions of the said book on the above con-<br /> ditions.”<br /> <br /> Clause 8 referred to remainder sales.<br /> <br /> When this agreement was entered into, the<br /> publisher&#039;s firm consisted of Robert Sanders and<br /> William Benning. This partnership was dis-<br /> solved, and a new partnership was formed between<br /> William Benning and John Kirton Gilhat, under<br /> the name of William Benning and Co., and the<br /> interest of the former firm was expressed to have<br /> been transferred and invested in the new firm.<br /> In 1849 the author published a second edition<br /> with the new firm without a fresh agreement. In<br /> 1851 the partnership was dissolved, owing to the<br /> bankruptcy of William Benning.<br /> <br /> By an indenture dated July 17, 1852, Mr.<br /> Gillat transferred to the plaintiffs, Messrs.<br /> Stevens and Lawton, his interest in the copyright<br /> or shares of copyright in the works specified in<br /> a schedule to the deed (which schedule comprised<br /> the authors work), with the MSS. and unsold<br /> copies of the several works then in Mr. Gilliat’s<br /> possession, and all things pertaining to the copy-<br /> right and shares of copyright of which the late<br /> firm of William Benning and Co. were possessed,<br /> or interested in, and over which Mr. Gilliat had<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> any power of disposition. On Aug. 16, 1854, a<br /> further deed of assignment was executed by Mr,<br /> Gilliat and the assignees of Mr. Benning, to<br /> the plaintiff, which assignment virtually embraced<br /> all the conditions of the former one. Under this,<br /> all the stock-in-trade of William Benning and Co.<br /> was delivered to the plaintiffs, including the un-<br /> sold copies of the second edition of the author’s<br /> book. In 1854, William Grainger Benning, the<br /> son of the former partner, published a third<br /> edition of the author’s book, which was edited by<br /> the author, and thereupon Messrs. Stevens and<br /> Co. commenced action against William Benning.<br /> The arguments brought on behalf of the plaintiff<br /> were: (1) That the agreement amounted to an<br /> assignment of copyright ; (2) that if the court<br /> did not think the copyright was assigned, the<br /> agreement was one of partnership, and that one<br /> partner (the author) could not destroy the partner-<br /> ship property; (3) if neither of these viewx were<br /> taken by the court, then, if the contract were one<br /> of agency, as the agents contracted to take all the<br /> risk of loss, the principal could not, after entering<br /> into such an agreement, bring out an edition in<br /> competition with that which was the subjectof such<br /> agreement. Lord Justice Knight Bruce looked<br /> upon the question more from the point of view of<br /> whether the plaintiffs could obtain an injunction,<br /> than upon the actual subject matter of the case,<br /> but in his judgment stated as follows:<br /> <br /> “‘T do not see that the duties on either side<br /> were of such a nature as that their performaace<br /> specifically could have been enforced by a Court<br /> of Equity.”<br /> <br /> Therefore, it would have been impossible for<br /> the plaintiffs to have asked for an injunction<br /> against Mr. Forsyth, the author. Lord Justice<br /> Turner, in summing-up, said, that the plaintiffs’<br /> case rested wholly on the agreement of Sept. 14,<br /> the original agreement, and referred to the three<br /> points raised in the argument for the plaintiff<br /> He stated, after careful consideration of the<br /> agreement,<br /> <br /> (1) That the agreement was not an an assign-<br /> ment of copyright.<br /> <br /> (2) So far as partuership was concerned the<br /> question could only arise with regard to the<br /> unsold copies of the second edition.<br /> <br /> (3) That the contract appeared to be a personal<br /> contract, personal to the special publishers men-<br /> tioned in the agreement, and that if Messrs.<br /> Sanders and Benning were not in a situation to<br /> perform their personal part of the contract (as<br /> they were not, owing to the bankruptcy and<br /> dissolution of partnership) they could not in<br /> equity enforce against the author any contract he<br /> had entered into with them, and that he thought<br /> the plaintiffs, who were the assignees of Messrs.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THK AUTHOR. 197<br /> <br /> Sanders and Benning, could be in no better<br /> condition.<br /> <br /> The decision of the court therefore amounts to<br /> this: That a mere contract to publish is a per-<br /> sonal contract, and cannot be transferred or<br /> assigned.<br /> <br /> <br /> <br /> TL.<br /> Hote v. Brapsury.<br /> <br /> This decision, that a contract to publish is a<br /> personal contract, was again upheld in Hole v.<br /> Bradbury; but in this case the decision was<br /> stronger, for the firm repubiishing the work was<br /> the same firm which originally. published the<br /> book, but through lapse of time had lost those<br /> partners who were parties to the original contract.<br /> <br /> <br /> <br /> TV.<br /> Harper v. Pickh-Me-Up.<br /> <br /> In the Westminster County Court to-day, his<br /> Honour Judge Lumley Smith, Q.C., had before<br /> him the case of Harper v. the proprietors of<br /> Pick-Me-Up, in which plaintiff, a journalist,<br /> sought to recover payment for certain articles<br /> and drawings supplied to the defendants.<br /> <br /> The plaintiff was called, and stated that during<br /> the first eight months he supplied seven articles<br /> and one drawing to the defendant paper, but<br /> they had neither been published nor returned to<br /> him. Therefore he claimed payment in the usual<br /> way. He would much rather the matter had<br /> been published, but as it had not been, and as he<br /> understood that the manuscript was lost, he now<br /> desired payment for it.<br /> <br /> In cross-examination the plaintiff said he was<br /> aware that there was a printed notice in the paper<br /> to the effect that the paper did not undertake to<br /> return rejected manuscripts, but he did not con-<br /> sider that that notice applied to his case, as he<br /> was well known to the proprietors.<br /> <br /> For the defence one of the proprietors of the<br /> paper was called, as was also another witness.<br /> The latter alleged that some portion of the<br /> manuscript had been returned to the plaintiff,<br /> while another portion had been offered to him,<br /> but he refused to accept it on the ground that it<br /> had been made dirty.<br /> <br /> His Honour said he had held in several recent<br /> cases when manuscript was set up in type it was<br /> an acceptance, but in this case there was no<br /> evidence to that effect, and judgment must be<br /> for the defendants.<br /> <br /> —Reported in the Lvening Post.<br /> <br /> <br /> <br /> VOL. IV.<br /> <br /> Vv.<br /> Low v. Volunteer Service Magazine.<br /> <br /> The plaintiff in this case, tried at the West-<br /> minster County Court, stated that he wrote an<br /> article for this paper which occupied four pages,<br /> for which he was paid a guinea. He afterwards<br /> wrote another, which would have made ten pages,<br /> and as 5s. a page was agreed for the first, he<br /> claimed 50s. for the second. The second was put<br /> in print, and a proof was sent to him and revised,<br /> but never published. That, he contended, was<br /> an acceptance, and he was entitled to be paid<br /> for it.<br /> <br /> Mr. R. Thomas Merry said half-a-guinea was<br /> agreed for the first article, and the second was<br /> never accepted. He could get 70 or 80 per cent.<br /> of the matter for the magazine free.<br /> <br /> His Honour came to the conclusion that a<br /> guinea was agreed for the first article, and the<br /> second, after being set up, the proof revised,<br /> was an acceptance, and a guinea must be paid<br /> for that. Therefore, allowing the half-guinea paid<br /> into court, there would be judgment for 14 guineas<br /> beyond the amount in court, but no costs over the<br /> fees on the summons would be allowed.<br /> <br /> —Reported in the Star.<br /> <br /> <br /> <br /> VI.<br /> <br /> Own ILtustRations.<br /> <br /> The charge for illustrations in books is one<br /> which generally astonishes the author when the<br /> account comes in; sometimes because he is per-<br /> fectly ignorant of what such things cost; some-<br /> times because he is really overcharged. It is<br /> proposed in the Author to let as much light<br /> into the subject as possible. Readers may help<br /> if they will forward copies of their own illus-<br /> trated books with the charge made in the<br /> accounts for the illustrations. Mezntime, one or<br /> two points may be borne in mind. The illustration<br /> of books is no longer carried on by wood en-<br /> graving, but by process. There are many methods<br /> of “ process.” All are a great deal cheaper than<br /> wood engraving. But a loophole for extra profit<br /> and extra charge is found when the original<br /> drawings have to be redrawn. ‘The artist will do<br /> well to make sure that this is not necessary. The<br /> author will do well to place himself in communica-<br /> tion with the artist in order to be quite sure that<br /> this precaution has been observed. On this sub-<br /> ject we do not consider the cost of the original<br /> drawings (which may be very great, depending<br /> on the reputation of the artist), but only the cost<br /> of mechanical reproduction by photogravure or<br /> some such process. For instance, we have learned<br /> that by a certain process the manufacture of<br /> <br /> R<br />  <br /> <br /> <br /> 198<br /> <br /> electros from the original drawings can be done,<br /> at what is considered a fair price, at sixpence a<br /> square inch.<br /> <br /> <br /> <br /> VII.<br /> CopyRIGHT.<br /> <br /> What constitutes a claim to copyright? On<br /> this subject we have received an interesting<br /> correspondence between Mr. John Davidson,<br /> Author of “ Fleet Street Ballads,” and Mr. Fisher<br /> Unwin. We have also received the former’s per-<br /> mission to publish these letters, and have asked<br /> Mr. Fisher Unwin’s permission, but (Oct. 31st)<br /> have not yet received a reply.<br /> <br /> —— ee<br /> <br /> THE INTERNATIONAL COPYRIGHT UNION.<br /> <br /> By Sir Henry Berane, K.C.M.G.<br /> (Plenipotentiary for Her Majesty’s Government with Sir<br /> F. 0. Adams, at Berne, Sept. 1886.)<br /> <br /> T a conference beld at Berne in 1883, the<br /> International Literary Association pro-<br /> duced a scheme for the formation of an<br /> <br /> International Copyright Union, with the view<br /> that if possible the law relating to the subject in<br /> the different countries might be reduced to some<br /> sort of harmony, and that works — literary,<br /> scientific, or artistic—produced in any one country<br /> might be adequately protected throughout the<br /> world.<br /> <br /> The scheme which was then produced, although<br /> not such as could readily be brought into actual<br /> practice, showed certain elements of possible<br /> success, and was on this account taken up officially<br /> by the Swiss Government, who invited the Govern-<br /> ments of all the principal States to be represented<br /> at an International Diplomatic Conference which<br /> was to meet in 1884, to consider the subject in all<br /> its bearings, and to endeavour to form the basis<br /> of an International Copyright Union.<br /> <br /> This invitation was accepted by most of the<br /> European Powers, Great Britain, being, however,<br /> only represented by a delegate in a consultative<br /> capacity, with no power to vote, or to take part<br /> in the drafting of a Convention. The attitude<br /> thus assumed at the time by Great Britain was<br /> largely determined by the fact that the Govern-<br /> ment of the United States of America was not<br /> represented at the Conference.<br /> <br /> The result of this meeting was the framing of<br /> a Convention, which, however, on examination, did<br /> not prove to be thoroughly acceptable to many<br /> Powers, especially to Great Britain, but which<br /> still formed the stepping-stone to ultimate success ;<br /> for, when in 1885 an invitation to a further con-<br /> ference was issued by the Swiss Government,<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the matter was taken up in earnest by Great<br /> Britain, who, upon this occasion, sent delegates<br /> armed with full authority to press the matter to<br /> a definite issue. The Government of the United<br /> States was also represented at this conference by<br /> a delegate, who, though not empowered to take<br /> any active part in the proceedings, was instructed<br /> to declare the sympathy of his Government for<br /> the substance and aims of the International<br /> Convention, to which he stated that they were<br /> well dispo-ed to accede, provided that the necessary<br /> legislation could be passed in the United States.<br /> <br /> At this conference the International Conven-<br /> tion in its existing shape was drafted, for final<br /> acceptance or rejection by the various Govern-<br /> ments, with the result that ultimately it has been<br /> signed, ratified, and is now in force between the<br /> following States:—Great Britain (with all her<br /> colonies), Germany, Belgium, Spain (with her<br /> colonies), France, Haiti, Italy, Switzerland, Tunis,<br /> Monaco, Luxemburg, Montenegro.<br /> <br /> A translation of the International Conven-<br /> tion, and of the final Protocol attached thereto,<br /> can be obtained, from which it will be seen<br /> that the principles of the Union are of the<br /> simplest kind, being based on the theory of<br /> “national treatment ;” that is to say, authors of<br /> works of any kind within the literary, scientific,<br /> or artistic domain, published in any one country<br /> of the Union, are to enjoy in all the other countries<br /> of the Union, the rights there granted to nativesub-<br /> jects in respect of their works published at home.<br /> <br /> The enjoyment of the protection soto be accorded,<br /> is subject only to the accomplishment in the<br /> country where the work is first produced of the<br /> formalities, if any, required by law in that<br /> country to establish a valid title to copyright.<br /> Consequently, if a work is duly registered and<br /> has acquired a copyright, say im France, no<br /> further registration or deposit of copies is neces-<br /> sary in England im order that it may enjoy protec-<br /> tion in England.<br /> <br /> The International Convention being concluded<br /> between various States not speaking a common<br /> language, an important part of its stipulations<br /> relates to the question of translation—it being<br /> recognized that between such States translation<br /> may frequently become the chief international<br /> form of reproduction. It is, therefore, expressly<br /> provided that no State which does not guarantee<br /> to the author of a work the exclusive right, for<br /> a period of at least ten years, to make, or to<br /> authorise translations of it to be made, can be<br /> admitted to the Union.<br /> <br /> A further important stipulation of the Conven-<br /> tion is contained in Art. 2, to the effect that no<br /> rights can exist in any country of the Union fora<br /> longer period than those granted in the country<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> where the work is first published, nor can any<br /> work claim in any State of the Union rights in<br /> excess of those granted by the law of such State<br /> to native publications.<br /> <br /> Pirated works may be seized on importation.<br /> The central office of the Union is established at<br /> Berne, under the auspices of the Swiss Govern-<br /> ment ; and each State of the Union contributes a<br /> small annual sum towards the working expenses,<br /> which are devoted to the collection of informa-<br /> tion,and generally to looking after matters of<br /> interest to the Union. The contributing States<br /> are arranged in classes according to size and<br /> importance, but the maximun contribution of any<br /> one State does not exceed £200 per annum.<br /> <br /> The other articles of the Convention relate to<br /> the protection to be accorded to newspaper articles,<br /> dramatic and musical works, photographs, &amp;c.,<br /> the details in regard to which will best be<br /> gathered from a study of the Convention itself,<br /> <br /> It will be seen, from a perusal of the Con-<br /> vention, that it nowhere expressly mentions the<br /> question of duties on imported books, or forbids<br /> expressly that the domestic law shall require a<br /> foreign work to be reprinted within its territory<br /> in order to secure protection there. There can,<br /> however, be no question that unfair or excessive<br /> duties upon books would be contrary to the spirit<br /> of the Union; whilst, as regards reprinting, the<br /> provision contained in Art. 2, to the effect that<br /> the enjoyment of protection is subject to the<br /> accomplishment of the formalities prescribed by<br /> law in the country of origin, must be interpreted<br /> to mean, that any further formality, such as<br /> reprinting, re-registration, or deposit, in the<br /> foreign country where protection is claimed, is<br /> contrary to the terms of the Convention, clearly<br /> implied, though not, perhaps, expressed with<br /> sufficiently definite precision.<br /> <br /> Any States which are willing to comply with<br /> these conditions, so obviously fair and reasonable,<br /> are welcomed as members of the Union, and may<br /> at any moment accede, on expressing their mind to<br /> do so to the central office of the Union at Berne.<br /> <br /> Periodical conferences of the Union are ap-<br /> pointed to take place, at which any State wishing<br /> to suggest any points for amendment, or to make<br /> proposals of any kind for the welfare of the<br /> Union, can be represented. The next of these<br /> conferences will probably take place at Paris<br /> next year, and it is much to be desired that the<br /> United States of America would manifest anew<br /> its sympathy with the Union by sending a dele-<br /> gate to this meeting. Any representations coming<br /> from such a quarter, as to difficulties in the<br /> existing form of the International Convention<br /> preventing the United States from joining the<br /> Union at the present moment, or as to other<br /> <br /> VOL. IV.<br /> <br /> 199<br /> <br /> points of interest, would be sure of attentive<br /> consideration, with the earnest wish on the part<br /> of the signatory States to make any reasonable<br /> concessions tending to facilitate the accession of<br /> So important a factor in the literary and artistic<br /> world as the United States of America.<br /> <br /> Read at the Literary Congress of the Chicago<br /> Exhibition.<br /> <br /> <br /> <br /> sec<br /> <br /> OMNIUM GATHERUM FOR OCTOBER AND<br /> NOVEMBER.<br /> <br /> <br /> <br /> Subjects for Treatment.—Non-Biblical Texts<br /> for Church Sermons; the Index Expurgatorius ;<br /> the Stocking of a Library; the Undue Depreciation<br /> of Boswell; the Re-subscription of the Thirty-<br /> nine Articles by the late Master of Balliol; Plural<br /> Appointments, with special reference to Mr. T. G.<br /> Bowles’s request for a Parliamentary Return and<br /> Sir J. Hibbert’s guarded answer thereto (see<br /> morning papers for Aug. 9); Cumulative Prefer-<br /> ences; the Earlier Commencement and Termina-<br /> tion of the Summer Holidays; the Comparative<br /> Delights of Shooting, Fishing, and Hunting, by<br /> one who indulges in all three; the altruism of<br /> Grace Aguilar and the hard-headednegs of Mary<br /> Mitford, as depicted by Mrs. Crosland in her<br /> lately published “ Landmarks of a Literary Life.”<br /> <br /> “ Scale Pay.” —Though “ scale pay” is usually<br /> just, we should all bear in mind that, in the<br /> absence of special agreement to take it, we have<br /> a legal right to demand more, up to what a con-<br /> tribution is worth, in event of “ scale pay” proy-<br /> ing insufficient ; and to demand at least some pay-<br /> ment (also up to what the contribution is worth)<br /> in the happily few cases where the custom has<br /> been to give none.<br /> <br /> The Return of Rejected Contributions.—All<br /> thanks to the collector who got together for the<br /> August Author the pretty list of notices to con-<br /> tributors! May it soon be followed by another<br /> and another until we have at least complete lists<br /> of the notices in all the London periodicals !<br /> <br /> The Insurance of Manuscript.—I greatly doubt<br /> whether any fire office will insure manuscript<br /> against fire. But, looking to the hardship on<br /> having to replace it when burnt, I should say that<br /> authors would be willing to pay sufficient pre-<br /> miums. Can any friend tell me of an office<br /> willing to insure ?<br /> <br /> Reviewing.—In the August Jdler attention is<br /> very properly called by Mr. Jerome K. Jerome to<br /> the impropriety of the same reviewer dealing with<br /> a book in more periodicals than one. This practice<br /> <br /> R2<br />  <br /> <br /> 200<br /> <br /> is unfair (1) to the author, (2) to fellow re-<br /> viewers, (3) to the owners of the various<br /> periodicals, and (4) to the public, and should be<br /> discouraged by editors.<br /> <br /> The Library of the Authors’ Club.—The<br /> Authors’ Club should possess a small (the space<br /> being very limited), good, and very carefully<br /> gelected reference library. Could not the<br /> members unite in making the selection? I very<br /> respectfully suggest the following : The best<br /> dictionary of Quotations, “ Haydn’s Dictionary of<br /> Dates,” the best directory of newspapers, the latest<br /> edition of the “ Universal Dictionary ” of English,<br /> French, German, and Italian; the Directory of<br /> Directors ; the Stock Exchange Year Book ; the<br /> latest Hazell, Dod, Whitaker, Crockford, &amp;c. ; a<br /> small atlas; the Inder Expurgatorius; a<br /> Continental Bradshaw; ‘ Notes and Queries ”<br /> from the beginning; a Liddell and Scott’s<br /> Greek Lexicon, a Jo Miller. Besides these books<br /> of mere reference, which might well occupy the<br /> whole of the principal bookshelf (the present one<br /> having been exchanged for a better), we might<br /> surely get together in small hanging bookcases<br /> a model collection of single volume classical or<br /> epoch-making books, such as “ Mill on Liberty,”<br /> “The Religio Medici,’ Burton’s “ Anatomy of<br /> Melancholy,” “ Don Juan,” Rousseau’s ‘ Confes-<br /> sions,” Emerson’s “ Essays,” “ Childe Harold,”<br /> Macaulay’s ‘“ Essays,” Rousseau’s ‘“ Contrat<br /> Social,” a Tennyson, a Marcus Aurelius, an<br /> Augustine’s Confessions, 4 Shakespeare, ‘ Les<br /> Miserables,” “The Sorrows of Werther,” “ The<br /> Leaves of Grass,” a Homer, Punch from the<br /> beginning, a Virgil, “ Essays and Reviews,’<br /> Boswell’s “ Life of Johnson,” “ Pepys’ Diary ” (not<br /> the new edition), “ Vanity Fair,” “ Pickwick,” &amp;c.<br /> I purposely omit the works of living authors, and<br /> attempt no order of merit in my humble selec-<br /> tion for our Wvxns Iatpeov. As for price, I<br /> observe that the first fifty of Sir John Lubbock’s<br /> celebrated ‘“ Hundred Books,” now in the course<br /> of publication by George Routledge and Sons,<br /> may be bought for £8 os. 6d., or @ little more<br /> than three shillings per book.<br /> <br /> Corrections of proofs.—A high official of the<br /> British Association complained at the annual<br /> meeting that the corrections on the proofs of the<br /> scientific contributions sent to him had greatly<br /> increased the printing expenses of the association,<br /> the cost of the corrections of one single contribu-<br /> tion alone amounting to £25. How could such<br /> waste be checked ? Corrections are rendered neces-<br /> sary by four main causes, being (1) bad writing or<br /> composition by author; (2) bad distribution, com-<br /> position, or reading by printer; (3) insufficient<br /> instructions of author or publisher to printer;<br /> and (4) after-thoughts of author, or after evens<br /> <br /> THE AUTHOR.<br /> <br /> or discoveries, as where a legal author has had<br /> his solution of some doubtful point cleared up<br /> by Act of Parliament. Of these causes the first<br /> three are all clearly preventible causes, ¢.g., the<br /> evils of bad handwriting may be avoided by<br /> taking lessons in handwriting or having the<br /> MSS. type-written. The evils of many after-<br /> thoughts or after events, &amp;c., may be mitigated<br /> by giving instructions for proofs in slips instead<br /> of sheets. As to bad writing, I observe with<br /> satisfaction that the late Master of Balliol is<br /> spoken of in one of the many notices of him<br /> as having emphatically denounced it, as did the<br /> late Lord Palmerston and Sir Arthur Helps.<br /> <br /> Mottoes.—A motto on the title-page of a book,<br /> and even at the head ot each chapter, is, I think,<br /> a good appendage. What could be more happy,<br /> for instance, than Dr. Liddon’s “ Stemmata qud<br /> faciunt?” as a motto to the chapter of Dr.<br /> Pusey’s biography, which sets out his ancestry ?<br /> The difficulty, of course is to keep all your<br /> mottoes up to the mark; this is perhaps got over<br /> by little dashes into original poetry.<br /> <br /> Machine-cut pages and paged tables of contents.<br /> —By way of crambe repetita let me once more<br /> implore all authors and publishers to have their<br /> books machine-cut; the cost is but ten shillings<br /> for each thousand books. And let all the pro-<br /> prietors of newspapers follow the example of<br /> Truth and the Author, and have the pages of<br /> their newspapers machine-cut. And let all<br /> proprietors of newspapers follow the example of<br /> Bradshaw&#039;s Guide, the Saturday Review, Good<br /> Woods, and the Author, and have paged tables of<br /> contents on their front pages. It is no use to<br /> answer that these front pages are wanted for<br /> advertisers. These would, I contend, gladly give<br /> a little more than even they do now for front-<br /> page advertisements in consideration of the<br /> increase of front-page readers which a front-page<br /> table of contents would certainly bring.<br /> <br /> The Laureateship.—Though the greatest of the<br /> laureates has now been dead for more than a<br /> year, his place is still not filled up. Iam credibly<br /> ‘nformed that the salary of £99 a year 1s not<br /> quite one-fifth of the amount expended on a<br /> single discharge of one of our heavy guns, and<br /> it has been said that each of our minor poets is<br /> so zealous for the public purse that he would<br /> rather that this £99 were no longer taken there-<br /> from, than that it should be handled by any poet<br /> but himself. For my own part (and auch’ to son<br /> poeta, as anybody who has seen my pathetic but<br /> unpublished lines on the death of a favourite cat<br /> can testify) I really think that somebody or other<br /> ought to be appointed without further delay.<br /> <br /> J. M. Ley.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> + sau<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> M. ZOLA AND ANONYMITY.<br /> <br /> <br /> <br /> NW ZOLA has comeand gone. Mayall good<br /> M attend his visit! It seems to have<br /> <br /> ® surprised the French that we should<br /> know anything about their great “realist,” and,<br /> knowing, that we should honour his genius. I<br /> fear that there are not many English authors who<br /> would receive in Paris the homage which has been<br /> paid to M. Zola in London. AS author, M. Zola<br /> is worthy of all the attentions which our own<br /> craftsmen have heaped upon him. His books sell<br /> by the hundred thousand, therefore he is a very<br /> proper man for authors to entertain. Nothing<br /> should be grudged to the literary man who has<br /> so gloriously upheld the market for books.<br /> <br /> But that the journalists should also have<br /> fallen prostrate before M. Zola, receiving instruc-<br /> tion in the art of public writing, was, I own, a<br /> little surprismg. M. Zola is not known as a<br /> great journalist. Even were he one of the kind<br /> which is bred in Paris, is it not a little<br /> too much that he should come over to lecture us<br /> on the first principles of journalism? Is Eng-<br /> land, the mother of newspapers, to be taught how<br /> articles should be written? For one kind of<br /> Press-man, the descriptive reporter, the works of<br /> M. Zola are doubtless a complete education. From<br /> them he will learn the art of saying common<br /> things to the best effect, of describing little<br /> things in so earnest and simple a manner as_ to<br /> make them seem great, of giving to fiction by the<br /> telling of it the air of truth. But journalism<br /> proper—which includes criticism, political and<br /> literary—is this also an art in which we islanders<br /> are so defective that we must get a first-rate man<br /> of letters from Paris to teach us?—I read with<br /> great interest that, immediately after landing for<br /> the first time in his life on these perfidious shores,<br /> M. Zola proceeded to lecture a select body of<br /> literary persons on the elements of journalism.<br /> Weare, it seems, in possession of an antiquated<br /> and quite obsolete institution called Anonymity,<br /> which destroys the personality of the writer, and<br /> makes it impossible for him to rise to the ‘level<br /> of the French newspaper man. While we are<br /> crushed under a brutal and soulless machine—<br /> brutal of course it must be, being English—the<br /> French, “‘ broken and turned up by incessant revo-<br /> lutions,” have arrived at that blissful state where<br /> the individuality of the writer is triumphant—<br /> where there is a ‘“‘ magnificent ardour of life with<br /> a generous expenditure of courage and of ideas,”<br /> A picture is drawn of the down-trodden British<br /> journalist, without hope of decorations or retir-<br /> ing pensions, uncheered by the casual duel or<br /> action at law, wearing out his soul as “a mere<br /> <br /> 201<br /> <br /> wheel in a great machine’”—whom nobody<br /> knows, whom ‘nobody sees—fulfilling his d: aily<br /> task as a docile instrument, without even the<br /> hope of a little celebrity as a “ delicious reward<br /> for a life of effort.”<br /> <br /> As a contrast to this gloomy picture, M. Zola<br /> gives us the journalist of France, emancipated, as<br /> we are asked to believe, thr ough the uprising of<br /> amore generous national spirit, from anonymity.<br /> As a matter of fact, the transition from the<br /> anonymous to the signed article was effected, not<br /> because “ the nation would have nothing more to<br /> do” with the former, but because a decree of<br /> Napoleon III. in 1850 made the signing of the<br /> article in every French newspaper compulsory.<br /> This law was violently resented at the time as an<br /> encroachment on the national liberty. Thus it<br /> <br /> was not from choice but from necessity—not as<br /> the outcome of a long process of evolution, but as<br /> the arbitrarily- imposed command of their master,<br /> who certainly had no thought of cultivating any<br /> new ardour of life, that ibe French came to<br /> that condition ee with individuality, for<br /> which we are now called upon to exchange our<br /> old, effete, and brutal anonymity. All this fine,<br /> flowing talk about the signature to the article<br /> being a kind of new birth in France, the mark<br /> of a higher development, reached through per-<br /> petual revolutions—about “the craving to fight in<br /> the front rank, the face uncovered, and in the<br /> glory that is therefore to be won by hurling one’s<br /> name into the midst of the conflict’’—is mere<br /> flummery, and in itself a very good sample of<br /> the kind of journalistic stuff which “ individu-<br /> ality” tends to produce. This overflowing of the<br /> individual, this ardour of combat, limited only by<br /> the harmless rapier and the pistol at thirty yards,<br /> this expenditure of courage and of ideas, English<br /> readers have special opportunities for studying.<br /> For is it not mainly at their expense that the<br /> show is maintained ? There is not a day passes<br /> in which we do not see this admirable new French<br /> journalism in exercise How greatly superior in<br /> truth as in knowledge, in honesty as in intelli-<br /> gence, does not the state of France confess,<br /> where the stupid forgeries of an obscure mulatto<br /> could revive to a fever heat the old rage against<br /> perfidious Albion—where a Boulanger could<br /> seriously threaten a revolution—where the Panama<br /> Canal could be gravely upheld as a national under-<br /> taking, by the means that we know of—where, as<br /> the last “ardour of life,’ we see the newest of<br /> Republics in a frenzy of delight over the coming<br /> of the Russians.<br /> <br /> As Lord Beaconsfield said, every nation has the<br /> government it deserves. So every nation has the<br /> Press which it merits. But to hold up French<br /> journalism as the model which England should<br />  <br /> <br /> 202<br /> <br /> follow is a little intrepid. We have more to<br /> teach than to learn in the way of journalism ; we<br /> had the essence of the thing, which is the right<br /> of free speaking, long before M. Zola’s country-<br /> men knew anything or cared anything about<br /> it. When the Roi-Soleil was still exacting<br /> from his people a homage which would be<br /> abject in Annam, De Foe, the first of jour-<br /> nalists proper, was working with his pen for<br /> the establishment of English liberties. In a<br /> generation later it was a journalist, Jonathan<br /> Swift, who changed the fortunes of Europe, and<br /> turned the whole current of the world’s history.<br /> The power of Junius in his time was greater than<br /> has been exercised in polities by any indi-<br /> vidual writer in France, under his own name<br /> or any other. In some of these cases, it is<br /> true, the writers were not wholly unknown,<br /> but it is not necessary for the preservation of<br /> anonymity that the individuality of the writer<br /> should be concealed. In England, even in<br /> political writing, it is seldom that absolute secrecy<br /> can be preserved, even as to the authorship of<br /> the individual article. The essence of the<br /> English system, which M. Zola does not appear<br /> to know, is that the individuality of the writer,<br /> whether known or not, is merged in that of the<br /> journal—the lesser and more imperfect responsi-<br /> bility in the larger and more complete. In one<br /> sense, and in the proper and legal sense, no news-<br /> paper in England is anonymous. All journalism<br /> is signed, for every journal bears, in the imprint,<br /> the name of the publisher. All beyond is un-<br /> necessary, and to seek to know more is imperti-<br /> nence. The theory of our system—the theory<br /> which is the life of every Free Press, where even<br /> before the writer comes the public—is, that the<br /> thing written, not he who writes it, should be the<br /> first object of regard. An English journal is a<br /> corporate body, which speaks with more than the<br /> authority, as it has necessarily more than the<br /> responsibility, of any single writer. Hence it<br /> comes about that the name of the individual<br /> writer is not wanted, which the public has no<br /> right to ask for, and in general does not care to<br /> know. This is our system, which as it has grown<br /> naturally out of our life in the process of the<br /> development of English liberty, we have a right<br /> to consider the best for ourselves—altogether<br /> declining to say whether it is the abstract best, or<br /> good for every nation.<br /> <br /> Certainly the experiment of the contrary prin-<br /> ciple in France is not likely to make us enamoured<br /> of itin England. Nor does it appear that M.<br /> Zola desires any immediate change in the Eng-<br /> lish system of anonymity in political writing.<br /> But in literary criticism, which is quite another<br /> thing, we are exhorted, with more show of reason,<br /> <br /> THE AUTHOR.<br /> <br /> to make a change. In criticism, we are told,<br /> there is *‘a creative function which distinguishes<br /> it from a mere summary or report,’ such as a<br /> “leader” is supposed to be. ‘It calls for per-<br /> sonal penetration, for logical power, not to<br /> mention a very wide erudition.” The assumption<br /> that the political article needs no penetration, or<br /> logic, or learning, comes naturally from a French<br /> journalist who knows no English. There is<br /> something doubtless in M. Zola’s argument,<br /> though scarcely enough to induce us to do away<br /> with the anonymous, even in literary criticism. We<br /> have tried the signed review, and I do not<br /> know that either literature or criticism is the<br /> gainer. Certainly the public is not. I doubt<br /> whether even the author prefers the signed<br /> review to the anonymous criticism for which the<br /> whole journal is responsible. After all, the<br /> freedom of literary opinion is of smaller im-<br /> portance than the freedom of political opinion;<br /> and if the public prefers its literary or its<br /> dramatic criticisms signed, signed they will be—<br /> though in most cases it will be hardly necessary.<br /> There is too much of the individual already, as<br /> some think, in our criticisms, which would be<br /> freer, and truer, and more honest, if they were<br /> more general—less personal and more abstract.<br /> We have experience of both systems in England,<br /> and there seems to be no good reason for pre-<br /> ferring the French to the English system.<br /> We have the critic who signs his name, and<br /> the critic who elects to remain anonymous,<br /> though not necessarily unknown. As one of<br /> the “old journalism,’ with a tolerably large<br /> experience of both states, having been reviewer<br /> and reviewed, I cannot understand why the<br /> author or the public, who are the two parties<br /> most concerned, should prefer to have their lite-<br /> rary reviews signed. For the critic himself, I can<br /> perceive that there are some reasons, not uncon-<br /> nected with self-advertisement, why he should be<br /> revealed in his own individuality.<br /> <br /> Certainly in M. Zola himself we have a product<br /> of journalism perhaps the most striking the age<br /> has yielded. He is a child of that very genius<br /> he has so gloriously depicted, with all its ardour<br /> of life, its fever of individuality, its break-neck<br /> gallop towards every glimpse of a new world.<br /> Yet the journalism which M. Zola represents is<br /> that French journalism which, with all its<br /> delights, its passions, and its ambitions, I do<br /> not know to be so good a thing for us English as<br /> that we should be in a hurry to give up in<br /> exchange the greatest work of our own freedom.<br /> <br /> H. E. W.<br /> <br /> <br /> <br /> <br /> <br /> wo<br />  <br /> <br /> Ke<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE AUTUMN PUBLISHING SEASON.<br /> <br /> <br /> <br /> HE “announcements ”’ of the season have been<br /> iT appearing, as usual, in the Atheneum.<br /> The following is an analysis of the lists<br /> which seem now to have been completed. The<br /> order followed is the order of their appearance in<br /> the Atheneum :<br /> <br /> Ward, Lock, and Co.: Fiction, 6 works; travel,<br /> 3; verse, 1; biography, 1; book for girls, 1<br /> technical book, 1; total, 13.<br /> <br /> Hutchinson: Fiction, 17; a Library for Boys,<br /> 10; a Library for Girls, 10 ; general literature,<br /> 3; total, 40.<br /> <br /> Cassell: Astronomy, 3; memoirs, 2; history,<br /> E; fiction, 14; science, 3; art, 2; religion, 2;<br /> geography, 2; miscellaneous, 7; total, 36.<br /> <br /> Macmillan: Poetry, 2; illustrated books, 6;<br /> new editions, 6; fiction, 4; “The Eversley<br /> Series,” 6; literary history and criticism, 3;<br /> biography, 6; history and archeology, 7;<br /> “Englsh Citizen Series,” 3; theology, 10;<br /> philosophy, 2; miscellaneous, 5; classics and<br /> education, 33; total, 93.<br /> <br /> Lawrence and Bullen: Two reprints, illus-<br /> trated.<br /> <br /> Blackie and Son: Educational, 10.<br /> <br /> T. and F. Clark: Science, 1; religion, 3.<br /> <br /> Sunday School Union: Fiction, 13.<br /> <br /> F. V. White and Co. : Fiction, 3.<br /> <br /> Clarendon Press: Theology, 10; Greek and<br /> Latin, 12; Oriental works, 5; general litera-<br /> ture, 3; history, biography, and law, 12; English<br /> language and literature, 5; philosophy, 5;<br /> sacred books of the Hast, 4; miscellaneous, 10;<br /> total, 66.<br /> <br /> Messrs. Heineman and Co.: Memoirs and<br /> biography, 7; “Great Educators” series, 2;<br /> general literature, 7; fiction, including transla-<br /> tion, 26; total, 42.<br /> <br /> Mr. Nutt: Reprints, 6; fairy and folklore, 3;<br /> miscellaneous, 7 ; total, 16.<br /> <br /> Messrs. W. and R. Chambers: Fiction, 8;<br /> reprints, 2; biography, 3 ; educational, 6 ; total, 19.<br /> <br /> Messrs. Bliss, Sands, and Foster: fiction, 8;<br /> illustrated books, 3; topography, 1 ; total, 12.<br /> <br /> Messrs. Oliphant, Anderson, and Ferrier :<br /> Fiction, 12; religion, 8; total, 20.<br /> <br /> Sonnenschein and Co.: Theology and philo-<br /> sophy, 12; history and topography, 7; belles<br /> lettres, 12; social science, 17; education, 14;<br /> fiction, 9 ; total 71.<br /> <br /> The 8.P.C.K.: History, 4 ; science, 2 ; theology,<br /> 5; devotional, 4; books for girls, 29 ; total, 44.<br /> <br /> Putnam: History and topography, 15; social<br /> science 5 ; fiction, 18; religion and philosophy, 4;<br /> belles lettres, 7 ; miscellaneous, 3; total, 52.<br /> <br /> &gt;<br /> <br /> 203<br /> <br /> A. and ©. Black: History and topography, 2 ;<br /> fiction and re-issues, 12; theology, 5; social<br /> science, 2; natural science, 2; total, 23.<br /> <br /> A. D. Innes and Co.: Religion,<br /> lettres, 2; fiction, 19; total, 24.<br /> <br /> Skeffington and Sons: Theo.ogy and devotion,<br /> I5 ; verse, 1; fiction, 2; total, 18.<br /> <br /> Griffith, Farran, and Co.: Books for the young,<br /> 20; total, 20.<br /> <br /> Messrs. Henry and Co, : Fiction and drama, 8;<br /> miscellaneous, 4; total, 12.<br /> <br /> Chapman and Hall: Fiction, 3; history and<br /> topography, 5; sport, 2; science and art, 6;<br /> philosophy, 1; miscellaneous, 3 ; total, 20.<br /> <br /> Rivington, Perceval, and Co.: History and<br /> theology, 4; art, 2; travel, 1; schoolbooks,<br /> various, 59; total, 66.<br /> <br /> Fisher Unwin: Belles lettres, 5; verse, 1;<br /> biography, 8; history, 5; travel, 7; theology, 2;<br /> fiction, 28 ; total, 56.<br /> <br /> Allen and Oo.: Travel, 6; fiction, 5; natural<br /> science, 3; miscellaneous, 2; total, 16.<br /> <br /> Hodder and Stoughton: Theology and mission<br /> work, 17; biography, 3; belles lettres, 2; topo-<br /> graphy, 2; science, 1; stories, 4; total, 29.<br /> <br /> Walter Scott: Contemporary Science Series, 3 ;<br /> dramatic criticism, 3; fiction and fairy tales, 4 ;<br /> Scott Library, 4; total, 14.<br /> <br /> Elkin Matthews and John Lane: Verse and<br /> drama, 12; belles lettres, 23.<br /> <br /> Warne and Co.: General literature, 4; topo-<br /> graphy, 3 ; miscellaneous, 4; fiction, 4 ; Favourite<br /> Library, 1; Adventure Library, 4; Welcome<br /> Library, 7; total, 27.<br /> <br /> Cambridge University Press: Theology, 9 ; law<br /> and history, 4; Greek classics, 6; Latin classics,<br /> 4; grammar and composition, 5; antiquities, 4;<br /> total 32.<br /> <br /> Methuen: Speeches, 1; fiction, 9; classics, 2;<br /> translations, 2; verse, 2; history, 3; grammar<br /> and composition, 3; Commercial Series, 2; social<br /> questions, 2; total, 26. :<br /> <br /> Wells Gardner and Co.: Theology, 7; topo-<br /> graphy, 1; verse, 1; social questions, 3; fiction,<br /> 7; total, 19.<br /> <br /> Routledge and Sons: Reprints and re-issues,<br /> 8; Popular Library, 2; history, 3; total, 13,<br /> <br /> Williams and Norgate: Science, 2; theology,<br /> 4; biography, 1; German, 5; philology, 2;<br /> translations (Greek, 1; Arabic, 1; German, 1);<br /> 3; total, 17.<br /> <br /> Nimmo: Fiction and romance, 2; botany, 1;<br /> topography, 1; total, 4.<br /> <br /> Blackwood and Sons: Memoirs, 3; travel and<br /> topography, 3; theology, 1; belles lettres and<br /> translations, 4; agriculture, 3 ; total, 14.<br /> <br /> Sampson Low and Co.: Travel and topo-<br /> <br /> 3; belles<br /> 204<br /> <br /> graphy, 11; fiction, 11; theology, 2; science, 3;<br /> memoirs, 3; belles lettres, 6; total, 36.<br /> <br /> Masters and Co.: Theological and devotional,<br /> 11; tales, 2; miscellaneous, 1; total, 14.<br /> <br /> Clowes and Sons: Law, 6; total, 6.<br /> <br /> Gay and Bird: Book for girls, 1; general lite-<br /> rature, 4; fiction, 2; drama, 1 ; verse, 1; total, g.<br /> Bemrose and Sons: Theological, 4; total, 4.<br /> <br /> Partridge and Co.: Biography, 1; religion, 3 ;<br /> fiction, 12 ; natural history, 1; total, 17.<br /> <br /> Jones, Mac Lehose, and Sons: Theology, 2;<br /> science, 2; belle lettres, 3; total, 7.<br /> <br /> Nelson and Sons: History and biography,<br /> 5; verse, 1; fiction, 6; natural history, 2;<br /> dictionary, 1; total, 15.<br /> <br /> Suzal and Co.: Educational, 1; theology, 1 ;<br /> history, 2; total, 4.<br /> <br /> The total, so far, is 1153.<br /> <br /> rec<br /> <br /> THE SIXTH CENTENARY OF BEATRICE.<br /> <br /> <br /> <br /> Not ours the rhythmic vesture, to array<br /> <br /> The Queen of Dante’s minstrelsy aright :<br /> <br /> No more the Master-singer’s harp of might<br /> <br /> May yield his deathless homage to her sway.<br /> Yet we, who watch this soft six-hundredth May<br /> Break into bloom o’er Arno’s banks, delight<br /> <br /> To hymn her praise, who mocks the ages’ flight,<br /> And whose pure Fame is young as yesterday.<br /> <br /> Still through the world’s. rough war, the foemen’s stress,<br /> Earth’s Pilgrims strain unconquered to the goal,<br /> Cheered by the Lady of all loveliness,<br /> And ever glorying in her sweet control.<br /> Still smiles for Poet hearts, who heavenward press<br /> Through purifying pain, the Woman’s soul.<br /> <br /> C. A. KELLY.<br /> <br /> Peoacs<br /> <br /> BOOK-TALK.<br /> <br /> <br /> <br /> HE “Society of English Bibliophilists”’<br /> announces a new translation of the Hepta-<br /> meron. Since the Society does not print<br /> <br /> its address we are not able to find out if it has<br /> published anything previously from which we<br /> could learn what to expect. Its advertisement in-<br /> forms us that the work is newly translated into<br /> English from the authentic text of M. Le Roux<br /> de Lincy, and quotes from an essay upon the<br /> Heptameron by Mr. George Saintsbury. It<br /> appears, however, that this must not be taken to<br /> mean that the translation is by Mr. Saintsbury,<br /> nor yet that an essay has been written by him<br /> specially for this edition. The name of the real<br /> translator does not appear, and Mr. Saintsbury’s<br /> essay, referred to in the advertisement, is one, or<br /> <br /> THE AUTHOR.<br /> <br /> the part of one, published by him some time<br /> ago.<br /> &quot;tt may be well to consider the position of the<br /> English reader with regard to this sixteenth<br /> century classic. The English editions of the<br /> Heptameron are as follows :—The earliest trans-<br /> lation is by Codrington, published in 1654. The<br /> next, the work of several hands, and published in<br /> 1750, and a third in one of Bohn’s libraries by<br /> Cc. A Kelly, published in 1840. In 1886 a trans-<br /> lation by A. Macheen, privately printed, with<br /> plates by Flamengo, and a bibliographical preface<br /> —a scholarly and beautiful edition, which claims<br /> to give the whole of the original. In 1887<br /> there appeared a selection of this translation,<br /> with a preface, historical and critical, by Miss<br /> A.M. F. Robinson. There is also an American<br /> edition, with plates by Flamengo, published at<br /> Philadelphia. To this list we must add the<br /> special note in Prof. Baird’s History of the<br /> Huguenots, in which the difficulties surrounding<br /> the original are noted and dismissed. He says:<br /> “Her (Queen Margaret’s) most sincere admirers<br /> would hail with gratification any satisfactory<br /> evidence that the Heptameron was written by<br /> another hand,” and concludes: “It is a riddle<br /> which I leave to the reader to solve, that a<br /> princess of unblemished private life, of studious<br /> habits, and of not only a serious, but even a<br /> positively religious turn of mind—in short, im<br /> every way a noble pattern for one of the most<br /> corrupt courts Europe has ever seen—should, in<br /> a work aiming to inculcate morality, and<br /> abundantly furnished with direct religious exhor-<br /> tation, have inserted not one, but a score of the<br /> most repulsive pictures of vice drawn from the<br /> impure scandal of that court.”<br /> <br /> The difficulties, then, which surround the Hep-<br /> tameron are, first, the difficulty of authorship, for<br /> Brantome contradicts himself; at one time he<br /> says that the Queen wrote it in her litter—his<br /> own grandmother holding her ink-horn, and at<br /> another (as quoted by Bayle) he writes: “ Je ne<br /> scay si ladette Princesse a composé le dit livre<br /> dautant quwil est plein de propos assez hardis et<br /> de mots chatouilleux.” There is also the diffi-<br /> culty of identifying the characters and the<br /> peculiarity of language. The same kind of thing<br /> meets us in studying the Fairy Queen, but we<br /> can enjoy the poem without troubling about the<br /> identity of the knights and ladies, or going 100<br /> deep into linguistic peculiarities. These diffi-<br /> culties, however, are of a very different order<br /> from that of which the American professor has<br /> written so regretfully and so justly. It would<br /> seem that the work is one of those classics, @<br /> translation of which is always justifiable, but<br /> which always has to be justified. To the<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> historian it is invaluable. It enables him to form<br /> a fair estimate of the material civilisation of<br /> the time, together with its deep corruption of<br /> morals, because the persons represented are 3 eal<br /> persons, and the stories they relate are true<br /> stories. Put together, perhaps, to amuse the king,<br /> they owed much of their popularity to the fact<br /> that the original audience were able to recognise<br /> to whom the incidents—scandalous enough many<br /> of them—had occurred. That particular reason<br /> for reading and liking the work is denied us,<br /> even if with the help of recent criticism we<br /> could identify some of the characters. The<br /> time is past for anyone really to care. The<br /> chief merit of the work is the skill with which<br /> the gross vice, and, above all, the hypocrisy of<br /> the time, are held up to ridicule. Its use at<br /> the present moment is that it quickly gives the lie to<br /> all attempts to make out that the necessity of<br /> the sixteenth century reformation in teaching<br /> morals was due to the faults of the laity and<br /> not of the clergy. The latter may not have<br /> been so bad as has been stated, but they were<br /> certainly worse than they should have been.<br /> Professor Huxley’s new book, called ‘ Methods<br /> and Results,” consists of a short biography<br /> and nine essays published at different times<br /> between 1866 and 1870. It is in every way<br /> pleasant Sestae In the interesting biography,<br /> Professor Huxley tells us to what aims and<br /> duties he has always devoted his energies.<br /> He instances the popularisation of science, the<br /> development of scientific education to the endless<br /> series of battles and skirmishes over evolution,<br /> and tothe untiring opposition to that ecclesias-<br /> tical spirit, that clericalism which in England, as<br /> everywhere else, and to whatever denomination it<br /> may belong, is the deadly enemy of science. Of<br /> the nine papers, we are told that one—which treats<br /> of Descartes and his famous discourse—is to be<br /> considered as justifying the title methods, and that<br /> the remaining eight are results Of these the<br /> ‘Physical Basis of Life” is perhaps the most w idely<br /> known, unless it be the “ Progress of Science,”<br /> brought out in the year 1887. “Professor Huxley<br /> shows that Descartes was the originator «f much<br /> of the now accepted teaching of the physiology of<br /> nerve and muscle. If the paper on animal<br /> autonation be too scientific for some readers, they<br /> may console themselves with the account of a<br /> soldier—a patient of Dr. Mesnet—which would<br /> seem to countenance the possibility of the divided<br /> personality, and consequently divide! moral<br /> responsibility, with which the reader is familiar<br /> in the story of Dr. Jekyll and Mr. Hyde. The<br /> final essays are political as well as_ scientific,<br /> “ Administrative Nihilism” deals with political<br /> philosophy, with a keen eye to practice in the<br /> VOL. Iv.<br /> <br /> 205<br /> <br /> defence of the educational and scientific institu-<br /> tions of our day. But it is one of those remark-<br /> able essays which turn people into non-voters.<br /> For if the evolutionists cannot agree as to the<br /> limits of state action, how shall those to whom<br /> the cell as an individual, and the cell as a member<br /> of a group present difficulties enough, be able<br /> to grasp the conception of duty amongst<br /> the higher groups? With the “ coming slavery,’<br /> and the sins of legislators clear in our<br /> recollection, no contrast could be so complete as<br /> the Professor’s advocacy of State interference, but<br /> we must leave it to the reader to follow out for<br /> himself how the author justly claims to be a<br /> friend to the State and an enemy to clericalism.<br /> As a past president of the Royal Society, as the<br /> possessor of a literary style which Darwin envied,<br /> the words in which the Professor expresses “a<br /> hope that he had somewhat helped that move-<br /> ment of opinion, which has been called the New<br /> Reformacion,” are modest enough. Those who<br /> have been constant readers of Professor Huxley’s<br /> papers, and intend to revive their acquaintance<br /> in this and succeeding volumes, will think it a<br /> very large ‘‘ somewhat ”’ for one man.<br /> <br /> “ A History of New York, by Diedrich Knicker-<br /> bocker.”’ By Washington ‘Irving. Two new<br /> editions of this book are announced, the Van<br /> Twiller edition and the Peter Stuyvesant edition,<br /> each in two volumes. The latter is limited to<br /> 281 copies, of which twenty-five are secured for<br /> sale in Europe. This is a work of which many<br /> would say that it deserves all the luxury that<br /> print, binding, and paper can do for it. But it<br /> cannot be denied that, of Irving’s works, it is not<br /> so much read—at least among the younger gene-<br /> rations—as the Alhambra and the Sketch Book.<br /> To the dwellers on the shores of the Hudson<br /> river, and to the descendants of the early colonists<br /> of Connecticut and Rhode Island, the book will<br /> always have a personal interest, but, admirable<br /> literary tour de force though it be, we fear its sun<br /> as a Classic has a little waned.<br /> <br /> A revised and annotated edition of the con-<br /> versations of Lord Byron and the Countess of<br /> Blessington has appeared with two memoirs of<br /> the Countess, one a contemporary sketch by her<br /> sister, the other written especially for this book<br /> by an editor whose name does not appear. The<br /> two memoirs supplement each other, and with<br /> the help of the notes there is little in the work<br /> which should not be clear even to those who have<br /> not made themselves familiar with the extensive<br /> literature upon Lord Byron, “ his friends, and his<br /> relations.” Now that Lord Byron’s fame as a<br /> poet is regularly assailed by the essayist, it is<br /> very interesting to try to estimate how much the<br /> atmosphere of scandal in which le moved, and<br /> <br /> 8<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 206<br /> <br /> his habit of self-advertisement, had to do with<br /> his immense popularity. After reading this book<br /> there can be no doubt that they counted for<br /> much. The work has another use, as its title will<br /> suggest—we may make of it a test of the social<br /> refinement of the present time. We have no<br /> literary salons to-day, and we have no conversa-<br /> tion—on this subject hear Professor Mahafty—<br /> but if anyone chooses to compare the tall talk in<br /> this volume with our more ordinary chit-chat,<br /> though he may find the latter less worth record-<br /> ing, surely he must find it more amusing, owing<br /> its increased pregnancy, of course, to the much<br /> larger chvice of subjects now at our disposal. In<br /> 1823 society talked about Lord Byron, and Lord<br /> Byron talked about himself. Practically there<br /> was no other topic. And yet again we are ahead<br /> of our grandfathers ; if we take up a chance<br /> volume of society memoirs of to-day, we shall<br /> find that, whether malicious things still be said or<br /> no, we have in the main acquired the better taste<br /> of not recording them. The editor of this<br /> edition is much to be congratulated on the re-<br /> issue of a work which must raise our opinion of<br /> society in the century’s last decade.<br /> J. W.S.<br /> <br /> (To be continued.)<br /> <br /> Pes<br /> <br /> LADY EASTLAKE.<br /> <br /> <br /> <br /> OME of us were children fifty years ago, and<br /> many of the children of fifty years ago still<br /> remember certain volumes which bore the<br /> <br /> name of John Murray, of Albemarle-street.<br /> They were covered in paper of a peculiarly ugly<br /> grey colour—a livid grey, —and, if I mistake not,<br /> they were described as forming “ The Traveller’s<br /> Library.” I remember Acland’s delightful letters<br /> from India, with their tragic ending, and Mrs.<br /> Poole’s “ English Woman in Egypt,” and others ;<br /> but, of them all, there was no volume to which my<br /> parents were so much attached as “ Letters from<br /> the Baltic.’ It was published in 1841, and at<br /> once placed Miss Rigby, who was then about<br /> twenty-five, in a good rank in literature. She<br /> immediately became a member of the little<br /> society, as it might be called, of which Sir William<br /> Smith, also just gone from us, was the chief. She<br /> shone chiefly as an art critic, not so much because<br /> she could draw herself, as because she had a very<br /> universal appreciation and enjoyment of what was<br /> good in any style, and had, besides, a remarkable<br /> faculty, too rare by far, for describing what she<br /> saw. She could do much more—she could discrimi-<br /> <br /> THE AUTHOR.<br /> <br /> nate. Her knowledge stood her in good stead<br /> when she married Mr. Eastlake, then an R.A.,<br /> but afterwards Director of the National Gallery,<br /> and a knight. She was thirty-three at the time<br /> of the marriage, and it is well known that her<br /> judgment and advice were frequently and freely<br /> invoked down to 1865, when Sir Charles died,<br /> That she was a judge of pictures was frequently<br /> proved when she exhibited one or another of her<br /> possessions, as, for instance, at the Royal<br /> Academy, in the winter shows of old masters ; but<br /> it seems strange that in none of the obituary<br /> notices, nor yet in the letters that have appeared<br /> in the papers, is her munificent gift mentioned—a<br /> memorial of her husband in the scene of his chief<br /> labours—a picture which was long considered to<br /> be unique. This is the “ St. Anthony and St.<br /> George” (No. 776 in the Catalogue of the Foreign<br /> Schools), painted by Pisano of Verona, who is so<br /> much better known for his bronze portrait medals.<br /> One other picture from his hand is in England,<br /> and a portrait at Bergamo may be his. This con-<br /> cludes the list of his works now extant, and demon-<br /> strates, apart from its beauty and finish, the<br /> priceless character of Lady EHastlake’s contribu-<br /> tion to the completeness of our National Gallery.<br /> <br /> Lady Eastlake continued, almost to the day of<br /> her death, to contribute to contemporary litera-<br /> ture, writing both in the Quarterly and the<br /> Edinburgh Reviews, chiefly on artistic subjects.<br /> She also corrected and continued Mrs. Jameson’s<br /> works for Messrs. Longman. Her “ Letters from<br /> the Baltic” were supplemented by some stories of<br /> “Tivonian Life.’ Her sister had married an<br /> Esthonian nobleman, which led to her taking<br /> much interest in a region so little known to most<br /> of us. Since her widowhood she lived in compara-<br /> tive retirement, surrounded, nevertheless, by a<br /> circle of enthusiastic friends. They could never<br /> sufficiently extol her personal beauty or her<br /> mental powers, which were in no way abated by<br /> her seventy-seven years and long illness. One<br /> gentleman (Mr. Flower) writes to the Times of<br /> Oct. 13: “Such characters are among the glories<br /> of English society, and should be thankfully<br /> remembered.” :<br /> <br /> <br /> <br /> W. J. 1.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> from the New York Evening Post, and to<br /> <br /> the opinions advanced by Mr. George<br /> Haven Putnam on the further amendment of the<br /> American copyright law. No one, outside the<br /> profession of the law, has a better right to be heard<br /> than Mr. Putnam, who has done so much already<br /> for the amendment of American copyright law.<br /> <br /> ET me call attention to the paper reprinted<br /> <br /> <br /> <br /> The Report of the Society for the Promotion of<br /> Christian Knowledge informs its supporters that<br /> it has circulated during the year a vast quantity<br /> of literature in many millions of books. It also<br /> states, with the complacency of the successful<br /> merchant, that a great circulation is the one thing<br /> most important. It is now two years since I<br /> pointed out in a little pamphlet, and in these<br /> columns, that there was another thing even more<br /> important than circulation, in a religious trading<br /> company, viz., that its methods of trading should<br /> not be such as might lay its directors open to a<br /> charge of sweating or of dishonesty. And Iasked,<br /> in general terms, what is thought of a man in<br /> trade who gives the producer a shilling for an<br /> article which he knows he is going to sell for<br /> ten or twenty shillings. I also quoted no less an<br /> authority than the Archbishop of Canterbury<br /> himself, who lays down as the first evil of the<br /> sweating system, “arate of wages inadequate to<br /> the necessities of the worker, or disproportionate<br /> to the work done.’’ Then cases were cited, three<br /> or four out of many. In one of these the society<br /> bought for £12 (!)—with a promise of more if the<br /> book was successful—a historical work, of which<br /> they sold 7000 copies at a profit of—how much?<br /> about £200, and then refused to give any more,<br /> Is £12 arate of wage proportionate to the work<br /> done ? There were other cases, but the leading<br /> charge brought by me was that the society<br /> deliberately, knowingly, and with open eyes, and<br /> in the sacred name of the Founder of our religion,<br /> buys books from their authors at prices which,<br /> compared with the profits they make on them, are<br /> as one to five, six, ten, or anything you please.<br /> This practice they have never disavowed, or con-<br /> fessed, or, so far as I know, changed. And again<br /> Task those who read these pages what they think<br /> of such a practice ?<br /> <br /> It is absurd to say that the imprint of the<br /> letters S.P.C.K. causes the sale of the books,<br /> because such may be said by any great firm with<br /> equal truth. But the great firm does not,<br /> in consequence, cut down the miserable author’s<br /> pay; on the contrary, the auth »r enjoys, in its<br /> <br /> 207<br /> <br /> hands, not only terms which would make this<br /> committee jump out of their chairs, but the<br /> prestige of their name. I reproduce what was<br /> said in that pamphlet on the sweating pub-<br /> lisher. If the words can no longer be applied<br /> to the §.P.C.K. I shall unfeignedly rejoice :—<br /> <br /> The sweating publisher, then, is one who grinds down the<br /> faces of his unfortunate authors ; who offers a miserable sum<br /> for work which is going to bring him in a hundredfold<br /> profit; who scruples not to toss an author a ten-pound<br /> note for his labour, and without a pang of shame or<br /> remorse makes £50 or £100 or £500 profit for himself;<br /> who knows no law but the cruel law of supply and demand,<br /> and recognises no other right in an unfortunate author but<br /> his right to receive meekly the highest sum that he can<br /> obtain.<br /> <br /> There are many of these people abroad. They deal largely<br /> with the productions of women. The sweater, it is well<br /> known, works more comfortably by means of women.<br /> They are helpless, they are ignorant of business, they are<br /> yielding ; if they cannot be frightened they can be cajoled.<br /> And literary women, again, are timid about their own work,<br /> not knowing what amount of stability they have achieved or<br /> what is the extent of their popularity. Therefore the sweater<br /> can do what he pleases with them. If they venture gently<br /> to remonstrate, he bullies them; if they weep and entreat<br /> he threatens. He enjoys making them feel that he is their<br /> master; he is never so happy as when he has them at his feet,<br /> humiliated and submissive. The sweater is always a bully<br /> as well as a sweater.<br /> <br /> He has got all kinds of excuses for hissweating. His first<br /> excuse—in fact the words are seldom out of his mouth—is<br /> that there is perfect freedom of contract between himself<br /> and his authors. Itis take it or leave it. Here is a sum<br /> of money, there is the M.S. Thatisall. There is no other<br /> consideration.<br /> <br /> Freedom of contract! It is freedom of contract when the<br /> wretched seamstress toils all day long—a day of sixteen<br /> hours—for 11}d.—or less. She is free to take it or to leave<br /> it. Itis freedom of contract when the poor woman who<br /> <br /> “writes for her bread submits a manuscript which has cost<br /> <br /> her weeks and months of labour ; yes, and that of a kind<br /> which requires, before it can be produced, a pure heart, a<br /> lofty soul, a brain rich with knowledge and a-glow with ideas,<br /> fancies, and imaginings, and a trained hand. Such a<br /> woman is a most precious gift and blessing to the generation<br /> in which she lives and works. She may be a most potent<br /> force in the advancement of humanity. But she is alsoa<br /> most sensitive and delicate instrument. And she has to<br /> deal with a sweater! She goes to him trembling, because<br /> she knows what to expect. He will toss her £10, £20, £30,<br /> £50, whatever it may be. And out of her book he will make<br /> to himself a profit of ten, twenty, fiftyfold.<br /> <br /> Freedom of contract! No greater mockery, no greater<br /> cruelty than to speak of such a woman driven to such<br /> necessities, is free to choose—free to accept or to reject.<br /> She is not free, she is the slave of the sweater.<br /> <br /> <br /> <br /> From a letter. “Is it not time to leave off<br /> exposing frauds? Have we not exposed them<br /> enough? And will not the Society proceed to<br /> something practical — become publishers for<br /> authors on terms recognised as fair, with open<br /> books, and no secret profits?” Answer: It is<br /> never time to leave off exposing frauds until the<br /> practice and the possibility both become things of<br />  <br /> <br /> <br /> a<br /> 208<br /> <br /> the past. Until then the Society must always act<br /> as a kind of police. As regards the third question,<br /> it must be remembered that the Society has certain<br /> specified objects, for which it is incorporated,<br /> expecially the defence of literary property ; that<br /> it has no power to go outside, or beyond, objects<br /> laid down in the memorandum of its Articles, I<br /> do not think, for instance—but it is for a lawyer<br /> to determine—that the Society could, under its<br /> Articles of Association, become a publishing<br /> company. Some day—perhaps very soon— unless<br /> some of the existing machinery is modified, a<br /> company of authors—men and women whose<br /> position is assured-—will form a publishing union<br /> of their own—just for theirown books. It would<br /> be perfectly simple to establish; there would be<br /> no possible risk about it, provided a manager<br /> could be found both honest and capable; and it<br /> would cost, to start, little more than the first<br /> year’s salaries and wages of a small stat. This<br /> work is not, I think, for the Society, but for<br /> authors when they have learned at last their<br /> individual strength and the power of Association.<br /> <br /> <br /> <br /> Quite a common gibe to cast at the Society is<br /> that it “helps” no one, meaning that it gives<br /> money to no literary person in trouble. A<br /> certain person, writing in the Daily Chronicle<br /> last July, stated, with admirable taste and feeling,<br /> that he himself had “helped” more literary<br /> people in distress than the whole Society of<br /> Authors. Very likely. If he ever gave a literary<br /> man in trouble a single half-crown he was quite<br /> justified in his boast. But the Society “ helps ”<br /> many literary men and women ina much more<br /> lasting manner when it keeps them from robbery<br /> and from robbers. Which is better, to teach a<br /> whole class of workers what their work means,<br /> and to make it increasingly difficult to overreach<br /> them, or to give a shilling to a man in distress ?<br /> The relief of distress is not one of the objects of<br /> the Society, and it cannot spend any portion of its<br /> funds for that purpose.<br /> <br /> <br /> <br /> =——<br /> <br /> “Are we right to encourage young men and<br /> maidens into the fields of literature?” This is<br /> a question which has been often put. Answer:<br /> Do we so encourage them? It is true, as we<br /> have stated over and over again, that literary<br /> property, meaning the property produced by<br /> the traffic in work which is produced by us,<br /> and is our property unless we part with it,<br /> is of prodigious extent; to state the real facts<br /> is, surely, always advisable. It is also true that<br /> <br /> authors of successful educational books, above all;<br /> of scientific books, by men of reputation ;<br /> of historical books, by well-known scholars; of<br /> <br /> THE AUTHOR.<br /> <br /> fiction, when it is by a popular writer, command,<br /> each and all,a market which for extent and for<br /> certainty has never yet been equalled in the<br /> history of literature. It is also true that this<br /> market is enlarging rapidly, even daily, and that<br /> there appears to be no limit to its enlargement ;<br /> and that the position of the popular author in any<br /> of the departments named above will, unless the<br /> author sink into the mere hack of the publisher,<br /> whicha few years ago seemed possible and _pro-<br /> bable, become the most enviable in the world, not<br /> only for the reputation he will enjoy but for the<br /> revenues he will command.<br /> <br /> <br /> <br /> Se<br /> <br /> All this is true, and it is good to state it<br /> openly and often, and to keep on repeating it, so<br /> that it may never be forgotten. Unfortunately,<br /> the number of those who can ever occupy a posi-<br /> tion so enviable will always remain very, very<br /> small; and the number of books which every<br /> year can hope to obtain anything like a popular<br /> success will also be very small. For instance, in<br /> to-day’s Times there are advertised eighty new<br /> books. The list includes about a dozen paid for<br /> by the author. Of the rest, all, I should think,<br /> will pay their expenses and something over; but<br /> there are probably not half a dozen which can<br /> be looked upon as likely to increase literary pro-<br /> perty.<br /> <br /> <br /> <br /> Aspirants, whatever one says, well crowd in.<br /> If one dissuades them, they think, and say, that<br /> we want to make a ring. If we point to the last<br /> paragraph, they return to the previous paragraph.<br /> Well; they must crowd in if they like. When<br /> they fail, as most must do, they may console<br /> themselves with the reflection—also true—that<br /> literary merit and popular success are things<br /> which cannot be measured, or compared, and then<br /> they may further solace their disappointed souls<br /> with the thought that popular success is cheap<br /> success, which is always a comforting thing to<br /> say; and that, after all, the real genius is the<br /> man who fails to #:hieve that success.<br /> <br /> Water Besant.<br /> <br /> ee<br /> <br /> THACKERAY’S WOMEN.<br /> <br /> <br /> <br /> II.<br /> TOO, am a great admirer of Thackeray’s<br /> | genius; and I, too,am a woman, and cannot -<br /> but wish, with the correspondent: in .the<br /> Author for October, that Thackeray had drawn<br /> his portraits of women with a more generous hand.<br /> For it has been his good pleasure to draw us either<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> coldly base orangelically inane. An American lady<br /> once asked Thackeray why he made his women<br /> either knaves or fools? To which he replied,<br /> “Madam, I paint your sex as I have found<br /> them.”<br /> <br /> Yet I do not think he was the harsh cynic<br /> these wor’s imply him to have been. I imagine<br /> rather his meagre portraits of women to have<br /> arisen from two causes—firstly, the sadness of<br /> his personal lot; and, secondly, that he painted<br /> only from one narrow section of social lite—the<br /> artificial society phase of it—upon whose barren<br /> soil blossoms little feminine mental or moral<br /> loveliness. It is true that, amid the same condi-<br /> tions of life, his men emerge far nobler than his<br /> women; yet may this not be due to the fact of<br /> men, even in fashionable life, being called to the<br /> more active business of life—the fighting branch<br /> —in for-ign countries, and winning their way in<br /> professions more or less arduous. His finest<br /> men—the characters for whom he seems to have<br /> had the greatest love—are oftenest old soldiers,<br /> such as Colonel Newcome and Major Dobbin.<br /> Their lives, even amidst wordly surroundings,<br /> were redeemed from the futility and pettiness of<br /> those of their wives and daughters.<br /> <br /> Thackeray’s business was to portray the women<br /> of his fashionable world—‘‘the world which<br /> amuses itself’? most generally at its neighbour&#039;s<br /> expense; and though he dwelt much upon the<br /> traditional weakness of the sex—its jealousies,<br /> small deceits,envy,and petty spite—still, at times,<br /> who has written more tenderly more reverently,<br /> with loftier moral justice, of women, than he?<br /> Take, for instance, for simple tenderness and<br /> reverence, those words from ‘ Vanity Fair,”<br /> when George leaves Amelia in the cold dawn of<br /> Waterloo :<br /> <br /> ‘‘Heart-stained and shame-stricken, he stood<br /> at the bed’s foot and looked at the sleeping girl.<br /> How dared he—who was he—to pray for one so<br /> spotless? God bless her! God bless her! He<br /> came to the bedside and looked at the hand, the<br /> little soft hand, lying asleep, and he bent over<br /> the pillow noiselessly towards the gentle pale face.<br /> Two fair arms closed tenderly round his neck as<br /> he stooped down. ‘I am awake, George,’ the<br /> poor child said, with a sob.”<br /> <br /> His heroines had, indeed, a fatal knack of<br /> loving blindly the wrong man, when a better<br /> might have been theirs “for a word or a look.”<br /> But even George Eliot, with her larger-brained,<br /> more generously moulded woman, makes her<br /> nobler heroines fall into the same error. Tina<br /> loves a brainless fop, with loyal Mr. Gilfit<br /> standing by ; Maggie Tulliver loves the somewhat<br /> shallow Stephen instead of sensitive Philip. I<br /> doubt, herves and heroines would have to be drawn<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 209,<br /> <br /> quite irrespective of human reality could they be<br /> made to love only that which were worth the<br /> loving.<br /> <br /> I have not space to give extracts from<br /> Thackeray’s Miscellanies, in which there are<br /> passages showing how ethically just he was to<br /> women,-and fearlessly outspoken upon moral<br /> questions. This sentence, only, proves how pure<br /> of heart he was and loyal: “This supreme act of<br /> scoundrelism has man permitted to himself—to<br /> deceive women.”<br /> <br /> So little of Thackeray’s inner life is known: he<br /> revealed himself most in his letters to Mr. and<br /> Mrs. Brookfield. oe<br /> <br /> Perhaps he loved too deeply, and felt too<br /> keenly, the baseness of average human nature,<br /> for “the deepest truth blooms only out of the<br /> deepest love,” and that, by the irremediable<br /> sorrow of his life, was denied to him.<br /> <br /> GRACE GILCHRIST.<br /> <br /> Treganhoe, Penzance, Oct. 5.<br /> <br /> —$—&lt;—So<br /> <br /> Il.<br /> <br /> The writer of a short article on ‘“ Thackeray’s<br /> Women” in last month’s Author says, at the end,<br /> that she should like very much to have someone<br /> else’s opinion on the subject. May I offer a few<br /> remarks concerning two, at least, of these women<br /> —the two heroines of “ Vanity Fair?” for it is<br /> they who (as in “‘ Ninguna’s ” article) are generally<br /> cited as typical instances of Thackeray’s inability<br /> to portray a real, lifelike woman. “ Ninguna’s”<br /> complaint that this great master of fiction did<br /> not understand women, and seemed to think that<br /> they were always either angels of kindness and<br /> goodness, or demons of wickedness, is a very<br /> common complaint, but, to my mind, a very<br /> unreasonable one. Iam not going to attempt to<br /> show that Thackeray did understand women, or<br /> to prove that Amelia Sedley and Becky Sharp<br /> are not, the one unnaturally angelic, the other<br /> unnaturally the reverse; but simply to suggest<br /> that they are not intended to represent realistic,<br /> lifelike characters, or even idealised characters,<br /> such as one expects to find in novels pure and<br /> simple.<br /> <br /> “Vanity Fair” is not only a novel; it is first<br /> and foremost a work of satire. Asa mere novel, I<br /> think it would be open to much other criticism<br /> than the unreality of its women; but as a work<br /> of satire it seems to me faultless.<br /> <br /> Its unnaturalness is the unnaturalness of cari-<br /> cature, and car:cature is an essential element of<br /> satire. It would be as unreasonable to look in<br /> Punch’s journal for perfectly well-proportioned,<br /> realistic drawings of human figures, as it is to<br /> find fault with Amelia Sedley and Becky Sharp<br />  <br /> <br /> 210<br /> <br /> for being caricatures of goodness and wickedness.<br /> To interpret the nature and experiences of women,<br /> to expose their special grievances, to make him-<br /> self the champion of their rights and wrongs, was<br /> not the primary intention of the author of<br /> “Vanity Fair,’ and whether he could or could<br /> not do this is beside the mark: his object was to<br /> show up the vices, follies, and meannesses of<br /> society and humanity at large. The more we<br /> study “ Vanity Fair” as a great work of satire,<br /> the more I think shall we see how perfect it is as<br /> a whole and in all its parts, and how everything<br /> in it which seems exaggerated, unnatural, impos-<br /> sible, and which we may be inclined at first sight<br /> to condemn, is in reality essential to the complete-<br /> ness of the whole, and serves to emphasise the<br /> lessons intended to be conveyed. We must not<br /> fasten on particular incidents or traits of cha-<br /> racter, and criticise these independently of the<br /> author’s intention, any more than in examining<br /> the caricature of a face we should object to some<br /> one feature for being unnaturally large or small.<br /> Were we in the latter case to work up all the<br /> other features into proportion with the exag-<br /> gerated one, we should, no doubt, have before us<br /> a more harmonious and lifelike picture, but one<br /> in which the artist’s original intention would be<br /> entirely lost.<br /> <br /> eS<br /> <br /> SMALL BOOKSELLERS’ SHOPS.<br /> <br /> <br /> <br /> HILST various animadversions are pretty<br /> \ \ freely exchanged between authors and<br /> publishers, publishers and authors alike<br /> forbearingly refrain from any impeachment of a<br /> personage who is doing his uttermost to diminish<br /> the profits of both. That personage is the small<br /> retail bookseller. Just at present this individual<br /> is possibly “in a tight place.’ But his tactics<br /> are certainly directly inimical to the interests of<br /> both authors and publishers, as well as to his<br /> own interests, and to the advance of letters.<br /> <br /> It is strange that a bookseller should turn his<br /> hand against bookselling. What is to become of<br /> the tradesman who obstructs the sale of his own<br /> wares ? What of the market in which the sellers<br /> discourage the demand? Well—exactly what is<br /> becoming of the small retail book trade. But the<br /> ruin of this trade is a literary calamity.<br /> <br /> The importance of the retail bookseller cannot<br /> be exaggerated. He is the distributor by whose<br /> immediate agency almost every book must pass<br /> into the ha‘.ds of the reader. This work of dis-<br /> tribution is, at present, being performed by the<br /> large retail houses better than ever before—more<br /> intelligently, more widely, and upon more liberal<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> terms. But the lesser towns and the suburbs of<br /> the larger ones cannot maintain these expensive<br /> establishments. In such places the work of dis-<br /> tribution falls to the smaller booksellers. These<br /> men are serving a population in the aggregate<br /> much exceeding that served by the large houses.<br /> Unhappily, to this large population the small<br /> shops are distributing pretty nearly nothing.<br /> <br /> The reason is easily stated. The small book-<br /> seller will uot “stock.” He freely confesses,<br /> sometimes even boasts, that he keeps as little as<br /> possible upon his shelves. Consequently he sells<br /> as little as possible. The public at large do not<br /> buy what they cannot see; and a mean display of<br /> wares discourages purchase as directly as a good<br /> show attracts that curiosity which so greatly<br /> assists the retailer to sell. It is vain for the<br /> bookseller to plead that he is always ready to<br /> execute orders. Few people know how to order a<br /> book. The ordinary customer far oftener desires<br /> to be shown something new than to purchase a<br /> work with which he is already acquainted. And<br /> the enterprising tradesman does not merely meet<br /> demand, he fosters it. Nor does it seem possible<br /> that the trader himself should enter with the same<br /> zest into the execution of orders (at small com-<br /> missions) as into the busy enterprise of<br /> “placing” his own selected stock. It is in con-<br /> sequence of this last fact that the bookseller of<br /> the small town conducts his book trade half-<br /> heartedly—of course to his own detriment. Did<br /> he manage his collateral business of stationer,<br /> especially the “ fancy stationery’ department, in<br /> the same unenterprising fashion, his sales of<br /> paper and envelopes, photographs, and “fancy<br /> articles” would soon be as unsatisfactory as his<br /> sales of books.<br /> <br /> The man pleads in excuse that the policy which<br /> he is pursuing is one which dire necessity has<br /> forced upon him. Everyone with any knowledge<br /> of business will feel the seriousness of his state-<br /> ments. He says that people will not buy books.<br /> Even if they do so the discount leaves him no<br /> sufficient profit to make the transaction remune-<br /> rative. He must let the book trade slide, and<br /> fall back upon his “fancy stationery ”—or put up<br /> the shutters. There is some truth in what he<br /> says. It is also true that some publishers, know-<br /> ing the price at which he is compelled to sell,<br /> supply him on terms not quite so hard as he<br /> represents; whilst several first-class houses are<br /> bringing out works at “net” prices. Do those<br /> <br /> firms find that the smaller booksellers are proving,<br /> by the manner in which they “push” these<br /> volumes, that their gratitude is as great as it<br /> ought to be ?<br /> <br /> The circumstances of the small bookseller are<br /> at the present moment undeniably hard; but it<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. Qi<br /> <br /> is impossible to exonerate him from the charge<br /> of being, to some extent at least, the cause of<br /> his own misfortunes.<br /> <br /> Not half-a-century since, the country bookseller<br /> did a quiet, little, profitable trade. Books were<br /> dearer then. But purchasers were also fewer.<br /> The little country printing-press was much less<br /> in requisition. There were no photographs to<br /> sell; and booksellers did not deal in china. But<br /> the bookseller himself was a different man. He<br /> took an interest in his goods. He stood behind<br /> his own counter. His customers strolled into his<br /> shop, sometimes to make a purchase, often only<br /> to talk, and he encouraged their coming, as to a<br /> place of resort. They chatted with each other<br /> and with him. He showed them new works, and<br /> listened to what they said. In consequence he<br /> knew a great deal more about books than anyone<br /> else in the neighbourhood. And his knowledge<br /> of his wares, and of the tastes of his customers,<br /> made him a successful man.<br /> <br /> At present the bookseller of the small country<br /> town too often knows nothing about his wares.<br /> He is more ignorant of what he is selling than<br /> his customers are of what they are buying. Too<br /> often he knows so little about his own business that<br /> he makes the most foolish blunders in executing<br /> orders. Far too often he leaves his shop to be<br /> served by girls less acquainted with his goods,<br /> and with the art of disposing of them, than he is<br /> himself. He has a business which is the most<br /> intellectual of all businesses. He manages it<br /> in a way more unintelligent than any other<br /> retailer.<br /> <br /> People, he says, will not buy books. It is his<br /> place to help them to buy. Every man who buys<br /> books knows how great is the assistance given<br /> him by his bookseller. Could he do without it ?<br /> Let him consider the hopeless position of the<br /> country and suburban customer, who has no<br /> bookseller either willing or competent to assist<br /> him to purchase.<br /> <br /> A man keeps a shop for his own advantage. It<br /> is right that he should do so. It is right that<br /> every person concerned in a commercial transac-<br /> tion should find that he makes a profit. But if<br /> the small booksellers of England would return<br /> to bookselling, by themselves knowing something<br /> of their trade and their wares, and by intelli.<br /> gently persuading the people of England, m<br /> every corner of the land, to be book-buyers,<br /> they would do a great deal more than create<br /> for themselves a trade as profitable as highly<br /> creditable to their commercial enterprise. They<br /> might create a market of incalculable value to<br /> publishers and authors. They would advance<br /> throughout the land letters, learning, and that<br /> highest of all educations, the education which<br /> <br /> men and women give themselves by reading.<br /> They would be, instead of obstructors, bene-<br /> factors of their age and country.<br /> <br /> Let anyone only consider what would be the<br /> effect of booksellers’ shops in every little town,<br /> conducted with the same intelligence, the same<br /> enterprise, the same care to please, and the same<br /> skill in making a market which is invariably<br /> exhibited in the shop of the haberdasher.<br /> <br /> Henry CRESSWELL.<br /> <br /> <br /> <br /> “THE BOOK OF THE FUTURE” AND “THE<br /> HOROSCOPE OF BOOKS”: ACOINCIDENCE!<br /> <br /> <br /> <br /> ‘JN the spring of this year we drew attention<br /> to a lecture by Mr. Blackburn, in which he<br /> tried to forecast the book of the future,<br /> <br /> with respect to its mechanical parts. The con-<br /> clusion he came to was that in order to stamp<br /> the author’s individuality on his work it should<br /> be in his own handwriting—beautifully written,<br /> and that it should be published to the world by<br /> means of photographic copies of this MS.<br /> <br /> The Pall Mall Gazette of Oct. 11 has also<br /> tried to forecast the future of literature, and erect<br /> the horoscope of books. By a curious coinci-<br /> dence, after going over some of the same ground,<br /> the writer comes to nearly the same conclusion as<br /> Mr. Blackburn so far as the mechanics of<br /> literary production are concerned. He, too, looks<br /> forward to a time when by a book will be meant<br /> some cherished original MS. passed from hand<br /> to hand. He is careful to tell us nothing about<br /> publication, because, fortunately or unfortu-<br /> nately, according to him, the profession of<br /> letters will have died out, as will be seen by<br /> the ensuing vaticination: ‘Then will come the<br /> days when men will write books for the love<br /> of it, will do so merely to read them again, or<br /> lend them to a choice soul now and then; and<br /> writing will be its own sole reward.’ The book<br /> of the future is thus described: ‘Your ideal<br /> book should flourish gaily when the author was<br /> merry, having then laughing scrolls in its §’s and<br /> L’s, and playful twiddles and quaint humorous<br /> dashes about the R’s and the Y’s and G’s. It<br /> should be plain, and keep to the lines when his<br /> argument was grave, and become heavy and<br /> large as thought or sorrow crept into his dis-<br /> course. Passionate emotion should shake his<br /> writing into an expressive illegibility. Every<br /> word in a properly constructed sentence should<br /> have its certain weight, which were best shown by<br /> the size of the writing.’ In either instance,<br />  <br /> <br /> 212<br /> <br /> whether we consider the matter satirically with<br /> the P.M.G., or seriously with Mr. Blackburn,<br /> there remains a noble opening for forgery.<br /> <br /> CORRESPONDENCE.<br /> [.<br /> <br /> AutTHors AND PUBLISHERS.<br /> <br /> <br /> <br /> I.— BY ANDREW LANG.<br /> <br /> N the August Author (p. 70) I find a note on<br /> the “inimitableness ” of my remark that a<br /> writer may think his publishers offer him<br /> <br /> too much money. But the case has occurred in<br /> my experience ; mine is first-hand evidence, and<br /> good enough to prove a ghost story. Then Mr.<br /> Besant, in the Author for September, writes<br /> on myself and Mr. Buchanan. 1 have not seen<br /> Mr. Buchanan’s remarks, and can only take<br /> Mr. Besant’s word for it that his methods and<br /> opinions coincide with mine, and that mine<br /> include ‘the perversion of words.” Great wits<br /> jump. And here I find my sin. I said that the<br /> critic in the Author “decided” that there was a<br /> prejudice, and so forth, wt supra. But it seems<br /> that the critic did not decide that there was a<br /> prejudice, “he lamented the fact of a prejudice.”<br /> I did not say that he rejoiced in it. The verbal<br /> question seems to me a—verbal question. I meant<br /> that he stated (constatait) the fact (as he thinks<br /> it) that a prejudice exists—and what a prejudice !<br /> As to the generosity of publishers, we do not<br /> appeal to the “ generosity” of publishers. Nor<br /> are we dependent on publishers. They, and we,<br /> are alike dependent on the public. If the public<br /> does not want my poems, the publisher, if he<br /> accepts them, only does so from love of poetry.<br /> If the public does want them, so does the pub-<br /> lisher, unless they are improper .in any sense, or<br /> otherwise offensive to his private taste. In that<br /> event, there are other publishers. How in the<br /> world would authors be “independent,” if only<br /> dependent on the public? Surely the vast<br /> majority of persons who try to write would, still,<br /> under any arrangement, be utterly unbought and<br /> unread by the public. The whole contention is a<br /> mystery tome. Being a writer, naturally I know<br /> plenty of the profession. I never knew one who<br /> adopted the attitude of “the bending back ” and<br /> so forth, nor would that attitude do a man any<br /> <br /> ood. As to the author’s ignorance of the sum<br /> which should be his due, I presume that he finds<br /> out his market value, like other people, as soon<br /> as he is “ quoted,” in all senses. His first effort<br /> <br /> ig a shot in the dark. Let it even “ make an<br /> outer,” and he begins to know what he should be<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> paid Iam presuming that an author is not an<br /> idiot ; nay, that he can, if he chooses, do a simple<br /> sum in arithmetic. As long as publishers are<br /> publishers, and are employed by authors, an<br /> author has a middleman, as a_ barrister has.<br /> The arrangement is not ideal, but, till some<br /> other method be discovered, I conceive that, while<br /> author and publisher remember to act like honest<br /> and honourable men, we shall do very well. Inmy<br /> poor opinion, the author has the happier, the more<br /> free, and the better position—the best of the<br /> bargain. Even if the public be indifferent, still<br /> the author has the better of it. His vanity is<br /> comforted by being in print, and he may have<br /> admirers. ‘The publisher’s vanity is not soothed<br /> in any way when he puts forth a book of which<br /> the public is wholly independent. As to any<br /> system of “yecognised terms and proportions,”<br /> it might, to my knowledge, sometimes end in the<br /> author’s having to pay a recognised proportion of<br /> the cost of his whistle. However, as I think this<br /> very proper, when there is loss on a book, I have<br /> no objection whatever to seeing literature placed<br /> “on a footing of recognised terms and propor-<br /> tions;” I do not want to retard such a condition<br /> of affairs, for then we should be quite sure that<br /> we are not being overpaid. An author does not<br /> wish his publisher to lose by his book. Perhaps<br /> the Author thinks that this never happens. I<br /> am too well convinced of “the odious contrary.”<br /> I do not wish to “attack the Society.” “I wished<br /> to criticise some remarks about Literary Men and<br /> Mendicants, by a member of the Society. If the<br /> whole Society agrees that literary men go kneeling<br /> to publishers for “ generosity,” then their expe-<br /> rience is unlike my own. The cause of the<br /> Society, in my opinion, cannot be helped by state-<br /> ments of which, if I apprehend the meaning, I<br /> fail to observe the accuracy.<br /> <br /> As to the “ perversion of words,” my intellect is<br /> so blunt that I cannot understand wherein my per-<br /> version lies. Did the critic in the Author not assert<br /> the existence of a “ prejudice”? Ifhe “ lamented<br /> the fact” that a prejudice existed, was that not<br /> asserting, or, as I said, “ deciding” that there zs<br /> a prejudice ? His very words were: “ There is no<br /> doubt that some of the contempt which has | een<br /> freely poured upon the calling of letters, and is<br /> still poured upon it, is due to the prejudice which<br /> regards literary men as a set of needy mendicants.”<br /> T have stared at these words till the process would<br /> hypnotise me, if staring could hypnotise. And<br /> still they seem to me to “ decide,” to “ state,” to<br /> “affirm,” to “ assert,” to “maintain,” the exis-<br /> tence of this prejudice. If I pervert their<br /> meaning, as I am said to pervert it, what do they<br /> mean? Do they mean that there is not a preju-<br /> dice ? Tf they mean that their author “ laments<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ah<br /> <br /> <br /> <br /> THE<br /> <br /> the fact,” he still asserts the facet, decides that it<br /> is a fact. Of course I never denied that some<br /> persons, calling themselves literary men, write<br /> begging letters. ‘Who knows it if not I?”<br /> What I denied, and deny, and will deny if you<br /> put me in the pilniewinks, is that literary men<br /> are, or are considered, mendicants “‘ with bending<br /> back,” in their dealings with publishers. And I<br /> also deny the statement that a literary man, when<br /> offered a price, must take that sum. “He has to<br /> take that sum, because, you see, a man cannot go<br /> hawking literary wares about.” A man can, a<br /> man often does, either personally or by his agent.<br /> These extraordinary facts are within my personal<br /> knowledge, and I have known cases in which the<br /> author whose wares are “hawked” has been<br /> among the most successful, and deservedly suc-<br /> cessful, of modern writers.<br /> <br /> I don’t say that the process of ‘ hawking,” or<br /> of being “hawked” is agreeable. I don’t say<br /> that I practise it myself. But I do say that it is<br /> done; I do say that a literary man, like any other<br /> man—say a painter—need not accept the sum<br /> which is first offered to him. To advance the<br /> opposite theory seems to me to be the result of<br /> some sort of misapprehension. Perhaps this<br /> expression of opinion is an attack on the Society.<br /> <br /> II. BY WALTER BESANT.<br /> <br /> 1. If the writer means by “too much” that<br /> the book in question was bought outright for a<br /> sum of money which its sale did not afterwards<br /> cover, his experience may be matched by hundreds<br /> of others. Publishers (now very few) who buy<br /> outright must sometimes make mistakes and bad<br /> bargains. I suppose that no one will contend<br /> that they ever consciously give more than they<br /> expect to make, unless for charitable purposes.<br /> <br /> 2. About “perversion.” If Mr. Lang did not<br /> intentionally mean to pervert my meaning, there<br /> is nothing more to be sa&#039;d. My words themselves ;<br /> and his words and his explanation are now before<br /> the reader.<br /> <br /> 3. Selling may certainly be mendicancy. In the<br /> case of an author who has to beg and pray for better<br /> terms I do call it mendicancy. But, of course, any-<br /> body may call it what he pleases. Andas regards<br /> the bending back, I know of plenty whose<br /> necessities, alas! have compelled the bending<br /> back. Should it not be allowed in such a question<br /> that one who for four years has given up at least<br /> the half of his time to a constant study of the<br /> literary profession in all its branches—to the<br /> methods of publishers—to the ways and needs<br /> needs of authors—who has, further, sat for two<br /> years on the council of the Royal Literary Fund,<br /> where these needs are treated, must know some-<br /> thing of this subject? I write from my own<br /> <br /> AUTHOR. 213<br /> <br /> very large experience when I write about ways and<br /> necessities and miseries of the literary profession.<br /> <br /> 4. Authors are “dependent on the public.”<br /> Very true. Ifanyone likes to sayso,hemay. Yet<br /> they are wholly dependent upon the publisher.<br /> Put it this way. A. and B. are two persons who<br /> have a share in a common fund. They are<br /> therefore both dependent on the person C. who<br /> supplies that common fund, on which they live.<br /> But it is B. who administers the fund. He takes<br /> it all into his own hands; he will not let A. know<br /> even how much it is; he gives him out of it as<br /> little, or as much, as he pleases. Is, or is not, A.<br /> dependent on B.? A. is the author, B. is the<br /> publisher, C. is the public. I believe this state-<br /> ment of the case is exactly correct, and it shows<br /> that authors, as I said, are, on the present<br /> system, wholly dependent on publishers.<br /> <br /> 5. “So long as author and publisher remember<br /> to act like honest and honourable men, we shall<br /> do very well.” Quite so. The opinion of every-<br /> one. We shall do very well so long as this<br /> happens, or continues, or begins. At present the<br /> area over which it exists is a great deal too narrow<br /> for comfort. But there is something beautifully<br /> childlike in this blind confidence after all the<br /> exposures published by the Society.<br /> <br /> 6. Nobody ever said, or thought, in these pages,<br /> or in any utterance of the Society, that the pub-<br /> lisher never loses money by a book.<br /> <br /> 7. When does an author “ begin to know what he<br /> should be paid?”’ I don’t like the word “ paid.”<br /> The author should not be, and never be spoken of,<br /> asa paid servant of the publisher. I prefer to say<br /> “begin to know the value of the property which he<br /> produces.” Now, I repeat, the first elements of<br /> any valuation of such property are (1) the exact<br /> cost of production, ¢.e., print, paper, binding, and<br /> advertisements ; (2) the price at which the<br /> book is issued to the trade. It is perfectly<br /> impossible without this knowledge to arrive at<br /> any valuation whatever. This first ascertained,<br /> the question of circulation follows as the next<br /> determining factor. As to finding out your<br /> “value” in the vague way indicated by Mr. Lang,<br /> it seems to me meaningless and unpractical.<br /> <br /> 8. About taking an offer, I said, exactly as<br /> quoted, that a man cannot go hawking his wares<br /> about. Some men may do so, but to most men<br /> such a thing is intolerable. That is, of course,<br /> the sole ground for saying that a man must take<br /> the first offer. Those who can so hawk their<br /> wares, may doso. For my own part, my constant<br /> advice and my private practice is to use the<br /> friendly offices of an agent.<br /> <br /> g. About the ‘contempt of letters,” I find the<br /> literature of the last hundred years full of it—<br /> full of Grub Street and of hacks. I find it every-<br />  <br /> <br /> 214<br /> <br /> where even at the present day. It is not the<br /> contempt of literature—very far from it. It is<br /> the contempt which this modern world — a<br /> fighting, busy, quick-witted world which puts its<br /> own interests first—feels towards a calling whose<br /> members are, and continue quite needlessly to be,<br /> the dependents—as I have shown above—of the<br /> men who administrate their property for them.<br /> <br /> Lastly, since Mr. Lang is as anxious as I am<br /> —no matter what his reasons—no matter what<br /> may be, as he fears, the disastrous effect upon<br /> authors—of finding and adopting some recog-<br /> nised system of terms and proportions—let us<br /> agree to cease discussion on points of minor<br /> differences, and to work together for that object.<br /> It is the main object of the Society, and it is the<br /> only reason for the discovery and exposure of<br /> facts, frauds, and abuses which Mr. Lang<br /> has certainly not realised, and probably never<br /> read. Yet are they not written in a book—not<br /> my book—ealled ‘“ Methods of Publishing ?”’<br /> <br /> <br /> <br /> <br /> <br /> II.<br /> West Inp1Ian STORIES.<br /> <br /> The note at p. 180 of the Author of Oct. 2 in-<br /> duces me to mention that excellent one-volume<br /> West Indian story, “‘ Captain Clutterbuck’s Cham-<br /> pagne,” which originally appeared anonymously<br /> many years ago in Blackwood, and was afterwards<br /> separately published. By the way, can anyone<br /> tell me who its author was? Of course no one<br /> forgets “Tom Cringle’s Log ” nor “The Cruise of<br /> the Midge,” nor Marryatt’s continual West Indian<br /> episodes. Jes SLINTER.<br /> <br /> Ii.<br /> Sone PuBLISHING.<br /> <br /> A correspondent writes :—Some years ago I<br /> tried to set some verses to music, but left the<br /> composition unfinished. Ten years later I put it<br /> into the hands of a professor, who advised me to<br /> take it to a publisher. I went to one of the first<br /> publishing firms in London, and was fortunate<br /> enough to see one of the head men. He under-<br /> took to publish the song for £4 or £5. “And<br /> what about advertising it?” Lasked. ‘“ We should<br /> not advertise it,’ he replied, ‘it would not be<br /> worth our while. We should not take any steps<br /> to let your song be known. We should not put<br /> it in the windows or on the counter, or do any-<br /> thing but sell copies to anyone who should ask for<br /> them. We don’t care about having good songs ;<br /> there is no sale for them, and we have to pay as<br /> much as ros. a time to geta song sung,” and so on.<br /> The question remains. Is there no firm of pub-<br /> lishers enterprising enough to take a song of more<br /> than average merit from an unknown composer<br /> and bring it before the public? AMATEUR.<br /> <br /> THE AUTHOR.<br /> <br /> IV.<br /> James DEFOE.<br /> <br /> Should not the proposition of “J. 8. L.”<br /> (p. 174) as to a provision for James W. Defoe be<br /> made rather wider than an appeal solely from<br /> novelists? Defoe was, as “J. S. L.” intimates,<br /> a great benefactor to England, for he was not<br /> solely a novelist and a prince of novelists. We<br /> are largely indebted to him as one of the real<br /> founders of the periodical press, and a contri-<br /> butor to the English school of economic science.<br /> On the press, therefore, Defoe has also a strong<br /> claim.<br /> <br /> It is not necessary on this subject to depreciate<br /> the great services to England of John Churchill,<br /> but it is time to remember those of Defoe. In<br /> London, the city of his birth, the memorials of<br /> him are scanty. One of the few is a painted<br /> window dedicated to him in Butchers’ Hall on<br /> my suggestion, and assuredly his claims deserve<br /> more. Hype CLarke.<br /> <br /> V.<br /> RevieweD Books.<br /> <br /> I can cap even Mr. Cyril Haviland’s story.<br /> Some years ago I—then a raw novice—was placed<br /> in sole charge of the reviewing department of an<br /> evening newspaper. I found the task onerous<br /> enough so long as I was permitted to do the work<br /> in my own way, which—I was very young—<br /> actually involved reading the books. Consider.<br /> All the books! All the poetry! all the fiction!<br /> That is, all that were sent in to that authoritative<br /> journal and were selected—and by me — for<br /> review. But conceive my position when I<br /> received this communication from the secretary:<br /> “Dear Mr.—The editor desires me to ask<br /> you not to cut the books quite so much, as it<br /> seriously depreciates their value.” I tried it for<br /> a time; but it proved too much for my nerves to<br /> review books unread. I resigned that appoint-<br /> ment. XY. Z.<br /> <br /> <br /> <br /> VI.<br /> Lirgrary PAYMASTERS.<br /> <br /> Yet another growl on that most fertile of topics,<br /> the evil doing of editors e¢ hoc genus omne. Cruel<br /> fate having ordained that Iam to earn a living<br /> by my pen, I am forced to write for sundry papers<br /> and periodicals whose owners for the most part<br /> pay quarterly. Now, it is a curious fact that,<br /> although I am well aware of their terms, yet the<br /> sums I receive seldom or never come up to my<br /> calculations. Sometimes when the discrepancy<br /> <br /> is very glaring I write in remonstrance, and<br /> occasionally the result is an extra cheque. More<br /> often, however, my letters are treated with con-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> temptuous silence, and, as I cannot afford to<br /> quarrel with my bread and margarine, so the<br /> matter ends.<br /> <br /> On one occasion I received a reply to the effect<br /> that since my contributions were unsolicited, I<br /> ought to accept with gratitude whatever they<br /> (the proprietors) thought fit to send me.<br /> <br /> Yes, that is all very true; but why is it true?<br /> Why do literary men submit to such unbusiness-<br /> like treatment? That is a question I should very<br /> much like to hear answered satisfactorily.<br /> <br /> In my humble opinion, when payment for con-<br /> tributions is made, a detailed statement should<br /> be attached. Such and such an article, so much ;<br /> the essay entitled - so much; and so on.<br /> We should know then exactly how we stood, and<br /> maledictions, both loud and deep, would be<br /> spared. H. R. G.<br /> <br /> <br /> <br /> NEL<br /> ““SeconD Epition.”’<br /> <br /> Some time ago a friend of mine had a one-<br /> volume book published. The first edition of 500<br /> was reported to her as exhausted, and a second<br /> was to appear. She then decided to add a dedica-<br /> tion, which she sent to the publishers, requesting<br /> them to insert it in the forthcoming 500. This<br /> they demurred to do, protesting that they did not<br /> want a dedication, saw no use in it, &amp;c. The<br /> author insisted, however, and the firm then re-<br /> quested her to remove the words “ second edition,”<br /> which it chanced to include, “ say further edition<br /> or new edition’ they directed. My friend asked<br /> why they objected to her mentioning that the<br /> forthcoming edition was the second! “ Well,<br /> you see we had ‘second edition’ stamped across<br /> the last two or three hundred sold,” they replied.<br /> So out of a first edition of five hundred “two or<br /> three hundred” had been going about stamped<br /> “second edition.’ My friend was very wrath,<br /> but felt powerless, and substituted another word<br /> in place of the “second” objected to. I should<br /> be glad, sir, to know if this be an old trick or an<br /> original one, and also what steps should be taken<br /> to prevent the recurrence of such a fraud ?<br /> <br /> DanrEL Dormer.<br /> <br /> <br /> <br /> VII.<br /> A ContTRisuToR’s EXPERIENCE.<br /> <br /> I would like to relate my experience with the<br /> Westminster Review.<br /> <br /> On May 4 last I sent an article to the office<br /> of that magazine in Bouverie-street, inclosing<br /> with it a stamped and addressed envelope. Not<br /> having heard anything about the article by<br /> May 29, I wrote asking about it ; and, as by June 7<br /> no reply had arrived, I wrote again, this time<br /> <br /> 215<br /> <br /> inclosing again a stamped and addressed enve-<br /> lope. The next day I received a reply stating<br /> that the article had been sent to the editor in<br /> Paris, and that he would communicate with me<br /> from there.<br /> <br /> I waited till June 18, and on receiving no<br /> reply then wrote once more, this time asking for<br /> the MS. to be returned. As by June 26 neither<br /> the MS. nora reply had come to hand, I called<br /> at the offices of Messrs. Henry and OCo., from<br /> which the Westminster Review 1s published, and<br /> saw one of the representatives. I was informed<br /> that my letters had been received and forwarded<br /> to the editor in Paris, but that the editor did not<br /> pay for articles in the Review. I then stated<br /> that I did not want my article to appear, but<br /> desired merely to have my MS. returned. I was<br /> told that the editor would again be communi-<br /> cated with.<br /> <br /> Thinking that there might still be some diffi-<br /> culty in the matter, I placed the case in the hands<br /> of the Secretary of the Society, who, after a fair<br /> delay, wrote to the editor of the Review on July 11,<br /> and asked for the return of the MS. Receiv-<br /> ing no answer to this letter, he again wrote on<br /> July 20, asking for an answer as a matter of<br /> courtesy.<br /> <br /> In reply, on July 20 the Secretary received a<br /> letter from Messrs. Henry and Co. stating that<br /> the editorial office was in Paris; that the MS.<br /> had been declined by the editor, but through a<br /> mistake in the address had been returned through<br /> the post, and that the editors have every reason<br /> to believe that it has since reached its destina-<br /> tion.<br /> <br /> On July 21 the Secretary wrote thanking them<br /> for the information, and stating that he had for-<br /> warded the letter to me.<br /> <br /> On July 29, not having received the MS., I<br /> notified the Secretary, who again wrote to the<br /> offices in Bouverie-street. A representative from<br /> Messrs. Henry and Co. then called at the offices<br /> of the Society, and gave him the address of the<br /> editor in Paris. On Aug. 2 the Secretary wrote<br /> to the editor in Paris a similar letter to that first<br /> written to the London office. Receiving no reply,<br /> he again wrote on Aug. 16 asking that his letter<br /> of the 2nd should be attended to.<br /> <br /> No notice whatever being taken of either of<br /> these letters, on Sept. 30 he wrote again to the<br /> editor in Paris, and to Messrs. Henry and Co.<br /> asking them if they would expedite matters. On<br /> Oct. 13 a letter was received from the editor<br /> regretting the loss of the MS., and not offering<br /> any suggestion of remedy or compensation.<br /> <br /> Husert Hass.<br /> IX.<br /> <br /> Anonymous CRITICISM.<br /> <br /> Perhaps there are no two persons more impor-<br /> tant to authors than “readers” and “ critics.”<br /> Now, both are anonymous. I see no reason why<br /> the first should be any other than nameless, for<br /> really when we submit our MS. to a publisher to<br /> see if he will buy it of us, on the proviso that he<br /> employs a cultivated, large minded, and impartial<br /> man, there is no reason why he should not be as<br /> unknown to us as any of the members of the<br /> publisher’s staff. On the publisher devolves the<br /> loss of profit if his “reader” should make any<br /> egregious blunder. But the “ critic” is another<br /> person altogether, and many think his name<br /> ought to be published at the foot of his review.<br /> However, I am of opinion that he is quite wel-<br /> come to retain his anonymous state. He is the<br /> man behind the hedge. He does not choose to<br /> step forth and make himself known, give us his<br /> counsel, tender us his remonstrances, or offer his<br /> praise. As we do not know him or see him, he<br /> can call names, or behave in any unseemly way.<br /> Giving no name, he is at perfect liberty. You<br /> may find, standing for criticism, that your work<br /> is by the clearest evidence unread, or he delights<br /> to tell you he did not read it. He may miscall<br /> your personages, and he may quote you out of<br /> your sex. He may show he does not distinguish<br /> what was in your several volumes. Vol. 1 he<br /> confuses with vol. 3; vol. 2 he will playfully<br /> ignore altogether. One thing nevertheless<br /> delights him, that is, if you have any speciality<br /> about you; if your garb, manner, or diction in<br /> any way betray you as foreign—as not the name<br /> of the street he comes from—then you are his<br /> sport. To enter upon the subject of disagree-<br /> ment among critics with reference to anonymity<br /> were useless. There is nothing in the circum-<br /> stance that one critic may flatly contradict<br /> another about your work, but you have the right<br /> to feel that, whether approved or not, the work<br /> has been thoroughly examined and weighed<br /> before being rejected or commended. Even then<br /> the individual critic can do but little for you<br /> either way, so let him be anonymous still. He<br /> is by nature of sufficient anonymity, for he never<br /> establishes your book or otherwise. It is the<br /> great public which does that, and therefore this<br /> casts back the single person as a critic into<br /> practical anonymity. INGENUE.<br /> <br /> “Ingenue” forgets that behind the anonymous<br /> critic is the editor, who will not generally allow<br /> “unseemly ways.” The experience of “ Ingenue 2<br /> is surely unusual and unfortunate.—Ep. |<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> X.<br /> Ports AND ORITICS.<br /> <br /> Tf it is good to hear the truth in all plainness,<br /> or the truth according to the anonymous critic,<br /> contemporary poets ought to be happy. The<br /> Edinburgh Review makes one wish that one<br /> was a modern poet, and they must have been<br /> delighted with a notice on their place and work,<br /> which appeared in the Pall Mall Gazette otf<br /> Oct. 21. It is an article inspired by the paper<br /> in the Edinburgh Review, and it contains the<br /> following passage, referring to the writer of<br /> that article: “His hand is not so heavy as we<br /> should wish to see it, nor is his tongue suffi-<br /> ciently caustic. His wounds, hard and sore as<br /> they may be, will scarcely rankle as we could<br /> wish. He has a fine native ferocity. He has not<br /> the art of sarcasm by which the poetling can be<br /> taught his proper place.” He then goes on to<br /> show what this art of sarcasm is by remarking:<br /> “Most of our contemporary poets, we rejoice to<br /> say, are bad. If they were otherwise than bad<br /> we should be compelled to read them, and no one<br /> can imagine a more dismal fate.”<br /> <br /> There is, to paraphrase his own words, “‘a fine<br /> native imbecility”” about this Jast sentence, for<br /> it places us in a very obvious dilemma. Hither<br /> our critic has read these poets, in which case he<br /> says what is false by implying that he has not, or<br /> else he has not read them, and confesses to having<br /> written an article upon poems which are unknown<br /> to him. Are we returning to the bludgeon and<br /> the dark ages of criticism?<br /> <br /> A WRITER OF PROSE.<br /> <br /> —<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> L<br /> DrRuMMOND OF HawTrHORNDEN.<br /> <br /> HE ceremony of unveiling a memorial to the<br /> poet William Drummond, of Hawthornden,<br /> took place in the churchyard of Lass-<br /> <br /> wade, Mid Lothian. The memorial consists of<br /> a bronze medallion, set in a block of freestone,<br /> tastefully carved in the Elizabethan style, and<br /> built into the wall immediately over the en-<br /> trance to the Drummond mausoleum. Below<br /> the medallion is the following inscription:—<br /> “William Drummond, Hawthornden, born 1585,<br /> died 1649.” The following lines by the poet are<br /> also given:<br /> <br /> Here Damon lies,<br /> <br /> Whose songs did sometimes grace the murmuring Esk.<br /> <br /> May roses shade the place!<br /> <br /> Lord Melville, chairman of the committee, ex-<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> plained the steps that had been taken for the<br /> erection of the memorial, and said he thought<br /> they had produced a monument worthy of the<br /> poet. He then unveiled the memorial, and form-<br /> ally handed it over to the custody of Sir James<br /> Drummond, of Hawthornden. Sir James, in<br /> returning thanks, said he felt it a very great<br /> honour as the representative of the Drummonds<br /> of Hawthornden to be entrusted with the custody<br /> of the memorial, which would be handed down<br /> to future generations as showing the high appre-<br /> ciation of the poet’s many virtues. Mr. A. S.<br /> Purves, honorary secretary, said the movement<br /> to erect the memorial originated after the publi-<br /> cation of Professor Masson’s life of the poet.<br /> Professor Masson, on behalf of the subscribers,<br /> delivered an address, and said that Drummond was<br /> the almost solitary literary star of pure radiance<br /> in a singularly darksome time of Scottish literary<br /> history. In the interval between Sir David<br /> Lyndsay and Allan Ramsay there was a singular<br /> destitution of pure poetry or literature of any<br /> sort in Scotland. Drummond, of Hawthornden,<br /> was seen as the soft Italian star, twinkling in<br /> that comparatively long night of darkness.<br /> Drummond was a pure poet, one of the sweet<br /> descriptive, reflective order. He was probably<br /> the first man in Scotland who had in his pos-<br /> session some of the works of Shakespeare, which<br /> he bought in London. He turned out in a<br /> controversial age what was the purest in lite-<br /> rature. Mr. John Cowan, of Beeslack, Professor<br /> Campbell Fraser, and others took part in the<br /> proceedings.— Times.<br /> <br /> <br /> <br /> II.<br /> Bust or TENNYSON.<br /> <br /> A life-size bust of the late Lord Tennyson has<br /> just been executed by Mr. F. J. Williamson, of<br /> Esher, for the Corporation of the City of London.<br /> It will be placed in the Guildhall, and will pro-<br /> bably be unveiled about the end of the present<br /> month. It represents the Poet Laureate in his<br /> later years, and is pronounced by his family to be<br /> an excellent likeness. The Queen, to whom the<br /> work has been submitted by the sculptor,<br /> has expressed her admiration of it, and has com-<br /> manded a replica for Windsor Castle. As a work<br /> of art and as a representation of the late poet at<br /> the period of life at which he was at the height of<br /> his popularity and renown, the bust appears<br /> likely to commend itself alike to artistic and to<br /> popular tastes, and if copies of it on a smaller<br /> scale than the original could be obtained they<br /> would no doubt be welcomed as a companion to<br /> the well-known bust of Shakespeare.— Times.<br /> <br /> <br /> <br /> 217<br /> <br /> ITI.<br /> Port-Pinerims In SUFFOLK.<br /> <br /> A party of pilgrims, representing the Omar-<br /> Khayyam Club, and other admirers of the Persian<br /> poet, went to Boulge Church, near Woodbridge,<br /> Suffolk, on Saturday, the 14th, in order to plant on<br /> the grave of Edward Fitzgerald a rose tree from<br /> the tomb of Omar Khayyam.<br /> <br /> Mr. William Simpson began the proceedings<br /> with the following statement :—<br /> <br /> “ Gentlemen,—It may be as well to explain to<br /> those present the circumstances that have led to<br /> the simple ceremony that has, in the name of the<br /> Omar-Khayyam Club, taken place to-day. As far<br /> back as 1884 I accompanied the Afghan Boundary<br /> Commission from Teheran eastwards to Central<br /> Asia. Our route passed through Naishapur, which<br /> was the capital of Khorassan in the time of Omar<br /> Khayy4m. In this city Omar was born, and in<br /> it he died. Before reaching Naishapur I began<br /> making inquiries about the poet. Our ‘Guest-<br /> Conductor,’ who seemed well acquainted with<br /> the place, told me that the grave of Omar<br /> Khayyam still existed, and promised to take me<br /> to it. The city of Omar’s period is now only a<br /> mass of mounds, about a couple of miles distant<br /> from the present Naishapur. The tomb is only a<br /> part of a larger tomb. Knowing that the poet<br /> had expressed the wish that the wind might<br /> scatter rose leaves on his grave, I was much struck<br /> on reaching the spot by finding that rose bushes<br /> were growing close to,it, and I naturally guessed<br /> that these had been planted there in fulfilment of<br /> the poet’s wish by some fond admirer. Our visit<br /> took place at the end of October, too late for the<br /> roses, but luckily, as it has turned out, the flowers<br /> had turned to seed, and I secured some of the<br /> hips, as well as a few of the leaves. Knowing<br /> that Mr. Quaritch had been so intimately con-<br /> nected with the publishing of the Quatrains, I<br /> sent him some of the leaves and the seed.<br /> <br /> “The idea in my mind at the time was that<br /> Mr. Quaritch might perhaps plant the hips in<br /> a pot at home, and that it would be a satis-<br /> faction to have growing beside him a_ rose<br /> from the grave of Omar Khayyam. He did not<br /> plant it himself, but sent it to Mr. Thistelton<br /> Dyer, at Kew, to whom our best thanks are<br /> due for the great care and attention he has<br /> devoted to this plant. He succeeded in growing<br /> a bush from the seeds, but after a year or<br /> two of expectation, it became evident that in this<br /> climate the rose would not flower; and at last,<br /> to realise this result, he grafted it on to an<br /> English rose. By this means the Persian rose<br /> here planted will now bloom on English soil, a<br /> fitting emblem of the manner in which the<br />  <br /> <br /> 218 THE<br /> <br /> Persian rhymes, by being grafted on to English<br /> verse, have flourished, and wafted to us the fine<br /> scent of Omar’s poetic words.<br /> <br /> “T need scarcely say that I feel a satisfaction<br /> in having thought of sending home those seeds,<br /> which have led to this meeting at the grave of one<br /> to whom we all feel such a debt of gratitude for<br /> bringing to us the poetry of the old poet of<br /> Khorassan. The two names, Omar Khayyam and<br /> Edward Fitzgerald, are now inseparable. There<br /> was much that was similar in the two men, and<br /> had they met here, they would have been friends.<br /> If they have met above—and I hope they have—I<br /> feel sure that the old ‘ tent maker’ is producing a<br /> quatrain on the event of this day. If such is the<br /> case it has not reached us; but a quatrain has been<br /> communicated from another source, which I think<br /> you will agree with me is well fitted for the occa-<br /> sion, We are indebted for it to Grant Allen,<br /> who deeply regrets that he is not with us to-day.<br /> <br /> “ Here on Fitzgerald’s grave from Omar’s tomb,<br /> To lay fit tribute, pilgrim sinners flock ;<br /> Long with a double fragrance let it bloom,<br /> This rose of Iran on an English stock.”<br /> <br /> Two small but healthy-looking rose bushes,<br /> about a foot in height, were then unpacked and<br /> carefully planted at the head of the tombstone.<br /> <br /> Mr. Moncure D. Conway siid: “It gives mé<br /> very great pleasure as an American from old<br /> Virginia, to say how dear to us over there, or to<br /> many of us, is the poetry of Omar Khayyam, and<br /> how much gratitude we have always felt to Edward<br /> Fitzgerald for having not merely translated him,<br /> but interpreted him, so that it is almost like the<br /> reappearance of Omar Khayyam in an English<br /> heart and an English brain. There is about the<br /> man who lies in the grave before us, as may be<br /> seen in his poetry, a certain personality which<br /> wins the affection and touches the heart, so that<br /> I never read his verse without feeling a sort of<br /> pain that I cannot take his hand and tell him<br /> how much I love him—how much I feel the<br /> peculiar perception, the fine nature, the delicate<br /> thought which were required to reveal such a<br /> wonderful genius as Omar Khayyam. That may<br /> have been to a certain extent due to the inspira-<br /> tion he derived from that wonderful poem, for<br /> in reading Omar-Khayyim we feel the same<br /> thing—that charm of personality, that feeling<br /> when we read his quatrains, that we are convers-<br /> ing with a soul, with a heart—not with mere<br /> literature, not with a book, but with a man. It is<br /> wonderful to find how many people in various parts<br /> of the world, of various minds, have been touched<br /> by the poetry of Omar Khayy4m as he has been<br /> interpreted by Fitzgerald. The poet was dear to<br /> Emerson, my old master, when I was at Harvard,<br /> and from all parts of my country; indeed, if we<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> could see and read the hearts of individuals, and<br /> they knew we were here, we might feel that we<br /> are surrounded by a large group and company of<br /> friends and fellow-sympathisers. Here we are in<br /> large-hearted England that takes us all in,<br /> whether from America, from Persia, or India—<br /> England which with sweet toleration includes<br /> millions of Bhuddists, Brahmins, and Parsees—<br /> here we are, symbolising in a small way that<br /> large-heartedness which is now, I believe, the<br /> great and living breath of the world, which is<br /> keeping peace between jarring religions, stopping<br /> their civils wars, and promoting, especially<br /> amongst the millions of the East, that mutual<br /> toleration and affection which are attended with<br /> such vast and beneficial results to mankind.”<br /> <br /> Mr. Edward Clodd then read the following<br /> inscription by Edmund Gosse:—<br /> <br /> Reign here, triumphant rose, from Omar’s grave,<br /> <br /> Borne by a fakir o’er the Persian wave ;<br /> <br /> Reign with fresh pride, since here a heart is sleeping,<br /> That double glory to your master gave.<br /> Hither let many a pilgrim step be bent<br /> To greet the rose, re-risen in banishment ;<br /> Here richer crimsons may its cup be keeping,<br /> Than brimmed it ere from Naishapur it went.<br /> <br /> At luncheon, after the ceremony, some further<br /> quatrains were read, which had_been written by<br /> Mr. Justin Huntly McCarthy. These verses were<br /> in poetic harmony with the style and spirit of<br /> Fitzgerald’s translation, as the following example<br /> will show :—<br /> <br /> Wedded with rose of England, for a sign<br /> That English lips transmitting the divine<br /> <br /> High-piping music of the song that ends<br /> As it began, with wine, and wine, and wine.<br /> Across the ages caught the words that fell<br /> From Omar’s mouth, and made them audible<br /> To the unnumbered sitters at life’s feast<br /> Who wear their hearts out over Heav’n and Hell.<br /> <br /> Ipswich Paper.<br /> <br /> ee<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> ——+ +<br /> <br /> R. THEODORE BENT will publish in<br /> November (Longmans) a record of a<br /> journey in Abyssinia last winter, entitled<br /> <br /> “The Sacred City of the Ethiopians,” being an<br /> account of Aksum and the ruins in its vicinity.<br /> Professor D. H. Miiller, of Vienna, has supplied<br /> a chapter on the inscriptions brought home by<br /> Mr. Bent, the archeological results evolved from<br /> them being of the highest interest.<br /> <br /> The title of Mrs. Spender’s new story is “A<br /> <br /> Strange Temptation,” three vols. (Hutchinson<br /> and Co.)<br /> <br /> <br />  <br /> <br /> %<br /> <br /> ed<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Mrs. Visger (“J. A. Owen”) has two new<br /> books this autumn, the first being ‘‘ With the<br /> Woodlanders and by the Tide,’ published by<br /> Messrs. Blackwood, is joint work with the work-<br /> man naturalist now so well known as ‘A Son of<br /> the Marshes.” “J. A. Owen’s” other book is<br /> called ‘‘ Forest, Field, and Fell,” and it is pub-<br /> lished by Messrs. Lawrence and Bullen.<br /> <br /> Two new book by Mrs. L. C. Skey, entitled<br /> ‘Anime Fidelium” and “That Mrs. Grundy,”<br /> are now ready, and may be had from the Arundel<br /> Printing and Publishing Company Limited, 3,<br /> Arundel-street, Strand, W.C. Price 1s. each.<br /> <br /> Mr. J. J. Haldane Burgess, M.A., the author<br /> of “Rasmie’s Biiddie,” a book of Shetlandic<br /> poems, a second edition of which was published<br /> last year by Mr. Gardner, Paisley, and Pater-<br /> noster-row, London, is at present engaged upon a<br /> story of the Scandinavian occupation of the<br /> Shetlands. The title of the tale is “ Ragnarok :<br /> a Tale of the White Christ.”<br /> <br /> Mr. Frederick Boyle has collected his scattered<br /> writings “ About Orchids,” and this volume will<br /> be published by Messrs. Chapman and Hall,<br /> under that title early m this month. Itis nota<br /> gardening book, but a “ Chat by a literary man”<br /> —facts, history, gossip, and stories—upon the<br /> most interesting of botanical orders. Messrs.<br /> Sander allow Mr. Boyle to illustrate his work<br /> with reductions from the superb drawings by<br /> Mr. Moon in their famous “ Reichenbachia,”’<br /> the first time such permission has been granted.<br /> At the same date Messrs. Chapman and Hall<br /> will issue “The Prophet John,’ a romance, by<br /> Mr. Frederick Boyle.<br /> <br /> Will be issued, early in December, a volume of<br /> Idylls, “The Way they Loved at Grimpat,’ by<br /> G. Rentoul Loler. Mr. J. M. Barrie says,<br /> “Further work from this writer will be looked<br /> for with lively interest.’’ The publishers Sampson<br /> Low and Co.<br /> <br /> Another of Mr. Bertram Mitford’s tales of<br /> South African adventure is announced. Its title<br /> is “The Luck of Gerard Ridgeley,” and it will<br /> be published this month, in one volume, by<br /> Messrs. Chatto and Windus.<br /> <br /> The Arundel Printing and Publishing Com-<br /> pany, of Arundel-street, W.C., are about to pub-<br /> lish as a one shilling novel “ That Mrs. Grundy,”<br /> by L. C. Skey.<br /> <br /> In the Ex libris series a second edition of English<br /> Book Plates, by Mr. Egerton Castle, is announced,<br /> with a coloured frontispiece and additional plates.<br /> It includes many examples used by distinguished<br /> men of the day. Also “A Hand-book of Printers’<br /> Marks,” by Mr. W. Roberts, which ought to be<br /> <br /> 219<br /> <br /> valuable to the collector. We hope Mr. Gleeson<br /> White, the editor of this interesting series, will<br /> see his way to a work explaining the various<br /> forms of “ Imprimatur.”<br /> <br /> A new and revised edition of Professor<br /> Buchheim’s “ Balladen and Romanzen”’ has<br /> recently been published by Messrs. Macmillan in<br /> their cheap issue of the “Golden Treasury<br /> Series.” The first edition appeared not quite<br /> two years ago.<br /> <br /> Miss Helen M. Burnside’s new story for<br /> children, “A Day with the Sea Urchins,” is pub-<br /> lished by Messrs. Warne and Co., of Bedford-<br /> street, Strand. It contains many little songs set<br /> to music by Mr. Myles Birket-Foster, late<br /> organist of the Foundling Hospital.<br /> <br /> “ Tieut. De Brion, R.N.R.,” is the title of the<br /> first publication of a new and unknown writer,<br /> Alan Oscar. In the criticisms of the book it is<br /> pronounced clever and interesting. The book is<br /> published by Remington and Co. Price, half-a-<br /> crown.<br /> <br /> A serial story, “For Love or Money,’ now<br /> running in the lady’s paper Morget-me-not, is by<br /> Miss Marie Connor, joint author with Mr. Connor<br /> Leighton of “ Convict 99” and “ Michael Dred,”<br /> which have recently been so successful in Answers.<br /> <br /> A Sussex magazine, entitled Southward Ho!<br /> will make its first appearance in December. It is<br /> edited under the nom de plume of “ Raymond<br /> Jacberns,” the office being at 13, Clyde-road, St.<br /> Leonards-on-Sea. A serial story by James Stanley<br /> Little will run through the first numbers.<br /> <br /> The Rev. J. Hamlyn Hill, M.A., formerly<br /> Senior Scholar of St. Catherine’s College,<br /> Cambridge, has made a complete translation into<br /> English of “ Tatianss Diatessaron.’’ No complete<br /> translation has yet appeared in our tongue,<br /> though two attempts have been made. He has<br /> made it, in the first place, from Ciasca’s Latin<br /> version, and then the result has been compared<br /> word for word with the Arabic. The extracts<br /> found in Ephraem’s Commentary have also been<br /> translated by Mr. Hill from Dr. Moesinger’s<br /> Latin; and Professor Armitage Robinson is now<br /> at Venice correcting this translation by means<br /> of the Armenian MSS. there. The work will be<br /> published by Messrs. T. and T. Clark in the<br /> autumn, in a binding uniform with the Ante-<br /> Nicene Library.<br /> <br /> “A Life Awry”’ is the title of a three-volume<br /> novel by Perceval Pickering. There are<br /> pathetic notes in the book, but a deformed and<br /> ugly heroine requires the touch of a Charlotte<br /> Bronté to make the reader sympathetic. The<br /> publishers are Messrs. Bliss, Sands, and Foster.<br />  <br /> <br /> 220<br /> <br /> Mr. Francis Henry Cliffe has sent us a volume<br /> of translation of the poems of Leopardi and a<br /> tive-act tragedy in blank verse “ The Fatal Ring”<br /> —that is, the ring Queen Elizabeth gave to Essex<br /> It is fully copyrighted, and permission to perform<br /> it must be obtained from the author.<br /> <br /> We have received “ A Child’s Religion,” by the<br /> author of “Jesus, the Carpenter of Nazareth”<br /> (Kegan Paul), a work intended to assist in teach-<br /> ing religion to the young. It deserves a trial if<br /> only for its evident sincerity.<br /> <br /> The “ Confessions of a Woman”? is the title of<br /> an anonymous volume to be published by<br /> Messrs Farran and Co.<br /> <br /> Professor Hales has brought out, under the<br /> title of “Folia Litteraria: Essays and Notes on<br /> English Literature,” a collection of his literary<br /> productions during the last twenty years. The<br /> longer critical essays were contributed to the<br /> Contemporary, Fraser, and Macmillan’s Maga-<br /> zine, and the rest are contributions to the<br /> Athenseum and Academy, dealing with linguistic<br /> and other subjects requiring minute research. The<br /> varied range of Professor Hales’s studies renders<br /> it impossible that any reader should fail to find<br /> the work of great interest.<br /> <br /> We have received “The Strange Adventures of<br /> Anelay Moreland,” by R. Shelton Gresson ; “ The<br /> Sin and the Woman,” by Derek Vane; and<br /> “The Poems of Leopardi,’ a translation by<br /> F. H. Cliffe. Published by Messrs. Rivington<br /> and Co.<br /> <br /> « God’s Will and other Stories,” by Ilse Frapan,<br /> translated by A. Macdonald (Fisher Unwin), is a<br /> volume of a little more than 200 pages, in which<br /> are six stories. ‘“God’s Will ’ is the first, occu-<br /> pying haif the book. It is a romance of village<br /> life, in which the reader is not conscious of there<br /> having been any suggestion of a plot till almost the<br /> last page. The conflicting love interests are so<br /> skilfully concealed that one sister has to take the<br /> place of another as a bride during the marriage<br /> service, The five other stories are very slight,<br /> “The Qld Bookkeeper” and “A Christmas<br /> Story” being especially pretty and romantic.<br /> <br /> ee<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Buake, Rev. EveRARD. Good News from Heaven: twelve<br /> sermons. Skeffington, Piccadilly.<br /> <br /> Brooks, Rr. Rey. Puiuurrs, D.D. The Mystery of<br /> Tniquity, and other sermons. Macmillan. 5s.<br /> <br /> CAMBRIDGE SERMONS, preached before the University in St.<br /> Mary’s Church, 1889-1892. Selected and edited by<br /> QC. H. 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