| 265 | https://historysoa.com/items/show/265 | The Author, Vol. 05 Issue 01 (June 1894) | <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.+05+Issue+01+%28June+1894%29"><em>The Author</em>, Vol. 05 Issue 01 (June 1894)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253</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> | 1894-06-01-The-Author-5-1 | | | | | 1–32 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=5">5</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-06-01">1894-06-01</a> | | | | | | | 1 | | | 18940601 | C be El u t b or,<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESAN. T.<br />
VoI. V.-No. 1.]<br />
JUNE 1, 1894.<br />
[PRICE SIXPENCE.<br />
Por the Opinions earpressed 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 eaſpressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
HE 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 />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
WARNINGS AND ADWICE,<br />
I , T is not generally understood that the author, as<br />
the vendor, has the absolute right of drafting the<br />
agreement upon whatever terms the transaction<br />
is to be carried out. Authors are strongly advised to<br />
exercise that right. In every form of business, this among<br />
others, the right of drawing the agreement rests with him<br />
who sells, leases, or has the control of the property.<br />
2. SERIAL RIGHTS.—In selling Serial Rights remember<br />
that you may be selling the Serial Right for all time; that<br />
is, the Right to continue the production in papers. If you<br />
object to this, insert a clause to that effect.<br />
3. 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 seldom neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no ea pense to themselves<br />
eacept the cost of the stamp.<br />
4. 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 />
WOL. W.<br />
business men.<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself.<br />
5. LITERARY AGENTS.—Be very careful. You cannot be<br />
too careful as to the person whom yow 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 />
6. CoST OF PRODUCTION.——Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
7. CHOICE OF PUBLISHERS.—Never 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 />
8. FUTURE WORK.—Never, on any account whatever,<br />
bind yourself down for future work to anyone.<br />
9. PERSONAL RISK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
Io. REJECTED MSS.—Never, when a MS. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
II. AMERICAN RIGHTS.—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.<br />
I2. CESSION OF COPYRIGHT.-Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice. -<br />
13. ADVERTISEMENTS. —- Keep some control over the<br />
advertisements, if they affect your returns, by a clause in<br />
the agreement.<br />
I4. 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 />
Be yourself a business man.<br />
Society’s Offices :-<br />
4, PORTUGAL STREET, LINCOLN's INN FIELDs.<br />
*~ * ~ *<br />
e-<br />
HOW TO USE THE SOCIETY.<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member.<br />
B 2<br />
<br />
<br />
## p. 2 (#16) ###############################################<br />
<br />
2 THE AUTHOR.<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 />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<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 />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<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.<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 />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
*-- ~ *-*<br />
a- - -<br />
THE AUTHORS’ SYNDICATE,<br />
literary or artistic work are invited to communicate with<br />
the Manager.<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
*- - --><br />
NOTICES.<br />
EMBERS are informed :<br />
1. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
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 />
3. That the Authors' Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<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 />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least four days’<br />
notice should be given.<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 />
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 />
8. The Syndicate undertakes arrangements for lectures<br />
by some of the leading members of the Society; that it has<br />
a “Transfer Department” for the sale and purchase of<br />
journals and periodicals; and that a “Register of Wants'<br />
and Wanted ” has been opened. Members anxious to obtain<br />
39 48.<br />
HE Editor of the Awthor begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
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 />
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 Awthor complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write P<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<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 />
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 />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year P. 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 />
Members are most earnestly entreated to attend to the<br />
warning numbered (8). It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
or dishonest ? Of course they would not. Why then<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<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 />
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 />
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 />
<br />
<br />
## p. 3 (#17) ###############################################<br />
<br />
THE AUTHOR. 3.<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 call it.<br />
*~ * →<br />
g- -*<br />
THE AUTHOR,<br />
N the commencement of the fifth volume<br />
of the Author, it seems desirable that we<br />
should repeat the purpose for which the<br />
paper was founded and for which it exists. The<br />
fore words in the first number contain a state-<br />
ment of that purpose, which has always been kept<br />
steadily to the front.<br />
The Author is founded to be the organ of literary<br />
men and women of all kinds—the one paper which will<br />
fully review, discuss, and ventilate all questions con-<br />
nected with the profession of literature in all its branches.<br />
It will be the medium by which the Committee of our<br />
Society will inform its members generally of their doings,<br />
and it will become a public record of transactions conducted<br />
in the interests of literature, which have hitherto been<br />
secret, lost, and hidden for the want of such an organ.<br />
The chief aim of the Society—this has been advanced<br />
again and again—is to promote the recognition of the fact,<br />
hitherto most imperfectly understood, that literary property<br />
is as real a thing as property in every other kind of busi-<br />
mess: that it should be safeguarded in the same manner,<br />
and regarded with the same jealousy.<br />
Hitherto the mere existence of literary property even in<br />
the face of such patent facts as the enrichment of publishers,<br />
has been carefully concealed and even denied. Risks of<br />
publishing, costs of publishing, have been dangled before<br />
the eyes of authors, so that they should regard the subject<br />
as one of extreme peril and pure speculation. One can<br />
never even now read a leading article about publishing<br />
without being solemnly assured that the trade is one in<br />
which frightful risks are constantly run, and that the<br />
success of any book is pure speculation. -<br />
Now, as a matter of fact, there is very little speculation<br />
indeed in publishing, and there are very, very few publishers<br />
—only the leading houses—who ever run any risks at all,<br />
either by buying books or by bringing out books at a risk.<br />
Risks are run when a house starts a magazine, or when it<br />
embarks on illustrated editions of an expensive kind, or<br />
when educational books are published. The ordinary risk<br />
run in the production of books is, as a rule, next to nothing.<br />
For, first, the author is seldom paid except by results; next,<br />
the author, when a house consents to “take the risk,” is,<br />
for the most part, one who commands a certain sale. With<br />
the smaller houses books about which there is the slightest<br />
risk are always paid for by the authors in advance, either<br />
wholly or in part. And very, very seldom indeed, do the<br />
ill-advised authors who advance their money ever see it<br />
back again. .<br />
Again, as to the actual cost of production. By carefully<br />
keeping this a profound secret, interested persons have<br />
succeeded in establishing a kind of taboo, as of some holy,<br />
sacred thing which must not be so much as touched. We<br />
have, however, thoroughly investigated the whole question,<br />
and are now in a position to throw complete light upon the<br />
cost of producing any kind of book that can be named, in<br />
any type and in any form.<br />
This is a very important step. Its importance cannot be<br />
over-estimated. It enables the awthor, for the very first<br />
time in the history of literature, to know what it is he is<br />
asked to concede to the publisher, and what it is he reserves<br />
for himself. .<br />
We have also done more : we have collected together a<br />
vast amount of information as to publishers' agreements:<br />
especially as to what, in reality, is the meaning of the<br />
clauses contained in them ; we have ascertained what it is<br />
they ask the author to surrender and for what consideration.<br />
And we have acquired a knowledge of various frauds, made<br />
possible by the terms of these agreements, in the different<br />
methods of publishing.<br />
This knowledge is so beneficial to the author that its<br />
existence ought to be widely spread and made known to<br />
every person who is engaged in the production of literature<br />
of any kind.<br />
Again, the Society is constantly engaged in answering<br />
questions connected with every branch of literature and its<br />
practice. Many of these questions are answered by letter<br />
over and over again, taking up a great deal of the Secretary’s<br />
time. They would be answered much more effectively in a<br />
journal.<br />
It follows from these clauses that we may have a good<br />
deal to say about the seamy side of the publishing trade.<br />
It must, however, be borne in mind very carefully that<br />
the Society has not, and never has had, any quarrel with<br />
honourable publishers. It has always asked for one thing<br />
only—just and homest treatment, fair and open agreements,<br />
and honourable observance of those agreements.<br />
In further illustration of this programme let it<br />
be remembered that the Society, in its very first<br />
public utterance, and ever since, has always<br />
pointed out and repeated over and over again<br />
the fact that the literary and the commercial<br />
value of a book need not necessarily bear any<br />
relation to each other ; in other words, that the<br />
literary value of a book is not to be measured by<br />
its commercial success, and that the commercial<br />
success of a book is no gauge of its literary value.<br />
This, it would seem, is a self evident proposition,<br />
and would not need to be repeated but for the<br />
misrepresentations of those who wish to attack<br />
the Society and its organ. Let us therefore<br />
repeat one or two of the passages in which this<br />
distinction was clearly and unmistakably laid<br />
down. The same thing has been repeated over<br />
and over again :<br />
I. Literature, in all times, has had two sides—the artistic<br />
and the commercial kind. The singer expects to be paid,<br />
the poet is rejoiced at solid recognition of his genius. What<br />
is more, the artistic work of the highest genius in no way<br />
suffers from a careful attention to its material interests.<br />
Does anyone in his senses pretend that the work of Byron,<br />
Scott, Dickens, Thackeray, George Eliot, Wilkie Collins,<br />
Charles Reade, lost anything in Art because these writers were<br />
good and careful men of business P -<br />
II. Let us not confuse these two sides of the literary pro-<br />
fession. They are equally important, because unless the latter<br />
is looked after, the artist perishes. Both must be guarded<br />
jealously, the one because Literature is Art, and the other<br />
because the artist must be a free man—not the slave of the<br />
man who has the money, nor a hack, nor one who drives his<br />
pen all day long for a daily pittance, nor a man continually<br />
fretted by a sense of wrong and injustice, real or fancied.<br />
<br />
<br />
## p. 4 (#18) ###############################################<br />
<br />
4. THE AUTHOR.<br />
When, therefore, we insist continually upon the necessity of<br />
safe-guarding literary property, of understanding what is<br />
meant by an agreement before we sign it, we are working in<br />
the highest and best interests of literature.<br />
III. Consider again. In no other branch of Art is a voice<br />
ever raised against those who fight for its material interests.<br />
The sculptor, the actor, the singer, the musician, the painter<br />
—all alike are understood to be working honestly at their<br />
art, even though at the same time they are watching care-<br />
fully over their material interests. No one accuses Meisson-<br />
nier of bad workmanship, because every one of his pictures<br />
is worth a pyramid of gold. Yet, directly a serious attempt<br />
is made to put these interests on a proper basis as regards<br />
letters, there is raised at once an outcry about degrading<br />
Art, taking all the joy out of Art, destroying the nobility of<br />
Art, and the rest of it.<br />
We mix up these two sides of literature. It is absurd to<br />
suppose that George Eliot was thinking of her commercial<br />
value when she wrote “Romola..” Yet she thought very<br />
much of it afterwards. That is the way of it. The true<br />
artist thinks about nothing but his work while he is engaged<br />
upon it. The man who is not an artist cannot understand<br />
how he can ever think about the business side of his work<br />
at all. Yet he always can, and does, as soon as he is<br />
satisfied that there is a business side to his work.<br />
-s:crºcº-<br />
Three or four accusations are, from time to<br />
time, brought against the Society or the Author<br />
or both.<br />
I. We are charged with saying that all pub-<br />
lishers are dishonest. When this accusation was<br />
last made, in the Athenæum, the publisher who<br />
advanced it was challenged to produce his autho-<br />
rity. He found a statement in one of the<br />
pamphlets published by the Society to the effect<br />
that “fraud and corruption were widespread.”<br />
That was perfectly true; it was more true ten<br />
years ago than it is now, thanks to the action of<br />
the Society. “Widespread,” however, is very<br />
different from universal. Over and over again<br />
it has been repeated that the Society has no<br />
quarrel with honourable houses. Those, there-<br />
fore, who endeavour to distort a plain statement,<br />
proved to the hilt by our exposures, into a<br />
universal charge clearly betray themselves. One<br />
never hears a respectable solicitor trying to distort<br />
the perfectly true statement that his profession<br />
contains a great number of black sheep into a<br />
charge that all solicitors are black sheep.<br />
2. The next charge is, that we say that pub-<br />
lishers take no risks. We say no such thing.<br />
Over and over again we have said that in dealing<br />
with authors publishers take as few risks as they<br />
possibly can. In other branches of business, as<br />
when a publisher puts forth a new magazine,<br />
an encyclopædia, a dictionary of biography, a new<br />
atlas, he may incur very great risks. Since we,<br />
as authors, are not generally proprietors or<br />
venturers in this kind of property, we need not<br />
inquire into the nature of the risks thus incurred.<br />
But, in the production of books, the risk in-<br />
curred very rarely exists at all. In any case it is<br />
the difference between the cost of production and<br />
the number of copies subscribed at first, a mini-<br />
mum of which may be approximately known. If<br />
by risk the publisher means chance of great<br />
gains, then we are talking of different things.<br />
3. The third charge is that of sordidness in<br />
looking after literary property at all.<br />
This is answered by the passages already<br />
quoted.<br />
4. The fourth charge is that we measure literary<br />
value by commercial success.<br />
We have just shown how the contrary has been<br />
clearly laid down in the Author.<br />
Other charges will doubtless be invented and<br />
brought against us, but, so far, the repetition of<br />
one or other of these four is the only weapon<br />
which has been found by the gentry who object<br />
to the light of day. -<br />
Perhaps the policy of the committee during the<br />
Society’s existence may be fairly stated as this:<br />
The present conditions which belong to the<br />
acquisition and the administration of literary<br />
property are chaotic. Even with the best houses,<br />
no one, not the greatest historian, the greatest<br />
man of science, knows when he sends a MS. to a<br />
publisher on what terms he should confide to him<br />
the administration of his property. Nor does he<br />
know what terms the publisher will propose. Nor<br />
has he hitherto known what any terms mean. It<br />
is, on the other hand, highly desirable that he<br />
should know what terms may mean, and that<br />
he should know as much as possible about the<br />
reality and the extent of literary property, and<br />
particularly that of his own kind of literary<br />
property.<br />
The committee therefore have acquired and<br />
published, partly in pamphlets and partly in their<br />
organ, the Author, a tolerably complete explana-<br />
tion of these points:<br />
I. The cost of printing, binding, and advertis-<br />
ing various kinds of books.<br />
2. The meaning of the “published price ’’ to<br />
the publisher or manager of a literary<br />
property.<br />
3. Some of the various pitfalls and traps laid<br />
to catch the ignorant and the unwary<br />
author. -<br />
As regards the first point, one or two publishers<br />
have alleged that our estimates were too low.<br />
They were silenced by the offer to get their print-<br />
ing done on those terms. On the second point<br />
nothing has been disputed, for the simple reason<br />
that the figures given in the Society’s papers were<br />
actually lower than the truth. As to the pitfalls<br />
and traps, experience shows that it is necessary<br />
to examine jealously every agreement offered to<br />
an author, not always, be it understood, to detect<br />
a way open to fraud, but generally to detect some<br />
<br />
<br />
## p. 5 (#19) ###############################################<br />
<br />
THE AUTHOR. 5<br />
clause by which the author, through ignorance, is<br />
tempted to surrender rights and to give up an<br />
unfair proportion of his property. In other<br />
words, the man of business is always tempted to<br />
use his superior knowledge for his own benefit.<br />
We do our best to place the author on the same<br />
level as regards the facts of the case.<br />
To throw a flood of light upon every point con-<br />
nected with the management of literary property<br />
is, and has always been, the settled policy of the<br />
committee.<br />
The next step, that of arriving at a modus<br />
vivendi recognised as fair by both sides will be<br />
taken, it is hoped, before long, and when the<br />
ersons chiefly concerned, viz., the producers,<br />
shall have thoroughly learned the facts revealed<br />
by this light.<br />
*= a -º<br />
LITERARY PROPERTY.<br />
I.—CANADIAN COPYRIGHT.<br />
HE question of Canadian Copyright has in<br />
the past few weeks again been brought<br />
into publicity, owing, in the first instance,<br />
to a rumour that the Canadians were once more<br />
pushing forward their claims. The question is<br />
naturally one of great importance to the English<br />
author on account of the great interests in-<br />
volved.<br />
As regards the present state of Canadian Copy-<br />
right, any member of the Society who is interested<br />
in the subject is referred to the November number<br />
of the Author, 1890, containing a very useful<br />
paper written by W. Oliver Hodges, honorary<br />
secretary of the Society's Copyright Committee,<br />
and to an opinion in the January number 1893,<br />
given at the request of the Society by J. Rolt,<br />
3, New-square, barrister.<br />
With regard to the steps at present being<br />
taken, it will be as well to put forward a short<br />
statement.<br />
As soon as the rumour of the Canadian move<br />
had been substantially verified, the secretary of<br />
the Society, at the request of the chairman, wrote<br />
to the Colonial Office, and in due course received<br />
a reply, which was as follows:<br />
Downing-street, May 18, 1894.<br />
SIR,-Lord Ripon desires me to acquaint you that the<br />
Society is in error in supposing that there is any new Bill on<br />
copyright in Canada now before Her Majesty's Government.<br />
His Lordship presumes your letter refers to a clause in the<br />
Tariff Bill of the Canadian Parliament which is intended to<br />
remove the duty on foreign reprints of British copyright<br />
works. -<br />
I am to enclose a copy of the clause in question, which it<br />
is understood is not intended to come into operation until the<br />
end of the next session of the Dominion Parliament. In the<br />
meantime Lord Ripon has invited the attention of the<br />
Government of Canada to the effect which the second<br />
section of the Colonial Laws Walidity Act, 1865, may have<br />
upon this clause in the Tariff Bill.<br />
I am to add that a communication on the general question<br />
of copyright in Canada has been received, and will be sent<br />
to the Society when printed for any remarks they may have<br />
to offer.—I am, sir, &c.<br />
The following is the clause referred to :<br />
Books and Papers.-British copyright works, reprints of,<br />
six cents per pound, and in addition thereto 12% per cent.<br />
ad valorem until March 27, 1895, and thereafter six cents<br />
per pound.<br />
The importance, however, of the letter lies in<br />
the last paragraph.<br />
At about the same date the Secretary of the<br />
Society received a letter from the London<br />
Chamber of Commerce stating that a meeting<br />
of the copyright interests was going to be held,<br />
and requesting that the Society would appoint<br />
delegates to attend. At once a meeting of the<br />
committee was called, and Mr. Thring, the<br />
Secretary of the Society, together with Mr. W.<br />
Oliver Hodges, Hon. Secretary of the Society's<br />
Copyright Committee, and Mr. Emery, of Messrs.<br />
Field, Roscoe, and Co., the Society's solicitors,<br />
was appointed to attend. On Wednesday,<br />
May 23, the delegates met at the London<br />
Chamber of Commerce, where various copyright<br />
interests were represented, namely, the musical<br />
publisher, the photographer, the Copyright Asso-<br />
ciation, and the Society of Authors. Mr. Daldy,<br />
the Honorary Secretary of the Copyright Associa-<br />
tion, was voted into the chair, and, after a few<br />
preliminary remarks, he read through a series of<br />
letters written by himself to the Colonial Secretary<br />
and the replies from the Colonial Office. Mr.<br />
Thring, the Secretary of the Society, then read<br />
the letter he had received from the Colonial Office,<br />
which was dated later than Mr. Daldy's last letter<br />
from the same source, and which contained infor-<br />
mation with regard to the steps the Canadian<br />
Government were taking, which was not included<br />
in Mr. Daldy's letters. Then followed a discus-<br />
sion upon what was the fittest course to take, and<br />
it was finally decided to appoint a committee to<br />
hold as it were a watching brief upon the Anglo-<br />
Canadian copyright question. The following<br />
resolutions were then agreed to, placed before the<br />
meeting, and unanimously carried :—<br />
I. Proposed by Mr. Ashdown, and seconded by<br />
Mr. Thring (Secretary of the Society of Authors) :<br />
That a special committee representing all copyright<br />
interests be appointed to watch the question of Anglo-<br />
Canadian copyright, and to take such steps to protect that<br />
property as may to them seem best.<br />
2. Proposed by Mr. Thring (Secretary of the<br />
Society of Authors), and seconded by Mr.<br />
Mendlesohn :<br />
That the said committee consist of two representatives of<br />
each of the undermentioned bodies and interests : The<br />
<br />
<br />
## p. 6 (#20) ###############################################<br />
<br />
6 THE AUTHOR.<br />
Copyright Association, the Society of Authors, musical<br />
interests, fine art interests, photographic interests, dramatic<br />
publishers and authors, with power to add to their numbers<br />
from their own or other bodies as they think fit.<br />
The next step for the Society to take will be, of<br />
course, to elect delegates to attend upon the com-<br />
mittee. This committee, when formed, will care-<br />
fully go into whatever papers may be laid before<br />
them by the Secretary of State for the Colonies,<br />
and will consider the advisability of sending a<br />
deputation to the Marquis of Ripon on the<br />
matter.<br />
Further information will be conveyed to the<br />
members of the Society through the Author, as the<br />
question and the steps taken are proceeded with.<br />
II.--THE WORKING OF THE COPYRIGHT IAw.<br />
I. Mr. George Haven Putnam's thoughtful<br />
article on “Results of the Copyright Law,” in<br />
the January Forum, was an excellent summing up<br />
of the situation as developed since the passage of<br />
the Copyright Act of March 4, 1891. To my<br />
mind, his opinion that, in spite of the law’s<br />
defects, “it would be unwise at this time to make<br />
any effort to secure amendments * is the correct<br />
one. At the same time, the fact that a petition<br />
has been brought into the German Parliament<br />
calling for the abrogation of the copyright agree-<br />
ment between the United States and Germany,<br />
and that this petition has been approved by the<br />
committee having it in charge, gives a serious<br />
turn to the copyright situation. Mr. Putnam, in<br />
his article, noted that “it is almost impossible<br />
for a French or German author to arrange to<br />
issue his book in this country (either in the<br />
original or in a translation) simultaneously with<br />
the publication abroad. The re-setting in the<br />
Original language, for such limited sale as could<br />
be looked for here, would be unduly expensive,<br />
while time is required for the preparation of a<br />
satisfactory translation.” The great trouble, Mr.<br />
Putnam tells me, is that to secure copyright in a<br />
work in a foreign language, it must be re-set<br />
here in the original language. The copyright of<br />
a translation protects that translation only, and<br />
if the book is not also published in the original,<br />
anyone is at liberty to issue a new translation.<br />
This state of affairs was brought about by the<br />
eagerness of the typographical unions to grasp<br />
every advantage. The French Society of Authors<br />
made this discovery some time ago, and now that<br />
Germany threatens to take the matter up, the<br />
result of the immense amount of labour per-<br />
formed by our copyright leagues is somewhat dis-<br />
couraging. After all, I presume that our copy-<br />
right relations with Great Britain are the chief<br />
issue at stake, and these are progressing in a fairly<br />
Satisfactory manner at present. It is curious to<br />
observe how closely the success of books by new<br />
English authors is watched by the American<br />
reprinters. Of course, the successful English<br />
author's second book at once finds an authorised<br />
publisher in the United States, and is copy-<br />
righted; but the way every new English success<br />
is pirated in this country shows plainly the need<br />
of a time clause in the Copyright Act as long as<br />
the printing clause remains. -<br />
Another vexatious copyright question has been<br />
raised in a recent interview with Mr. Spofford,<br />
Librarian of Congress. I have not the slightest<br />
doubt that ninety in a hundred of those interested<br />
will be immensely surprised to learn from that<br />
interview that in the United States the name or<br />
title of a book is not protected by copyright.<br />
“The law is, said Mr. Spofford, “that the sub-<br />
stance, the literary contents, of a book or publica-<br />
tion may be protected by copyright, but not the<br />
name—not the title.” The filing of title-pages of<br />
books in this country, which is required by law, is<br />
not, then, for purposes of protection, but for<br />
identification merely. This seems to be a great<br />
injustice, and I asked Mr. Putnam if a change in<br />
this respéct were not needed when the Copyright<br />
Act is next amended. Mr. Putnam assented, and<br />
gave me some interesting information as to the<br />
present condition of English copyright law on<br />
this point, and as to certain proposed changes. In<br />
England, Mr. Putnam said, the law as to book<br />
titles goes as far in the contrary direction as does<br />
ours, in that it permits anyone to copyright all<br />
the titles he can think of with or without any real<br />
intention to use them for actual books. This<br />
copyright in a title or titles lasts for the full<br />
English term of forty-two years, or seven years<br />
after the copyrighter's death. In many cases,<br />
authors of books have had to pay such copy-<br />
righters to relinquish titles on which they<br />
unluckily had stumbled. Mr. Putnam thinks<br />
that authors should be at liberty to copyright the<br />
titles of their proposed books, but that such copy-<br />
right should be completed by the publication of<br />
the book within a reasonable period (six months or<br />
a year), and that failing of this the copyright<br />
should become void. Also he thinks that copy-<br />
right in a title should lapse if the book which it<br />
represents is out of print for a long period. The<br />
proposed new English law, introduced by Lord<br />
Monkswell in the present Parliament, and still<br />
pending, covers these points very fully. Copy-<br />
right in a title must be perfected by publication<br />
of the book within six months, and is lost in the<br />
case of books which remain out of print over two<br />
years. -<br />
II. The copyright questions touched upon in<br />
my last letter have brought me further information<br />
<br />
<br />
## p. 7 (#21) ###############################################<br />
<br />
THE AUTHOR. . 7<br />
as to the working of the Act of 1891. A sufficient<br />
time has now passed to enable publishers generally<br />
to understand what methods of procedure to<br />
follow in securing themselves and their authors<br />
here and abroad. Single stories, poems, and<br />
articles in English periodicals, which have not<br />
been “placed ” in the United States, are now sent<br />
over in advance to this country, put in type, and<br />
issued in pamphlet form on the day of the<br />
periodical's publication in England, thus securing<br />
copyright here for the same matter when subse-<br />
quently issued in book form. It is becoming<br />
more and more dangerous to reprint such articles<br />
from English magazines, especially if the authors<br />
are distinguished. All this has, of course, become<br />
the A B C of the trade among publishers, but it<br />
will be in the nature of information to many of<br />
the writing guild. Such copyrighted matter as<br />
that just mentioned is published here in three<br />
different ways: first, by the American branch of<br />
the English house; second, by an American pub-<br />
lishing house, which is the agent of the English<br />
firm; third, by the private agent of the English<br />
publisher. In any case protection is legally<br />
secured.<br />
So thoroughly do the English houses under-<br />
stand this question, and in so many cases have<br />
they established branch firms here for the publi-<br />
cation of their own books, that a leading Boston<br />
author was tempted to remark to the head of a<br />
large American publishing house that the chief<br />
effect of the International Copyright Act seemed<br />
to be to enable English publishing firms to<br />
establish branch houses here, manufacture dupli-<br />
cate plates, and flood the market with English<br />
books. This is only partially true, however, as<br />
most English publishers still prefer to issue their<br />
books through American houses, who manufac-<br />
ture the plates for both sides of the ocean.<br />
As to American authors, they no longer have to<br />
compete with five-cent. editions of current<br />
books by leading English authors, but issue their<br />
works in even competition with the latter. In<br />
view of the working of the Act, there may be a<br />
modicum of wisdom in requiring plates to be<br />
manufactured in this country, as otherwise we<br />
might be swamped by cheap English sheets in a<br />
way to shut off American authors and publishers<br />
from fair competition. These are the views of a<br />
protectionist, however, and I understand that<br />
those interested in copyright reform insist that<br />
protection and free trade ought not to enter into<br />
the question.<br />
International copyright is now secured between<br />
the United States and Great Britain, France,<br />
Germany, Belgium, Switzerland, Denmark, and<br />
Italy. The American Copyright League, so its<br />
secretary tells me, is now working for copyright<br />
WOL. W.<br />
with Greece, Norway, and Sweden, Spain, and<br />
Austria. Russia is considered hopeless on<br />
account of the press censorship. Austria, I<br />
believe, objects to the printing clause. Oddly<br />
enough, the printing clause is not considered a<br />
grave objection by the Spanish authorities, but<br />
they do object seriously to the requirement that<br />
American editions of Spanish books be registered<br />
at Washington and the fee paid before copyright<br />
can be secured. In most international copyright<br />
agreements between European countries, regis-<br />
tration in the author's country is all that is<br />
necessary for protection in other countries. Our<br />
late Minister to Spain, the Hon. E. Burd Grubb,<br />
was unable to overcome this objection on the<br />
part of the Spanish authorities. It has been<br />
suggested that a certificate of copyright from<br />
the United States Consul at Madrid, or from<br />
the Spanish Minister of Foreign Affairs, could<br />
be made to serve at Washington by a special Act<br />
of Congress. The benefit would accrue chiefly to<br />
Spanish authors, so that Spanish hindrance seems<br />
absurd. — ARTHUR STEDMAN in the Chicago<br />
Dial.<br />
III.-FoED v. SMITH.<br />
(Before MR. JUSTICE MATHEw and a Special<br />
Jury.)<br />
This was an action (May 30) by Mr. Thomas<br />
Murray Ford, a dramatic author and journalist,<br />
against Mr. Valentine Smith, a theatrical<br />
manager and actor, arising out of the produc-<br />
tion of an English version of Adam's opera. “Si<br />
j’étais Roi.”<br />
The plaintiff's case, as stated by counsel, was<br />
that in December, 1888, he was asked by the<br />
defendant to translate and prepare an English<br />
version of “Si j’étais Roi.” No remuneration<br />
was fixed for the work, as the plaintiff said he<br />
could not tell how long it would take, but it was<br />
agreed that a reasonable price should be paid.<br />
The original libretto was by MM. Dennery and<br />
Brésil, and this was handed to the plaintiff by<br />
the defendant. Dr. Storer and Miss Harte-<br />
Potts assisted him, and, when finished, the<br />
English lyrics were written into a full score of<br />
the opera, by Dr. Storer. The work occupied<br />
two months, and was of a difficult nature, as first<br />
a translation had to be made of the French verse,<br />
and then English lyrics fitted to the music.<br />
When the words were completed they were sent<br />
to the defendant, who sent plaintiff a sum of £5<br />
some time afterwards in reply to an application<br />
for payment. Plaintiff, however, wrote back and<br />
said that such a sum was quite insufficient. He,<br />
however, heard no more for four years, when he<br />
heard that defendant was performing an opera<br />
C<br />
<br />
<br />
## p. 8 (#22) ###############################################<br />
<br />
8 THE AUTHOR.<br />
entitled “King for a Day,” which he suspected<br />
was his work. He accordingly procured a book<br />
of the words, which were identical with his version,<br />
and found that the defendant had registered both<br />
the opera and the book.<br />
The defendant's case was that he had only<br />
asked defendant to “write up ’’ a music score;<br />
that the version the defendant used was written<br />
up and adapted by him and Dr. Storer from what<br />
he remembered of the American version; that he<br />
had never used anything that plaintiff had<br />
written; and that he was unaware the plaintiff<br />
had prepared any version at all.<br />
Evidence was given on both sides in support of<br />
these statements.<br />
Mr. Justice MATHEw, in summing up, said the<br />
questions for the jury were--(1) Was the plain-<br />
tiff employed to do the work? If so, he was<br />
entitled to be paid for doing it. (2) Was the<br />
manuscript sold to the defendant P If it was, he<br />
was entitled to register it. (3) Was the version<br />
the defendant used substantially the one prepared<br />
by the plaintiff P and (4) Had the plaintiff, in<br />
fact, accepted the £5 in full payment or was he<br />
entitled to anything more ? The learned Judge<br />
then proceeded to review and criticise the evi-<br />
dence in detail.<br />
The jury immediately found a verdict for the<br />
plaintiff, damages 3850.<br />
ON ROYALTIES.<br />
INCE a great many of our members have<br />
S joined during the last four years—in 1890<br />
the number of members was 4oo, at the<br />
present moment, May, 1894, it is nearly 1300–<br />
the facts and figures published in the early<br />
numbers of the Author are practically inaccessible<br />
to the younger members. But some of these are<br />
of the highest importance. Also, some of them<br />
require revision in consequence of slight changes.<br />
We purpose, therefore, to reproduce them. Per-<br />
haps the most important of all are those which<br />
relate to royalties. Nothing is more chaotic than<br />
the royalty system; but, since it is, for many<br />
reasons, the plan generally preferred by both<br />
authors and publishers, it is one that must be<br />
thoroughly understood. The figures given in the<br />
Author (Vol. I., p. 39, and Vol. III., p. 7) have<br />
been carefully revised.<br />
I. Cost of Production:<br />
As before, an ordinary six-shilling book is taken<br />
as an example. It may be a book of essays, a<br />
biography, a novel. Since a large circulation is<br />
contemplated, the figures will, in general, be found<br />
more useful for the novelist than for the essayist.<br />
But the latter will do well to consider the results<br />
on a single edition only.<br />
We take a very common form : it is one used<br />
for the greater number of six-shilling novels. The<br />
type is called Small Pica : there are twenty-nine<br />
lines in the page, and there are about 250 or 26o<br />
words to the page ; there are seventeen sheets,<br />
or 272 pages. The following is tendered as an<br />
approximate cost; that is to say, we could our-<br />
selves get the work done at these figures.<br />
It must be understood that a book of greater<br />
length will cost more; if, for instance, there are<br />
twenty-four sheets instead of seventeen, the cost<br />
of production would be increased, and the figures<br />
modified throughout. Illustrations would also<br />
increase the cost.<br />
<br />
I. A first edition of IOOO copies costs<br />
about £92<br />
2. A first edition of 3000 copies costs<br />
g - about £180<br />
3. A second edition of IOOO copies costs<br />
about £52<br />
4. A second edition of 3000 copies costs<br />
about £135<br />
In other words, in a first edition of S. d.<br />
... IOOO copies, each copy costs about... I Io;<br />
3OOO 25 5 x 2 3 » . . . I 2;<br />
, In a second edition of s. d.<br />
IOOO copies, each copy costs about... I o<br />
3OOO 5 y 55 35 32 - - O<br />
The above is approximately the cost of produc-<br />
tion. The publisher now has IOOO copies in his<br />
hands—what does he get for them P. We reckoned<br />
in our last published figures 3s.6d. for an average<br />
price. We have since learned, on closer inquiry,<br />
that this is too low an average.<br />
There are slight variations with different firms,<br />
and sometimes special terms may be made. Thus,<br />
there are four or five firms who “subscribe’” their<br />
six-shilling books, i.e., issue them to the trade, on a<br />
first subscription at 4s., counting 13 as 12, and with<br />
5 per cent. discount at the quarterly settlement.<br />
This is just over 3s. 6d. But a first subscrip-<br />
tion generally means a very small proportion of<br />
the whole afterwards taken in the case of a suc-<br />
cessful book.<br />
Other firms subscribe their 6s. books at 4s. 2d.;<br />
25 as 24; or 13 as I 2 ; and 5 per cent. On the<br />
quarterly settlement.<br />
Thus we have, at 25 as 24, the price at<br />
3s. 9%d., say 3s. 9%d.<br />
nd at 13 as 12 the price at 3s. 7+}d., or very<br />
nearly 3s. 8d.<br />
There are other variations.<br />
Some firms give a large discount for an order<br />
of so much. - -<br />
Stated generally, the average price to the trade<br />
4.<br />
IO;<br />
<br />
<br />
## p. 9 (#23) ###############################################<br />
<br />
THE AUTHOR. - 9<br />
of a 6s. book is 3s. 8d., and in all calculations as<br />
regards royalties this price may be taken as the<br />
basis of calculation. g -<br />
Thus with an edition of -<br />
IOOO copies the difference between<br />
return and cost is ... ... ... ...<br />
3OOO copies the difference between<br />
return and cost is ... ... 2 5<br />
Thus with a second edition of<br />
IOOO copies the difference between<br />
return and cost is ... ... ... ... 2 8<br />
3OOO copies the difference between<br />
return and cost is ... ... ... ... 2 9%<br />
We can thus get an idea of what the royalty<br />
system means when an edition is completely<br />
exhausted.<br />
I. On the sale of an edition of IOOO only :<br />
- . Per cent.<br />
On a royalty of......... IO I5 2O 25<br />
s. d.<br />
I 9<br />
#<br />
#<br />
* smºs<br />
Publisher ........................ 360 ... 345 ... 330 ... 31.5<br />
Author ........................... 383O ... 3845 ... 36O ... 3875<br />
2. On the sale of a first edition of 30OO :<br />
Per cent.<br />
IO I5 2O 25 3O<br />
Publisher...... £280 ... 3240 ... 3190 ... 31.45 ... 38 IOO<br />
Author......... £90 ... 3135 ... 3180 ... 3225 ... 3270<br />
3. On the sale of a second edition of IOOO :<br />
Per cent.<br />
IO I5 2O 25 3O<br />
Publisher............ £IOO ... 385 ... 370 ... 355 ... 3840<br />
Author............... 483O ... 345 ... 386O ... 375 ... 3890<br />
4. On the sale of a second edition of 3000:<br />
Per cent.<br />
IO I5 2O 25 30<br />
Publisher...... £325 ... 3280 ... 3235 ... 3190 ... 31.45<br />
Author......... £90 ... 3135 ... 3180 ... 3225 ... 3270<br />
These figures show that for a half-profit<br />
system, supposing a book to be successful, a<br />
royalty of about 22% per cent. on such a work, of<br />
such a length, without illustrations, means half<br />
profits to author and to publisher.<br />
But it may be objected, very few books<br />
indeed attain to such a circulation as is here<br />
presented. As a matter of fact, many more books<br />
attain to wide circulation than we suspect. We<br />
are too much accustomed to think of novels alone<br />
as successful books. There are, however, educa-<br />
tional, religious, scientific, historical, biographical<br />
books which obtain very great success. We do<br />
not hear much about them ; of the novel we hear a<br />
great deal. Let us next, then, reserving this<br />
important fact, speak of books which cannot<br />
expect a large circulation. A philosophical<br />
treatise, for instance; a book of essays by a<br />
writer who is not popular; a book of poems by<br />
a poet not yet popular; can hardly expect a large<br />
WOL. W.<br />
sale. Indeed, in some cases, the writer is fortunate<br />
in getting published at all; and there are many<br />
cases in which a publisher has produced a book<br />
by which he cannot hope to do more than recoup<br />
his expenditure.<br />
Let us return to a book, of which a single<br />
edition of IOOO copies represents the whole. If it<br />
is a volume of essays it is generally longer than<br />
the example quoted. Suppose it contains twenty<br />
sheets. The cost of production, not counting<br />
moulding, would be about £1oo. This cost is<br />
covered with a sale of 550. If, however, it is<br />
saddled with a royalty of 15 per cent. to the<br />
author, the book is not covered until a sale of<br />
723 copies. Now, the publisher may see his way<br />
to dispose of something like this number, but<br />
not of many more. Where, then, is his own share<br />
in the return ? It is manifestly impossible, with<br />
a sale so limited, to give so large a royalty. This<br />
consideration seems to introduce the deferred<br />
royalty; and, indeed, if the accounts are honestly<br />
presented, on an agreed understanding as to the<br />
proportion or share, a deferred royalty would<br />
seem the fairest. Thus with our figures a royalty<br />
would begin after 550 copies were sold. What<br />
should be the amount of the royalty P Clearly,<br />
the sale of every copy in the edition of Iooo,<br />
except the presentation copies, after 550 are gone,<br />
is so much profit. Therefore a royalty of 50 per<br />
cent. is only the old-fashioned half profit plan<br />
honestly carried out.<br />
Unfortunately the deferred royalty has been<br />
—and is—the easiest and the most common way<br />
of conveying the whole of the property into the<br />
publisher's hands. For instance, a case occurred<br />
some time ago in which such a book as we are<br />
considering was to be charged with a royalty<br />
of a shilling a copy after I 600 copies had been<br />
sold. Now, the book was of such a nature that<br />
its sale would probably never reach, or only<br />
just reach, I 600 copies. Suppose, however, an<br />
edition of 2000 copies were produced and all<br />
were sold. The cost of the book would be about<br />
3130; the returns, at 3s. 8d. a copy, would be<br />
about £350. The author would receive Is. On<br />
4OO copies, i.e., 32O ; the publisher would receive<br />
over £2OO. The figures are only approximate,<br />
but they are not far wrong. How does such<br />
an agreement as this strike the reader for<br />
equity ? Again, a very distinguished writer<br />
sought the advice of the Society sofme time ago<br />
on the following proposal. He was to give a<br />
certain firm a book—a little book which would<br />
cost a trifling sum to produce, and would be<br />
absolutely certain of success from the name<br />
alone of the writer. The firm proposed that a<br />
royalty of one-sixth should be given to the writer,<br />
to begin after 2000 copies had been sold / There<br />
• C 2<br />
<br />
<br />
## p. 10 (#24) ##############################################<br />
<br />
IO THE AUTHOR.<br />
is no need of figures in this case in order to show<br />
the beauty of the arrangement.<br />
A third case. It was concerning a three-<br />
volume novel. The author accepted terms which<br />
promised large returns after the sale of 350<br />
copies. He never got anything. He found out<br />
afterwards that the publisher, guessing that there<br />
would be no demand for the book over and above<br />
350 copies, had not only named that number as<br />
the starting point for the royalty, but had also<br />
printed that number and no more, and had then<br />
distributed the type. He gave away about twenty<br />
copies and the libraries took the rest, and he<br />
made the little profit of £150 or so on the trans-<br />
action. How does this strike the reader for<br />
loyalty and honour?<br />
Under these circumstances a proposal of a<br />
deferred royalty must be regarded with great<br />
suspicion. This paper does not advance any<br />
opinion as to the royalty which should be regarded<br />
as fair. It gives the facts, approximately, as<br />
regards cost of production and returns. Readers<br />
must remember that, though it is always neces-<br />
sary to consider the case of a great success, it<br />
does not by any means follow that their own<br />
books are going to be greatly successful. They<br />
must also remember that to recoup the cost of<br />
production alone is not exactly satisfactory to<br />
the publisher. These considerations belong to<br />
the application of the figures given above.<br />
*— — —”<br />
P- - -e<br />
TWO AFTER DINNER SPEECHES,<br />
N responding to the toast of the “Trade,”<br />
proposed by the Lord Mayor at the book-<br />
sellers' trade dinner, held on April 14, Mr.<br />
John Murray said:<br />
“As regards that section of the trade with<br />
which I am personally connected, I will say<br />
that we publishers get a great deal of abuse,<br />
but up to the present we have not perished<br />
under that abuse. I believe there are certain<br />
people writing against us frequently. I believe<br />
there is a periodical devoted more or less to our<br />
shortcomings. But you know an author would<br />
not be an author if he were not a man of brilliant<br />
imagination. Well, gentlemen, when I think of<br />
what has passed, I am reminded ºf a little inci-<br />
dent which may have come within your know-<br />
ledge. There was an American gentleman—one<br />
of those whose tendencies lead them to come to<br />
other nations and teach other people their busi-<br />
ness—who came to Scotland and addressed some<br />
tenants against the landlord, and, feeling he had<br />
the sympathies of his audience, he asked if any-<br />
one would like to ask him a question. An old<br />
farmer arose and said, ‘Well, Mr. George, I<br />
think you are an owner of land yourself?’<br />
‘No,' was the reply. “Never interested in one?’<br />
said the farmer. “No ; I am neither agent or<br />
landlord, I have never had anything to do with<br />
land or landlords.” “No ; I thought so,” said the<br />
farmer and sat down. Now this is the way to<br />
treat our critics, and I offer them a hint not<br />
offered before. There were plans which in the<br />
long run would require the sanction of the<br />
courts to be enforced. I make a better sugges-<br />
tion: I say find me a man to write down in legal<br />
phrase, ‘Good feeling, mutual confidence, and<br />
friendship.' I say find me a man prepared in a<br />
right minded spirit to enter into an agreement<br />
honourably conceived, and I will show you the<br />
man who will draw up an agreement which will<br />
not require the courts to enforce it. That is the<br />
basis on which such a business should be<br />
made.” -<br />
It is fair to suppose that Mr. Murray directed<br />
these remarks against this paper—in fact, lest the<br />
audience should think that some other paper was<br />
intended, Mr. Macmillan afterwards explained<br />
that it was the Author. If so, one has to point<br />
out that the Author has never, at any time, or<br />
in any place, abused publishers. The Society of<br />
which it is the organ has pointed out most clearly<br />
and distinctly that it has not the slightest quarrel<br />
with honourable publishers. The Society has<br />
investigated and has exposed, partly in this<br />
paper, certain practices which make publishing<br />
in certain hands a mean and a dishonest trade.<br />
If Mr. Murray “has found certain persons<br />
writing against us,” I think he may fairly be<br />
called upon to explain more clearly what he<br />
TT168,1].S. -<br />
Next he relates a parable, by which he seems to<br />
imply that the Author tries to teach publishers<br />
their business. The Author does nothing of the<br />
kind; it does, however, try to teach authors their<br />
business. With this object in view it publishes the<br />
facts as to the actual cost of production, the trade<br />
allowances, the methods of advertising, the<br />
extent of copyright, the law of copyright, the<br />
meaning of royalties—all the points, in short,<br />
necessary to teach the author what the various<br />
clauses of an agreement may mean. Does Mr.<br />
Murray object to this kind of light? Finally,<br />
Mr. Murray offers to do the very thing which the<br />
Society most ardently desires and has always in<br />
view. I know not whether he was present at a<br />
meeting held in December, 1892, at which the<br />
chairman, Sir Frederick Pollock, stated plainly<br />
that it was incredible that honourable men could<br />
not meet and recognise some method or methods<br />
of publishing as fair and acceptable to both sides.<br />
That statement still stands unanswered—what is<br />
<br />
<br />
## p. 11 (#25) ##############################################<br />
<br />
THE AUTHOR. I I<br />
In the way ? Frankly, the chief obstacles are the<br />
men who, being the leaders of the publishing<br />
trade, assume, at such meetings as the Book-<br />
sellers' dinner, that exposures—exposures which<br />
must be made—of over-reaching or sharping by<br />
the baser sort—are meant as attacks upon them-<br />
selves. If Mr. Murray will turn to page 9 of<br />
this number he will find there, as illustration,<br />
three agreements, not fraudulent, but sharp,<br />
recently offered to authors. One would ask him<br />
if they are such agreements as he approves. One<br />
would further ask him if he does not approve of<br />
the exposure and explanation of such agree-<br />
ments. I will show Mr. Murray, if he cares to<br />
See them, one or two other curious little agree-<br />
ments and accounts. And I will tell him, if<br />
he wishes, in confidence, the names of the firms<br />
concerned.<br />
The Committee, one is quite sure, will gladly<br />
consider any agreement which Mr. Murray may<br />
communicate in the very spirit which he desires.<br />
But, one would ask, how can there be any agree-<br />
ment which can be outside, and independent of,<br />
the law P Are publishers unique among mankind<br />
in being, as a body and individually, beyond<br />
reproach P Does Mr. Murray really believe<br />
this P<br />
For myself, I have always thought it a great<br />
misfortune for literature that such a publisher as<br />
Mr. John Murray does not welcome the Society<br />
with open arms. I have often said this privately.<br />
I now say it publicly. For—consider—if we tell<br />
a solicitor of standing that there are many black<br />
sheep in his profession; if we expose the tricks<br />
and sharpings of these black sheep, does that<br />
Solicitor get up in public and complain that<br />
certain people are always abusing “us?” Our<br />
experience of the methods of publishing is wide,<br />
and, in fact, unique. It is nothing less than a<br />
knowledge of the methods pursued by every pub-<br />
lishing house in London. And of certain houses<br />
—I must not say in this place which they are or<br />
how many they are—I declare that I cannot<br />
Conceive it possible that a single sentence in the<br />
Author (not counting correspondence) should be<br />
able to offend or irritate any member of any one<br />
of these firms.<br />
At the same dinner, Mr. Frederick Macmillan<br />
also spoke at greater length about the Author. He<br />
is reported to have said: “The relations between<br />
publishers and authors have always been satisfac-<br />
tory, and I believe the contrary opinion is chiefly<br />
due to the Author, which I believe has hitherto<br />
been thoroughly misunderstood. When this<br />
periodical first made its appearance before the<br />
world, and put before us preposterous statements<br />
based on elaborately collected information, varied<br />
by vague but offensive charges of dishonesty, there<br />
were many respectable persons who had passed<br />
their whole lives producing books who were much<br />
surprised, and some went so far as to be annoyed.<br />
I gave it some consideration, and tried to find<br />
what this periodical was. . In fact, if<br />
it is once established that the Author is a<br />
comic periodical, no doubt its circulation will<br />
very much increase. This is a digression merely<br />
suggested by Mr. Murray's reference to the<br />
Author.”<br />
I cannot agree that the relations of author<br />
and publisher are, or ever have been, satisfactory,<br />
for the simple reason that they are absolutely<br />
undefined, and that an author has to go and ask<br />
a publisher what terms he proposes. This is<br />
simple fact, and not an opinion at all. It is a<br />
fact in no way due to the Author, but is known<br />
and lamented among all authors whose work has<br />
any commercial value. As for the “preposterous<br />
statements,” one would like to know in detail, and<br />
with reference to page and volume, what these<br />
are. “Vague, but offensive charges of dis-<br />
honesty.” What are these ? Our charges of<br />
dishonesty are not vague, but perfectly clear and<br />
precise. For instance, he who makes a false<br />
return of accounts to his partner—how should he<br />
be described P. In general terms, what would the<br />
world call such a man? This is not vague. Will<br />
Mr. Macmillan explain how such a charge is<br />
Offensive P Or, since we cannot assume that he<br />
could be offended by such a charge as this, what<br />
and where are the “offensive ’’ charges? There<br />
are other practices which have also been quite<br />
clearly defined, and will be so again.<br />
As for the facts published, they chiefly consist<br />
of the facts as to the cost of production. Does<br />
Mr. Macmillan refer to these ? Does he object<br />
to this kind of light? One cannot assume that<br />
it is possible. In that case, what are the offend-<br />
ing statements P<br />
The part of Mr. Macmillan's speech which was<br />
directed personally against myself, I have taken<br />
out ; it does not concern our readers. He con-<br />
cludes with the soothing reflection that the<br />
Author is a comic paper. It is astonishing how<br />
much consolation has been obtained by persons<br />
who, for this or that reason, are angry with a<br />
paper by the consideration that, after all, it is only<br />
a comic paper. Since that is so, let us laugh and<br />
go on our way. There are many more little jokes<br />
coming along which will, we hope, preserve the<br />
comicality of our columns. Meanwhile, I repeat,<br />
what are those preposterous statements which have<br />
made Mr. Frederick Macmillan so very angry<br />
with the Author?<br />
EDITOR.<br />
<br />
<br />
## p. 12 (#26) ##############################################<br />
<br />
I 2 THE AUTHOIR.<br />
BOOK TALK,<br />
HE report in the newspaper London, of<br />
April 19, dealing with the metropolitan<br />
and suburban free libraries has received<br />
much attention from those interested in the free<br />
library movement, because statistics are there<br />
given which tend to show that the working of<br />
the Free Libraries Acts is not as successful as<br />
had been expected. To begin with, there are<br />
some parishes which will not adopt the Acts at<br />
all, and, whatever may have been their original<br />
reasons, it would be short-sighted and impolitic<br />
not to ask whether these statistics supplied in<br />
the article “What Londoners Read,” furnish<br />
these parishes with any new arguments for con-<br />
tinuing in the same course.<br />
The article states that the “free library move-<br />
ment in London seems to have come to a dead<br />
stop. It was late in starting, and only made<br />
satisfactory progress for a short period. Recently<br />
there have been discouraging defeats. It looks<br />
as if all the energy and enthusiasm thrown into the<br />
movement in 1887 and 1889 had been exhausted.<br />
. . .” Only half the people have yet the<br />
benefit of these valuable educational institutions.<br />
What is read in these libraries P Turning to<br />
the statistics themselves, there is only one thing<br />
to be said—readers of fiction are the class who<br />
have been able to find their wants most easily<br />
satisfied. Fiction in all the libraries has always<br />
the highest percentage. The writer of the article,<br />
who seems to think that people ought not to read<br />
novels, adds a special warning to show that the<br />
“conclusion that the public libraries are mainly<br />
used for the dissemination of fiction is erroneous,”<br />
for, and these are the three chief reasons: (1)<br />
Libraries possess more novels than other works<br />
quite as much because they are cheap as that<br />
they are often asked for. (2) Novels take a much<br />
shorter time to read than serious works. (3)<br />
Many novels borrowed and recorded in the per-<br />
centages are not read at all. And then follow<br />
three other minor reasons. The writer then goes<br />
on to make a comparison between the free library<br />
novel reader and the subscriber to Mudie, Smith,<br />
and the Grosvenor. Nothing, however, can be<br />
gained for the free library movement by such a<br />
course. If the free library readers have their<br />
weaknesses, they are not excused because the<br />
patrons of Mudie and Smith have theirs. In the<br />
next column the writer shows us what he considers<br />
the special weakness of the free library, for he gives<br />
us the names of the six most popular novelists.<br />
By a process of exhaustion it seems as though<br />
we could always find one of these libraries<br />
in which one or more of the novelists, popular<br />
elsewhere, received but little attention ; but we<br />
ning through them all.<br />
should find one name—Mrs. Henry Wood—run-<br />
If we proceed in the<br />
same way with particular novels, there is but<br />
one novel which seems to be read everywhere—<br />
Chelsea, Holborn, Bermondsey, Clerkenwell—they<br />
must have “East Lynne.” Saint Martin’s-in-the-<br />
Fields requires eight copies. “It is the demand<br />
for ‘East Lynne' which gives Mrs. Wood the first<br />
position. “East Lynne’ being the favourite, it is<br />
perhaps, after all, a fair comparison to say that the<br />
free library is to one class of people what Mudie<br />
and Smith are to another. How very unwise then<br />
it is to pit the masses against the classes in this<br />
matter of reading, when really their tastes overlap.<br />
The outcome of this clearly is that, judged as<br />
an educational institution, the education furnished<br />
by the free library is chiefly conveyed through<br />
the modern novel; a form of text-book which<br />
teaches history, manners, customs, religion,<br />
morals, taste, and a great many things besides.<br />
It must, of course, be very trying to the autho-<br />
rities of public libraries to see so many works,<br />
which would well deserve a place on their shelves,<br />
published at prices far beyond the reach of the<br />
free library resources. We have before us a<br />
small volume, “The Life of Fra Paolo Sarpi,” by<br />
the Rev. Alexander Robertson, which is enjoying<br />
a large sale, and which seems to us to be suitable<br />
in every way for our free libraries. It is the<br />
history of a very great man which is here brought<br />
into a small compass without losing sight of<br />
either the material facts of his life, or, what is<br />
the essence of biography the spirit with which<br />
he went about his own and his country’s affairs.<br />
It is not usual to find a manual of history and<br />
biography which can be recommended as a guide<br />
and a stimulus to our own people in their<br />
attempt to be perfectly clear minded on the two<br />
most difficult political ideas of our time—pro-<br />
gress and patriotism. It is just possible that<br />
those who have hitherto been content to take<br />
their knowledge of Fra Paolo Sarpi from Miss<br />
Campbell’s life will be disappointed with Mr.<br />
Robertson's monograph, because, except in the<br />
last chapter, he does not appear to give any<br />
very fresh information. The chief reason for<br />
recommending the book just Inow is that it brings<br />
out most clearly how English sympathies have<br />
hitherto been entirely on the side of true freedom,<br />
both in action and in thought, whenever the sup-<br />
port of England has been sought by States<br />
struggling against religious tyranny. If there<br />
are any who are inclined to question the support<br />
given by England to the formation of the Italian<br />
kingdom—a united Italy, catholic, patriotic, and<br />
anti-papal, will not fail to note how easily the<br />
struggle could be misrepresented by the misuse of<br />
our current political terms or Tories and Liberals.<br />
<br />
<br />
## p. 13 (#27) ##############################################<br />
<br />
THE AUTHOR. I 3<br />
It is almost impossible not to consider this<br />
volume as a political manual intended to show<br />
the triumph of the Liberals (using the word in a<br />
foreign sense) or constitutional party over the<br />
clerical party, the upholders of the absolute<br />
authority of the ruler of the then existing Papal<br />
States. Such an opposition of parties may seem<br />
strange to us who are, perhaps, accustomed to<br />
consider constitutionalism more as the property of<br />
Tories, or, let us say, Conservatives, than Liberals.<br />
Nevertheless, there is one reflection to be made, if<br />
we in England have not hitherto had a clerical<br />
party there are good reasons for believing that<br />
such a party may spring up and declare itself in<br />
the near future; and it will be interesting to see<br />
how the name Liberal, as we now use it, will have<br />
to be extended to include many who at the<br />
present time would style themselves Conserva-<br />
tives. It is from this consideration — the<br />
possibility of a clerical party arising in England<br />
—that Mr. Robertson's book will derive another<br />
element of popularity. He leaves us in no doubt<br />
whatever as to the vitality of the struggle.<br />
When we consider the varied literary and scien-<br />
tific achievements of our day, there is always a<br />
danger of overlooking the importance of pro-<br />
portion in time, especially in things political.<br />
For instance, we have here a conflict between<br />
liberty and tyranny which has been waged since<br />
the time of Dante. If we are considering the<br />
history of Man from Abraham to Darwin that is<br />
not a very long time, but if we are thinking only,<br />
as is here the case, of the development of con-<br />
stitutionalism, it is impossible not to contrast the<br />
quick growth of our free political institutions in<br />
England, after we had substituted the Sovereign<br />
for the Pope, with their growth in those countries<br />
which had still to reckon with the papal claims.<br />
To recognise that a constitution is a growth and<br />
not the creation of a minister—even a Sarpi–is<br />
the political lesson of this biography. It is<br />
shown that to be free to develop is the simple<br />
requirement of a constitutional commonwealth<br />
like the Venetian, or a constitutional monarchy<br />
like the kingdom of Italy.<br />
Mr. Robertson has written a most interesting<br />
book. As it is not our duty here to do more than<br />
find reasons for recommending its purchase to<br />
private buyers, and justifying the same by public<br />
ones, we may draw attention to the heads of the<br />
chapters showing the method adopted. We have<br />
three chapters dealing with Sarpi, as scholar,<br />
professor, and then provincial of the Servite<br />
Order of Friars. Chapter 4 describes him as<br />
scientist and philosopher, in which his position<br />
with regard to the discovery of the circulation of<br />
the blood and the amount of Harvey’s indebted-<br />
mess to him are noted. We observe that Mr.<br />
Robertson appears to take a somewhat different<br />
view of that question than Miss Campbell does.<br />
Up to this point Sarpi is shown rather as making<br />
preparation for the duties which afterwards<br />
devolved upon him; while the three following<br />
chapters are devoted to the noble and successful<br />
struggle of his political life. He is described as<br />
theological counsellor, as martyr, and as states-<br />
man-author. The last chapter, “In tomb and on<br />
pedestal,” tells how Sarpi's enemies tried to<br />
revenge themselves even on his remains, and gives<br />
their attempts—which were very successful—to<br />
prevent the statue decreed by the Senate and Doge<br />
On Feb. 7, 1623, being set up. This was not dome<br />
till 1892. Mr. Robertson writes: “In recognition<br />
of the fact that Fra Paolo embodied the spirit not<br />
only of the old republic of Venice, but also of the<br />
new kingdom of Italy, the day chosen for the<br />
unveiling of the statue was the auspicious one,<br />
Sept. 20.” The volume has a photograph from a<br />
picture of Sarpi, and another of the statue; there<br />
is also a fac-simile letter in Sarpi’s handwriting.<br />
* * *<br />
a- - -º<br />
CALIFORNIAN NOTES.<br />
HE following notes on two or three Cali-<br />
fornian writers, furnished by a Californian,<br />
may serve to infroduce them to the readers<br />
of the Author. The first is on Mrs. Margaret Collier<br />
Graham, whose stories in the Atlantic Monthly<br />
and in the Century magazine have attracted<br />
some attention during the past eighteen months.<br />
She is a California woman, having her home at<br />
Pasadena, in Southern California. Mrs. Graham<br />
first made her appearance in literature twelve<br />
years ago with a story which appeared in the<br />
California Magazine, a publication which after-<br />
wards became merged in the new series of the<br />
Overland. This story, “Jamie,” attracted much<br />
attention at the time, and was followed only by<br />
one or two fugitive efforts, after which the writer<br />
dropped into obscurity. The real cause for this<br />
suspension of literary effort was the prolonged<br />
illness of her husband, who died three years ago.<br />
The twelve years that intervened between Mrs.<br />
Graham's earlier and later work were filled with<br />
work and sorrow and love. But meanwhile the<br />
writer was unconsciously preparing for strong and<br />
purposeful effort in letters. This is why she<br />
seems to have sprung full fledged into literature.<br />
Her stories show the subtle discernment of cha-<br />
racter, and the happy sense of humour peculiar<br />
to Miss Mary E. Wilkins, whom she resembles<br />
without imitation. As Miss Wilkins belongs to<br />
the east, so Mrs. Graham belongs to the west.<br />
Where Miss Wilkins introduces us to the New<br />
<br />
<br />
## p. 14 (#28) ##############################################<br />
<br />
I4. THE AUTHOR.<br />
England sewing circle, Mrs. Graham tells us of<br />
the outdoor life of the Far West. While Miss<br />
Wilkins shows us the homely furrows ploughed<br />
on the stony hillsides of the Granite Hills, Mrs.<br />
Graham pictures the freshly upturned virgin<br />
soil, full of latent possibilities, bathed in<br />
sunshine. The pathos of life is in her tales, yet<br />
what most captivates us is their humour. She<br />
has a fine touch, and the little she has published<br />
has been talked about, thought about, and dis-<br />
cussed, like the work of few writers during these<br />
last two years. Yet one who knows her well,<br />
ventures the prediction that these exquisite<br />
pictures of western life that she has given the<br />
reading public, will seem but child's play when<br />
compared to the strong and serious work of which<br />
she is capable, and which she will yet accomplish.<br />
Another writer, as yet not popular with English<br />
readers, is Mr. Cromwell Galpin, a newspaper man<br />
of Los Angeles.<br />
chiefly by his contributions to the child-literature<br />
of the day. He has now nearly completed a<br />
novel whose scenes deal with the ancient life of<br />
the Pueblo Indians, of which he has made a<br />
special study. The subject is a unique one, and<br />
the novel is certain to have a literary and<br />
historical value.<br />
Mr. Galpin is the writer who conceived the<br />
very original undertaking of publishing a folk-<br />
lore tale of several thousand words, which should<br />
Tead pleasantly and with euphony, without the<br />
employment of a single word that was not of<br />
pure Saxon origin. This feat he accomplished<br />
successfully, and the result was published in<br />
Wideawake two years ago.<br />
The Overland Monthly, California's best<br />
known literary publication, and from which Bret<br />
Harte sprang from obscurity to fame, has lately<br />
changed hands, becoming the property of Mr.<br />
Rounseville Wildman, a consular representative<br />
and writer of some repute, who takes the editorial<br />
chair. It is understood that Mr. W. W. Foote, a<br />
San Francisco criminal lawyer of repute, will have<br />
a voice in the management, and will become a<br />
regular contributor to the magazine.<br />
*— - —”<br />
TO A DISCOURTEOUS BEAUTY.<br />
(From CoRNEILLE.)<br />
Although my features, fair marquise,<br />
A trifle weatherworn have grown,<br />
The day will come, remember please,<br />
When you’ll find furrows on your own<br />
Naught upon earth, however bright,<br />
Can brave the scathing touch of Time;<br />
My wreath, now wan with winter's blight,<br />
Had once, like yours, its April prime !<br />
He has hitherto been known<br />
The same just stars in yonder blue,<br />
Life's course for both of us decree ;<br />
My past I gaze upon in you,<br />
Your future you behold in me !<br />
Yet charms I own which, sooth to speak,<br />
When yours have perished, shall endure,<br />
Against the worst that Time can wreak,<br />
Proudly, impregnably secure :<br />
Tricked in mere beauty’s transient gloss,<br />
My charms in chill disdain you hold;<br />
Yet, when all yours are worthless dross<br />
Mine still shall gleam intrinsic gold !<br />
They could preserve those lustrous eyes,<br />
Or bid their light extinguised be ;<br />
They could award you Helen's guise,<br />
Or hand you down as Hecate |<br />
Ay, with posterity, who'll lend<br />
Some slight regard to what I’ve writ,<br />
Your boasted beauty will depend<br />
On just what I may say of it !<br />
Lay this to heart, then, fair marquise—<br />
When next with “hauteur’ superfine<br />
You’d fain some hapless oldster freeze,<br />
Choose one whose pen's less sharp than mine !<br />
WILLIAM TOYNBEE.<br />
*-- ~ 2–?<br />
r—- * ~s<br />
NOTES AND NEWS.<br />
HE Report of the Dinner of the 31st ult.<br />
will appear in the July number.<br />
“Les éditeurs catholiques Letouzey et Ané com-<br />
paraissent aujourd'hui devant la cour d’assises<br />
de la Seine, présidee par M. Potier, sous l'accusa-<br />
tion de faux en écritures de commerce au préjudice<br />
de M. Léo Taxil.<br />
L'expertise aurait 6tabli que M. Léo Taxil avait<br />
été frustré, de la part de ses éditeurs, a propos du<br />
tirage de ses publications, d'une somme dépassant<br />
38,000 fr.<br />
M* Pouillet et Georges Maillard assistent MM,<br />
Letouzey et Ané.<br />
M. l'avocat-général Van Cassel soutient l’accu-<br />
sation. - - -<br />
L'affaire a 6té renvoyée.”—Siècle, May 30.<br />
We are called upon to thank certain Americans<br />
for a graceful act. They have quite privately and<br />
secretly collected a sum of money. With this they<br />
have caused to be made a marble bust of Keats,<br />
which is to be placed in Hampstead church. Mr.<br />
Gosse was informed of the plan as soon as the bust<br />
was completed, and was permitted to communicate<br />
it to the Times of May 25. The bust has<br />
arrived. It was brought over by Mr. Day, the<br />
projector of the gift. I suppose we ought, long<br />
ago, to have put up such a monument to the<br />
poet; certainly no poet lives more surely and<br />
more lovingly in our hearts than Keats; yet, on<br />
<br />
<br />
## p. 15 (#29) ##############################################<br />
<br />
THE AUTHOR. I5<br />
the whole, it seems a good thing that we have<br />
left this offering to the Americans. We read in<br />
it a claim, or, if you please, an acknowledgment,<br />
that everything good and great written in our<br />
common language belongs to all who speak that<br />
language. We recognised this truth when we<br />
put up the monuments to Lowell and to Long-<br />
fellow in Westminster Abbey. I wish we could<br />
do more. We might present a statue of Haw-<br />
thorne to the pretty little town of Concord. We<br />
might put up a bust of Washington Irving in the<br />
City Hall of New York. We might give a statue<br />
of Oliver Wendell Holmes to the great hall of<br />
Harvard. Let us consider the subject. Mean-<br />
time we must welcome our American friends.<br />
The Weekly Sun has discovered a poet in a<br />
coal mine. That is to say, he has been in a coal<br />
mine, but ill-health keeps him in the light of day.<br />
He is quite young, about twenty-two years of<br />
age; his education has been slender; he is very<br />
poor. The Weekly Sun has published one of his<br />
poems, called “Life at Play.” The following<br />
stanzas, which seem to me graceful, simple, and<br />
promising, are taken from this poem :—<br />
The field-flowers rise from out their beds<br />
Of undulating green,<br />
And shyly lift their pretty heads<br />
To look upon the scene.<br />
All things are gay !<br />
For earth has doffed her garb uncouth,<br />
And beauty crowns and kisses youth,<br />
And Life's at play.<br />
The breeze blows gaily o'er the land,<br />
And whispers in the trees,<br />
And tosses with a playful hand<br />
The corn to tumbling seas.<br />
All things are gay !<br />
A thousand waves in concert run,<br />
And glare and glitter in the sun,<br />
While Life’s at play.<br />
The world looks young, as golden gleams<br />
Of sunshine wreathe her brow ;<br />
And Nature’s wealth of fruitage teems,<br />
And Age seems younger now.<br />
All things are gay !<br />
The living rules the dead again,<br />
The dreams of youth pulsate the brain,<br />
While Life’s at play.<br />
An attempt is being made to raise a small fund<br />
for this young poet. It is to cultivate his know-<br />
ledge. The editor of the Weekly Sun, Tudor-<br />
street, E.C., is willing to receive contributions.<br />
Will the readers of this paper, who should, above<br />
all others, love poetry and poets, respond to the<br />
appeal? The man may be another Burns—<br />
another Keats.<br />
I read in the Westminster Gazette that there<br />
will shortly be issued a History of the Riving-<br />
tons from the year 1711. There have been<br />
VOI,. W.<br />
published from time to time several books on the<br />
history of publishers and booksellers, but never,<br />
so far as I know, any complete history of any one<br />
house. We want in such a record, not only an<br />
account of the books published, and the general<br />
success, enterprise, and glorification of the firm,<br />
but also a history of its relations with authors.<br />
In the year 1711, for instance, and for a hundred<br />
years afterwards, the men who lived by literature<br />
were a miserably poor and, for the most part, a<br />
despised race; they were called Grub-street poets,<br />
publishers’ hacks, starveling authors, and other<br />
agreeable names; the luckless tribe were game for<br />
everybody, and especially for their more successful<br />
brethren. Will the historian of the Rivington<br />
House tell us something of the actual conditions<br />
under which literature was then produced ?<br />
What, for instance, was the extent of the market<br />
for English books? Was there any export to<br />
America P. Were the poor scribes paid for their<br />
work in anything like a fair proportion to its<br />
marketable value P When Oliver Goldsmith got<br />
2960 for the “Vicar of Wakefield,” what did the<br />
purchaser make out of it? When Pope received<br />
the sum of £9000 for his translation of Homer,<br />
what did his publishers make P When was the<br />
practice of buying a work outright changed to<br />
that of a profit sharing agreement P When and<br />
by whom was a royalty system introduced?<br />
What losses show the existence of the risks that<br />
were certainly encountered in the last century? I<br />
have in my possession a bundle of accounts<br />
showing how publishers associated for the pro-<br />
duction of one book, each taking a proportion of<br />
the expense of production. I believe that, until<br />
quite recently, the practice was common. Then<br />
one would like printers’ accounts of the last<br />
century; others of fifty years ago, and others<br />
of to-day, showing the changes in that respect.<br />
And there should be an account of dealings with<br />
the country bookseller. In this way the history<br />
of the Publishing House of Rivington might<br />
become a most important contribution to the<br />
history of the commercial side of literature.<br />
The proposals for a collected edition of Steven-<br />
son's works are before me. They have been<br />
issued by several publishers in varying forms, and<br />
it has hitherto been rather difficult to put together<br />
a complete collection. Arrangements have<br />
been made with all his publishers, and the result<br />
has been a general consent to the issue of a<br />
uniform edition. Mr. Sidney Colvin will super-<br />
intend the edition; Mr. W. Hole, R.S.A., will<br />
provide an etched portrait ; Messrs. Constable,<br />
of Edinburgh, will print the work—their name is<br />
a guarantee that the printing will be the best<br />
D<br />
<br />
<br />
## p. 16 (#30) ##############################################<br />
<br />
I6 THE AUTHOR.<br />
possible.; and Messrs. Chatto and Windus will<br />
distribute the books when they are ready. The<br />
edition is limited to 1035 copies, of which thirty-<br />
five will be reserved for presentation copies; the<br />
remainder will be offered to the public in twenty<br />
volumes, at 12s. 6d. each. Of the thousand, 300<br />
have been subscribed for America and the colo-<br />
nies. It is evident that the desire of the editors<br />
is to produce an edition which will become scarce<br />
and costly from the very commencement. Any<br />
bookseller will receive an order. I shall be very<br />
much surprised if there are any left within a week<br />
of this date.<br />
The Ossianic problem is to be reopened. It is<br />
like the “Man with the Iron Mask,” or the<br />
“Letters of Junius,” always waiting to be re-<br />
opened and discussed over again. The world<br />
should be thankful to Mr. Macpherson for pro-<br />
viding one more subject for the discussion of<br />
every successive generation. This time it is<br />
Mr. Bailey Saunders who revives the dispute, with<br />
a life of Macpherson in which to set it.<br />
“An Oxford Graduate” sends his literary<br />
experience. He says that he has for many years<br />
attempted to obtain entrance into the magazines,<br />
but with very discouraging results. The best<br />
magazines always return his MSS. ; he some-<br />
times succeeds in the second-rate papers. But<br />
he says: “However bad my work may be, it is at<br />
least as good as one-half of the average articles<br />
published even in first-class magazines. There<br />
is the sting ; this the bitterness one cannot get<br />
over.” Here lies, as the Oxford Graduate puts it,<br />
the true bitterness of failure, that the writer who<br />
cannot get in is unable to discern in what respects<br />
his work is worse than that accepted. It is not<br />
enough to say that MSS. offered by unknown<br />
writers are returned unread. A vast number of<br />
writers, from Boz downwards, have begun by<br />
offering their unknown work. Nor is it enough to<br />
say that editors do not read what is offered them.<br />
Editors may sometimes make mistakes; they may<br />
not always have the time to read all the MSS.<br />
sent to them; but it is a certain fact that editors,<br />
as a rule, do read contributions sent in to them,<br />
and do try to get good work. Otherwise they<br />
would not be editors, but mechanical clerks.<br />
There seems no reply possible to the “Oxford<br />
Graduate,” except the suggestion that long-con-<br />
tinued and almost unbroken failure must mean<br />
something—it may be in the form or the style—<br />
which militates against his success. §<br />
A correspondent asks the following question:<br />
“Could the Society give any indication to young<br />
writers as to the character of publishing houses,<br />
so as to avoid the great waste of time in sending<br />
work & priori unlikely to suit them P’’<br />
The Society cannot possibly do this. It can<br />
advise, and daily does advise, authors in all<br />
branches of literature what houses are likely to<br />
consider their work, and what houses are likely<br />
to treat them fairly if they are inclined to accept<br />
their work. So that, if the writer confines himself<br />
to these houses, and is careful not to sign agree-<br />
ments without advice, he is at all events kept out<br />
of harm. But our correspondent means more<br />
than this. He is of opinion that publishers have<br />
certain leanings in this direction or that. This is<br />
not generally the case. Those publishers who<br />
publish novels will publish novels of any kind,<br />
provided they are not contra bonos mores and are<br />
likely to be in demand. And the same may be<br />
stated of every kind of book, except technical<br />
works, e.g., a general publisher should not be<br />
asked to produce new books on Arabic Philology,<br />
or on Medicine, or on Law, or on Cuneiform<br />
Inscriptions. But history, poetry, fiction, voyages,<br />
travels, and belles lettres generally of all kinds<br />
fall into the work undertaken by any publisher.<br />
The Society has to deplore the death of Mr.<br />
Edmund Yates. He had been a member of our<br />
council since the formation of the Society. He<br />
always took a deep interest in the welfare of the<br />
Society. At the outset, when our future was<br />
uncertain and extremely dark, the adhesion of every<br />
single man or woman of letters was important,<br />
and especially of such a man as Edmund Yates,<br />
novelist, journalist, and editor. His literary<br />
career, which practically ended with- the success<br />
of the World, was wide and varied. He was editor,<br />
One after another, of half a dozen magazines; he<br />
wrote many admirable novels, some of which<br />
still keep their place, and will continue to live a<br />
great deal longer than the space generally allotted<br />
even to successful novels. And he was a man of<br />
most kindly heart. With him has gone one of the<br />
few links remaining to connect the men of the<br />
Nineties with the men of the Fifties. Edmund<br />
Yates was from his birth associated with literary<br />
and dramatic folk. He was a personal friend of<br />
men much older than himself—Dickens, Albert<br />
Smith, Frank Smedley, Anthony Trollope. He<br />
began to write very early, and some of his novels<br />
still retain their hold upon the public. To the<br />
younger generation he is known chiefly as the<br />
editor of the World, which he himself founded in<br />
1874. When one considers that the World is<br />
always regarded as a “personal ‘’ paper; that he<br />
was almost considered as the sole writer of it,<br />
though his staff was large, and included many<br />
writers of the very first order, it is wonderful<br />
that he made so few enemies. There are papers,<br />
<br />
<br />
## p. 17 (#31) ##############################################<br />
<br />
THE AUTHOR. 17<br />
for instance, whose editors make more enemies in<br />
a single year than Yates made in twenty years.<br />
The crowd of mourners—representing all kinds of<br />
people — which filled the Savoy Chapel at his<br />
funeral, and the grief that was marked on every<br />
face, proclaimed the loss that his death has caused.<br />
It was perhaps in kindness of heart that he once<br />
opened the pages of the World to a couple of men<br />
who were trying an experiment in collaboration.<br />
That was in 1876, and the turning point in that<br />
experiment proved to be that appearance in the<br />
World. I have always regarded this event in my<br />
little literary history not so much a stroke of good<br />
fortune as a personal favour bestowed, out of<br />
sheer kindness, upon my collaborateur, whom he<br />
knew slightly, and upon myself, whom he did not<br />
then know at all. —<br />
Another loss to letters is the death of Henry<br />
Morley. No two men could be more opposite<br />
than Edmund Yates and Henry Morley. The<br />
former an artist of the true artistic temperament;<br />
the latter a worker, always at work—learning,<br />
writing, teaching, transcribing, editing, inditing,<br />
histories of literature. We want such men as<br />
Henry Morley; they are most useful in their<br />
generation. Literature is like an army always<br />
on review. First and foremost are the fighting<br />
men; they are represented by the authors them-<br />
selves, the poets, dramatists, novelists, essayists,<br />
historians; then there are the critics, who repre-<br />
sent the bystanders and lookers on ; then the<br />
commissariat, represented by the publishers —<br />
some of the soldiers complain that the uniform of<br />
the commissariat is much finer than their own,<br />
and that their mess is much superior to the<br />
regimental mess; then there are the men like<br />
Henry Morley, who are represented by the clerks<br />
and keepers of the regimental records. Henry<br />
Morley was not one of the regiment, a fighting<br />
man, an original writer; nor was he a critic ; his<br />
work was to keep the records of the regiment,<br />
and he kept them very well. As a professor, and<br />
as the Warden of University Hall, he was widely<br />
and deservedly popular.<br />
Yet a third. Dr. Richard Morris is dead.<br />
With the single exception of Professor Skeat, no<br />
man living or dead has ever done so much for<br />
the study of our own old literature. It was<br />
fortunate for us, as well as the Early English<br />
Text Society, that his services were available,<br />
as well as those of Professor Skeat, during the<br />
early years of its existence. Very few societies<br />
have been able to command the work—gratuitous<br />
work, I believe—of such eminent scholars and<br />
patient workers as those two contributors, who<br />
simply created the success of the Society.<br />
The book of the month is Mr. Conway's Hima-<br />
layan Exploration. There has been universal<br />
agreement in all the papers on that point. One<br />
thing, at least, may be said concerning critics.<br />
When they all agree that a book is good the<br />
verdict may be accepted without a question.<br />
WALTER BESANT.<br />
*—— — —”<br />
-*.<br />
FEUILLETON,<br />
A PIOUS FRAUD. -<br />
Y the railway system irreverently known as<br />
the “Flying Watkin,” two gentlemen,<br />
with whom we are about to become<br />
acquainted, were travelling down into Kent.<br />
One was a man in the prime of life; a well-made<br />
fellow, with a pleasantly obtrusive waistcoat, and<br />
an evidence of comfortable prosperity about him.<br />
He had a merry eye, with attachments of white<br />
crow's-feet, as though he had been for a long time<br />
past smiling and laughing in a strong sunlight.<br />
And yet in spite of all this lurking mirth there<br />
was something hard about his face. His mouth<br />
was scornful, and there was something of the<br />
cynic apparent in spite of his look of bonhomie.<br />
His companion—or rather his fellow traveller, for<br />
they were not acquainted—was a much younger<br />
man, not more than twenty-five; rather above the<br />
middle height, and with a fine pair of intelligent<br />
eyes in his head. He was not good looking, but<br />
yet he was undeniably attractive. How, it would<br />
be perhaps impossible to explain. Grim determi-<br />
nation was his chief characteristic, tempered with<br />
a quiet air of disgust and weariness. These two<br />
travellers had the compartment to themselves,<br />
for it was a midday train, and almost empty.<br />
The younger traveller had exhausted his paper<br />
before they had travelled many miles, and then,<br />
with a muttered curse at the line in general, he<br />
rose, put his hat in the rack, and taking down<br />
down from that altitude something rolled in<br />
brown paper, began to undo the string. “I<br />
wonder what is wrong now,” he said under his<br />
breath, as he opened a small note inclosed in the<br />
parcel. He read the note and laughed, while<br />
his vis-à-vis looked at him in some amazement.<br />
It was not a pleasant laugh by any means, and it<br />
was not good to hear. Next he unrolled the<br />
document contained in the brown paper roll, and,<br />
as the elder traveller saw at a glance, it was a<br />
type-written play. He turned over certain leaves,<br />
removing certain marks as he did so, and laughing<br />
each time—if possible more unpleasantly than<br />
before. He soon, however, resumed his accus-<br />
tomed looked of weariness, and, leaning back in<br />
his corner, proceeded to read again. But by this<br />
<br />
<br />
## p. 18 (#32) ##############################################<br />
<br />
18 THE<br />
AUTHOR.<br />
time he had excited the interest of the elder man,<br />
who, putting on his glasses, read the name of the<br />
play on the cover. He became uneasy, and rather<br />
excited—why he did not quite know. At length<br />
he could contain himself no longer.<br />
“Allow me, sir, to congratulate you on the<br />
name of your play.”<br />
The younger man looked up curiously and<br />
suddenly. The elder continued,<br />
“Hope you don't think me rude, but I’ve been<br />
watching you ever since you undid your roll. I<br />
watched your disgust, I heard your laugh. I am<br />
well acquainted with that sort of thing. I’m a<br />
playwright myself. My card.”<br />
The young man took the pasteboard smilingly.<br />
Looked at it. His face immediately became<br />
serious. He was so astonished that he was momen-<br />
tarily incapable of any other remark than “Oh.”<br />
For he read “Herod Wingiffle,” and knew then<br />
that he was sitting opposite to perhaps the<br />
leading playwright of the day<br />
“It’s rather a formidable name I’ll allow,” said<br />
Wingiffle apologetically.<br />
“It is, indeed,” said the young man, “I<br />
haven’t a card with me, but my name is Herbert<br />
Grant.”<br />
“Thank you,” said the other simply. “Yes, it is<br />
rather startling, but I didn’t christen myself or<br />
I’d have managed differently.”<br />
“Oh, I wasn’t meaning that way,” said Grant,<br />
laughing; “I was rather surprised at finding a man<br />
in such a position as yours”—Wingiffle inclined<br />
his head—“taking any notice of a new hand.”<br />
“Inoticed the title of your play, and whether<br />
it is a good name for that play or not of course I<br />
can’t say, but it's an attractive title anyway.”<br />
“You are very good.”<br />
“Not at all. I suppose you have had it<br />
returned P’’<br />
“Yes—that’s it.”<br />
“They don’t like it?”<br />
“So they say here,” putting hand on note,<br />
“but I used certain marks which have not been<br />
disturbed at all !”<br />
“You mean ?” queried Wingiffle.<br />
“That it can’t have been read at all.<br />
have changed the wrappers, and that is all<br />
“Ah, there are a lot of funny little ways con-<br />
nected with theatrical management. Er—How<br />
old are you, and when did you begin to write for<br />
the stage?” He asked these two questions very<br />
abruptly.<br />
“I’m twenty-five, and I began to scribble when<br />
I was nineteen.”<br />
“Oh,” said Wingiffle, rather heartlessly, as<br />
Grant thought. Wingiffle continued musingly,<br />
“I began at seventeen, and my first produc-<br />
tion happened when I was thirty-five.”<br />
They<br />
122<br />
It was Grant's turn to say “Oh,” and he said.<br />
it with considerable fervour.<br />
“I don't want to discourage you,” Wingiffle<br />
was going on when Grant laughed—that hard<br />
hopeless laugh of his.<br />
“Ah! I see,” said the sympathetic playwright,<br />
“you have had a good deal of it; perhaps I had<br />
better say no more.”<br />
“Oh, please do,” said Grant, stopping his<br />
laugh suddenly. “I have had a good deal of<br />
discouragement, and I have been robbed, but you<br />
are the first playwright I have ever met, and—<br />
and—please go on.”<br />
Wingiffle smiled at the ingenuous young man.<br />
“Robbed, eh?” he queried.<br />
“Aye, robbed. I sent a play—not this one—<br />
up to a certain manager, say in the late spring.<br />
I got it back in August with an intimation that<br />
it was unsuitable, as “women did not do such<br />
things.’”<br />
“You had made use of the eternal woman<br />
question?” asked Wingiffle.<br />
“I had and I hadn’t. I had used woman—<br />
oh, well then—as she never was yet used. But<br />
that wasn’t to say that she won’t be so used<br />
Some day. Can you, can any man, get up and<br />
declare that there is anything a woman will<br />
not do P” -<br />
“You mustn't put me on my oath,” said<br />
Wingiffle, laughing.<br />
“Anyhow,” continued Grant, smiling in spite<br />
of his indignation. “Anyhow I got my play<br />
back in August. In the following January was<br />
produced—at this very theatre—a play by a<br />
crack author—Ishan’t mention names—dealing<br />
broadly with my subject, with the difference that<br />
it placed women in an absolutely impossible<br />
light. And I know for a fact that this play was<br />
not commenced until the late autumn after the<br />
return of my MS.”<br />
“Possible,” said Wingiffle. “It isn't always<br />
the playwright's fault. Managers, you see, are un-<br />
doubtedly inundated with MSS.; those belonging<br />
to unknown authors are perhaps scamped through.<br />
There are details, say, in a play by a new hand<br />
that are not liked while the main idea is approved.<br />
Then, instead of writing to the luckless author,<br />
saying, “I like your play, will you make certain<br />
alterations, and so forth,’ the fellow calmly returns<br />
your screed while he gives out an order to a<br />
dramatist, whose work he knows is generally<br />
approved, for a play to be written round an idea<br />
and some scenes. Your idea and your scenes.<br />
It is the greatest fluke for a novice to gain a<br />
footing. Be his work ever so good, someone<br />
is sure to object to something. His dialogue,<br />
his characterisation, his dramatic action, his<br />
Scenes, his curtains—all can be attacked. If he’s<br />
<br />
<br />
## p. 19 (#33) ##############################################<br />
<br />
THE AUTHOR. I9<br />
right in one, A. says he's wrong in another, while<br />
B. reverses A.’s verdict. I candidly tell you that<br />
I got my first footing by fluke; the story is too<br />
long to tell now. I’ve been snubbed just as you<br />
have been ; but I beat you in one particular ”—<br />
and he laughed heartily—“I have actually been<br />
criticised before production—the production was<br />
delayed at the last moment, but the criticism<br />
came out ; and so did the recompense—out of the<br />
rascal's pocket.” Here both passengers laughed<br />
in concert until Wingiffle spoke again, for Grant<br />
was altogether too fascinated to utter a syllable.<br />
Wingiffle continued, -<br />
“But all this talk of myself isn’t touching you<br />
much. I don’t know how you’ll take it—you<br />
may be suspicious, I couldn't express surprise at<br />
it—but if you like, as a practical, accepted play-<br />
Wright, I’ll read your play and see if I can give<br />
you any hints that might be useful.”<br />
Grant thanked his new-found friend very much<br />
for his kindness.<br />
Wingiffle took no notice at all of this except by<br />
a bow. He said, “Written much P”<br />
“A good deal,” Grant replied, “but it all<br />
comes back to me; but I know—(here he looked<br />
dreamily out of the window)—I shall get a hear-<br />
ing some day.”<br />
His companion gazed at him critically ; he<br />
seemed interested in the young man.<br />
“I believe you will,” he said rather impres-<br />
sively. “I couldn't tell you why I say so or why<br />
I believe it, but—I believe you will.”<br />
“Really, this is very encouraging,” said Grant,<br />
brightening up, “and I think I shall try again,<br />
after all.”<br />
“Of course you'll try again—you weren't going<br />
to give up P”<br />
“For a time I was. You see, I do a little hack<br />
work for a paper or two, and I was going to<br />
devote myself more to that. I manage to scrape<br />
together enough to live upon down in the village,<br />
but I want to be doing something better. Still,<br />
I must go back to it for a time.”<br />
“Give me your play,” said Wingiffle.<br />
Grant rolled it up and handed it over. It gave<br />
him a little pang to see his cherished play coldly<br />
set aside with newspapers and gloves, but<br />
Wºme chatted so kindly that he soon forgot<br />
that.<br />
Even a railway journey by the S.E.R. must<br />
come to an end at some time or other, and in<br />
due course Grant got down at his station.<br />
Wingiffle had to go some seven miles further,<br />
where he had taken a cottage for the summer.<br />
“Then I'll write you and let you know all<br />
about your play. Mind, I shall criticise it, I<br />
promise you, just as it seems to me, a practical<br />
dramatist. Good-bye, good-bye ’’ and the<br />
cheery fellow drew in his head after waving<br />
adieu to his late companion, on whom his ex-<br />
hilaration and heartiness had acted like cham-<br />
pagne.<br />
You may be quite sure that Grant passed a<br />
very pleasant evening with the remembrance of<br />
Wingiffle's comforting words for company. Of<br />
course he couldn’t sleep when at last he went to<br />
bed, thinking it a wonderful thing that he should<br />
have awakened sympathy in a man at the top of<br />
his profession ; and equally of course, when he<br />
awoke next morning he was disposed to take a<br />
rather gloomy view of his prospects, just by way<br />
of reaction.<br />
At eleven in the morning Mr. Wingiffle sur-<br />
prised him by a visit. -<br />
“Mr. Grant,” he said, “I was distinctly patro-<br />
nising to you last night.”<br />
This was a bold statement which could bear<br />
more than one interpretation, so Grant looked<br />
uncomfortable and said nothing.<br />
“Yes, I was,” said Wingiffle as though Grant<br />
had denied it, “and I have come to apologise for<br />
it.”<br />
“I assure you there is nothing to apologise<br />
for.”<br />
“My dear young fellow,” said the dramatist<br />
rising, “allow me to shake hands again.” Grant<br />
rose. “I patronise you ! Ha!, ha. It's laugh-<br />
able. Your play is a masterpiece.”<br />
“Good heavens,” ejaculated Grant, pale as a<br />
ghost.<br />
“Yes, a masterpiece. It's well conceived,<br />
interesting, absolutely novel in treatment and<br />
design, and—in short, my dear fellow, allow me to<br />
congratulate you on a most striking performance.<br />
I—well—I can't tell you much now, I’m feeling<br />
almost excited but—are you doing anything parti-<br />
cular to-day ?” Grant said he was not.<br />
“Then it will be a real pleasure to my wife and<br />
self if you will drive back with me to lunch<br />
—you'll come won't you?” -<br />
“I’ll come with pleasure,” then he laughed,<br />
this time pleasantly. “You must excuse me,” he<br />
added, “if I seem at all wandering in my replies,<br />
but I—this is rather a shock. It would be mock<br />
modesty on my part to pretend that I didn’t<br />
think it a real good play. I know it is. . But I<br />
didn’t know it was a masterpiece.”<br />
“You go and change your clothes,” said Win-<br />
giffle, “at once, and come along.”<br />
Away went the young man. He trod on no<br />
floor—he encountered no stairs. It was all<br />
cloudland to him, and as for his bedroom that<br />
was fairyland, and his change of clothes wishing-<br />
garments. He wasn't long you may be sure, and<br />
soon he was seated beside Wingiffle bowling along<br />
towards the latter's cottage.<br />
<br />
<br />
## p. 20 (#34) ##############################################<br />
<br />
2O<br />
THE AUTHOR.<br />
“And now then,” said Wingiffle, after lunch,<br />
as they sat out under the trees, “will you put<br />
yourself further into my power? Ha, ha!”<br />
he exclaimed, in melodramatic fashion, “but I<br />
must dissemble or I shall frighten my prey,” and<br />
the odd creature took two or three long strides of<br />
the sort favoured by stage conspirators, while his<br />
wife and his visitor laughed at his antics.<br />
“Seriously now,” and he sat down again, “this<br />
is what I want. Will you let me have that play<br />
run out again in type ; will you put a new title<br />
to it, and will you let my name appear as the<br />
author of it?” -<br />
“If it's any use—-” Grant was beginning.<br />
“Any use ! Look here. Only my name, it is<br />
still your play, but my name appears. I will<br />
take it again to Magnus Maximus. He hasn’t<br />
seen anything but the title, and probably not<br />
that. I know it is just the play for him, and I<br />
know it will be the play of the year. I can make<br />
a better bargain, too, with him than you could ;<br />
and, upon the whole, I think we shall make<br />
Magnus Maximus look rather insignificant.”<br />
“I don’t know what to say to you, or how to<br />
thank you -<br />
“Don’t try it then—don't try it. Wait until<br />
it is launched, and then we’ll see what we shall<br />
see. You will place yourself unreservedly in my<br />
hands P” -<br />
“I will.”<br />
“T'is well; ha, ha!”<br />
About a month later Wingriffle looked in upon<br />
Grant again. He was in a great state of excite-<br />
ment. -<br />
“Taken P” cried Grant.<br />
“Taken; I should just think so,” almost<br />
shouted the other. -<br />
And then Grant, forgetful of all dignity, began<br />
to perform one of the wildest dances ever seen<br />
upon this globe. His landlady, looking out of<br />
window on hearing the turmoil, withdrew shud-<br />
dering at the prospect of having a madman for a<br />
lodger.<br />
“In with you,” cried Grant. “Now tell us all<br />
about it.”<br />
“Well, you know,” said his hardly less excited<br />
friend, “I dressed the part so to speak—culti-<br />
wated a haggard look—and then rushed him with<br />
blood-shot eyes—as though I had been up all<br />
night superintending something stupendous.”<br />
“Good heavens, my dear chap,” said old<br />
Maximus, “here sit down here, sit down—here<br />
drink this,” and so on. “Oh, I played well,<br />
Herbert’” (by this time, of course, they were on<br />
front-name terms). “I laid my hand on the<br />
play. Read that. I said, read that ; if it doesn’t<br />
stagger you—if it doesn't bring you a fortune—<br />
never produce another play that I bring you.<br />
With that I walked straight out, leaving him<br />
staring after me in amazement.”.<br />
Grant laughed heartily at his<br />
description.<br />
“It won't hurt him,” continued Wingiffle, “and<br />
it's only a pious fraud. Maximus is not a bad<br />
fellow in his way, but he—well, he should attend<br />
to business better.”<br />
“But after all this?” queried Grant.<br />
“Why, he sends round to me same afternoon,<br />
is coming to supper with me that night. Never<br />
had anything like it, and so on. Well, the long<br />
and the short of it is that the play is accepted,<br />
that I have stipulated that it shall be produced<br />
friend’s<br />
within three months, and that I’ve made such terms<br />
that I can only whisper them. Now, no thanks—<br />
you're to wait, you remember that. Wait until<br />
the production Maximus likes the name—he<br />
likes his part—though I’m glad you haven’t put<br />
all the fat into one part—and he likes himself<br />
generally, for he knows, and I know, that he is<br />
going to produce a success.” -<br />
# # *: #: $:<br />
The long-expected night arrived at last. A<br />
typical first-night house had gathered to witness<br />
Herod Wingiffle's latest masterpiece. Herod<br />
himself was there in front (everyone said how<br />
calm and cool he looked, and how unusual, &c.,<br />
and everyone was very much surprised), with his<br />
wife and a young friend, Mr. Herbert Grant, who<br />
for some reason was looking rather wild-eyed<br />
and pale. - *<br />
“Your friend unwell ?” whispered a critic to<br />
Herod. -<br />
“No, oh no!” Herod whispered back, “sympa-<br />
thetic, intensely sympathetic.”<br />
The critic replied by raising his eyebrows to<br />
express his surprise, and just then the curtain<br />
went up. -<br />
“Keep cool,” said Herod to his young friend,<br />
and Mrs. Wingiffle added a few soothing phrases.<br />
It soon became apparent that it was a singularly<br />
interesting play. At the end of the first act<br />
people turned to congratulate Herod, but he had<br />
mysteriously disappeared, though he returned to<br />
his seat as the curtain rose on Act II. The same<br />
thing occurred at the end of each act, and at the<br />
close there was a perfect hurricane of applause.<br />
After obeying the laws of precedent governing<br />
similar proceedings, the manager stepped before<br />
the curtain, when the author was called, with a<br />
puzzled look on his face, and a slip of paper in<br />
his hand. As soon as he could speak he said:<br />
“Ladies and gentlemen.—I have just received<br />
this note from Mr. Herod Wingiffle.<br />
<br />
<br />
## p. 21 (#35) ##############################################<br />
<br />
THE AUTHOI?. 2 I<br />
“‘Dear Maximus, I have imposed upon you<br />
piously, and with the consent of the real author<br />
of this play. I did not write it. You haven’t<br />
hurt yourself, and you have done an act of justice.<br />
I may say that the author is in front.—Yours,<br />
FIEROD.’<br />
“Does anyone know what this means ?” asked<br />
the manager of the astonished house. “Is the<br />
author in the house P” he added. And then<br />
there was a short pause. Everyone looking at<br />
everyone else.<br />
“Get up and speak,” whispered Mrs. Wingiffle,<br />
and Herbert rose. They were seated rather to<br />
the right in the last row but one of the stalls.<br />
“I am the author,” he said, and his voice, though<br />
he did not speak loudly, rang through the house.<br />
A thousand eyes were instantly bent upon him.<br />
He continued rather mercilessly, “I sent this<br />
play up to Mr. Maximus myself more than six<br />
months ago. It was returned to me by him<br />
as being unsuited to his theatre. How he knew<br />
that then it is not for me to say, for certain marks<br />
I had placed between the leaves were undis-<br />
turbed when the play was returned to me. It<br />
had not been read at all. Only the title of the<br />
play has been altered since. Luckily I met Mr.<br />
Wingiffle. He offered to read my play. He said<br />
that he liked it and would play a pious fraud<br />
upon Mr. Maximus (some people laughed here,<br />
but seeing the sternness on the young man's face<br />
they looked grave again). He took it for me to<br />
him as his own piece, and that very day it was<br />
accepted. I have only to apologise to you all<br />
for making you so long a speech.” And he<br />
bowed to the house and sat down, while cheer<br />
after cheer rose to the roof. The manager had<br />
disappeared. R. S.<br />
*-* -º<br />
ar- ~~<br />
S0-SO-SOCIOLOGY.<br />
167. ISEASE is a medium between weaken-<br />
|) ing cause and wasting effect.<br />
- I68. When mystery becomes a<br />
luxury, misery seems a necessity.<br />
I69. It is far easier to love the unlikely than<br />
to like the unlovely.<br />
170. Ignorance of ignorance is bad; indiffer-<br />
ence, worse; insolence, worst.<br />
I71. Civilisation is a concord of cohesion, co-<br />
operation, and culture.<br />
172. Were the human always the humane,<br />
Man would have no despairs. -<br />
173. The present is more miraculous than<br />
the past, but less mysterious.<br />
I74. The blend or the breed is of more avail<br />
than the brand: - -<br />
175. Education gives Man a greater chance:<br />
evolution, a higher choice.<br />
176. From the common conflict of options<br />
emerges the consensus of opinions. -<br />
177. The value of machinery depends on<br />
whether it ministers or masters.<br />
I78. Gratitude is an education as well as an<br />
expediency expedience. -<br />
179. Discipline ceases to be a duty when it<br />
becomes a tyranny. *<br />
18O. Love will always out, but few can always<br />
recognise it. *<br />
181. Only the wisest can ever find the best in<br />
the worst.<br />
182. Love and contempt, though ever least<br />
akin, seem often most alike. º,<br />
183. Spite is one of the commonest simulators<br />
of sincerity.<br />
184. Folly is the favourite child of ignorance<br />
and of Vanity.<br />
185. Gift without grace is like knowledge<br />
without wisdom. --<br />
186. Truth is oftener a talent than an accom-<br />
plishment.<br />
187. Lies complicate existence: love simpli-<br />
fies life.<br />
188. Man makes myths, myths make mysteries,<br />
mysteries make miseries. -<br />
189. Energy may sink with the sun, but fancy<br />
rises with the moon. .<br />
I90. The least sound too often makes the<br />
most sound.<br />
191. Not all the godliest die young; not all<br />
the best miss fortune.<br />
I92. It is easier to convert taste than to con-<br />
trol tendency. - -<br />
193. We wish more than we can, but will more<br />
than we may.<br />
I94. Love's shams appeal to self; its spirit<br />
to soul.<br />
I95. Men may know their own minds more<br />
than their own motives. -<br />
I96. Capacity far oftener fails than oppor-<br />
tunity.<br />
I97. Misfortunes have consolations<br />
than compensations.<br />
I98. Self-love has no scientific frontiers.<br />
199. Man, of both sexes, is God’s best and<br />
Worst practical providence to Man.<br />
2OO. History is the great-grandmother of<br />
prophecy.<br />
oftener<br />
PHINLAY GLENELG.<br />
<br />
<br />
## p. 22 (#36) ##############################################<br />
<br />
a. - THE AUTHOR.<br />
“LIFE IN LITERATURE AND LANGUAGE."<br />
“TT is the office and function of the imagina-<br />
tion to renew life in lights and sounds and<br />
(motions that are outworn and familiar. It<br />
calls the soul back once more under the dead ribs of<br />
nature, and makes the meanest bush burn again,<br />
as it did to Moses, with the visible presence of<br />
God. And it works the same miracle for<br />
language. The word it has touched retains the<br />
warmth of life for ever. We talk about the age<br />
of superstition and fable as if they were passed<br />
away, as if no ghost could walk in the pure white<br />
light of science, yet the microscope that can dis-<br />
tinguish between the disks that float in the blood<br />
of man and ox is helpless, a mere dead eyeball,<br />
before this mystery of Being, this wonder of Life,<br />
the sympathy which puts us in relation with all<br />
nature, before that mighty circulation of Deity in<br />
which stars and systems are but as the blood-<br />
disks in our own veins. And so long as wonder<br />
lasts, so long will imagination find thread for her<br />
loom, and sit like the Lady of Shalott weaving<br />
that magical web in which ‘the shows of things<br />
are accommodated to the desires of the mind.” It<br />
is precisely before this phenomenon of life in<br />
literature and language that criticism is forced to<br />
stop short. That it is there we know, but what it<br />
is we cannot precisely tell. It flits before us like<br />
the bird in the old story. When we think to<br />
grasp it, we already hear it singing just beyond<br />
It is the imagination which enables the poet to<br />
give away his own consciousness in dramatic<br />
poetry to his characters, in narrative to his<br />
language, so that they react upon us with the<br />
same original force as if they had life in them-<br />
selves.”—Low ELL in the Century.<br />
*- as as-º<br />
CORRESPONDENCE,<br />
I.—A STRANGE CorncIDENCE.<br />
^{ONTRIBUTORS to the Author sometimes<br />
point out strange coincidences in relation to<br />
subjects treated by several persons. The<br />
French proverb, Les esprits forts se rencontrent,<br />
sums up the matter with French precision. Here<br />
is another curious instance. . .<br />
In the year 1891 I was travelling rather out of<br />
the beaten track upon the eastern frontier of<br />
Germany, and I heard of a curious religious pro-<br />
cession. Never before had I seen anything of<br />
the kind, and only the local guide mentioned it.<br />
Naturally it struck me that it would make a good<br />
subject for an illustrated magazine article. So<br />
when I returned I set to work. Early in 1892<br />
my MS. and drawing trotted about in the usual<br />
manner, and I received the usual polite letters<br />
from the editors of many first-class magazines—<br />
I never trouble the second and third-class folk.<br />
Then I threw the MS. into a drawer, where it<br />
rested for some nine months. I Ought to say<br />
that I first made a wash drawing, from which to<br />
make another in pen and ink, to accompany the<br />
MS. in its walks about town; strictly speaking,<br />
I ought to say in its globe-trottings, for it<br />
crossed the ocean, and likewise the so-called<br />
silver streak. * .<br />
In the spring of ’93 I brought out my MS.<br />
again, and towards the anniversary of the fête<br />
day described therein, I sent it on its way once<br />
more, when alas! after many days and many<br />
voyages, the MS. returned without the drawing,<br />
which is quite “lost in the post,” although my<br />
name and address were written upon the back—<br />
showing the carelessness of the returned letter<br />
department of the Post-office. Oris a drawing not<br />
of sufficient value to be worth returning P Possibly,<br />
in the eyes of officials. Well, this year I made<br />
another pen and ink drawing from my original<br />
wash one, with the same result—refusal. Only<br />
here is the gist of the business; not only was my<br />
matter stale instead of new, as I thought, but in<br />
the words of the editor : “So far from the matter<br />
being ‘untouchei you will find it all described<br />
and illustrated in of May, 1893. More-<br />
over, the sketch you send me is actually copied<br />
from the illustration we then published l’” This<br />
was rather strong ! * .<br />
I represented to the editor that my work had<br />
been done in 1891-2, and that I did not relish<br />
being accused of purloining other people's work.<br />
Here is the half-hearted apology: “I had not the<br />
least idea of making any accusation against you”<br />
(observe above “actually copied,” and the “!” at<br />
end of sentence), “what at Once occurred to me was<br />
that your sketch was made from the same photo-<br />
graph which we reproduced—a photograph which<br />
I suppose is sold in the shops l’ But note, that<br />
beyond the two illustrations representing a pro-<br />
cession, a crowd, and the same street, they differ<br />
much in detail. However, that is not the ques-<br />
tion. Why I relate this little history is simply<br />
to show that les esprits forts se rencontrent, even<br />
in matters which have lain dormant for many<br />
years, and even with a short interval between the<br />
results of les esprits. In my case, my fortunate<br />
rival forestalled me (in print) a year after my<br />
work was completed; which shows that the<br />
spirit which wafted me to in 1891, and<br />
whispered to me to write an article thereon, like-<br />
wise spoke to another scribe in 1893 after the same<br />
manner. Mean little spirit, why not have let<br />
me earn the reward of my labours ? M. S. A.<br />
<br />
<br />
## p. 23 (#37) ##############################################<br />
<br />
THE AUTHOR. 23<br />
II.-ConsoDATORY.<br />
Will you allow me to say a few words in answer<br />
to “Experto Crede?”<br />
I have a very large experience of penny papers,<br />
and I have met from their editors and proprietors<br />
the greatest kindness, consideration, and courtesy<br />
coupled with fair prices and prompt payments.<br />
We cannot all be famous, and if long prices for<br />
a single story do not fall to our lot, modest<br />
cheques are not to be despised.<br />
I have for many years earned a very comfort-<br />
able income by my pen solely from penny papers.<br />
I never expect to be famous, or even to see my<br />
name on a three-volume novel, but I sell my tales<br />
as fast as I can write them. Unlike the more<br />
distinguished folks who publish on the royalty<br />
system, I know exactly what they will bring in,<br />
I have no anxiety and no suspense, and I do not<br />
possess a single rejected manuscript, so that I<br />
have no cause to grumble. I fancy the con-<br />
tributors who write to you and complain of failure,<br />
either expect to succeed in too great a hurry, or<br />
else write their stories and then expect them<br />
taken by the first paper they think of, instead of<br />
deciding on the paper first and adapting the story<br />
to its style. Their plan is a kind of putting the<br />
cart before the horse arrangement, which must<br />
ail. -<br />
f Girls tell me their tales are much better than<br />
many they see in print, but they can’t get on<br />
because they have “no introductions.” I don’t<br />
like to reply they are not impartial critics, but I<br />
can and do assure them that introductions are<br />
useless.<br />
My testimony is just that of an average<br />
woman worker, for I have had no advantages to<br />
help me on, I never had an introduction to<br />
editor or publisher, and I don’t even (after years<br />
of literary work), possess a single “famous.”<br />
acquaintance. - C. O.<br />
III.-GRAMMATICAL.<br />
Which is correct after not and no, or or nor 2<br />
In some extra good writers, whom one might be<br />
tempted to consider authorities, you find nor; in<br />
others as good, or. .<br />
It did not rain nor blow. It did not blow or<br />
pain. There was no rain nor wind. There was<br />
mo wind or rain. Which are correct of the above<br />
ex, mples? Neither Murray nor Mason answers<br />
the question.<br />
I used to put or until I began to think about<br />
the matter. Then it occurred to me that, as it is<br />
right to put nor after neither (an abbreviation of<br />
not either), upon the same principle it must be<br />
right to put nor after no and not (either being<br />
implied). But the other day a more knowing<br />
person than myself, when criticising a careful<br />
writer's work, said: “He makes just the mistake<br />
that so many authors—including even so fine a<br />
writer as Marion Crawford—make; he invariably<br />
puts nor after not and no, which, whether or not<br />
absolutely incorrect, is hideous,”—or something<br />
to this effect.<br />
I agree with him that or sounds better, but if<br />
nor is incorrect after not, it must have been<br />
created simply to suit the convenience of neither,<br />
and as a means of breaking the rule against two<br />
negatives, where they would naturally destroy one<br />
another.<br />
Nor sounds better than or after neither, but<br />
why should it be more correct after neither than<br />
after not either ? . .<br />
However, apart from right and wrong, eupho-<br />
nious, or non-euphonious effects, there are so many<br />
uses for the word or, that a person who does not<br />
understand the English language might be<br />
puzzled by the use of it in lieu of nor. For<br />
instance, “He is not pious, or pleasant,” might be<br />
taken to signify “He is not pious, by which I<br />
mean pleasant.” Still, of course, the thing could<br />
be differently expressed without the use of nor;<br />
and I do not feel at all sure that the word nor<br />
ought to exist. -<br />
A MEMBER OF THE SocIETY OF AUTHORs.<br />
IV.-REMAINDERs.<br />
I am obliged for your note in response to<br />
Iſl11162.<br />
You did not say whether you considered that<br />
at the present time authors were satisfied with the<br />
ordinary way of disposing of their remainders. I<br />
wrote under the assumption that they were not,<br />
and would perhaps have discussed the matter<br />
under the auspices of your Society.<br />
At present a large number of provincial book-<br />
sellers have no inducement whatever to purchase<br />
the works of numerous authors. The publisher<br />
takes little or no risk, and wants little or no<br />
trouble. If a bookseller buys from a publisher<br />
any but those books in most demand there is no<br />
possible means of getting a profit, and every<br />
chance of making a loss. If publishers will not<br />
come to the rescue, why not the authors them-<br />
selves through their business agency the Authors’<br />
Society P<br />
It ought to be to the author's interests to see<br />
that every bookseller is put into a fair way of<br />
making a profit if he cares to push the sale of the<br />
book. But as no attempt has been made in this<br />
direction, I assume that that is impossible, and<br />
that when a book does not go under ordinary<br />
circumstances at once that it must be sold as a<br />
remainder.<br />
<br />
<br />
## p. 24 (#38) ##############################################<br />
<br />
24<br />
THE AUTHOR.<br />
Then could not the loss be lessened on re-<br />
mainders ? Why could not you or your repre-<br />
sentatives create a central agency, invite book-<br />
sellers to take up authors’ works on sale or return<br />
terms, and issue a general catalogue P E. B.<br />
W.—ExPERIENCES OF A LITERARY BEGINNER.<br />
I have had many painful experiences of the<br />
MS. that goes a begging ; yet, strange to say,<br />
they do not belong to the period when I was a<br />
beginner with the pen. The very first article<br />
which I submitted to a strange editor was<br />
accepted and printed, and the same success<br />
attended my second venture, and so on till in<br />
the course of time I had contributed quite a<br />
respectable series.<br />
But I am speaking now of nearly a quarter of<br />
a century ago, when journalistic lotteries were<br />
unknown, when the prize-giving periodical was<br />
quite in its infancy, and when the sole end and<br />
aim of an editor was not to sell the paper by the<br />
tens of thousands, so as to put money into the<br />
purse of the proprietor. And I am also speak-<br />
ing of a time when there existed one of the most<br />
generous, discriminating, impartial, and pains-<br />
taking of editors who ever lived, and one,<br />
moreover, who was always ready to encourage<br />
young authors, and help them to success if he<br />
found any good in their youthful essays.<br />
The name of that editor was Charles Dickens,<br />
and the journal which I had the honour of con-<br />
tributing to was then called All the Year Round.<br />
After Dickens' regrettable death I continued to<br />
contribute to his popular periodical, and to a few<br />
others which, like his, did not refuse a manuscript<br />
simply because they were overstocked with litera-<br />
ture of all kinds, or because the article offered<br />
happened to be too long, too discursive, or too<br />
something else. But, unfortunately for myself,<br />
some of those journals came to grief, or were<br />
unable to pay the same fees as before, owing,<br />
perhaps, to the increased competition which the<br />
“new journalism,” as it is called, gave rise to.<br />
Then my troubles as an outside contributor<br />
began in earnest, for I was tempted to try my<br />
“luck” with the new papers which now com-<br />
pletely flooded the market, and in doing so I<br />
learnt what it was to send an MS. “the round.”<br />
Out often or a dozen articles which I “submitted<br />
to the consideration” of various editors only one<br />
was accepted and used, and that one had cost me<br />
so much trouble in reconstructing, or re-writing<br />
to suit the requirements of the different journals<br />
to which it was sent on approval, that the fee<br />
eventually received scarcely repaid me for the<br />
time and labour bestowed upon it, to say nothing<br />
of the time and labour bestowed upon the other<br />
nine or eleven articles which I had written and<br />
submitted before this last one was accepted.<br />
So, as I am wholly dependent upon my work<br />
for the bread and cheese of existence, I have<br />
been reluctantly obliged to abandon my literary<br />
labours, which began under such promising<br />
auspices, and to turn my attention to something<br />
far less congenial, but rather more profitable.<br />
ExPERTO CREDE.<br />
WI.-MoRE ExPERIENCEs.<br />
My first work was on the past, present, and<br />
future of a cause in which circumstances caused<br />
me to be deeply interested. I submitted the MS.<br />
to the committee of a society to which I purposed<br />
to give the profits, if any, of publication. Reply<br />
from chairman (lord-lieutenant of his county):<br />
“Committee feel honoured by being associated<br />
with such a production, and propose to be respon-<br />
sible for the cost.” This I declined. A large<br />
edition was sold, and a useful amount was paid to<br />
the society in about twelve months.<br />
This success led to my writing a larger work.<br />
It was published on the “mutual profit” system.<br />
Whole edition disposed of ; but small profit to<br />
the author, notwithstanding most flattering<br />
notices of the book. One popular author wrote<br />
to me, “I hope your inkstand will never be dry.”<br />
Then a magazine, edited by a well-known<br />
Cambridge man, came under my notice. I wrote<br />
a short tale with a purpose, which, being appre-<br />
ciated, was followed by a series, and when the<br />
editor retired, he thanked me warmly for what<br />
he was pleased to call my “valuable aid.”<br />
I next proposed to write a series of articles on<br />
various subjects, to a then popular shilling maga-<br />
zine. Reply was: “Being already acquainted with<br />
your former works (reviewed in our magazine),<br />
any contributions from your pen will be valued.”<br />
A small work on religious subjects was brought<br />
out by one of the oldest leading publishers in<br />
London, on his responsibility, and is still recom-<br />
mended in a leading journal to inquirers.<br />
My next venture was a one-volume novel (pub-<br />
lished on the “mutual profit” system). Well re-<br />
viewed in first-class journals; but financially a<br />
failure.<br />
I then competed with several authors, whos<br />
names were known to the public, for leading<br />
serial in a magazine, established over a quarter<br />
of a century. I was successful, and, of course,<br />
received the usual remuneration.<br />
I may mention, en passant, that I have received<br />
32 for quite a short article. I continued to write<br />
for the above magazine, and my articles were<br />
favourably noticed.<br />
Meanwhile I wrote a pamphlet on a subject of<br />
<br />
<br />
## p. 25 (#39) ##############################################<br />
<br />
THE AUTHOR. 25<br />
public interest and importance ; took the opinion<br />
of an eminent man; sent the MS. to a publisher,<br />
who was manifestly anxious to secure the publi-<br />
cation; and it was issued quickly. The price, at<br />
the publisher's suggestion, was fixed at one<br />
shilling. In an incredibly short time, a friend<br />
said to me that he wanted a copy, and could<br />
not get one as they were all sold. I at once<br />
wrote to the publisher. He replied that he<br />
wished my information was correct. That,<br />
expecting a large sale, he had kept the type set<br />
for five weeks, and had then broken it up, as the<br />
pamphlet was not selling. I called upon him<br />
when I went to London, but could get no<br />
intelligible statement from him. I had paid him<br />
a fixed amount for publishing and advertising.<br />
Yet he intimated that if I had the unsold copies<br />
he must charge extra for advertising. So he<br />
kept all but two dozen, which I had, and the<br />
matter ended. I ought to have taken advice,<br />
but being afraid of law proceedings, I weakly, as<br />
I now think, gave up the whole affair. Some<br />
years after I showed the pamphlet to a man in<br />
London, who has some knowledge of the ways of<br />
the world as well as of letters. He read it,<br />
approved and praised it, and gave his verdict in<br />
few words, “That pamphlet was suppressed;<br />
there is too much truth in it.” w<br />
Since then I have been a constant writer for a<br />
leading journal, and my articles have been criti-<br />
cised at home and abroad.<br />
Of one recent work 2000 copies were disposed;<br />
and now my last work, which I venture to think<br />
is not inferior to what I have previously written,<br />
and which has been so highly praised, is in one<br />
sense a failure. By no means so complete a<br />
failure as the suppressed pamphlet was—and in<br />
this case no suspicion can attach to the publisher<br />
—yet I cannot understand why this novel should<br />
fail to be a complete success. I wrote it with a<br />
definite purpose, and some reviewers consider<br />
that I have fully accomplished that purpose.<br />
One ends his critique with “ Unlike most novels,<br />
this is a book to be re-read—in fact, it ought<br />
to have an index, there is so much for reference,<br />
as well as of so much besides.”<br />
Another critic says: “We have looked in vain<br />
for a single sentence that could justify these<br />
discussions being printed.”<br />
Since that was written a New York publisher<br />
has written about taking 250 or 500 copies if a<br />
cheap edition is published, as he says that they<br />
(the firm) consider it “a remarkable and inte-<br />
resting book,” and that the purpose of it is of as<br />
much value in America as in England. M. M.<br />
“AT THE SIGN OF THE AUTHOR'S HEAD."<br />
R. C. H. COOK (John Bickerdyke) has<br />
published (Constable and Co.) a small<br />
volume called “Thames Rights and<br />
Thames Wrongs, a Disclosure; with Notes<br />
Explanatory and Critical on the Thames Bill of<br />
I894.” He says, by way of preface, that he is<br />
not writing as a lawyer for lawyers, but for the<br />
merry crowd who take their pleasure<br />
On the river, and his desire is that the facts dis-<br />
closed will startle the public out of its apathy, and<br />
bring about that legislation which is urgently<br />
needed.<br />
“The Plays of Sir Richard Steele” forms the<br />
new volume in the Mermaid Series (Fisher<br />
Unwin). It is edited, with a critical introduction<br />
and notes, by Mr. G. A. Aitken, who in 1889<br />
published a life of Steele.<br />
“Doctor Quodlibet, a Study in Ethics"<br />
(Leadenhall Press), is a new story by the author<br />
of the “Chronicles of Westerley.” In a note<br />
the author reminds his readers that “Bishop<br />
Quodlibet’’ was a subordinate character in<br />
the above-named novel, and that now he<br />
has ventured to give him a small book all to<br />
himself. -<br />
“The Ghosts of the Guardroom,” a story by<br />
Annabel Grey, forms the first volume of the<br />
Annabel Grey Library (G, Stoneham). According<br />
to the author's preface, “the story deals with<br />
military life, of the struggles and trials of an<br />
English lad, a young recruit; it is, moreover,<br />
true.”<br />
Miss Mary Colborne-Weel has published a<br />
volume of verse entitled “The Fairest of the<br />
Angels” (Horace Cox). As the title implies,<br />
some of the poems are religious, of which there<br />
are one or two—“Jael,” for instance—which<br />
seem to us to be more successful than the one the<br />
author has chosen as a title.<br />
“The Local Government Act, 1894,” has just<br />
appeared, with introduction, notes, and index,<br />
by J. M. Lely and W. F. Craies, Barristers-at-<br />
law. The publishers are Sweet and Maxwell,<br />
3, Chancery-lane; Stevens and Sons, I 19, Chan-<br />
cery-lane. Is. 6d.<br />
Also “The Sale of Goods Act, 1893,” with<br />
introduction, notes, and index. By the same<br />
authors, and the same publishers. -<br />
The “Goethe-Jahrbuch" for 1894 will contain<br />
an account, by Dr. Suphan, of “Napoleon's<br />
Unterhaltungen mit Goethe und Wieland und F.<br />
von Müller's Memoire darüber für Talleyrand.”<br />
<br />
<br />
## p. 26 (#40) ##############################################<br />
<br />
26<br />
THE AUTHOR.<br />
Messrs. G. P. Putnam's Sons announce “In<br />
Varying Moods,” by Miss Beatrice Harraden;<br />
“Red Cap and Blue Jacket,” a tale of the French<br />
Revolution,” by Mr. Robert Dunn ; and an<br />
“Autonym * series of stories by well-known<br />
writers.<br />
Mr. J. J. Haldane Burgess, M.A., the author of<br />
“Rasmie's Büddie”—a second edition of which<br />
was lately issued by Mr. Gardner, Paisley and<br />
London, and to which the Scotsman alluded<br />
as “a book which is likely to make a name for its<br />
author”—has just finished a romance of the<br />
Norse time, dealing with the Viking occupation<br />
of the Shetlands in the days of Harold Fair-<br />
Hair.<br />
A new novel, in 2 vols., by Mrs. Deith-Adams<br />
(Mrs. R. S. De Courcy Laffan) will shortly be<br />
published by Messrs. Jarrold and Sons. It is<br />
entitled “Colour-Sergeant, No. 1 Company,” and<br />
the scene is laid in the South of Ireland.<br />
The story of Soho-square and its associations<br />
has been taken in hand by Mr. George Clinch.<br />
This old aristocratic quarter is full of interesting<br />
associations with celebrities of the past. Collec-<br />
tions have been made of drawings, prints,<br />
pamphlets, and books bearing upon the quarter.<br />
Many of these, including the collection of the late<br />
Dr. Rimbault, have been placed in the hands of the<br />
author, who wishes us to state that he will grate-<br />
fully receive and acknowledge any information or<br />
suggestions from residents in the district or<br />
others. The work will be a volume of small<br />
quarto, and will be limited to a small number of<br />
copies.<br />
The fifth edition of “Marcella " (in three<br />
volumes) is announced. The cheap edition of<br />
“David Grieve" is also ready.<br />
Mrs. Steel's new novel “The Potter's Thumb,”<br />
3 vols., is now ready. The publishers are Heine-<br />
mann and Co.<br />
The same publishers have the three novels of<br />
“Sarah Grand.”<br />
A new work by Ruskin, called “Verona and<br />
other Lectures,” will be issued early in June.<br />
The publisher, of course, is Mr. George Allen.<br />
The book will contain five lectures, delivered<br />
between the years 1870 and 1883. It will<br />
be illustrated by a frontispiece and eleven<br />
photogravure plates from drawings by the<br />
author.<br />
The Athenæum (May 26) notes the formation<br />
of a “Transatlantic Publishing Company,” which<br />
will publish a magazine intended principally for<br />
the purpose of copyrighting in America short<br />
stories written by our people.<br />
We shall be glad<br />
to hear more about this company. Without doubt<br />
there is great need of such a medium. Fuller<br />
inquiries shall be made at once into the proposed<br />
Company and the magazine.<br />
A new and cheaper edition of “The Way of<br />
Transgressors,” by E. Rentoul Esler, will be<br />
issued shortly. (Sampson Low and Co.) Baron<br />
Tauchnitz has secured the Continental rights of<br />
this author's Willage Idylls, “The Way they<br />
Loved at Grimpat.”<br />
After three editions of “A Superfluous<br />
Woman,” in three volume form, the publishers,<br />
Messrs. Heinemann and Co., have produced<br />
the book in a cheap Colonial series, and it<br />
will be shortly produced in England in a cheap<br />
form also.<br />
The New York Critic announces the formation<br />
of a Walt Whitman Society, which is about to<br />
be incorporated. Its aims are threefold: The<br />
consolidation within a single organisation of all<br />
persons who are interested in the life and work of<br />
Walt Whitman; the establishment of centres in<br />
different parts of the world, which shall bring<br />
together the lovers and admirers of Whitman,<br />
and which, by the maintenance of correspond-<br />
ence and the exchange of views, shall tend<br />
to close fraternal relations among the members<br />
of the society; and the publication, from time<br />
to time, of Whitman literature and of such<br />
essays and other papers as may be deemed<br />
valuable in elucidation of Whitman’s philosophy<br />
of life, or in exposition of his poetry and<br />
principles.<br />
The following announcements are also made by<br />
the same paper:—<br />
“The Phantoms of the Footbridge" is the<br />
title of a volume of short stories by Charles<br />
Egbert Craddock, to be published by the<br />
Harpers.<br />
Messrs. D. C. Heath and Co. are publish-<br />
ing a “History of the United States,” by Mr.<br />
Allen C. Thomas, Professor of History in<br />
Haverford College. The aim of this work is to<br />
give the main facts of the history of the United<br />
States clearly, accurately, and impartially. In<br />
the belief that the importance of the events<br />
which have occurred since the adoption of the<br />
Constitution is becoming more and more recog-<br />
Inised, much the greater part of the book is<br />
devoted to the era beginning with 1789. The<br />
earlier period, however, is treated with sufficient<br />
fulness to show clearly the origins of the people<br />
and their institutions. Throughout special atten-<br />
tion is given to the political, social, and economic<br />
development of the nation.<br />
<br />
<br />
## p. 27 (#41) ##############################################<br />
<br />
THE AUTHOR. 27<br />
Messrs. Longmans, Green, and Co. have<br />
become the owners of Colonel T. W. Higginson’s<br />
histories and miscellaneous works, by purchase<br />
from Messrs. Lee and Shepard.<br />
Mr. John Jacob Astor is about to make his<br />
first venture in literature with a story of the<br />
year 2000, entitled “A Journey in Other Worlds:<br />
a Romance of the Future.”<br />
* - - -º<br />
sº- * -<br />
WHAT THE PAPERS SAY,<br />
I. —LITERARY STANDARDs.<br />
4 & S there such a quality in a literary pro-<br />
duction as absolute merit P” inquires<br />
W. J. L. “If so, is there a man or woman<br />
in the country of the capacity to judge it by that<br />
standard P I am moved to ask these questions by<br />
my own experience and lºy the history of literary<br />
productions which have wandered through a veri-<br />
table wilderness of editorial hands before reaching<br />
the promised land of publication. It is hardly<br />
necessary to recount the early trials of these martyrs<br />
since made glorious. As to my own work, which<br />
is journalistic rather than purely literary, I<br />
have had such queer experiences that I am<br />
beginning to lose faith in what has been called<br />
literary judgment. I have repeatedly had editors<br />
refuse my matter, only at a later date to reprint<br />
it from other papers; I have had articles refused<br />
once and accepted later; I have had one magazine<br />
refuse an article and one of higher class accept<br />
it at double the price; I have known editors<br />
correct the metre or rhyme of famous poems I<br />
may have had occasion to quote or to parody in<br />
places; I have known a newspaper of recognised<br />
literary standing refuse a poem at 5 dollars which<br />
a periodical accepted at 15 dollars; I have had<br />
good things rejected with promptness and<br />
despatch, and those of less merit accepted. And<br />
so on through a complexity of moods and<br />
measures. I don’t understand it, do you ? Is it<br />
due to the fact that publishers of literature—is it<br />
literature if not published?—are governed, not<br />
by the genuine merit of the article, but by the<br />
tastes and demands of their readers, or by a<br />
consideration of the interests of the business<br />
office P If you can throw a little light on this<br />
subject you will benefit a good many people<br />
who do not hesitate to damn the literary judg-<br />
ment of publishers with whom they have had<br />
experience.” - -<br />
The simple answer to the foregoing would be<br />
that no one is infallible. An editor is just as<br />
likely to make mistakes as any other man. Don’t<br />
you hear people say every day that, if they had<br />
only known, they would have bought certain land<br />
which had been offered to them for a few dollars<br />
and is now worth thousands P. The wise man is<br />
he who has foresight. The editor who can<br />
discover a Kipling in the callow efforts of a<br />
novice is such a one as is not often met. You<br />
oftener meet the man with foresight in matters of<br />
real estate transactions for a very simple reason:<br />
taste is never a factor in the sale of building lots.<br />
What is one editor's meat is another's poison.<br />
The editor of this magazine may have a weakness<br />
for dialect stories, while the editor of that maga-<br />
zine despises them. He may print those of a<br />
certain author because he has discovered that<br />
they have a market value, but he never would<br />
think of accepting them on their merits. Editors,<br />
I fancy, are governed by a great many things.<br />
The “genuine merit of an article” is an impor-<br />
tant factor in its favour, and “the tastes and<br />
demands of their readers” is another. How the<br />
“promulgation of the interests of the business<br />
office ’’ can be made to enter into the question at<br />
all I do not sce, beyond the matter of making a<br />
periodical that will sell. An editor who made a<br />
magazine that no one would buy would certainly<br />
be a very strange man, and one unfitted for his<br />
position. No journal can be published at a loss<br />
unless it is published by philanthropists, and<br />
even they would soon tire of the fun, for there is<br />
nothing that can swallow up umoney like an<br />
unsuccessful periodical. w<br />
As for literary judgment, who shall be the<br />
judge? A novel of which the Athenæum said<br />
that it was one of the best of 1893, the Critic<br />
declared not to have been worth publishing. The<br />
reviewers of the book were both unquestionably<br />
persons of intelligence, and yet what one pro-<br />
nounced a work of unusual merit the other<br />
pronounced unmitigated trash. The question is<br />
largely one of taste, and with posterity alone<br />
remains the decision as to what has come to<br />
stay.—New York Critic.<br />
II.-MR. TRAILL ON LITERATURE AND<br />
- Journ ALISM.<br />
Mr. H. D. Traill delivered, on Saturday after-<br />
noon, his second and concluding Royal Institution<br />
lecture on the relations between literature and<br />
journalism. The critics of journalism, he said,<br />
were prone to exaggerate its influence in respect<br />
of the undoubted over production in these<br />
days of literary matter. Of the existence of<br />
such over production there could, unfortunately,<br />
be no doubt. There never were so many people<br />
anxious to rush into print; never was the<br />
literary craft so invaded by amateurs. One<br />
<br />
<br />
## p. 28 (#42) ##############################################<br />
<br />
28 THE AUTHOR.<br />
reason, perhaps, was the excessive cheapness of<br />
the material. Pen, ink, and paper were never<br />
dear commodities, and compared with the canvas,<br />
paint, marble, and studio of the artist were infini-<br />
tesimal items. Moreover, failure or incapacity<br />
was not so glaring with the literary amateur as<br />
in the case of painting, sculpture, or music.<br />
Popular education had more, however, to do with<br />
this tendency than any other cause. The State<br />
had renounced Dogberry’s maxim that to<br />
read and write come by nature and might be<br />
charged with going too far in the other direction<br />
—that people can be taught to write what others<br />
will care to read. A day might come on which<br />
we should all be so busy writing as to have no<br />
time for reading at all, and we might be reduced<br />
to the condition of the islanders who tried to get<br />
a living by taking in each other's washing.<br />
Exaggerated, however, as is the share attributed<br />
to journalism in this result, it had to be admitted<br />
that the flood of novels poured forth day by day<br />
was partly due to the daily journals. But the<br />
circulating libraries were more to blame than the<br />
newspapers, and any or no quality was good<br />
enough to find a place in the periodical box of<br />
books. The journalist, however, did perform a<br />
useful function in guiding the taste of the public,<br />
and he could not be accused of neglecting his<br />
duty in this respect. On the whole it may be<br />
said that this duty is performed honestly and<br />
capably. The verdict of the reviewer in the daily<br />
press was usually conscientious and generally<br />
correct. As to the merits of signed and unsigned<br />
articles much might be said on both sides. But<br />
anonymity was too firmly established in this<br />
country to be disturbed, and, in his opinion, pos-<br />
sessed the balance of advantage. If the journalist<br />
on the whole encouraged good literary work, it was<br />
to be feared that he did not do enough to<br />
discourage the bad. The publishers knew their<br />
public, and that it is a book's fortune to be talked<br />
about on account of its eccentricity or glaring<br />
impropriety or suggestiveness. The best remedy<br />
would be to leave bad books alone. This might<br />
be done if we were living in Utopia, but was<br />
hardly possible in the world in which we live. In<br />
Utopia the publisher would approach the critic as<br />
a petitioner approaches a judge, and the book<br />
would be noticed or disregarded in strict accor-<br />
dance with its merits. But, as things are, news-<br />
papers are not carried on merely from the love of<br />
letters or a desire to increase knowledge. They were,<br />
above all things, commercial enterprises, and the<br />
proprietors could not afford to disregard the<br />
advertisements of the publisher. Thus a kind of<br />
professional morality was established on the basis<br />
of the relative value of the notice to the publisher<br />
and of the advertisement to the owner of the<br />
newspaper. Another charge brought against the<br />
daily journals was that they were corruptors of<br />
the English language. The term “newspaper<br />
English" had become a byword. Thus jour-<br />
malists were promoted to a kind of sinister<br />
dignity as the debasers of their mother<br />
tongue—they became sinners on an heroic<br />
scale. Was this charge true P To a limited<br />
extent undoubtedly a verdict of “Guilty” must<br />
be recorded. The daily papers were not wells of<br />
English pure and undefiled. There was apt to be<br />
a lack of simplicity and directness, a tendency to<br />
circumlocution and verbosity, a wrong use of<br />
words and phrases. But it was easy to over-<br />
estimate the extent of the wrong done. The<br />
number of phrases so misemployed was after all<br />
not great; “transpire’ for “happen’; the mis-<br />
application of such terms as Frankenstein,<br />
“ comity of nations,” “benefit of clergy,”<br />
“Caudine Forks,” “ horns of a dilemma,” “cui<br />
bono,” and a few others would exhaust the list of<br />
habitual offences. Nor was the charge of corrup-<br />
tion of style based on a much larger foundation.<br />
It should be remembered that the daily paper was<br />
written against time, with no leisure for revision.<br />
The leisurely critic after breakfast, with his feet<br />
on the fender, complained of “newspaper slip-<br />
shods.” It would be more fair to use the term<br />
“in slippers” than slipshod. In any case, the<br />
style of the newspaper was a good deal better<br />
than that of the great majority of its readers.<br />
Another question is whether journalism ever<br />
makes real contributions to literature. Are its<br />
leading articles, its reviews, and its essays ever<br />
themselves really literature ?' It is not true to<br />
say that what is really good literature is always<br />
written slowly and at leisure, and it is equally<br />
wide of the mark to suppose that all the work of<br />
a newspaper is hastily performed. A substantial<br />
part of what appears in the daily prints is done<br />
under most favourable conditions. Days may be<br />
occupied over the review of a book, though it<br />
too often consists of little more than a summary<br />
of the contents. At other times so much time is<br />
taken up in the composition of the critique that<br />
none is left for the perusal of the book. The<br />
newspaper essay or article bears considerable<br />
resemblance to the sermon, though the one is<br />
composed five or six times as often as the other.<br />
Sermons, as we know, form a real part, some-<br />
times excellent, of literature. Then it was an<br />
open secret that the obituary notice is often<br />
composed at leisure, with many opportu-<br />
nities of revision. Indeed, it was a jour-<br />
nalistic superstition that the composition of a<br />
biography and the recovery of an illustrious<br />
patient were frequently connected as cause and<br />
effect. Even the political leader might now and<br />
<br />
<br />
## p. 29 (#43) ##############################################<br />
<br />
THE AUTHOR.<br />
29<br />
º<br />
again rise to the dignity of literature, notwith-<br />
standing the disparaging observations of Carlyle.<br />
Speed is not always the enemy of excellence. It<br />
may tend to animation, and animation may pro-<br />
duce eloquence. Unfortunately, the form of the<br />
newspaper was against it. The column seems<br />
interminable, and the writer may be haunted with<br />
the consciousness that his leaders during a short<br />
period might reach from Charing-cross to<br />
Ludgate-hill. The fate, too, of the newspaper<br />
was more rapid and humiliating than that of the<br />
printed book, however vapid the latter might be.<br />
The virtuoso with the hand-barrow at the back<br />
door came all too soon for the ephemeral pro-<br />
ductions of the journalist. To-day is—to-morrow<br />
is for the dust-heap. Journalism unquestionably<br />
might be useful to literature—it might waken the<br />
interest and hold the attention of the reader and<br />
direct him to what is more abiding than itself.<br />
The journalist might have a good deal to say in<br />
defence against all the charges that are brought<br />
against him. He might say that he regarded<br />
literature as his instructress, his playmate, his<br />
guide, his venerated mother; but he might also<br />
complain that she did not discharge all the duties<br />
of a mother, but disclaimed all responsibility for<br />
his maintenance, and failed to supply him with<br />
the material necessities of existence, and that in<br />
his hour of need it was journalism which took<br />
him in and became his foster-mother, and that<br />
therefore, whilst holding literature in respect and<br />
affection, he could not disregard the charity<br />
which had taken compassion on him in his<br />
destitution.—Times, April 30.<br />
**.<br />
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edition. St. Anselm's Society. -<br />
<br />
<br />
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<br />
3O<br />
THE AUTHOR.<br />
Fiction.<br />
ALAN ST. AUBYN. In the Face of the World. 2 vols.<br />
Chatto.<br />
AMYAND, ARTHUR. Only a Drummer Boy. Osgood,<br />
M*Ilvaine, and Co. 3s. 6d.<br />
ANDREA, PERCY. Stanhope of Chester : a Mystery.<br />
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BARR, AMELIA E. Girls of a Feather.<br />
IS.<br />
BAYLOR, F. C. Claudia.<br />
and Co. 318. 6d.<br />
BLACKMORE, R. D. Mary Anerley. New edition. Sampson<br />
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BLIND, MATHILDE. Tarantella. T. F. Unwin. Is.<br />
BoIDREwood, Rolf. Macmillan<br />
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BRAY, CLAUDE. The Tavistock Library : Sir Joseph’s<br />
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CARDELLA, G. The Perfect Way of Honour. 3 vols. Swan<br />
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<br />
<br />
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THE AUTHOR. 3 I<br />
BADMINToN LIBRARY: YACHTING. By Lord Brassey,<br />
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BRASSEY, T. A. The Naval Annual for 1894. Edited by.<br />
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BROOKE, STOPFORD A. Tennyson : His Art and Relation<br />
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Cook, C. H. Thames Rights and Wrongs: a Disclosure.<br />
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tion : What a Parent Should Know. The Gentlewoman<br />
Offices. Is.<br />
DOUGLAs, R. K. Society in China.<br />
DUNCAN, H. O. Across Europe. Terront's Bicycle Ride<br />
from St. Petersburg to Paris. Iliffe. Is.<br />
DUTTON, DR. THOMAs. Domestic Hygiene. Henry Kimpton.<br />
Hirschfeld Bros.<br />
EASTER-HENDERSON, MRs. G. A Guide to Palmistry.<br />
Gay and Bird. 28, 6d.<br />
FASNACHT, G. EUGièNIE, Select Specimens of the Great<br />
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Literary Appreciations by the most eminent French<br />
Critics, and a Historical Sketch of French Literature.<br />
Macmillan. 7s. 6d.<br />
GAMBLE, ELIZA. B. The Evolution of Woman.<br />
Putnam's Sons. 7s. 6d.<br />
GEORGE, E. Monson. The Silver and Indian Currency<br />
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GREVILLE, EDWARD. The Year-Book of Australia for<br />
1894, Edited by. Petherick. Ios. 6d.<br />
HAMILTON-Bow ER, CAPT. Diary of a Journey Across<br />
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Innes and Co. 16s.<br />
G. P.<br />
HARDY, E. G. Christianity and the Roman Government.<br />
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by A. D. M'Cormick. Society for the Protection of<br />
|Birds. 6d.<br />
HUTCHINson, REv. H. N. Creatures of Other Days. With<br />
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JEANs, J. STEPHEN. The Eight Hours' Day, in British<br />
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and Co.<br />
LENN, CHARLEs H. Recherché Side Dishes.<br />
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LonDon OF To-DAY FOR 1894. Edited by Charles Eyre<br />
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MACCUNN, PROFESSOR. Ethics of Citizenship. Glasgow :<br />
James MacLehose and Sons. 48. 6d.<br />
MALET, MAJOR J. W. Handbook to Field Training in the<br />
Infantry. Second edition. Gale and Polden. 28.<br />
MILNER, ALFRED. England in Egypt New edition.<br />
Arnold.<br />
M“NEILL, A. A. Table of the Weights of Spirits.<br />
and Fage.<br />
MUNDAY, S. D. The Isle of Wight. Edited by. Illus-<br />
trated by Percy Robertson and others. J. S. Virtue and<br />
Co. Limited. Is.<br />
N'ZAU, BULA. Travel and Adventures in the Congo Free<br />
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Chapman. 78. 6d.<br />
<br />
<br />
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<br />
32 THE AUTHOR.<br />
Poetry and the Drama.<br />
AITREN, G. A. The Aldine Edition of the British Poets:<br />
Thomas Parnell. Edited, with memoir and notes.<br />
George Bell and Sons. -<br />
AITKEN, G. A. The Best Plays of the Old Dramatists:<br />
Richard Steele. Edited, with an introduction and<br />
notes by. T. F. Unwin.<br />
CLARK, K. M*COSH. Persephone and Other<br />
Sampson Low.<br />
CoLBORNE-WEEL, MARY. The Fairest of the Angels, and<br />
other verse. Horace Cox. 3s. 6d.<br />
DYCE, REv. A.L.Ex. Aldine Edition. The Poetical Works<br />
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FULLARTON, R. M. Lallan Sangs and German Lyrics.<br />
Blackwood. -<br />
IBSEN, HENRIK. Brand : a Dramatic Poem. Translated<br />
into English verse in the original metres by F. Edmund<br />
- Garrett. T. F. Unwin. Ios. 6d.<br />
JEBB, PROFESSOR. Sophocles: The Plays and Fragments.<br />
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