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270	https://historysoa.com/items/show/270	The Author, Vol. 05 Issue 06 (November 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+06+%28November+1894%29"><em>The Author</em>, Vol. 05 Issue 06 (November 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>	1894-11-01-The-Author-5-6					141–168																		<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=1894-11-01">1894-11-01</a>							6			18941101	C be<br /> u t b or,<br /> (The Organ of the Incorporated Society of Authors.<br /> Monthly.)<br /> CON DU CTED BY WA. L TER BES ANT.<br /> VOL. V.-No. 6.]<br /> NOVEMBER 1, 1894.<br /> [PRICE SIXPENCE.<br /> For 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 showld 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 /> *-<br /> r- - -,<br /> WARNINGS AND ADVICE,<br /> I. RAWING THE AGREEMENT.—It is not generally<br /> understood that the author, as the vendor, has the<br /> absolute right of drafting the agreement upon<br /> whatever terms the transaction is to be carried out.<br /> Authors are strongly advised to exercise that right. In<br /> every form of business, this among others, the right of<br /> drawing the agreement rests with him who sells, leases, or<br /> 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 /> eaccept the cost of the stamp.<br /> 4. AsCERTAIN what A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.-Remember that an<br /> WOL. W.<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> 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 accownt 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 M.S. 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 /> business men. Be yourself a business man.<br /> Society’s Offices :-<br /> 4, Portugal, STREET, LINCOLN&#039;s INN FIELDs.<br /> *— - -*<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 /> O 2<br /> <br /> <br /> <br /> ## p. 142 (#156) ############################################<br /> <br /> I 42<br /> THE AUTHOR.<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 /> 2. Remember that questions connected with copyright<br /> and publisher&#039;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 Awthor notes of everything<br /> important to literature that you may hear or meet with.<br /> *- ~ *<br /> &amp; -s<br /> THE AUTHORS&#039; SYNDICATE,<br /> EMBERS are informed :<br /> I. That the Authors&#039; 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&#039; Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however,<br /> hereby given that in all cases where there is no current<br /> account, a booking fee is charged to cover postage and<br /> porterage.<br /> 3. That the Authors&#039; 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&#039; Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> 8. That the Syndicate undertakes arrangements for<br /> lectures by some of the leading members of the Society ;<br /> that it has a “Transfer Department&#039; for the sale and<br /> purchase of journals and periodicals; and that a “Register<br /> of Wants and Wanted * has been opened. Members anxious<br /> to obtain literary or artistic work are invited to com -<br /> municate with 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 /> --sº<br /> e--- - -<br /> NOTICES,<br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> 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 /> or dishonest ?<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, &amp;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 /> 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&quot; 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 /> £948. The figures in our book are as near the exact truth<br /> <br /> <br /> ## p. 143 (#157) ############################################<br /> <br /> THE AUTHOR.<br /> I 43<br /> as can be procured; but a printer&#039;s, or a binder&#039;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&#039;s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> * * =<br /> ELECTION OF MEMBERS.<br /> T the first meeting of committee after the<br /> vacation on Oct. 8, twenty-eight new<br /> members and associates were duly pro-<br /> posed and elected. There have been 196 new<br /> members elected since the beginning of the year.<br /> Against these, however, must be placed the<br /> number of those who are every year struck off<br /> the list either by death, or by resignation, or by<br /> neglecting to pay their subscription.<br /> Cases have arisen in which authors have joined<br /> for the purpose of obtaining aid and redress,<br /> and have then retired when their case has been<br /> won for them. In other words, they pay a guinea,<br /> put the Society to the expense of many guineas,<br /> and then retire.<br /> Authors are earnestly entreated to remember<br /> that the society exists for the common good;<br /> that to regard it as solely a means of obtaining<br /> individual advantage is contrary to the whole<br /> spirit of the association; that to carry a single<br /> case through often costs the subscriptions of a<br /> great many members, and that were it not for the<br /> subscriptions of those who are not likely to need<br /> its services at all, the Society would not be able to<br /> exist, or would be reduced to a powerless condition.<br /> &gt;<br /> c:<br /> LITERARY PROPERTY.<br /> I.—PAYING FOR PUBLICATION.<br /> HE advice of the Society with regard to<br /> payment for publishing is that a MS.<br /> which is refused by half a dozen good<br /> houses is probably without commercial value.<br /> The author, however, is too often persuaded that<br /> it possesses sufficient literary merit to justify him<br /> in paying for its production. He then receives<br /> an estimate from the firm to which he applies.<br /> In general this estimate is called Messrs. A. and<br /> B.’s “charge” for producing the work. It used<br /> to be called the “Cost of Production.” It is now<br /> Messrs. A. and B.’s “charge.” The charge<br /> includes a very liberal addition to the printer&#039;s<br /> bill—for themselves. It is a secret profit, and<br /> therefore absolutely indefensible. Of course a<br /> charge for services may be advanced, and may be<br /> granted, but it should be made openly. The<br /> following are quite recent examples of this<br /> method of giving estimates. They were brought<br /> to the Society, and through the machinery at the<br /> disposal of the Society the books were actually<br /> produced at the price given below, after that of<br /> the original estimate. It should be added that<br /> the actual publisher, not the person who sent in<br /> his “charges,” was in each case a fit and proper<br /> person, and that the books were produced in the<br /> best possible style of print and paper.<br /> First case.—Estimate for printing, paper,<br /> and binding ... ... ... 378<br /> Actual sum paid for produc-<br /> tion ... . . . . . . . ... 38<br /> Second case.—Estimate for printing, paper,<br /> and binding 39.18O<br /> Actual sum paid ... ... ... 8O<br /> Third case.—Estimate for printing, paper,<br /> and binding e tº ſº £220<br /> Actual sum paid I 50<br /> In the first case an overcharge was made of<br /> £40, in the second an overcharge of £IOO, and<br /> in the third of £70.<br /> In the first case the author was saved 50 per<br /> cent. On the first charge, in the second 55 per cent.,<br /> in the third 32 per cent.<br /> It seems, therefore, as if it were worth the<br /> consideration of authors about to pay for their<br /> own books, whether they should bring their<br /> estimates to the Society before signing their<br /> agreements.<br /> II.—CANADIAN COPYRIGHT.<br /> The following letters have appeared in the<br /> Times. That by Mr. Lancefield may be fairly<br /> assumed to represent the Canadian view : that<br /> by Mr. Daldy the answer of one who has long<br /> worked upon the question. The subject has<br /> been referred by the London Chamber of Com-<br /> merce to a committee upon which the Society of<br /> Authors is properly represented. The letters are<br /> given at length for obvious reasons.<br /> I.—To the Editor of the Times.<br /> SIR,--I have only recently seen a letter<br /> which appeared in your valuable paper some<br /> time ago (May 3, 1894) from Mr. F. R. Daldy<br /> on the question of Canadian copyright. Some of<br /> Mr. Daldy&#039;s statements certainly require correc-<br /> tion, as the views he set forth in his letter (which<br /> letter, I understand, was printed in full in various<br /> literary journals in England) place Canadians in<br /> <br /> <br /> ## p. 144 (#158) ############################################<br /> <br /> 144<br /> THE AUTHOIR.<br /> a most misleading and unfair light before your<br /> readers.<br /> In the first place, Mr. Daldy writes, he has<br /> “reason to believe that Canada has asked the<br /> Imperial Government to repeal all British Copy-<br /> right Acts so far as it is included under them<br /> and also to denounce Canada&#039;s connection<br /> with the Berne Convention.” This is correct.<br /> And why not P<br /> The B.N.A. Act of 1867 gives Canada the right<br /> to legislate on copyright, the same as on tariffs,<br /> patents, &amp;c. The Imperial Government allows<br /> us to pass such laws as we please with regard, for<br /> instance, to patents. We assert the same right<br /> with regard to copyright, and we maintain our<br /> position strengthened by the knowledge that every<br /> argument is in our favour.<br /> Mr. Daldy&#039;s second count deserves serious con-<br /> sideration. Not content with referring sneeringly<br /> to a royalty which the Canadian Government will<br /> collect for those who refuse or neglect to secure<br /> copyright in Canada as a “visionary” royalty, he<br /> says “no consideration whatever has been shown<br /> to artists and musical composers.” A serious<br /> indictment, if true. But what are the facts P<br /> I have before me the Canadian Copyright Act of<br /> 1889, passed unanimously by sº the House of<br /> Commons and Senate of the Dominion of Canada,<br /> but to which the Imperial Government refuses<br /> sanction. This Act enacts that “Any person<br /> domiciled in Canada or in any part of the British<br /> possessions who is the author of any<br /> book, map, chart, or musical or literary composi-<br /> tion, or of any original painting, drawing, statue,<br /> sculpture, or photograph, or who invents, designs,<br /> etches, engraves, or causes to be engraved, etched,<br /> or made from his own design any print or engra-<br /> ving, and the legal representatives of such person<br /> or citizen,” may secure copyright in Canada for<br /> twenty-eight years. It would appear from this<br /> that Mr. Daldy is either grossly ignorant on this<br /> question of Canadian copyright, or that he is<br /> deliberately misrepresenting the action of the<br /> Canadian Government, presumably in order to<br /> create and foster ill-feeling in England.<br /> Again, Mr. Daldy says “that it is no more<br /> difficult for Canadian than for United States<br /> publishers to enter into contracts with authors<br /> and artists direct.” Very nice in theory, but<br /> under present conditions practically impossible to<br /> put into practice. Why? Because the United<br /> States publisher, in nine cases out of ten, when<br /> buying the market for a new book, insists on<br /> Canada being included.<br /> The Canadian people, therefore,<br /> present the satisfaction (?) of seeing their market<br /> quietly handed over by the British author or<br /> publisher to alien United States publishers.<br /> have at<br /> Surely you cannot blame us for making an<br /> earnest, decided, emphatic protest against such a<br /> practice. Canadians are not surprised at the<br /> alien United States publishers insisting on the<br /> Canadian market being included. That is their<br /> business—to get all they can, and more, too, if<br /> possible. But we are surprised at the British<br /> authors and publishers conceding to the demand<br /> of the United States publishers. And we are doubly<br /> surprised that the British authors and publishers<br /> are our principal opponents when we ask the<br /> Imperial Government for such legislation as will<br /> enable us to say to the United States publishers,<br /> “You cannot control the Canadian market except<br /> on our own terms.”<br /> We are proud of the fact that we are part and<br /> parcel of the great British Empire. The recent<br /> conference of Colonial delegates at Ottawa proves<br /> that we are alive to our responsibilities to the<br /> Empire. I submit that it is not an edifying<br /> spectacle to witness many of our brethren in<br /> England making desperate and, as I have shown,<br /> unfair attempts to create prejudice against us in<br /> our efforts to secure our book market from the<br /> grasp of alien publishers.<br /> In any case we intend to expose such attempts<br /> and to persist in our agitation, as we are con-<br /> vinced that the Imperial Government must soon<br /> see the justness of our case and grant the relief<br /> asked for. -<br /> Mr. Daldy signs himself “Hon. Secretary of<br /> the [British PJ Copyright Association.” Very<br /> many are apt to look upon him as an authority<br /> on copyright. I have already shown that his<br /> statement as to no consideration whatever being<br /> shown by the Canadian Government to artists<br /> and musical composers is untrue. He is equally<br /> unreliable when he tries to frighten British<br /> authors and artists by the statement that if the<br /> British Government yields to the Canadian<br /> demand the English relations on copyright with<br /> the United States would be upset. Mr. Daldy&#039;s<br /> argument, then, is that justice must be denied<br /> Canada because, if granted, English copyright<br /> arrangements with the United Sta&#039;es will suffer.<br /> What utter nonsense !<br /> But Mr. Daldy reaches the height of absurdity<br /> when he gravely asserts that “the United States<br /> Government made the consent of Canada that<br /> American copyright should run in that Dominion<br /> a leading condition of their conceding it to the<br /> British nation.”<br /> This is news to us in Canada. Our consent<br /> was never asked to any such agreement. The<br /> British Government could not give the consent of<br /> Canada without first securing that consent.<br /> Neither the British Government, Mr. Daldy, nor<br /> the Copyright Association he represents need<br /> <br /> <br /> ## p. 145 (#159) ############################################<br /> <br /> THE AUTHOR,<br /> I 45<br /> think that Canada will recognise any arrange-<br /> ment without first consenting thereto.<br /> Mr. Daldy knows, without being told, that the<br /> day has gone by when the consent of Canada to a<br /> question so important as this of copyright can be<br /> taken for granted before formally securing said<br /> consent through the usual diplomatic channels.<br /> Thanking you for granting me space,<br /> I remain, Sir, yours in the bonds of Imperial<br /> Unity, RICHARD T. LANCEFIELD.<br /> Public Library, Hamilton, Canada September.<br /> II.—To the Editor of the Times.<br /> SIR,--The charges brought against me in<br /> Mr. Lancefield’s letter, published by you on<br /> the 11th inst., require, I think, an answer so<br /> far as the subject-matter of them is concerned,<br /> though I must respectfully decline to take more<br /> notice than is necessary of his personalities.<br /> He says, “I have placed Canadians in a most<br /> misleading and unfair light before your readers.”<br /> I certainly had no desire to do this, and I hope<br /> the following observations will satisfy your<br /> readers that I have not done so.<br /> He admits that Canada has asked the Imperial<br /> Government to repeal all British Copyright Acts<br /> so far as they include that Dominion, and says<br /> Canada has the right to legislate on copyright<br /> under the British North American Act of 1867.<br /> If Canada has that right, why ask England&#039;s<br /> help ? Lord Selborne and Lord Herschell, when<br /> at the Bar, on Nov. 7, 1871, advised the Copy-<br /> right Association that the above legislative<br /> authority “ has reference only to the exclusive<br /> jurisdiction in Canada of the Dominion Legisla-<br /> ture, as distinguished from the Legislatures of<br /> the provinces of which it is composed,” and they<br /> further said that the “Imperial Act 5 &amp; 6 Wict.<br /> c. 45 (our principal Copyright Act), is still in<br /> force in its integrity throughout the British<br /> dominions.” This view is corroborated by the<br /> decision in “Smiles v. Belford ” of the Supreme<br /> Court of Upper Canada and the opinions of<br /> recent law officers of the Crown.<br /> Mr. Lancefield objects to my reference to the<br /> way in which Canada collects, or neglects to<br /> collect, the royalty due to British and Colonial<br /> authors under the Imperial Act of 1847 and the<br /> Canadian Act of Aug. 1850, approved by<br /> Imperial Order in Council made Dec. 12, 1850.<br /> Perhaps he will not be suprised to hear that this<br /> royalty has only been spasmodically collected,<br /> although the Act was passed for Canada&#039;s benefit,<br /> and she undertook to make the collection. It is<br /> notorious that many books were imported by<br /> Canada without payment of this royalty, and I<br /> have before me now a correspondence showing<br /> that a copyright owner, who was entitled to<br /> royalty since 1883, had to send an agent to<br /> Canada, who traced one payment in 1885, but<br /> the customs authorities in Canada could not<br /> even then discover the collection of royalty on<br /> any other occasion, although the work had been<br /> largely circulated throughout the Dominion<br /> before that time. The first payment of this<br /> royalty, not in full, but “on account,” was not<br /> received by the copyright owner till 1889. Can<br /> Mr. Lancefield be surprised at the incredulity of<br /> English authors as to her honestly carrying out<br /> her engagements?<br /> Mr. Lancefield quotes from the Canadian Act<br /> of 1889 to prove that artists have received due<br /> consideration. He quotes the 4th section of that<br /> Act, but omits any reference to the 5th, which<br /> says the condition of obtaining copyright under<br /> the Act is that such artistic work shall be repro-<br /> duced in Canada within one month of production<br /> elsewhere. Hence, to obtain copyright under the<br /> Canadian Act, Sir F. Leighton, or any artist,<br /> must go to Canada and reproduce his picture<br /> there within a month of publication here. A new<br /> opera must be represented there within the same<br /> time. Am I right in saying “no consideration<br /> whatever has been shown to artists and musical<br /> composers ?” Is it not a mockery to offer copy-<br /> right on such terms?<br /> Mr. Lancefield says Canadian publishers cannot<br /> acquire copyright from British authors because<br /> United States publishers buy the Canadian<br /> market with the American market. Why does<br /> not the Canadian purchaser come forward first<br /> and buy the two markets P It is all a matter of<br /> commercial competition. Mr. Lancefield seems<br /> to think authors hand over their works to United<br /> States publishers by preference. What they<br /> prefer, and what they are entitled to, is the best<br /> price for the two intermixed markets, because it<br /> is against their interests to sell either separately.<br /> This arises from American, not British, legisla-<br /> tion. Mr. Lancefield cannot expect authors to<br /> forego the value of their copyrights in America<br /> merely to help Canadian reprinters to get the<br /> printing of them. Let Canadian printers come<br /> forward earlier, before American arrangements<br /> are made, and buy both markets.<br /> I regret to say American copyright for British<br /> authors is jeopardised by the apprehension of<br /> our allowing Canadian printers to reprint copy-<br /> right books without the author&#039;s sanction, and<br /> that on most trustworthy authority.<br /> Perhaps my observation about the consent of<br /> Canada as to American copyright running there<br /> is rather unfortunately worded, as of course her<br /> consent was not required. The facts are that<br /> the United States Government asked if American<br /> <br /> <br /> ## p. 146 (#160) ############################################<br /> <br /> I46<br /> THE AUTHOR.<br /> copyright ran in all British possessions, and, on<br /> Lord Salisbury assuring the United States<br /> Government that it did, the United States<br /> Government issued its proclamation giving the<br /> authors, &amp;c., of “Great Britain and the British<br /> possessions” copyright throughout the United<br /> States. (See United States Papers, No. 3 (1891),<br /> Correspondence on United States Copyright<br /> Act.)<br /> I am glad to find Mr. Lancefield proud of<br /> Imperial unity. Will he, in obedience to its<br /> requirements, advocate “copyright unity” as far<br /> as we are able to promote it? The laws of copy-<br /> right are too much mixed up with the commercial<br /> handling of copyright property. The one gives<br /> the title to the property; the other utilises it to<br /> the best advantage.<br /> I am, Sir, your obedient servant,<br /> FREDERIC R. DALDY.<br /> Aldine House, Belvedere.<br /> III.-LITTLETON ET AL. v. OLIVER DITSON Co.<br /> The inclosed judgment from one of the circuit<br /> courts in Massachusetts, supporting the decision<br /> recently published on musical copyright, may be<br /> of interest to the readers of the Author :<br /> LITTLETON ET AL. 27. OLIVER DITSON CO.<br /> (Circuit Court, D. Massachusetts. Aug. 1, 1894.)<br /> No. 3065.<br /> Copyright—Musical compositions—Manufacture<br /> in United States.<br /> The proviso in sect. 3 of the Copyright Act of<br /> March 3, 1891, that “ in the case of a book,<br /> photograph, chromo, or lithograph,” the two<br /> copies required to be delivered to the librarian<br /> of Congress shall be manufactured in this country,<br /> does not include musical compositions published<br /> in book form, or made by lithographic process.<br /> THIs was a suit by Alfred H. Littleton and<br /> others against the Oliver Ditson Company for<br /> infringement of copyrights.<br /> Lauriston L. Scaife for complainants.<br /> Chauncey Smith and Linus M. Child for<br /> defendant.<br /> CoLT, Circuit Judge.—This case raises a new<br /> and important question under the Copyright Act<br /> of March 3, 1891 (26 Stat. I IO6). The plaintiffs,<br /> subjects of Great Britain, and publishers of<br /> music, have copyrighted three musical compo-<br /> sitions, two of which are in the form of sheet<br /> music, and one (a cantata) consists of some ninety<br /> pages of music bound together in book form, and<br /> with a paper cover. Two of these pieces were<br /> printed from electrotype plates, and one from<br /> stone, by the lithographic process. The inquiry<br /> in this case is whether a musical composition is a<br /> book or lithograph, within the meaning of the<br /> proviso in sect. 3 of the Act, which declares that in<br /> the case of a “book, photograph, chromo, or litho-<br /> graph &quot; the two copies required to be deposited<br /> with the librarian of Congress shall be manufac-<br /> tured in this country.<br /> The Act of March 3, 1891, is an amendment of<br /> the copyright law then existing. The principal<br /> change made is the extension of the privilege of<br /> copyright to foreigners by the removal of the<br /> restriction of citizenship or residence contained<br /> in the old law, and hence it is sometimes called<br /> “The International Copyright Act. Section I<br /> relates to the subject-matter of copyright, and<br /> delares that:<br /> The author, inventor, designer, or proprietor of any book,<br /> map, chart, dramatic or musical composition, engraving,<br /> cut, print, or photograph or negative thereof, or of a painting,<br /> drawing, chromo, statue, statuary shall, upon<br /> complying with the provisions of this chapter, have the sole<br /> liberty of printing, reprinting, publishing, &amp;c.<br /> Section 3 recites the conditions which must be<br /> complied with, and says:<br /> No person shall be entitled to a copyright unless he shall,<br /> on or before the day of publication in this or any foreign<br /> country, deliver at the office of the librarian of Congress, or<br /> deposit in the mail within the United States, addressed to<br /> the librarian, a printed copy of the title of the book,<br /> map, chart, dramatic or musical composition, engraving, cut,<br /> print, photograph, or chromo, or a description of the paint-<br /> ing, drawing, statue, statuary, for which he<br /> desires a copyright, nor unless he shall also, not later than<br /> the day of the publication thereof in this or any foreign<br /> country, deliver at the office of the librarian • OT<br /> deposit in the mail within the United States, addressed to<br /> the librarian, two copies of such copyright book,<br /> map, chart, dramatic or musical composition, engraving,<br /> chromo, cut, print, or photograph, or in case of a painting,<br /> drawing, statue, statuary, model, or design for a work of the<br /> fine arts, a photograph of same : provided, that in the case<br /> of a book, photograph, chromo, or lithograph, the two copies<br /> of the same required to be delivered or deposited as above<br /> shall be printed from type set within the limits of the<br /> United States, or from plates made therefrom, or from<br /> negatives, or drawings on stone made within the limits of<br /> the United States, or from transfers made therefrom.<br /> From the language of these provisions it seems<br /> clear that “book” was not intended to include<br /> “musical composition.” In the section which<br /> enumerates the things which may be copyrighted,<br /> “musical composition ” is mentioned as something<br /> different from “book,” and we find this same dis-<br /> tinction twice observed in the preceding part of<br /> the section which contains the proviso. It is as<br /> reasonable to suppose that “book” and “musical<br /> composition ” were as much intended to refer to<br /> different subjects as “map, chart, engraving,”<br /> and other enumerated articles.<br /> If Congress, in the proviso, had intended to<br /> include a musical composition among those copy-<br /> righted things which must be manufactured in<br /> this country, it should have incorporated it in the<br /> <br /> <br /> ## p. 147 (#161) ############################################<br /> <br /> THE AUTHOR.<br /> I 47<br /> list of things subject to this restriction. The<br /> omission in the proviso of “musical composition,”<br /> as well as of “map, chart, engraving,” and other<br /> things before enumerated, is very significant, as<br /> intimating that Congress never intended to extend<br /> this provision to any of these articles. And so,<br /> with respect to “lithograph,” if Congress had<br /> intended to cover by that word a musical compo-<br /> sition made by the lithographic process, it should<br /> have expressed its meaning in clear and unam-<br /> biguous terms, in view of the language used in<br /> other portions of the statute.<br /> If there is any doubt as to the meaning of the<br /> statute, it is proper to examine the history of<br /> legislation on this subject, in order, if possible, to<br /> discover the intent of Congress. As the bill<br /> passed the House of Representatives, this proviso<br /> was limited to “book,” but when it reached the<br /> Senate an amendment was offered and passed<br /> extending the proviso to various other subjects of<br /> Copyright, as “map, dramatic or musical compo-<br /> sition, engraving, cut, print,” &amp;c. A conference<br /> committee was appointed, and a compromise was<br /> agreed to enlarging the house provision by the<br /> addition of “photograph, chromo, or lithograph,”<br /> and the bill was finally passed in this form. In<br /> the debate in the Senate, reference was made to<br /> the fact that musical compositions had been<br /> eliminated from the proviso. The first and funda-<br /> mental rule in the interpretation of statutes is to<br /> carry out the intent of the Legislature if it can<br /> be ascertained, and I think an examination of<br /> the proceedings in Congress shows that it was<br /> intended to exclude musical compositions from<br /> the operation of this proviso: (22 Cong. Rec.<br /> pt. I, p. 32 ; pt. 3, pp. 2378, 2836; pt. 4,<br /> p. 3847.)<br /> “Book” has been distinguished from “musical<br /> composition ” in the statutes relating to copy-<br /> right since 1831 : (4 Stat. 436.) The specific<br /> designation of any article in an act or series of<br /> acts of Congress requires that such article be<br /> treated by itself, and excludes it from general<br /> terms contained in the same act or in subsequent<br /> acts: (Potter, Dwar. St. pp. 198, 272; Homer v.<br /> The Collector, I Wall. 486; Arthur v. Lahey,<br /> 96 U.S. 112 ; Arthur v. Stephani, Id. 125; Vietor<br /> v. Arthur, IO4 U.S. 498.) If, in a popular<br /> sense, and speaking particularly in reference to<br /> form, “book” may be said to include a musical<br /> composition, the answer to this proposition is<br /> that where two words of a statute are coupled<br /> together, one of which generically includes the<br /> other, the more general term is used in a mean-<br /> ing exclusive of the specific one : (Endl. Interp,<br /> St. sect. 396; Reiche v. Smythe, 13 Wall. 162.)<br /> The reasoning upon which this rule of specific<br /> designation is based is that such designation is<br /> WOL. W.<br /> tions to the Survey of the Literature of the Reign.<br /> expressive of the legislative intention to exclude<br /> the article specifically named from the general<br /> term which might otherwise include it: (Smythe<br /> v. Fiske, 23. Wall. 374, 38o ; Reiche v. Smythe,<br /> 13 Wall. 162, 164.) The English cases cited by<br /> the defendant to the effect that “book” includes<br /> “ musical composition &#039;&#039; are not material in the<br /> present controversy, because the statute law of<br /> the two countries is different. The early English<br /> statute of 8 Anne, c. 19, says, in the preamble,<br /> “books and other writings,” while, in the modern<br /> English statute (5 &amp; 6 Wict. c. 45, s. 2), “book’’<br /> is defined to include various specific things, as<br /> “map, chart, sheet of music,” &amp;c Nor do the<br /> American cases cited (Clayton v. Stone, 2 Paine,<br /> 382, Fed. Cas. No. 2872 ; Scoville v. Toland,<br /> 6 West. Law J. 84, Fed. Cas. No. 12,553; Drury<br /> v. Ewing, I Bond, 540, Fed. Cas. No. 4095) help<br /> the defendant. In none of these cases has the<br /> question ever been determined whether a musical<br /> composition is a book. It must also be<br /> remembered that the question now presented is<br /> not strictly whether a musical composition can<br /> ever be regarded as a book, but whether Congress<br /> meant in the Act of March 3, 1891, to include<br /> musical composition within the terms of the<br /> proviso referred to. Nor do I think the dictionary<br /> definitions of “book” render us much assistance,<br /> because the word is used in so many different<br /> senses. It may refer to the subject-matter, as<br /> literary composition ; or to form, as a number of<br /> leaves of paper bound together; or a written<br /> instrument or document; or a particular sub-<br /> division of a literary composition; or the words<br /> of an opera, &amp;c.<br /> Looking at the natural reading of the statute,<br /> the intent of Congress, and the rules which<br /> govern the construction of statute law, I am of<br /> opinion that the plaintiffs have complied with the<br /> provisions of the Act of March 3, 1891, respect-<br /> ing the three musical compositions complained of,<br /> and that the defendant should be enjoined from<br /> reprinting, publishing, or exposing for sale these<br /> compositions, or any essential part of them, as<br /> prayed for in the Bill.<br /> Injunction granted.<br /> IV.-ContLNUATION BY ANOTHER HAND.<br /> The following advertisement appeared in the<br /> New York Critic : -<br /> MASTERPIECES OF ENGLISH LITERATURE.-Entirely<br /> New and Finely Illustrated Editions.—A History of Our<br /> Own Times, from the Accession of Queen Victoria to the<br /> General Election of 1880. By Justin McCarthy, M.P.<br /> With an Introduction, and Supplementary Chapters bring-<br /> ing the work down to Mr. Gladstone&#039;s Resignation of the<br /> Premiership (March, 1894); with a New Index, and Addi-<br /> By G.<br /> P<br /> <br /> <br /> ## p. 148 (#162) ############################################<br /> <br /> I48<br /> THE AUTHOR.<br /> Mercer Adam, author of “A Précis of English History,” &amp;c.<br /> Profusely illustrated with new half-tone portraits of states-<br /> men and littérateurs. 2 vols., 12mo, handsome cloth,<br /> $3.oo; or, in three-quarter calf, $5.00. Popular edition,<br /> 2 vols., 12mo., without illustrations, cloth, $1.50.<br /> This advertisement was forwarded on to the offices<br /> of the Society by Mr. Justin McCarthy, M.P.<br /> Mr. McCarthy is indignant, and very naturally so,<br /> at the course the American publishers have<br /> thought fit to adopt, and all persons who are<br /> interested in the maintenance of literary property<br /> will no doubt support Mr. McCarthy&#039;s view as<br /> strongly.<br /> The work was published prior to the American<br /> Copyright Act, and therefore fell a lawful prey to<br /> the American reproducer.<br /> It has been selling in America for some years<br /> past in a cheap paper-bound edition.<br /> The author may perhaps have felt hurt that a<br /> work, the outcome of his brain, should be so<br /> freely circulated without bringing him in any-<br /> thing, but in those days, when books were pub-<br /> lished in England, the author produced his work<br /> with his eyes open to the possible consequences.<br /> But here insult has been added to injury, and<br /> Mr. McCarthy’s work has not only been appro-<br /> priated, but has also received the honour of an intro-<br /> duction, and several additional chapters to bring<br /> it up to date, from the pen of G. Mercer Adam.<br /> Surely it would have been an easy and<br /> courteous matter for the publisher to have written<br /> a line to the author or his English publisher to<br /> ask whether he had any views as to the continua-<br /> tion of the work. -<br /> Neither Messrs. Chatto and Windus nor Mr.<br /> McCarthy have had a line of notice, and the<br /> advertisement of the book in its present American<br /> form was the first intimation of what had taken<br /> lace.<br /> It is needless to say that there is no legal<br /> remedy, as the pnblishers have in their adver-<br /> tisement fully owned up to the additional chapters<br /> and their authorship. If this had not been done,<br /> but the work with added matter had been<br /> published under Mr. McCarthy&#039;s name—a pro-<br /> ceeding which has been known to take place with<br /> the works of other English authors—he might,<br /> perhaps, have had, some remedy under the<br /> American case quoted in last month&#039;s Author,<br /> p. 117, and the question might have been discussed<br /> under the law of trade marks and misleading the<br /> public.<br /> It is not worth while going into this side of the<br /> question, as even this point is doubtful. The<br /> American publisher has avoided this difficulty by<br /> openly avowing the facts. .<br /> But the unfortunate author, who has for some<br /> time been meditating the completion of his work,<br /> has had the American market taken away from<br /> him.<br /> Since the above was written Mr. McCarthy’s<br /> publishers, Messrs. Chatto and Windus, have<br /> received a letter from the American publisher,<br /> printed below. This letter bears out all the<br /> points put forward above, and explains how little<br /> regard is shown for the author and originator of<br /> a work, and how little thought or care may be<br /> bestowed upon the simple and familiar process<br /> of using for a man’s own profit the work of<br /> another man&#039;s brain—especially when there is<br /> no fear of legal consequences.<br /> Oct I I, 1894.—Dear Sirs, I am in receipt of your letter<br /> of the 1st. Oct., and am somewhat surprised that your<br /> remonstrance on behalf of the author of the “History of<br /> Our Own Times” should be addressed to us for issuing a<br /> continuation of the work. There are any number of editions<br /> of this work, which is not copyrighted, published in this<br /> country, and, therefore, it appears to me your remonstrance<br /> for continuing a non-copyright work is extremely ill-founded.<br /> Had I known that Mr. McCarthy intended to write a con-<br /> tinuation of his work, I should, of course, have been much<br /> pleased to have negotiated with him or his publishers for the<br /> American copyright, but under all the circumstances I can-<br /> not think that I have dome either him or you such an injury<br /> as entitles you to write me in the way you have, and I remain,<br /> —Yours very truly, CHARLEs W. Gould, Receiver.—<br /> Messrs. Chatto and Windus.<br /> -*--~~~~~<br /> --------<br /> LETTER FROM PARIS.<br /> AM writing this on the eve of my return to<br /> Paris, in a room full of the disorders of<br /> departure. The weather is so fine that it<br /> might be July rather than mid-October, and the<br /> sea is still very tempting for long and hazardous<br /> swims. But the vines are all leafless in my<br /> garden, and in the fields around the Indian corn<br /> has been harvested ; and, after all, as go one must,<br /> it is better to leave the country with a good im-<br /> pression and under smiling circumstances, than to<br /> outstay Nature&#039;s welcome and see in the farewell<br /> moment, a sullen face.<br /> “It is two days since we returned to Paris, and<br /> though my Parisienne is delighted to find her-<br /> self in her town once more, my little Edmée<br /> and I continue to regret the golden horizons of<br /> our peaceful Champrozay.” So writes Alphonse<br /> Daudet to me. In the same letter he says that he<br /> wishes to converse with me about “la perfide<br /> Albion,” which he has never seen, but wishes to<br /> visit before he “passes his rifle to the left.” I<br /> should not be surprised if, as a result of our con-<br /> versation, he were to pay a visit to England ere<br /> long.<br /> In looking over Daudet’s “Lettres de Mon<br /> Moulin’” the other day, I came across a quotation<br /> from his favourite Montaigne, which he applies<br /> <br /> <br /> ## p. 149 (#163) ############################################<br /> <br /> THE AUTHOR.<br /> I49<br /> to his friend the Provençal poet, Mistral. It<br /> occurred to me that the advice is so good, that for<br /> those of our readers who do not know, it may well<br /> be here reproduced : “Souvienne-vous de celuy<br /> à qui comme on demandoit à quoy faire il se<br /> peinoit si fort, en un art qui me powvoit venir à la<br /> cogmoissance de guére des gens. J&#039;en ay assez de<br /> peu, repondict-il. J&#039;en ay assez d’un. J&#039;em ay<br /> assez de pas un.” No better consolation could be<br /> found by the man of letters, who, doing his best,<br /> does not secure a success of popularity. But he<br /> must do his best. He must peiner fort.<br /> A group of distinguished Frenchmen were the<br /> other day discussing in my presence the young<br /> littérateur of to-day, who, after setting forth<br /> some great idea for a book, will add, with a sigh,<br /> “If only some publisher would give me an order<br /> for it.” It never occurs to him to write the book,<br /> for the sake of writing it, with the conviction<br /> that when written it will surely find both a pub-<br /> lisher and a public.<br /> We were all surprised to read Mallarmé&#039;s name<br /> in connection with the proposal that the State<br /> should inherit all lapsed copyrights and republish<br /> books for the general profit. Surprised, because<br /> of all living men of letters, Stephane Mallarmé is<br /> perhaps the one who has ever least troubled<br /> about the property side of literature. His own<br /> magnificent writings he printed at his own<br /> expense, in a most luxurious fashion, for himself<br /> and a very few friends. He has probably never<br /> received a sum of forty pounds, all reckoned,<br /> from the publishers.<br /> The proposal seems an ill-considered one.<br /> Fancy what a bitter stepmother the State, moved<br /> by odious political considerations, would be<br /> towards the work of certain authors. The power<br /> granted by this proposal, if it were carried into<br /> effect, would be tantamount to one of life and<br /> death, and the immortality, after which most<br /> writers strive as their highest and best reward,<br /> would be at the disposal of Government officials.<br /> With what glee would these censors condemn<br /> to obscurity the works of all those whose opinions<br /> clashed with the opinions which the Government<br /> desired to promulgate, and how lavishly would<br /> the writings of Prudhomme and Company be<br /> spread abroad<br /> One power might, to my thinking, be granted<br /> to the Government, namely, the right of levying<br /> on the profits of those who publish an author&#039;s<br /> works after the copyright in these has become<br /> public property, a trifling sum, sufficient to keep<br /> the grave of this author in decent and respectable<br /> order. If out of all the money which the pub-<br /> lishers have gained by publishing Oliver<br /> Goldsmiths&#039;s works a few pounds had thus been<br /> exacted, London would not to-day have the<br /> WOL. W.<br /> shame of Goldsmith’s abandoned and ruined<br /> grave, which anyone may see in the Temple, and<br /> blush at our English sordidness.<br /> The De Maupassant memorial subscription,<br /> which had never attained a figure in any way com-<br /> mensurate to the very modest requirements of the<br /> committee, was handsomely increased the other<br /> day by a donation of £200, subscribed by a person<br /> who expressed a wish to remain unknown. Poor<br /> De Maupassant seems to have passed into<br /> oblivion. His books are little asked for, and the<br /> dealers in the photographs of celebrities have<br /> ceased to keep his portrait in stock. One dies<br /> fast in these days.<br /> Poor Henry Hermann. He spent some years<br /> in France, and was at one time the collaborator<br /> of D. C. Murray. His forte was in the creation<br /> of plots, but he was less successful in delineation<br /> of character, description, and elaboration. Owing<br /> to an infirmity of the eyes he was forced to<br /> dictate to a secretary, and would grow quite<br /> excited as he dictated. “That’s literature, my<br /> boy,” he would exclaim, after composing some<br /> passage which pleased him particularly. When<br /> I knew him he had fallen on penurious days, and<br /> it was mournful enough to see so old a man, who<br /> had been so liberal in his days of fortune, often<br /> worried for the wherewithal to pay his rent or to<br /> buy his dinner. His courage, his industry, his<br /> cheerfulness of spirits were unflagging, and an<br /> excellent example.<br /> . It occurs to me that we of the Society of<br /> Authors might subscribe the trifling sum neces-<br /> sary for restoring Goldsmith’s grave. The whole<br /> expense would barely exceed £20, so that one<br /> hundred admirers, at four shillings each, could put<br /> the matter right. -<br /> I was interested in Mr. Hill&#039;s suggestion for a<br /> new form of paper for the typewriter, because a<br /> few days before the Author for last month came<br /> into my hands I had had exactly the same idea.<br /> I admit that I had not thought of the double<br /> roller for duplicating purposes. On reflection,<br /> however, I had come to the conclusion that the<br /> loss of time in cutting the length of paper, after<br /> it had been written on, into suitable takes, would<br /> be greater than the time lost at present in filling<br /> the machine with the sheets as supplied by the<br /> manufacturers. Certainly for the writer who<br /> prides himself on great production it would be<br /> pleasant, on rising from his machine, to see<br /> coiled on the floor, say eight yards of copy, but<br /> the coils might be cumbersome, and I can even<br /> imagine a fin de siècle Laocoon writhing in the<br /> embrace of a paper serpent. As it is, the type-<br /> writer produces too fast for a man to use it for<br /> his best work, and it is only by careful revision that<br /> typewritten copy can be made fairly prºble<br /> P<br /> <br /> <br /> ## p. 150 (#164) ############################################<br /> <br /> 150 THE<br /> AUTHOR.<br /> One would accordingly prefer to hear of the inven-<br /> tion of a drag or break to check its speed. At<br /> times, certainly, where speed is the requisite, the<br /> machine renders excellent service. One remembers<br /> T. P. O&#039;Connor’s “Life of Parnell,” which was<br /> produced so quickly; and I myself, on a day when<br /> I was very hard pressed, achieved 25,000 words<br /> of a translation in twelve hours.<br /> Léon Daudet’s “Les Morticoles &#039;&#039; is now in its<br /> seventeenth edition, of a thousand copies to the<br /> edition. This mean £400 to the good already,<br /> apart from royalties to come, both from further<br /> editions and from republication in the provincial<br /> papers. As Léon is only twenty-seven years of<br /> age he may be said to have enjoyed exceptional<br /> good fortune. I know of no French writer of<br /> standing whose début can, in point of success, be<br /> compared to his. We will not speak of Xavier de<br /> Montépin, who from the age of twenty mever<br /> made less than two thousand a year, because we<br /> do not consider him a writer.<br /> A circumstance of which we English may be<br /> proud is that of all foreign novelists it is our<br /> great George Meredith who is most esteemed by<br /> the French. I don’t mean to say that his works<br /> have a large sale in France, but I can vouchsafe<br /> the fact that the cultured who know English have<br /> his books, and that those who cannot read English<br /> are always glad to hear him discussed. His name<br /> is constantly referred to in the literary papers, and<br /> he is very evidently an influence in France. Does<br /> George Meredith know this P. There is also great<br /> curiosity about Thomas Hardy, and at the<br /> Authors’ Club dinner to M. Zola last year, Zola<br /> told me that he should advise Charpentier to<br /> arrange for a French translation of Hardy’s<br /> works. I believe that a French publisher who<br /> would produce a cheap edition of translations from<br /> our best English authors would make money.<br /> The French are sick of pornography, and are<br /> hungering for more solid fare. Young Léon&#039;s<br /> success is a proof of this. Unfortunately the<br /> French writers who know English so perfectly as<br /> to be able to give an adequate version of Meredith<br /> say, or Hardy, are very few ; on the other hand,<br /> French publishers do not care to pay anything<br /> like a fair price for translation. Eight pounds,<br /> or, in a liberal moment, ten, are considered a fair<br /> price for translating an ordinary novel. Hachette<br /> bought “David Copperfield” for twenty pounds,<br /> and paid the translator a similar sum, and this<br /> was a great event in hackdoms<br /> Translating is good exercise for writers who<br /> are afflicted with the knowledge of other<br /> languages than their own. I use the word<br /> “afflicted ” advisedly, for it is an established fact<br /> that the linguist never writes his own language<br /> as well as the writer who knows no other tongue<br /> *-- -<br /> He loses the sense of value of words, he falls into<br /> curious constructions, and may even, unconsciously<br /> be guilty of laches in grammar. In translating he<br /> has to pull himself together, to strive after the<br /> genius of his own tongue, to remember its charac-<br /> teristics, forgotten in the Babel of his brain.<br /> Amongst recent publications I notice a volume<br /> of essays by Maurice Barrés, chez Charpentier.<br /> It is entitled “Du Sang, de la Volupté et de la<br /> Mort.” Well, well, well<br /> RoBERT H. SHERARD.<br /> *-- ~ *<br /> “DISCOUNT PRICES.” IN 1852.<br /> HE frugal book-buyer will have noticed that<br /> for some time past attempts have been<br /> made by publishers, not by any means of<br /> the smaller sort, to abolish the system of “dis-<br /> count prices.” This question is not to be re-<br /> garded as a formal business detail, affecting “the<br /> trade ’’ alone, it is closely connected with authors’<br /> and readers’ rights, and it seems not unlikely<br /> that a serious controversy may ensue upon this<br /> movement in the book trade. As the whole<br /> question was raised and discussed some forty<br /> years ago, it may be profitable to follow in some<br /> details the features of the older crisis. The<br /> practice of booksellers giving discount off<br /> publishers&#039; prices was first commented on at<br /> the beginning of this century, and increased with<br /> the improvement in communications, till in 1848<br /> a Booksellers’ Association was formed to counter-<br /> act it. The prime movers in the scheme were<br /> not retail booksellers but publishers, and they<br /> were supported by nearly the whole body of book-<br /> sellers and publishers in London. In July, 1851,<br /> a stringent agreement was entered into ; the sub-<br /> scribing publishers, bound themselves to supply<br /> books at trade price to members of the Asso-<br /> ciation only; the booksellers agreed not to give<br /> more than IO per cent. discount to private<br /> Customers, or 15 per cent. to book societies. The<br /> trade discount being admittedly 33 per cent. on<br /> an average, it is evident that a considerable pro-<br /> fit was left for the booksellers. Anyone offending<br /> systematically against the regulations was to be<br /> expelled. The rule worked laxly from the first,<br /> for on the one hand members put a loose inter-<br /> pretation on the word systematically, and gave as<br /> much as 20 per cent. discount to large purchasers,<br /> without incurring the displeasure of the Associa-<br /> tion. Occasionally, however, the severest<br /> measures were taken against offending mem-<br /> bers, and, finally, one case threw the whole<br /> of the trade into a ferment. One member, an<br /> importer of American books, thought it would be<br /> <br /> <br /> ## p. 151 (#165) ############################################<br /> <br /> THE AUTHOR.<br /> 151<br /> *:<br /> more profitable, instead of disposing of his wares<br /> to “the trade” at the customary large discount,<br /> to sell directly to the public, charging them cost<br /> price, plus a percentage for profits. The matter<br /> was taken up by the Association, and the member,<br /> proving contumacious, was expelled (Jan. 1852).<br /> In his fall, however, he had with him the<br /> sympathies of the public and of part of the<br /> trade. Hereupon a fierce newspaper war sprung<br /> up, the Times and the Westminster Review<br /> particularly taking up the cause of the rebellious<br /> Associates in the public interest. Such was the<br /> heat of the quarrel that the “trade” became<br /> anxious, for their own sakes, to patch it up, and<br /> : was resolved to submit the matter to arbitra-<br /> 1Oll.<br /> Lord Campbell, George Grote, and Dean<br /> Milman were selected as arbitrators “for the<br /> purpose of deciding whether the Booksellers&#039;<br /> Association should be carried on under its then<br /> regulations or not, it being understood that the<br /> decision of Lord Campbell and the other literary<br /> gentlemen should be binding on the Committee,<br /> who agreed, if the decision were adverse, to<br /> convene the trade and resign their functions”<br /> (April 8).<br /> The arbitrators first met on the 15th of<br /> the same month, but the Association had it all<br /> its own way on that occasion, their opponents<br /> absenting themselves on the ground that they<br /> had been summoned only at the last moment;<br /> or, in some cases, that compromise was out of the<br /> Question. Lord Campbell refusing to sum up when<br /> only one side had been heard, the meeting was<br /> adjourned till May 17. Meanwhile, on May 8, a<br /> meeting was held at the rebellious member&#039;s house,<br /> with Charles Dickens in the chair, in opposition to<br /> the Association, when Lord Campbell, George Grote,<br /> and Dean Milman were selected as arbitrators<br /> (April 8). The Times report of this meeting is<br /> curious to read. The great novelist, in opening the<br /> proceedings, said that at first he had been disin-<br /> clined to associate himself with the agitation, as<br /> it appeared to be purely a booksellers&#039; question,<br /> but that he had acceded, seeing that a<br /> principle was at stake on which he felt very<br /> strongly : “that every man should have free<br /> exercise of his thrift and enterprise.”<br /> Mr. Babbage (the “tabulator,”) appeared as the<br /> champion of “Manchester Chum,” and wanted to<br /> know why books should be excepted from the<br /> beneficent operation of Free Trade, and moved a<br /> resolution accordingly. Tom Taylor, “speaking as<br /> a book-worm, a mere consumer of books, inclined<br /> to think that the booksellers must follow the<br /> farmers, and give in to Free Trade. Professor<br /> Owen, seconded by Professor Lankester, put a<br /> resolution, which was unanimously passed, that the<br /> regulation of retail prices acted unfavourably by<br /> adding to the already high prices of books on<br /> science, which have a limited circulation. George<br /> Cruikshank had no practical suggestion to make,<br /> he merelv enjoined peace and goodwill.<br /> Mr. Dickens&#039; letter, conveying the resolutions,<br /> was laid before the arbitrators, when proceedings<br /> were resumed to listen to the case against the<br /> Association.<br /> The able summing-up of Lord Campbell on<br /> behalf of the arbitrators affords a convenient<br /> summary of the views prevalent on either side.<br /> He thought the regulations enforced by the<br /> Association to be primá facie unreasonable, since<br /> to fix the price at which the retailer was to sell<br /> was a derogation from the right of ownership<br /> which he had acquired. Again, the regulations<br /> were said to be voluntary, but he believed, and<br /> had been assured by correspondents among the<br /> retailers, that they were not effective without<br /> coercion, which took the form of refusing to<br /> supply to non-members, and thus preventing<br /> them from earning a living. The advocates of<br /> the existing system had admitted that in order<br /> to prove the justice of the regulations, it would<br /> have to be shown that bookselling was different<br /> from other trades, and had attempted this by<br /> saying that the authors were protected (by the<br /> Copyright Acts) and so should the dealers be.<br /> Lord Campbell pointed out that the only pro-<br /> tection given to authors was that which the law.<br /> gave to property of every description. What<br /> weighed most with him, he said, was the peculiar<br /> mode in which the wares in the book trade was<br /> distributed. There was, no doubt, a great advan-<br /> tage to literature in the existence of respectable<br /> book shops all over the country, and, doubtless,<br /> their practice of having books in stock for<br /> inspection, which under a system of unlimited<br /> competition they might not be able to keep up,<br /> often produced purchases that would otherwise<br /> not have been thought of. He hoped, however,<br /> that the lessening of profits would be accom-<br /> panied by enhanced sales, and so by greater<br /> prosperity in the trade. It had also been asserted<br /> that although the removal of the regulations<br /> might not affect the sale of works by well-known<br /> writers, “that the meritorious, but second-rate,<br /> could not without a law against underselling, be<br /> ushered into the world.” Even so, said Lord<br /> Campbell, we should deny the justice of aiding<br /> dull men at the expense of men of genuis. -<br /> “For these reasons,” said the arbitrators, “we<br /> think that the attempt to allege the alleged<br /> exceptional nature of the commerce in books has<br /> failed, and that it ought to be no longer carried on<br /> under present regulations. We do not intend to<br /> affirm, however, that excessive profits are received<br /> <br /> <br /> ## p. 152 (#166) ############################################<br /> <br /> I 52<br /> THE AUTHOIR.<br /> in any branch of the bookselling trade. . . .<br /> We likewise wish it to be distinctly understood<br /> that our disapproval of the “regulations °<br /> extends only to the pretension of the publisher<br /> to dictate the terms on which the retail book-<br /> seller shall deal in his own shop, and to the means<br /> adopted for enforcing the prescribed minimum<br /> price. They add further: “The publishers are<br /> not bound to trust anyone whom they believe to<br /> be sacrificing his wares by reckless underselling.”<br /> Within ten days from this decision the associa-<br /> tion was dissolved, and the practice of giving 2d.<br /> in the shilling discount for cash became imme-<br /> diately widespread. It seems not improbable that<br /> the facility thus afforded was one of the prime<br /> factors in the weakening of the credit system,<br /> which up till then held nearly all retail transac-<br /> tions in its enervating grasp.<br /> *- - -<br /> NOTES AND NEWS,<br /> R. SHERARD in his Letter from Paris<br /> suggests that the members of the Society<br /> should themselves subscribe to repair the<br /> tomb of Goldsmith. He estimates that £20 would<br /> cover the expense. If members between them<br /> will guarantee that sum an estimate shall be<br /> made. Perhaps a single member would be willing<br /> to pay the whole amount—it is not a great sum—<br /> and it would be a service to the honour of<br /> literature. Perhaps twenty would guarantee one<br /> pound each. Anyhow, I hereby invite the readers<br /> of the Author to send me a promise, not a cheque,<br /> of so much if necessary; and then I will try to<br /> ascertain what is wanted to be done and what it<br /> would cost, and whether the new Master of the<br /> Temple would give his consent to the thing<br /> being done in this way.<br /> It is late to speak of Oliver Wendell Holmes.<br /> But it is impossible for the Author to appear,<br /> even three weeks after his death, without a word.<br /> Our words shall not be many. Holmes was one<br /> of the very few authors who enjoyed the personal<br /> love of all his readers. Greater writers there<br /> are still living—greater poets, greater novelists,<br /> greater essayists. There are none who live so<br /> deeply in the affections of their readers. This<br /> kind of influence is a gift; it cannot be acquired<br /> or learned, or imitated. How many—how few—<br /> living writers possess this gift P. In Holmes’s<br /> Case it was accompanied, or caused, by a<br /> singularly sunny and cheerful disposition. He<br /> neither spoke ill, nor thought ill, of anybody.<br /> The little spitefulnesses which so largely enter<br /> into the literature of many writers, and effectually<br /> deprive them of personal charm, were entirely<br /> wanting in Holmes. He was the Goldsmith of<br /> his age. -**-*-<br /> The following is from the biography of Froude<br /> in the Times of Oct. 22 : -<br /> “Froude could not refrain from a<br /> few incidental thrusts at the insincerity which,<br /> according to him, is the besetting sin of the<br /> clergy of all denominations. It so happened<br /> that just about this time his friend and brother-<br /> in-law, Charles Kingsley, was resigning the chair<br /> of Modern History at Cambridge, and in his<br /> farewell discourse denounced historians for their<br /> partisanship, carelessness, and habitual mis-<br /> representation. The opportunity was too good<br /> to be lost, and an academical wit, said to be the<br /> present Bishop of Oxford, circulated some lines<br /> here which, though well remembered in University<br /> circles, have not often been printed, and may<br /> therefore be quoted here:—<br /> While Froude assures the Scottish youth<br /> That persons do not care for truth,<br /> The Reverend Canon Kingsley cries<br /> “All history&#039;s a pack of lies.”<br /> What cause for judgment so malign f<br /> A little thought may solve the mystery;<br /> For Froude thinks Kingsley a divine,<br /> And Kingsley goes to Froude for history.”<br /> The following verses have also been recovered<br /> by the writer of the paper in the Times. They<br /> are by Froude, and appeared in Fraser&#039;s<br /> Magazine for May, 1862. They were written<br /> to his wife:—<br /> Sweet hand that held in mine,<br /> Seems the one thing I cannot live without,<br /> The soul’s own anchorage in this storm and doubt,<br /> I take them as the sign.<br /> Of sweeter days in store,<br /> For life and more than life when life is done,<br /> And thy soft pressure leads me gently on<br /> To Heaven’s own Evermore.<br /> I have not much to say,<br /> Nor any words that fit such fond request;<br /> Let my blood speak to them, and hear the rest,<br /> Some silent heartward way.<br /> Thrice blest the sacred hand,<br /> Which saves e&#039;en while it blesses; hold me fast;<br /> Let me not go beneath the floods at last,<br /> So near the better land.<br /> Sweet hand that stays in mine,<br /> Seems the one thing I cannot live without,<br /> My heart&#039;s one anchor in life’s storm and doubt,<br /> Take this and make me thine.<br /> I suppose that, if the modern school of history<br /> is right, the whole of English history will have<br /> to be re-written, thanks to the newly recovered or<br /> newly studied documents. The re-writing of<br /> <br /> <br /> ## p. 153 (#167) ############################################<br /> <br /> THE AUTHOR.<br /> I 53<br /> history will afford excellent occupation to a good<br /> many scholars now in their cradles. When one<br /> considers the immense accumulations of other<br /> historical documents — cuneiform bricks and<br /> tablets, inscriptions in all languages under the<br /> sun, letters, legal instruments, diaries, memoirs,<br /> and autobiographies, it is clear that all history<br /> will have to be re-written. As the public<br /> libraries will then be numbered by thousands,<br /> and as every library will have to take a copy of<br /> every new history, it is certain that the historian&#039;s<br /> lot will not be an unhappy one. Froude may<br /> cease, under these circumstances, to be an<br /> historical authority: so also may Macaulay,<br /> Freeman, and several others. But Froude will<br /> not cease to be a model of fine, picturesque, and<br /> vigorous English.<br /> There was a very pretty paper in the Spectator<br /> of Oct. 20th, called “The Literary Advantages of<br /> Weak Health.” The title was clumsy. It should<br /> have been called “The Bridle of Theages.” This<br /> bridle—as those who have read Plato&#039;s Dialogues<br /> ought to know—was the ill-health which kept<br /> Theages, the friend of Socrates, out of politics,<br /> and constrained him to follow philosophy. On this<br /> peg the writer points out very carefully how this<br /> same bridle has constrained others besides Theages<br /> to lead the retired life of meditation and experi-<br /> ment. Among those thus bridled he mentions<br /> Darwin, Pusey, J. A. Symonds among writers of<br /> our time; and of past time, Virgil, Horace, Pope,<br /> Johnson, Schiller, Heine, Pascal.<br /> hand, Shakespeare, Ben Jonson, Dryden, Milton,<br /> Scott, Tennyson were all men of healthy consti-<br /> tutions, and even more than the average strength.<br /> It is certain that a sickly frame does not make a<br /> good writer: it is also certain that some minds<br /> work better in the retirement which ill-health<br /> forces upon one, and the excitement of society<br /> and social engagements cannot be good either for<br /> one who pursues philosophy or for one who<br /> cultivates imagination. One would not desire the<br /> Bridle of Theages; still, if it is laid upon our<br /> shoulders, we may remember how it has been<br /> used by some as a stimulus for work.<br /> America has her monuments sacred to literary<br /> associations, and America, like England, is fond of<br /> pulling them down and destroying them. The<br /> cottage in which Edgar Allan Poe lived and<br /> worked, at Fordham, is for sale with its grounds.<br /> It is laid out in “4% city lots”—eligible lots,<br /> because they are “on one of the main thorough-<br /> fares of the ‘Greater New York,&#039; within three<br /> minutes&#039; walk of the railroad and the electric<br /> line, less than half an hour from Grand Central<br /> Depôt, and in the midst of a growing popula-<br /> On the other<br /> tion.” The whole has been offered to a certain<br /> literary man for 3500 dollars cash and 30OO<br /> dollars mortgage. The literary man unfortu-<br /> nately does not see his way to buy it.<br /> A suggestion has been made in the New York<br /> Critic that it would be a graceful thing for<br /> editors of magazines to bring out occasionally a<br /> “ consolation’ number, containing only papers<br /> which had been rejected. But unless the<br /> “consolation’’ number was of colossal dimensions<br /> there would be no consolation, except to a few<br /> dozen—and what are they among so many ?<br /> They are an experimental people in Chicago.<br /> They have started a publishing firm, of which<br /> the directors are called “Author-Publishers,” a<br /> double-barrelled name, which may mean either<br /> that they are authors as well as publishers, or<br /> that they are publishers of authors. We wait<br /> for information on this point; also on the special<br /> merits and methods of these publishers. But<br /> they have certainly improved on our methods,<br /> because they announce themselves as their own<br /> literary agents. They conduct a literary bureau,<br /> in which they offer to read, correct, and criticise<br /> MSS.; to select—i.e., we suppose, to invent—<br /> plots and dramatic situations; to aid in securing<br /> publishers—other than themselves?—to explain<br /> the meaning of agreements, cost of production,<br /> royalties, &amp;c.; to look after copyright, and other<br /> useful things. In these pages I have always<br /> given my advice in favour of getting the business<br /> arrangements done by competent and trustworthy<br /> agents. Therefore one cannot but wish success<br /> to this agency. But that such an agency should<br /> form part of a publishing business is quite a new<br /> departure.<br /> The following from the Century Magazine is a<br /> dream of Poe concerning the future of magazines.<br /> He does not venture to dream of a circulation of<br /> more than 20,000. Yet it was a fine dream:—<br /> Before quitting the Messenger I saw, or fancied I saw,<br /> through a long and dim vista, the brilliant field for ambition<br /> which a magazine of bold and noble aims presented to him<br /> who should successfully establish it in America. I perceived<br /> that the country, from its very constitution, could not fail<br /> of affording in a few years a larger proportionate amount of<br /> readers than any upon the earth. I perceived that the<br /> whole emergetic, busy spirit of the age tended wholly to<br /> magazine literature—to the curt, the terse, the well-timed,<br /> and the readily diffused, in preference to the old forms of<br /> the verbose and ponderous and the inaccessible. I knew<br /> from personal experience that lying perdu among the<br /> innumerable plantations in our vast Southern and Western<br /> countries were a host of well-educated men peculiarly devoid<br /> of prejudice, who would gladly lend their influence to a<br /> really vigorous journal, provided the right means were taken<br /> of bringing it fairly within the very limited scope of their<br /> <br /> <br /> ## p. 154 (#168) ############################################<br /> <br /> I 54<br /> THE AUTHOR.<br /> observation. Now, I knew, it is true, that some scores of<br /> journals had failed (for, indeed, I looked upon the best<br /> success of the best of them as failure), but then I easily<br /> traced the causes of their failure in the impotency of their<br /> conductors, who made no scruple of basing their rules of<br /> action altogether upon what had been customarily done<br /> instead of what was now before them to do, in the greatly<br /> changed and constantly changing condition of things. In<br /> short, I could see no real reason why a magazine, if worthy<br /> the name, could not be made to circulate among 20,000<br /> subscribers, embracing the best intellect and education of<br /> the land. This was a thought which stimulated my fancy<br /> and my ambition. The influence of such a journal would be<br /> vast indeed, and I dreamed of honestly employing that<br /> influence in the sacred cause of the beautiful, the just, and<br /> the true. Even in a pecuniary view, the object was a<br /> magnificent one. The journal I proposed would be a large<br /> octavo of 128 pages, printed with bold type, single column,<br /> on the finest paper; and disdaining everything of what is<br /> termed “embellishment” with the exception of an occasional<br /> portrait of a literary man, or some well-engraved wood<br /> design in obvious illustration of the text. Of such a journal<br /> I had cautiously estimated the expenses. Could I circulate<br /> 20,000 copies at $5, the cost would be about $30,000,<br /> estimating all contingencies at the highest rate. There<br /> would be a balance of $70,000 per annum.<br /> -º-º-º-º-<br /> Are we really returning to our old love—fair<br /> Poesy P. It almost seems so. Edition after<br /> edition comes out of certain young poets—Le<br /> Gallienne, Norman Gale, John Davidson, and a<br /> few others. A few years ago they would have<br /> had to pay for the production of their verse. Now,<br /> it is to be hoped, the payment is on the other<br /> side. It may be that the editions are very<br /> small—anything else “may be ;” one thing remains<br /> certain—that there is a revival of interest in new<br /> poetry; new poets are talked about ; as for the<br /> standard of modern verse, that is certainly high ;<br /> it is to the credit of poets born in a less happy<br /> time that they have handed down the lamp<br /> trimmed and burning bright. Is it necessary,<br /> one would ask, always to speak of young poets as<br /> “minor poets P” Surely a great poet is not neces-<br /> sarily one who produces long poems. The young<br /> men do seem to confine themselves almost entirely<br /> to short poems; but if these short poems can be<br /> placed beside those of a “great &#039;&#039; poet, without<br /> suffering from the comparison, surely they them-<br /> selves must also be great. Certainly I have read<br /> poems by one young poet at least which seemed<br /> to me worthy of being placed beside anything.<br /> Miss Frances Power Cobbe, in her book of<br /> recollections, speaks of the limitations of literary<br /> influence. She was disappointed at the apparent<br /> failure of her books and papers—all of which had<br /> a purpose—to move the hearts of people. What<br /> are the limitations, if any, of literary influence #<br /> Carlyle, for instance, has had an amazing in-<br /> fluence upon the thought of the last fifty years.<br /> His only limitation was in himself. He had a<br /> message; he proclaimed it; then proclaimed it<br /> again and again in book after book. When he<br /> went outside that message nobody heeded him.<br /> Mrs. Harriet Beecher Stowe exercised an<br /> enormous influence over the whole English-<br /> speaking world. The reason was that her book<br /> was opportune; it came at a moment when every-<br /> body was thinking and talking of the slavery<br /> question. Sir John Seeley has exercised an<br /> enormous influence, first in placing old truths<br /> in new language, and next in making people<br /> realise the growth and the grandeur of the<br /> empire. The only limitation to his influence is<br /> himself. So long as he has a thing to teach, we<br /> shall listen. He gained that influence solely by<br /> showing in his books that he was a teacher. There<br /> is, in fact, no limitation at all to literary influence.<br /> It is only the first step that is troublesome. One<br /> has to persuade the world to listen, and one has<br /> to be provided with something to teach the world.<br /> This done, the rest is easy, and there is no bound<br /> whatever to the extent of the influence which<br /> follows. Of course, there is another point. The<br /> teaching must be adapted to the time and to the<br /> people. He who would preach Carlyleism in the<br /> eighteenth century would presently sit down with<br /> the sadness of one who feels that it really is no<br /> use going on. And if “Uncle Tom&#039;s Cabin’” had<br /> appeared in 1750, nobody would have read a work<br /> so low and grovelling. Then, if one is not a<br /> prophet, what is the good of advocating, preach-<br /> ing, or arguing P Because it is always useful to<br /> keep on teaching, however poorly or unsuccess-<br /> fully, the things that people should learn,<br /> because many things can only be taught by<br /> long and patient repetition, and by many teachers<br /> in different ways. And, again, no writer can<br /> estimate or learn the influence which his own<br /> work has possessed. Therefore, one may harm-<br /> lessly assume that it has been world-wide, and<br /> go on happy in that belief.<br /> =ººº-<br /> Another literary association. It is called the<br /> “Rose Club,” and it owns an organ called “The<br /> Briar Rose,” which appears every three months.<br /> Members are privileged to send in three papers<br /> every year for the editor&#039;s inspection and criti-<br /> cism. A critical notice of members’ papers will<br /> be published with every issue of “The Briar<br /> Rose.” Members lucky enough to be accepted<br /> are paid at the rate of two guineas for a story,<br /> and one guinea for an essay. The first number of<br /> “The Briar Rose” contains eighteen pages; two<br /> stories, two essays, and a poem. There are no<br /> critical notices in this number. The club is for<br /> women only.<br /> <br /> <br /> ## p. 155 (#169) ############################################<br /> <br /> THE AUTHOR.<br /> I 55<br /> Whatever Mr. Welch, Librarian to the Cor-<br /> poration of London, says on the subject of Free<br /> Libraries must be received with attention.<br /> Therefore, the whole subject of Free Libraries<br /> being most important and most interesting, I<br /> have printed in another column the report of .<br /> his recent address as given in the Times. For<br /> my own part, I think he fails to recognise the<br /> enormous educational value of fiction. It is from<br /> novels that a very large section of the com-<br /> munity derives its ideas, its standards, its<br /> manners, its respect for literature, art, and<br /> science. The Free Libraries may have been<br /> founded on the conventional theory that every<br /> reader is a student. This is not so ; every tenth<br /> reader—perhaps every hundredth reader—is a<br /> student; the rest are reading for amusement.<br /> If Mr. Welch will look round the circle of his<br /> own acquaintance and friends, how many will he<br /> find who follow a hard day&#039;s work with a hard<br /> evening&#039;s study? Perhaps, none. Why, then, does<br /> he expect or hope to find this phenomenon among<br /> working people P. It is in the power of every<br /> library—it is the duty of every library—to keep<br /> out trash, whether in the shape of novels or any<br /> other kind of literature. But the theory that public<br /> libraries should be maintained for students alone<br /> cannot for a moment be allowed. They are educa-<br /> tional and they are recreative. It is quite as useful<br /> a function for the libraries to provide a hundred<br /> men of the working class with an evening&#039;s<br /> recreation as it is for them to find books of<br /> reference for half a dozen students.<br /> We must reserve until next month the autumn<br /> announcements of American books. This list,<br /> considered with care, will suggest many points of<br /> interest. At present one only may be noted—<br /> the proportion of English to American books. It is<br /> impossible to escape the conclusion that the Copy-<br /> right Act has given a great impetus to American<br /> work. While English work could be had for<br /> nothing, the American author in every branch<br /> was fatally overweighted. This obstacle removed,<br /> we begin to see what we expected—the great bulk<br /> of the literature of the States written by their<br /> own people, and only the exceptionally useful and<br /> popular authors of this country being published<br /> there. This proportion we may expect to find every<br /> year greater in favour of American writers. At<br /> the same time there will be found on both sides<br /> of the Atlantic a great and always increasing<br /> demand for the work of the first and best.<br /> An analysis in advance of the list shows the<br /> following numbers and comparative authorship :<br /> History, thirty-three works; seven by English<br /> writers, twenty-six by American.<br /> Biographies and Memoirs, thirty-four works; ten<br /> by English writers, twenty-four by American.<br /> General Literature, forty-eight works; fourteen<br /> by English writers, thirty-four by American.<br /> Poetry, thirty-four works; seven by English<br /> writers, twenty-seven by American.<br /> Fiction, seventy-seven works; twenty-one by<br /> English writers, fifty-six by American.<br /> Art and Music, thirteen works; four by English<br /> writers, nine by American.<br /> Travel, Adventure, and Description, thirty-three<br /> works; twelve by English writers, twenty-one<br /> by American. -<br /> Education and Text-book, eighty-five works; all<br /> by American editors and writers.<br /> Politics, Sociology, and Law, twenty-one works;<br /> five by English writers, sixteen by American.<br /> Theology and Religion, fifty-two works; sixteen<br /> by English writers, thirty-six by American.<br /> Science and Nature, thirty-six works; three by<br /> English writers, thirty-three by American.<br /> Mechanics and Engineering, twenty works; nine<br /> by English writers, eleven by American.<br /> Medicine and Hygiene, ten works; three by<br /> English writers, seven by American.<br /> Games and Sports, seven works;<br /> English writers, four by American.<br /> WALTER BESANT.<br /> three by<br /> SPRING TIME IN THE WIKING DAYS,<br /> NORWAY.<br /> SPRING and the sun are returning and winter is past; Aoi<br /> The bonds he has flung round the earth are loosened at<br /> last; Aoi<br /> Soft blows the breeze o&#039;er the mountain tops, melting the<br /> Snow ;<br /> Swoln are the rivers and, foaming and frothing, they flow<br /> Seaward. Right weary are we of the land and it&#039;s, Oh<br /> For the creak of the wind in the cordage aloft, and the<br /> flap of the sale by the mast ! Aoi !<br /> Seaward the breezes blow, bidding us idle no more, Aoi !<br /> Curling and flecking with foam-flakes the wide ocean<br /> floor. Aoi !<br /> Earth was our sojourn awhile, but the sea is our<br /> home.<br /> Hark! how he calls us on viking-cruise over the foam,<br /> As, surging and seething, he grinds at the beach. We<br /> will roam,<br /> And our longship no longer shall yearn for the waves,<br /> as she frets high and dry on the shore. Aoi<br /> Gather and run her down over the rollers of pine, Aoi !<br /> Down to the foam-tossing breast of the welcoming brine. Aoi!<br /> Upward to clasp her he flings his white arms in wild glee ;<br /> Downward she plunges, till knee-deep we stand, with<br /> the sea<br /> Laughing and leaping and curling round ankle and knee.<br /> Oh! sweeter the smell of the salt sea-waves than the scent<br /> and the savour of wine ! Aoi !<br /> From “Sagas and Songs of the Norsemen.”<br /> - By ALBANY F. MAJOR<br /> <br /> <br /> ## p. 156 (#170) ############################################<br /> <br /> I56<br /> THE AUTHOR.<br /> FREE PUBLIC LIBRARIES,<br /> N Thursday evening, Oct. 18th, a meeting<br /> of the Library Association of the United<br /> Kingdom was held at the Mansion-house,<br /> when a paper was read by Mr. Charles Welch,<br /> librarian to the Corporation of London, on “The<br /> Public Library Movement in London; a review<br /> of its progress, and suggestions for its consoli-<br /> dation and extension.” Mr. Richard Garnett,<br /> LL.D., presided, and delegates attended from<br /> numerous public libraries in the metropolis.<br /> Mr. Welch observed that it seemed at first that<br /> London would vie with the great municipalities<br /> in the kingdom in supporting free public libraries,<br /> when, in 1857, only two years after the passing of<br /> Ewart&#039;s principal Act, the parishes of St. Margaret<br /> and St. John, Westminster, united to establish a<br /> public library. Twenty-four years elapsed, how-<br /> ever, before another library was started, this time<br /> by the suburban parish of Richmond, to be<br /> followed by Twickenham in 1882. The year of<br /> her Majesty&#039;s jubilee gave a great impulse to<br /> what had then become a popular movement, and<br /> its subsequent progress inspired the hope that, in<br /> spite of the remarkable obduracy of certain<br /> parishes, the time was not far distant when every<br /> district of our great metropolis would enjoy the<br /> blessing of a well-stored library. Taking the<br /> whole fifty-four divisions of the county of London,<br /> they found that twenty-seven parishes, or divisions,<br /> had established public libraries, while twenty-six<br /> had hitherto declined to do so. In the remaining<br /> district, Southwark, the divisions of St. Saviour<br /> and Christ Church only had established libraries,<br /> the remaining parishes having, up to the present,<br /> held aloof from the movement. The City had<br /> been provided by the Corporation of Londom with<br /> an excellent reference library at Guildhall, and<br /> had also been furnished, by endowment from<br /> the City Parochial Charities Commission, with<br /> three other admirable institutions in Bishops-<br /> gate, Cripplegate, and St. Bride&#039;s, Fleet-<br /> street, to which extensive lending libraries<br /> were to be attached. With reference to the<br /> prejudices in London against the movement,<br /> beyond the question of any increase in<br /> taxation there was a stronger and more deep-<br /> seated objection, which was held very widely<br /> among men of culture and lovers of good litera-<br /> ture and loyal promoters of education. Their<br /> opposition was based, not upon the principle under-<br /> lying free library legislation, but upon its develop-<br /> ments as seen in the present condition and manage-<br /> ment of the public libraries throughout the<br /> country. Having quoted from the debates during<br /> the passage through Parliament of the measure<br /> for establishing free public libraries, he said he<br /> thought it would be clearly evident that the inten-<br /> tion of Mr. Ewart himself, and of his supporters<br /> in Parliament, was to provide for the education<br /> and intellectual advancement of the people<br /> and only in a subsidiary degree for their<br /> “innocent recreation.” At the request, however,<br /> of the editor of London, the librarians of seven-<br /> teen free public libraries in the metropolis made<br /> a return in April last, showing the classes of<br /> books read in the homes of the people. From<br /> this it appeared that the issue of fiction, as com-<br /> pared with other classes of literature reached a<br /> general average of 75 per cent., and in nine<br /> districts over 80 per cent. of the total issues.<br /> In connection with the management of the lending<br /> libraries established under the Free Libraries<br /> Acts in London, they were struck by the fact that<br /> the student had been ousted from his rightful<br /> place by the inordinate favour afforded to the<br /> demands of the general reader and the devourer<br /> of fiction. The principles of management which<br /> had made possible the statistics which he had<br /> brought under their notice had, he was convinced,<br /> alienated from the free library cause in every<br /> district the support of many friends of intel-<br /> lectual progress, and were at present a serious<br /> hindrance to the growth of the movement<br /> in the metropolis. Would it be too much to<br /> ask the novel reader to provide himself with the<br /> current fiction of the day and resort to the library<br /> for the masterpieces of fiction of the present and<br /> bygone times P Should Parliament be approached<br /> for permission to raise the limit of the library rate<br /> to 2d. (a course which he thought seemed most<br /> desirable), any such measures should undoubtedly<br /> be accompanied by a compulsory proviso that a<br /> definite proportion of the amount available for the<br /> purchase of books should be devoted to the pur-<br /> poses of a reference library. The present con-<br /> dition of the free library movement in London,<br /> and the erection of new libraries, which was<br /> continually proceeding in every district, suggested<br /> most strongly the need of some scheme for con-<br /> verting this aggregation of institutions into a<br /> systematic and harmonious system to provide for<br /> the needs of the metropolis as a whole. The<br /> popularity of the two existing free public libraries<br /> —those of the British Museum and the Guildhall<br /> —prove that similar institutions, placed in the<br /> midst of the homes of the people, would prove a<br /> boon of the highest kind. He felt most strongly<br /> that the present haphazard system in which our<br /> London libraries were growing up, owing to the<br /> different extent and circumstances of the various<br /> districts which maintained them, must end in<br /> confusion, perhaps (in some cases) in partial or<br /> complete failure; while, on the other hand, a<br /> well-considered scheme of mutual help and effort,<br /> <br /> <br /> ## p. 157 (#171) ############################################<br /> <br /> THE AUTHO/8.<br /> I 57<br /> the details of which might well be evolved from<br /> a general conference of the metropolitan library<br /> authorities, would result in placing London in a<br /> position second to no city in the world in respect<br /> of facilities for literary reference and research.<br /> —The Times.<br /> *— — —”<br /> AUTUMN ANNOUNCEMENTS.<br /> M*: SAMIPSON LOW AND CO.<br /> announce twenty-five new books, to-<br /> gether with several new volumesin Low’s<br /> Half-Crown Series of Boy’s Books, and a half-a-<br /> crown series of famous books of travel. Among<br /> the new works are “The Life of J. Greenleaf<br /> Whittier,” by S. T. Pickard ; “Lord John<br /> Russell,” by S. J. Reid; “Strange Pages from<br /> Family Papers,” by T. F. Thiselton Dyer; and<br /> fourteen novels.<br /> The Clarendon Press announce forty-seven<br /> new works and editions. These are mostly works<br /> of scholarship and education. Among them is<br /> the final volume of “Realm of India,” “Russell<br /> Colvin,” by Sir Auckland Colvin ; two more<br /> volumes of Professor Skeat&#039;s edition of<br /> Chaucer; two more letters of the New English<br /> Dictionary; and Mr. Hastings Rashdall’s<br /> “ Universities of the Middle Ages.”<br /> Messrs. Rivington, Percival, and Co. announce<br /> thirty-three works, nearly all are educational.<br /> Among them is Canon Taylor&#039;s “Names and<br /> their Histories.”<br /> Messrs. Dent and Co. announce sixteen works,<br /> chiefly reprints and new editions. Among the new<br /> books are “Annals of a Quiet Valley in the<br /> Wordsworth Country,” by Mr. William Watson;<br /> “Overheard in Arcady,” by R. Bridges; and<br /> “Studies in Literature,” by Mr. Wright<br /> Mabie.<br /> Messrs. T. and T. Clark announce ten new<br /> works, all theological.<br /> Messrs. Ward, Lock, and Bowden announce<br /> twelve new books, besides a reprint of Henry<br /> Ringsley&#039;s novels, and a new volume of the<br /> Waverley novels. Among the new books is Mr.<br /> Douglas Sladen’s “On the Cars and Off”; Mr.<br /> Bertram Mitford’s “Curse of Clement Wayn-<br /> flete; ” and Mr. George Meredith’s “Tale of<br /> Chloe.”<br /> Mr. Elkin Mathews announces seventeen new<br /> books, chiefly essays and poems. Among the<br /> authors are Mr. Wedmore, Mr. Lionel Johnson,<br /> Mr. Selwyn Image, Mr. Dowson, Mr. A.<br /> Galton, Mr. S. Hemingway, Mr. Quilter, Mr. W.<br /> B. Yeats, Mr. Rothenstein, Mrs. Radford, Mr.<br /> Bliss Carmen, and Mr. R. Hovey. “Revolted<br /> Woman: Past, Present, and to Come,” is by Mr.<br /> C. G. Harper,<br /> Messrs. Bemrose and Sons announce two<br /> books.<br /> Messrs. W. Blackwood and Sons announce<br /> fifteen new books. Among them are three<br /> biographies and five novels, including two by<br /> Mrs. Oliphant, and the “Son of the Marshes.”<br /> Messrs. Allen announce nine new works, inclu-<br /> ding a book on the “Portuguese in India,” by<br /> F. C. Danvers; on “Buddhism in Thibet,” by<br /> Surgeon-Major Waddell; a Bengali Manual; new<br /> volumes of the Naturalist&#039;s Library; and two<br /> novels.<br /> Messrs. Bliss, Sands, and Foster announce mine<br /> books. There are two novels by Mrs. Caird and<br /> Miss Clementina Black; the continuation of the<br /> “History of the United States Navy,” and a book<br /> on Strikes.<br /> Messrs. Nelson and Sons have eleven new<br /> books, besides new prize books and atlases. The<br /> most important are Dr. Wright&#039;s book on<br /> Palmyra ; a new Concordance to the Bible, by<br /> the Rev. J. B. R. Walker; the “Voyages and<br /> Travels of Capt. Basil Hall,” and five stories.<br /> Messrs. Luzac have four learned works.<br /> Messrs. W. Andrews have seven works, mostly<br /> antiquarian.<br /> Messrs. Warne and Co. announce twenty-six<br /> new editions or new works, without counting<br /> many children’s books. Among the new editions<br /> are the Waverley Novels, “Cameos of Litera-<br /> ture,” which will be a reprint of Knight&#039;s famous<br /> “Half Hours with the best Authors; ”a new library<br /> edition of Wood’s “Dictionary of Quotations; ”<br /> a revised edition of Lears “Nonsense Songs<br /> and Stories; ” and four or five reprints of<br /> novels.<br /> Messrs. Jarrold and Sons announce eleven new<br /> books; additions to certain series; the “Green-<br /> back; ” “Elashes of Romance; ” and “Unknown<br /> Authors; ” uniform editions of the novels of<br /> Helen Mathers and Fergus Hume ; and their<br /> novels outside the series.<br /> Messrs. Skeffington and Co. announce fourteen<br /> books, of which twelve are religious. There are<br /> two novels.<br /> Messrs. Browne and Browne, of Newcastle,<br /> announce a “History of the Chartist Move-<br /> ment.”<br /> In the “Autumn Announcements” of our last<br /> number we attributed to Messrs. Chapman and<br /> Hall the production of fifteen new books. The<br /> <br /> <br /> ## p. 158 (#172) ############################################<br /> <br /> I58<br /> THE AUTHOR.<br /> chairman of the company points out that they<br /> are producing thirty-one instead of fifteen new<br /> books. The mistake was caused by the<br /> “announcements” of that firm being entered in<br /> three different columns of the Athenaeum, of<br /> which only one was seen by our compiler.<br /> The complete list of thirty-one is exclusive of<br /> new editions, nor does it include reprints of<br /> “stock” books, such as Dickens, Carlyle, and<br /> Meredith, of which an unusual number are this<br /> year published.<br /> In the October number of the Author it was<br /> stated as remarkable that out of fifty-one books<br /> announced by the Cambridge University Press<br /> there should be not one mathematical or scientific<br /> book among them all. The mathematical and<br /> scientific books were in another list. There are<br /> twenty-four of them. Among them are the<br /> seventh volume of the collected Mathematical<br /> Papers of Arthur Cayley ; the Scientific Papers<br /> of John Couch Adams; a Treatise on Spherical<br /> Astronomy, by Sir Robert Ball; on Electricity<br /> and Magnetism, by Prof. Thomson ; on Hydro-<br /> dynamics, by Prof. Lamb; the tenth volume of<br /> a Catalogue of Scientific Papers, compiled by the<br /> Royal Society of London; the Practical Phy-<br /> siology of Plants, by F. Darwin and E. H. Acton;<br /> on a Practical Morbid Anatomy, by H. O.<br /> Rolleston and A. A. Kanthack ; on the Dis-<br /> tribution of Animals, by F. E. Beddard; on<br /> Physical Anthropology, by Alexander Mac-<br /> alister; and the Elements of Botany, by F.<br /> Darwin.<br /> In this and in the last number of the<br /> Author we have classified the announcements<br /> made in the Athenæum by various publishers of<br /> their autumn books. The list seems somewhat<br /> smaller than that of last year, which was to be<br /> expected from the general depression everywhere<br /> reported. At the same time not so much<br /> shrinkage in production as shrinkage in sales<br /> would be the first result of such a depression.<br /> Almost all the better known names are repre-<br /> sented in the list. For instance, of historians,<br /> Critics, travellers, philosophers, and antiquaries,<br /> we find the names of Canon Atkinson, Rev. Robert<br /> Burn, Justin McCarthy, T. F. Thiselton Dyer,<br /> W. Cunningham, Archdeacon Farrar, J. T.<br /> Jusserand, Dean Hole, Frederick Harrison, Pro-<br /> fessor Freeman, Professor Froude, Professor<br /> Gardiner, Canon Liddon, Max Müller, Professor<br /> Maspero, Henry Norman, Sir Frederick Pollock,<br /> Professor Flinders Petree, Bishop of Peter-<br /> borough, J. Addington Symonds, Sir J. R.<br /> Seeley, Leslie Stephen, Colonel Malleson, John<br /> Westlake, Robertson Smith, Professor Skeat,<br /> Canon Taylor, H. Traill. Among the novelists<br /> and poets there are, among others, Sir Edwin.<br /> Arnold, Mrs. Alexander, F. Barrett, Amelie Barr,<br /> Robert Barr, Walter Besant, William Black,<br /> Clementima Black, R. D. Blackmore, Marion<br /> Crawford, S. R. Crockett, Mrs. Caird, R.<br /> Bridges, Mrs. Charles, Sir H. Cunningham,<br /> Egerton Castle, Sarah Doudney, George du<br /> Maurier, Conan Doyle, G. M. Fenn, Baring<br /> Gould, Edmund Gosse, Dorothea Gerard, R.<br /> Lehmann, G. Meredith, G. MacDonald, Christie.<br /> Murray, John Oliver Hobbes, Anthony Hope,<br /> Mrs. Lynn Linton, Helen Mather, L. Pendered,<br /> W. E. Norris, Gilbert Parker, Standish O&#039;Grady,<br /> “Rita,” Adeline Serjeant, G. A. Sala, Hesba.<br /> Stretton, Sarah Tytler, Stanley Weyman, Douglas<br /> Sladen, William Watson. -<br /> BOOK TALK,<br /> R. R. B. MARSTON&#039;S new work on.<br /> “Walton and the Earlier Fishing<br /> Writers ” (Elliot Stock, The Book<br /> Lover&#039;s Library) will certainly add to his repu-<br /> tation as an authority on the literature of the<br /> angler, and will form an instructive companion<br /> to the magnificent edition of “The Compleat.<br /> Angler,” published by him some years ago.<br /> From A.D. 1420, when Piers, of Fulham, wrote a<br /> curious tract on the subject, through the works<br /> of Dame Juliana Berners, Leonard Mascall<br /> (pioneer of fish culture in England), Blakey,<br /> John Denny, Gervase Markham, William Lawson,<br /> and Cotton, down to the ever-famous work of<br /> “Old Izaak,” Mr. Marston takes his readers<br /> in the pleasantest manner possible. He tells us<br /> that the “Compleat Angler” was published<br /> originally in 1653 at the price of Is. 6d.<br /> What is a first edition worth nowadays P. It<br /> would appear that 3235 is about a fair figure,<br /> though as much as 33 IO has been paid. In 1816.<br /> a “first&quot; could be bought for four guineas As<br /> Mr. Marston pointedly asks, “What will such a<br /> one be worth, say, in 1993 P” Not the least<br /> interesting feature of an extremely interesting<br /> work is the modest preface in which our author<br /> tells us something of his own early days as an<br /> angler, and of his youthful acquaintance with<br /> fishing writers. He also takes the opportunity of<br /> warning would-be collectors against spurious first.<br /> editions, of which he declares that there are many<br /> in the market, mostly “made in Germany.”<br /> Truly a charming work, and one deserving a place<br /> in every fisherman’s library. It is got up with<br /> great care on wide margined paper, and is a<br /> credit to the publisher by whom it is issued.<br /> <br /> <br /> ## p. 159 (#173) ############################################<br /> <br /> THE AUTHOR.<br /> I 59<br /> In another column will be found certain lines<br /> taken from a new volume of verse by a new poet—<br /> Mr. Albany F. Major. The whole volume is full<br /> of strong and spirited verse. We have had<br /> plenty of verse in the minor key, let us welcome<br /> one who can sing of life in action and in battle,<br /> and in enjoyment of both action and battle.<br /> The little book is published by “David Nutt<br /> in the Strand.”<br /> A bard of a lighter kind is Mr. Anthony C.<br /> Deane, who has just republished, under the title of<br /> “Holiday Rhymes,” a collection of very sprightly<br /> verses, which have already appeared in Punch<br /> and many other papers and magazines. It is<br /> as pleasant a collection as one could wish. Mr.<br /> Deane can command laughter, which is a truly<br /> admirable gift; he is always cheerful and always<br /> genial; he can be sarcastic without the least<br /> discoverable touch of bitterness. Greatly to be<br /> envied is the man who can stand outside, look on,<br /> and laugh, and make even the combatants laugh.<br /> Even when Anthony Deane laughs at that sacred<br /> institution, the Author, he can laugh with a<br /> sympathetic light in his eye.<br /> Mrs. Spender&#039;s new novel, “A Modern<br /> Quixote,” has been published by Messrs. Hutch-<br /> inson in three volumes. The same publishers<br /> have issued a cheap edition, at 2s., of her last<br /> novel, “A Strange Temptation.”<br /> Mrs. Edith E. Cuthell’s one volume story—a<br /> yachting story—called “The Wee Widow’s<br /> Cruise,” will be issued by Messrs. Ward and<br /> Downey. Mrs. Cuthell has also written a chil-<br /> dren&#039;s story called “Only a Guardroom Dog.”<br /> which is to be illustrated by Mr. W. Parkinson,<br /> and published by Methuen and Co.<br /> Miss Clara Lemore&#039;s new novel—in three<br /> volumes—called “Penhala, a Wayside Wizard,”<br /> is now ready at all the libraries. It is published<br /> by Hurst and Blackett.<br /> Mr. Standish O&#039;Grady’s Irish romance of the<br /> Elizabethan period, entitled “Red Hugh&#039;s<br /> Captivity,” will begin to run in the weekly Irish<br /> Times in January, 1895.<br /> “What is Education ?” Mr. Walter Wren<br /> asks (Simpkin and Marshall) the question, and<br /> answers it, giving his own ideas on the subject.<br /> Education is, to begin with, a thing personal. No<br /> man can be educated; he can be shown the way<br /> to educate himself, it depends upon himself<br /> whether he ever does become an educated man<br /> For instance, the first law of education is to<br /> notice things; things that you read, things that<br /> you hear, things that you see ; not to pass over<br /> things without understanding them. This then<br /> is education of the body, the mind, and the spirit.<br /> As regards the second. Education of the mind<br /> must do two things—(1) bring out, develop, and<br /> strengthen the powers of the mind, just as a<br /> proper course of training in games and athletics<br /> brings out and strengthens the powers of the<br /> body; and (2) it should teach useful know-<br /> ledge. These notes are worthy of expansion into<br /> a book.<br /> Before closing up his work on the old A.B.C.<br /> Hornbook which is to contain something like two<br /> hundred illustrations, Mr. Andrew Tuer, of the<br /> Leadenhall Press, E.C., asks to be favoured with<br /> notes from those who may remember the horn-<br /> book in use, or who may have in their possession<br /> examples which he has not yet seen Information<br /> about spurious hornbooks, from the sale of which<br /> certain persons are at present said to be reaping<br /> a golden harvest, is also sought. -<br /> John Gladwyn Jebb—Jack Jebb—was not born<br /> in the days of Queen Elizabeth, and he did not<br /> seek the Spanish Main with Drake. He was born<br /> fifty years ago, and he died last year. During<br /> his fifty years of life he had more adventures<br /> than any novelist would dare to invent—not even<br /> Rider Haggard, who writes an introduction to<br /> the Life of Jack Jebb. Indeed, one is astonished<br /> that the novelist did not lay hands on the MS.,<br /> and bring it out with a few additions as a novel.<br /> The hero is wasted and thrown away in a mere<br /> biography. It is, indeed, an astonishing book,<br /> astonishing that in these days so much adventure<br /> and danger should be possible. There is still<br /> hope for the boy who desires the life of danger.<br /> Mexico lies open; and there is Central Africa.<br /> In the former the boy can follow the footsteps<br /> of Jebb ; in the latter, of Selous.<br /> Coulson Kernahan’s “Sorrow and Song” is a<br /> collection of essays originally written for the<br /> Fortnightly Review and other papers, and recast<br /> or re-written for this volume. They are papers<br /> on Heine, Rosetti, Robertson of Brighton, Louise<br /> Chandler Moultrie, and Philip Marston. Mr.<br /> Kernahan is the first writer, so far as I know, to<br /> draw attention to the beauty and purity of Mrs.<br /> Moultrie&#039;s verse. She has the rare poetic touch ;<br /> the thing that can never be imitated, or bor-<br /> rowed, or learned, or stolen. Of living American<br /> poets, Mrs. Moultrie stands in the first rank.<br /> There are not many, indeed, who are worthy to<br /> stand beside her. We neglect the American<br /> poets. Will Mr. Coulson Kinnahan undertake the<br /> pleasing task of presenting to English readers<br /> some who desire to be known in this country as<br /> well as their own P. Among these, for instance,<br /> are R. W. Gilder and Professor Woodberry, both<br /> of whom ought to be better known by us.<br /> <br /> <br /> ## p. 160 (#174) ############################################<br /> <br /> I6O<br /> THE AUTHOR.<br /> I recommend “Baron Verdigris” as a topsy-<br /> turvy book. The author describes it as a romance<br /> of the reversed direction. He shows, in fact, a<br /> new and hitherto undiscovered danger in applied<br /> mathematics. The book is calculated to confirm<br /> in their prejudice all that large class which does<br /> not like “sums.” Speaking as one who does like<br /> sums, especially when they are in “X” and “y,”<br /> I found the book diverting and ingenious, but<br /> was saddened by the reflection that I might my-<br /> self have made similar discoveries.<br /> It is said that the sale of “The Manxman” has<br /> reached the number of 45,000 copies. This is<br /> probably the highest number ever attained in<br /> this country in so short a time by a six shilling<br /> volume. It is, however, surpassed by the sale of<br /> “Trilby’’ in the United States. The number<br /> reached by “Trilby’’ is said to be 100,000. In<br /> the three-volume form, in which it has been<br /> judged expedient to produce it here, it is in great<br /> demand.<br /> The St. James&#039;s Gazette has discovered that<br /> “Adam Bede,” which enjoyed a similar measure of<br /> success, ran through 16,OOO copies in nine months.<br /> The terms offered by Messrs. Blackwood to its<br /> successor were: £2OOO for 4000 copies of three<br /> volumes, 3150 for IOOO at 12s., and £60 for IOOO<br /> at 6s. These terms, the St. James’s Gazette<br /> points out, amount to royalties of 20 to 25 per<br /> cent. To be exact, the royalties are 31%, 25, and<br /> 20 per cent. respectively.<br /> From the same paper we learn that Miss Wills,<br /> daughter of Dr. C. J. Wills, the author of<br /> “Persia as it is,” has written, from personal<br /> experience, a book on Eastern life called “Behind<br /> an Eastern Weil.”<br /> Mr. William Watson’s new volume will be<br /> called “Odes, and other Poems” (John Lane).<br /> William Westall, who is spending the winter<br /> at St. Moritz, in Upper Engadine, and may<br /> remain abroad for a year or two, has placed his<br /> literary interests in the hands of Messrs. A. P.<br /> Watt and Son, to whom all communications<br /> should be addressed.<br /> A short time ago a certain Swiss paper “ran’”<br /> “Josef im Schnei,” an old story by Auerbach,<br /> without making any preliminary arrangement<br /> with the publishers, or intending to pay for<br /> the serial use. But the publishers, getting wind<br /> of the piracy, demanded an honorarium of 200<br /> marks, to which the proprietors of the Swiss<br /> paper demurred ; whereupon the publishers<br /> brought an action against them and obtained<br /> a verdict for 200 francs. The incident is note-<br /> worthy, as showing the advantages to authors<br /> and publishers of international copyright treaties.<br /> Only a few years ago foreign authors had no<br /> protection whatever in Switzerland, their works<br /> could be reproduced without let or licence, and<br /> Swiss newspaper proprietors were not slow to<br /> take advantage of the fact. Some of them still<br /> obtain their feuilleton matter surreptitiously from<br /> foreign sources, and are not always, as in the<br /> present instance, brought to book and made to<br /> pay.<br /> “In Furthest Ind,” by Sydney Grier (Black-<br /> wood and Sons), is a remarkable tour de force by<br /> a young writer, whose work has hitherto been<br /> confined to short stories for the magazines. It is<br /> a finely-conceived romance of travel and adventure<br /> in the latter half of the seventeenth century, as<br /> told by the hero himself in the very language, as<br /> it were, of his own day. Edward Carlyon, whose<br /> father fought and bled for Charles I., goes out to<br /> Surat as a “writer’’ in the East India Company’s<br /> service, and spends twenty years in India, during<br /> which he meets with many strange adventures,<br /> and has more than one hair&#039;s-breadth escape<br /> from a cruel death. Every detail of the story<br /> and its local surroundings seems to have been<br /> studied with infinite care, and worked in with<br /> due regard to the general effect. The interest<br /> is well sustained on the whole, and some,<br /> at least, of the characters—especially Dorothy<br /> —are really alive. And, as one reads on, one<br /> seems to discover in the author&#039;s style a certain<br /> grace and harmony of its own which, as in<br /> “Esmond,” count for much more than a clever<br /> masquerade.<br /> A story which ran as a serial through The<br /> King&#039;s Own is now to be issued in book form<br /> by Parlane and Co., Paisley, under the title of<br /> “Covenanters of Annandale.” The book will be<br /> beautifully illustrated with views of the haunts<br /> of the Covenanters in the hills and glens of<br /> Upper Annandale. A short story, by the same<br /> author, will shortly be published by Hunter and<br /> Co., Edinburgh, as a Christmas booklet. It is<br /> entitled “A Swatch o&#039; Hamespun.” The author,<br /> Agnes Marchbank, has, at present, serials in the<br /> Ladies’ Journal, Scottish Reformer, and the<br /> Plough. A new serial from her pen will<br /> shortly appear in Word and Work (Shaw<br /> and Co., London).<br /> Brig.<br /> One of the most important of the illustrated<br /> books which Mr. George Allen contemplates<br /> issuing this autumn is the limited edition de<br /> luate of Spenser&#039;s “Faerie Queene’’ in large<br /> post quarto form, with illustrations by Mr.<br /> Walter Crane. It is to be published in monthly<br /> parts.<br /> It is a tale of Bothwell<br /> <br /> <br /> ## p. 161 (#175) ############################################<br /> <br /> THE AUTHOIR.<br /> I6 I<br /> CORRESPONDENCE.<br /> I. – Nov ELS AT PopULAR PRICEs. – WILKIE<br /> CoLLINs’ OPINION.<br /> N the interesting compilation of novels issued<br /> from the year 1750 to 1860—which appeared<br /> in September&#039;s Author — during the first<br /> forty-two years of this period the ruling price<br /> was 3s. a volume. In those days, them—when, if I<br /> mistake not, there was a heavy duty on paper,<br /> now taken off—this price must actually have<br /> compensated author and publisher. And as the<br /> cost of production must have been more then<br /> than now, with no monster circulating libraries<br /> existing, it must be presumed that the novels in<br /> those days had a large circulation, and were pur-<br /> chased by their readers. At present novels are<br /> borrowed and not bought, on account of their<br /> high price. As readers now must be greatly<br /> in excess of those in the eighteenth century,<br /> it surely must follow, as “the night the<br /> day,” that good fiction at 28., 2s. 6d., and 3s, a<br /> volume would reach the masses, who are forced<br /> to amuse themselves with penny dreadfuls. In<br /> the year 1883 I had a long correspondence with<br /> the late Wilkie Collins on the subject, and I<br /> transcribe one of his letters, which will prove<br /> interesting just now, when one-volume novels<br /> threaten to supersede those in three volumes.<br /> Your views on the question of publication have been my<br /> views for years past. I have tried thus far in vain to<br /> induce publishers to see the advantages (to themselves as<br /> well as to literature) of effecting a reform already esta-<br /> blished in all other civilised countries. I can do nothing by<br /> myself. I should be powerless for this plain<br /> reason, that my time and energies are wholly absorbed in<br /> writing my books. I can only wait and hope for the coming<br /> man who will give me my opportunity. The vicious<br /> circulating library system is unquestionably beginning to<br /> fail, and the recent issue of sixpenny magazines shows an<br /> advance in the right direction. &#039; &#039; &#039; f<br /> It is superogatory for me to comment on<br /> the opinion of this great authority. To my mind<br /> a popular book must always be a cheap book, in<br /> spite of a prevailing prejudice that what is cheap<br /> cannot be good. The circulation of a favourite<br /> work of fiction would increase a hundredfold if it<br /> could be bought at 2s. or 2s. 6d. Everyone does<br /> not belong to Mudie&#039;s, and the purchasers<br /> amongst the inhabitants of Greater Britain<br /> number legion, and our novels would gain in<br /> excellence and interest by being shorter and<br /> crisper. In fact, one might actually look forward<br /> to a time when the novelist will actually write a<br /> story without having any need to garnish it with<br /> interminable descriptions, dull moralisings, or<br /> tedious conversations, when, instead of writing a<br /> novel with a purpose, his only purpose will be to<br /> write a novel. ISIDORE G. ASCHER.<br /> II.--—“NEw.”<br /> One of a coterie of “new” authors has lately<br /> advanced the idea that the “incident’’ novel is<br /> a product of to-day; that to our medical author<br /> more than anyone else we owe the modern<br /> “incident” novel. It seems, too, to be received<br /> in the new school of critics that a certain quality<br /> of dry wit now in vogue is “new” humour. Are<br /> not both these crude ideas fallacies?<br /> We might easily speak of a still living giant to<br /> prove the error of these “new * ideas, but we<br /> will be content with the dead. Between thirty<br /> and forty years ago—about the time our “new”<br /> author alludes to as that when “incident &quot; was<br /> bad art—a book burst on the public : a book<br /> which is still read, and which is and will be con-<br /> sidered one of the masterpieces of the century—<br /> “The Cloister and the Hearth.” Will any<br /> “new” writer be bold enough to advance the<br /> statement that this is not a novel of “incident P”<br /> It brims over with it; with that strong dramatic<br /> incident which thrills the reader. Here also may<br /> be found the “new” humour. You say “no P’<br /> “Look else.” “He dearly loved maids of honour,<br /> and indeed paintings generally.” “Est ce toi<br /> qui l’a tu,” and what follows.<br /> But why particularise, the book teems with<br /> instances, of which the two mentioned happen to<br /> cross my memory first. Then incident . The fight<br /> upon the stairs with the Abbot and his gang, to<br /> pick out one amongst many; who can read this<br /> and his nerves not crawl?<br /> Was “Hard Cash,” with its pirate encounter,<br /> no book of incident P Or “It is Never too Late<br /> to Mend?” and do we not find the “new”<br /> humour flashing upon us from any one of these<br /> books? Ay! humour and incident too, yet so<br /> biended with scenes of touching pathos, and all<br /> else that goes to the making up of a novel, that<br /> each is a masterpiece.<br /> Is it necessary to mention Charles Kingsley<br /> and “Westward Ho; ” is “incident’’ wanting<br /> here * Would not any living writer be proud to<br /> have written that great chapter “How Amyas<br /> threw his sword into the sea P’’ Need we go<br /> further And yet we are to be told that because<br /> Thackeray and Trollope followed other methods,<br /> the “incident’’ novel is some new thing; the<br /> “incidentalist”, a new genius. We might go<br /> still further back towards the beginning of the<br /> century, and instance “Ivanhoe.” But enough.<br /> There is nothing, now, new under the sun any<br /> more than there was in Solomon&#039;s day. As in<br /> fiction so in music. Writers, even against their<br /> volition, plagiarise.<br /> So it is with the “incident’’ novel, and with<br /> the “new” humour. ALAN OsCAR.<br /> <br /> <br /> ## p. 162 (#176) ############################################<br /> <br /> I62<br /> THE AUTHOR.<br /> III.-ARE THEY LosTP<br /> An acquaintance of mine sent some fifteen<br /> papers to a learned society now nearly four years<br /> ago, and from that day to this she has tried in<br /> vain to learn their fate. They were translations,<br /> and of their scientific value she was ignorant more<br /> or less ; but they had involved considerable<br /> labour, besides the writing of at least 20,000<br /> words. It was not a question of money, as she<br /> knew that the society was too poor to pay, even if<br /> they thought the papers worth using.<br /> It was something like two years before she<br /> discovered the member in whose hands they had<br /> been placed. He informed her that a selection<br /> was to be made by himself and the editor of the<br /> quarterly in which the selected papers were to<br /> appear.<br /> Another interval, and towards the close of the<br /> third year two of the papers actually made their<br /> appearance, prefaced by a long introduction,<br /> from which it appeared that they were of some<br /> value. --<br /> More months, more inquiries. Then five or<br /> six papers were returned without a word, and the<br /> remainder are—where P Nobody deigns to say.<br /> The publisher of the quarterly, who is in no way<br /> responsible, has kindly inquired for them more<br /> than once, but to no purpose.<br /> And yet one little post-card would relieve an<br /> anxious soul and settle the question of their fate.<br /> Are they lost, or burnt by accident, or committed<br /> to the waste-paper basket P Or—are they going<br /> to be used at the rate of two every four years P<br /> One would like to know, if only for curiosity’s<br /> sake; and the worst, however heartrending,<br /> would be better than prolonged uncertainty.<br /> Meanwhile, it is melancholy to reflect that some<br /> poor publisher might have been quite pleased to<br /> loring them out. &amp;<br /> - IV.-SLIPSHOD ENGLISH.<br /> A correspondent (F. H. P.) writes to point out<br /> the following specimens of slipshod English in<br /> one number of an English magazine:<br /> “M. had succeeded to re-establish,” &amp;c.<br /> “He eagerly pursues the aim to abolish.”<br /> “We advise to consult,” onitting the names<br /> or persons advised.<br /> “Have left definitely the country’ for “have<br /> definitely left.” -<br /> W.—ON CRITICAL AND EDITORIAL AMENITIES.<br /> I commit to paper, without fear or prejudice,<br /> my experience of the amenities of certain literary<br /> men in our boasted Nineteenth Century !<br /> Aw premier, a well-known critic, after praising<br /> my poems, and including me in a list of the<br /> poets of the day, suddenly showed his teeth and<br /> refused to read my last volume of poems, or to<br /> answer my letters. And this without the<br /> shadow of a reason for his change of front; on the<br /> contrary, I always wrote most warmly and giate-<br /> fully to him for his kindness, as he must admit.<br /> Again, I sent, not long ago, a poem to a<br /> monthly magazine, and, not hearing of its fate,<br /> about a month later I sent the editor a post card<br /> inquiring about it. This post card was returned<br /> to me with “Refused,” written across it. Why?<br /> Once more, a ballad of mine was recently<br /> inserted in a certain journal, which had appeared<br /> in another periodical six years ago, and also in<br /> one of my books, but was never paid for. As this<br /> book had been recently reviewed in this journal, I<br /> naturally thought they would have seen it there.<br /> The acting editor, on finding that it had appeared<br /> before, asked me to explain. On my doing so, he<br /> not only refused my apology, but wrote very<br /> rudely to me, as I considered. So much for the<br /> gentlemanly feeling and courtesy of this acting<br /> editor |<br /> Yet, again, there is a certain gentleman quite<br /> free from “prejudice ’’—we have his word for it<br /> —who cut up a fairy tale of mine in a journal<br /> now extinct. On my writing a line to him to say<br /> that I had heard that certain persons were<br /> enchanted with the same tale, and that I felt<br /> sure he would be pleased to hear it, he simply<br /> returned the printed extract I sent him without a<br /> single word of any sort or kind. How manly and<br /> generous, and how like a gentleman this was<br /> Without prejudice, forsooth !<br /> Again, the editor of a Radical evening country<br /> paper, for whom I have written many articles<br /> and poems gratuitously in days gone by, and<br /> others which were paid for, and who professed to<br /> value me as a contributor very highly, not only<br /> gave me no review of my last book of poems, but<br /> (though I wrote most courteously to him more<br /> than once) never sent me a line in reply<br /> These are only a few instances of the many<br /> discourtesies I have received. What must the<br /> shade of Thackeray (a true and courteous gentle-<br /> man) think of some of our modern editors P<br /> On the other hand, I would instance the<br /> Westminster Gazette, the Minstrel, Public<br /> Opinion, Fun, Vanity Fair, the Weekly Sun,<br /> and others as being most fortunate in having<br /> editors who are courteous and kind in the<br /> extreme.<br /> I may mention that the critic first referred to<br /> does notice books in the columns of a weekly<br /> journal, so he could have mentioned mine had he<br /> chosen to AN AUTHOR.<br /> [Our correspondent’s complaints, it seems to<br /> us, unless the facts are not all stated, may be<br /> <br /> <br /> ## p. 163 (#177) ############################################<br /> <br /> THE AUTHOR.<br /> I63<br /> answered offhand without reference to the<br /> editors referred to. For instance, (I) a critic<br /> may change his opinions and may not see the<br /> necessity of explaining at length why he has<br /> done so. (2) An editor must decline hundreds<br /> of papers every year, but it would be absolutely<br /> impossible for him to write his reasons to every<br /> contributor. (3) No journal likes to publish<br /> verses which have already appeared elsewhere.<br /> The writer should have stated the fact in sending<br /> the poem. (4) Next, a reviewer who has expressed<br /> an opinion on a book would certainly not change<br /> it because somebody else was said to hold an<br /> opposite opinion. (5) An editor might resent<br /> being asked for a review of a book. It is a pity<br /> that politeness is not everywhere observed towards<br /> contributors. But in the cases quoted our corre-<br /> spondent apparently complains without good<br /> reason. It is a common belief that an editor<br /> will consider unfinished, or half finished, work;<br /> that he will sit down and point out where a paper<br /> is deficient; that he will act as a judicious coach;<br /> that he will give his reviewer&#039;s written justifica-<br /> tion for his review. Let it be remembered that<br /> an editor can do none of these things. If our<br /> correspondent would consider the position of the<br /> editor, he would withdraw at once half the above<br /> complaints.—ED.<br /> *-- * ~ *<br /> r- - -<br /> NEW BOOKS AND NEW EDITIONS,<br /> History and Biography.<br /> ATKINSON, REv. J. C. Memorials of Old Whitby, or<br /> Historical Gleanings from Ancient Whitby Records.<br /> Macmillan. 6s. met.<br /> BAKER, JAMEs. A Forgotten Great Englishman, or the<br /> Life and Work of Peter Payne, the Wycliffite. Illus-<br /> trated. The Religious Tract Society. 5s.<br /> BEAULIEU, A. LOREY. 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Records of the Hole Crafte and<br /> Fellowship of Masons, with a Chronicle of the History<br /> of the Worshipful Company of Masons in the City of<br /> London. S. Sommenschein. 218.<br /> By Herself. 2 vols.<br /> COOPER, KING, LIEUT.-CoI., F.G.S. George Washington<br /> Chapman and Hall. 6s,<br /> CRAIK, HENRY. Life of Jonathan Swift.<br /> Macmillan. Ios.<br /> DöLLINGER. D.R. Addresses on, Historical and Literary<br /> Subjects (in continuation of Studies in European<br /> Second edition.<br /> History). Translated by Margaret Warre. John<br /> Murray. I48.<br /> EARDLEY-WILMOT, E. P. and STREATHFEILD, E. C.<br /> Charterhouse, Old and New, with four original etchings<br /> by D. Y. Cameron. Nimmo.<br /> FISCHER, R. Von. Lord Johan Fyssher. An Historical,<br /> Geneaological, and Heraldic Research. Treuenfeld,<br /> Ede, Dearberg, and Co.<br /> FISHWICK, LIEUT.-CoI2. HENRY. A History of Lanca-<br /> shire (Popular County Histories). 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Ios. 6d.<br /> KINGSTON, ALFRED. Hertfordshire during the Great Civil<br /> War and the Long Parliament, with Occasional Notices<br /> of Occurrences in Beds., Hunts., Cambs., and Essex.<br /> Elliot Stock.<br /> LAUGHTON, PROF. J. K. Defeat of the Spanish Armada<br /> (Publications of the Navy Records Society). Wol. I.<br /> Edited by.<br /> LEE, SIDNEY. Dictionary of National Biography. Edited<br /> by. Vol. XL.—Millar to Nicholls. Smith, Elder, and<br /> Co.<br /> LIDDON, CANoN. Life of Edward Bouverie Pusey. DD.<br /> Edited by the Rev. J. O. Johnston, and the Rev. Dr.<br /> R. J. Wilson. In 4 vols., Vol. ..., with portraits and<br /> illustrations. Longmans. I88.<br /> MASSON, FR£D#RIC. Napoleon at Home : the Daily Life<br /> of the Emperor at the Tuileries. Translated from the<br /> French by James E. Matthew. 2 vols. H. Grevel and<br /> Co. 28s.<br /> PASQUIER, DUC D’AUDIFFRET. Memoirs of Chancellor<br /> Pasquier. Edited by. Translated by Charles E. 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The music edited<br /> by Herbert Stephen Irons and Arthur Henry Brown;<br /> with an introduction by S. Baring-Gould. Complete<br /> edition. William Clowes.<br /> EUROPEAN PICTUREs of THE YEAR. Being the foreign<br /> art supplement to the “Magazine of Art,” 1894. Cassell.<br /> Cloth, gilt, 4s. ; paper covers, 28. 6d.<br /> FLAMMARION, CAMILLE. Popular Astronomy: A General<br /> Description of the Heavens. Translated from the<br /> French, with the author&#039;s sanction, by J. Ellard Gore.<br /> With three plates and 288 illustrations. Chatto and<br /> Windus. I6s.<br /> GUY, A. F. Electric Light and Power. Biggs and Co.<br /> 58<br /> HARRIson, JoHN. The Decoration of Metals : Chasing,<br /> Repoussé, and Saw-piercing. Chapman and Hall.<br /> 3s. 6d.<br /> HART, ERNEST. The Nurseries of Cholera : its Diffusion<br /> and its Extinction. Smith, Elder. 2s.<br /> HARTIG, PROFEsso R. R. Text-book of the Diseases of<br /> Trees, translated by Professor Somerville, revised and<br /> edited, with a preface, by Professor Marshall Ward.<br /> Macmillan. IOS. net.<br /> HovKNDEN, FREDERICK. What is Heat P A Peep into<br /> Nature’s most Hidden Secrets. Whittingham. I 5s.<br /> KAPP, GISBERT. Electric Transmission of Energy, and its<br /> Transformation, Subdivision, and Distribution. A<br /> practical handbook. Fourth edition, revised. Whittaker<br /> and Co. IOs. 6d.<br /> KAROLY, KARL. Raphael’s Madonnas and other Great<br /> Pictures, reproduced from the original paintings, with<br /> a Life of Raphael, and an account of his chief works. In<br /> I vol., with 53 illustrations, including nine photo-<br /> gravures. G. Bell and Sons. 21s. net.<br /> MARKS, HENRY. STACY Pen and Pencil Sketches. With<br /> four photogravure plates and 124 facsimile illustra-<br /> tions. 2 vols. Chatto and Windus. 32s.<br /> SARGENT, CHARLEs S. The Silva of North America; a<br /> description of the trees which grow naturally in North<br /> America, exclusive of Mexico. Illustrated with figures<br /> and analyses drawn from nature by Charles Edward<br /> Faxon. Vol. VI. Ebenaceae-Polygonaceae. Boston<br /> and New York: Houghton, Mifflin, and Co.<br /> SAwF.R., J. CH. Rhodologia : A Discourse on Roses and<br /> the Odour of Rose. Brighton : W. J. Smith. 2s. 6d.<br /> SoLLY, R. H. An Elementary Introduction to Mineralogy.<br /> Clay and Sons. I58.<br /> WAN HEURCK, DR. HENRI. Photo-Micrography. English<br /> edition. Re-edited and augmented by the author from<br /> the fourth French edition, and translated by Wynne E.<br /> Baxter. Illustrations. Crosby Lockwood.<br /> WALMSLEY, R. MULLINEUx. The Electric Current : How<br /> Produced and How Used. With 379 illustrations.<br /> Cassell. IOS. 6d.<br /> WUNDT, WM. Lectures on Human and Animal Psychology.<br /> Translated from the second German edition by J. E.<br /> Creighton and E. B. Titchener. S. Sonnenschein. I58.<br /> YoFKE-DAVIES, N. E. Health and Condition in the Active<br /> and the Sedentary. Sampson Low.<br /> Law,<br /> BEwBs, W. A. The Law of Waste. Sweet and Maxwell.<br /> Bow EN, Ivor, and WARLEY, W. J. The Building Societies<br /> Act, 1894; with Notes and an Introduction. Also the<br /> Building Societies Acts, 1874, 1875, 1877, 1884.<br /> Butterworths. 4s.<br /> CHAND, HUK.M. A Treatise on the Law of Res Judicata;<br /> including the doctrines of Jurisdiction, Bar by Suit,<br /> and Lis pendens. Clowes, London; Green, Edinburgh.<br /> £2.<br /> CRAwFORD MUNRO, J. E. The Finance Act, 1894, so far<br /> as it relates to estate duty and the succession<br /> duty, with an introduction and notes. Eyre and<br /> Spottiswoode.<br /> DoDD, J. THEODORE. The Parish Councils Act Explained.<br /> Third edition. Horace Cox. Is.<br /> FREETH, EvKLYN. A Guide to the New Death Duty<br /> Chargeable under Part I. of the Finance Act, 1894.<br /> Stevens and Sons Limited. 7s. 6d.<br /> GRIFFITH, G. C. Stamp Duties Digest.<br /> Vacher.<br /> HARMAN, J. E. The Finance Act, 1894 (so far as it relates<br /> to the death duties). Stevens and Sons. 5s.<br /> HARRIs, R. A. Synopsis of the New Estate Duty. Clowes<br /> and Sons. 5s.<br /> LEGGATT, EUGENE. A Treatise on the Law of Charter-<br /> parties. Stevens. 25s.<br /> LELY, J. M. Statutes relating to Church and Clergy. Re-<br /> printed from the fifth edition of Chitty’s Statutes of<br /> Practical Utility. Sweet and Maxwell.<br /> LIGHTwoOD, J. M. A Treatise on Possession of Land.<br /> With a Chapter on the Real Property Limitation Acts,<br /> 1833 and 1874. Stevens and Sons. I 5s.<br /> MATHER, PHILIP E. A Compendium of Sheriff Law,<br /> especially in relation to Writs of Execution. Stevens<br /> and Sons. 25s.<br /> MOTHERSoLE, H. B. N. The Parish Councils’ Guide: Being<br /> the Local Government Act, 1894, together with an<br /> Introduction and Explanatory Notes. Third edition.<br /> revised to date. Jarrold.<br /> PARKER, F. Row LEY. The Election of Parish Councils<br /> under the Local Government Act, 1894. Knight and<br /> Co. 6s.<br /> WEST LAKE, JOHN, Q.C.<br /> International Law.<br /> IOS.<br /> WOOD, FRED. A Digest (Alphabetically Arranged) of the<br /> (a) Laws or Principles and (b) Practice of and in (1)<br /> Administrations, (2) Executorships, and (3) Trustee-<br /> ships. Horace Cox. I5s. net.<br /> Eleventh edition.<br /> Chapters on the Principles of<br /> Cambridge, University Press.<br /> Educational.<br /> LAWLESS, DR. E. J. First Aid to the Injured and Manage-<br /> .ment of the Sick ; an ambulance handbook and elemen-<br /> tary manual of nursing for volunteer bearers and others.<br /> Young J. Pentland. 3s. 6d.<br /> MEIssn&#039;ER, MATHIAs. A New Practical and Easy Method<br /> of Learning the German Language. Twenty-third<br /> edition; entirely revised. Th. Wohlleben.<br /> NICHOLL, G. F. Manual of the Bengāli Language, com-<br /> prising a Bengāli Grammar and Lessons, with various<br /> appendices, including an Assamese Grammar. W. H.<br /> Allen and Co. 7s. 6d.<br /> POLAR, REv. J. E. A. Grammar and a Vocabulary of the<br /> Ipurinä Language. Vocabulary Publication Fund.<br /> No. 1. Kegan Paul.<br /> RoBERTSON, J. LogLE. A. History of English Literature,<br /> for secondary schools. Blackwood. 3s.<br /> SAYCE, PROF. A. H. A. Primer of Assyriology. R.T.S.<br /> SMITH, R. HoRTON. The Theory of Conditional Sentences in<br /> Greek and Latin for the use of Students. Macmillan<br /> and Co. 21s.<br /> STEDMAN, A. M. M. A. Vocabulary of Latin Idioms and<br /> Phrases. Methuen and Co. Is.	https://historysoa.com/files/original/5/270/1894-11-01-The-Author-5-6.pdf	publication, The Author