<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>251</td><td>https://historysoa.com/items/show/251</td><td>Index to The Author, Vol. 02 (1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+%281892%29&quot;&gt;Index to &lt;em&gt;The Author&lt;/em&gt;, Vol. 02 (1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&quot;&gt;Index&lt;/a&gt;</td><td>1892-The-Author-2-index</td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors&quot;&gt;The Society of Authors&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Alexander+P.+Watt&quot;&gt;Alexander P. Watt&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892&quot;&gt;1892&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=4&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=London&quot;&gt;London&lt;/a&gt;</td><td></td><td></td><td></td><td>https://historysoa.com/files/original/4/251/1892-The-Author-2-index.pdf</td><td>publications, The Author</td></tr><tr><td>252</td><td>https://historysoa.com/items/show/252</td><td>The Author, Vol. 02 Issue 01 (June 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+01+%28June+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 01 (June 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-06-01-The-Author-2-1</td><td></td><td></td><td></td><td></td><td>1&ndash;32</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-06-01&quot;&gt;1891-06-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>1</td><td></td><td></td><td>18910601</td><td>## p. 1 (#405) ##############################################&lt;br /&gt;
&lt;br /&gt;
Uhc Eutbot\&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. i.]&lt;br /&gt;
JUNE i, 1891&lt;br /&gt;
[Pkice Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGB&lt;br /&gt;
&bull; 5&lt;br /&gt;
The Author l Second Volume&lt;br /&gt;
The American Copyright Act&mdash;&lt;br /&gt;
I. Directions for securing Copyright j&lt;br /&gt;
II. Rolicrt Underwood Johnson. By Edmund Gossc .. 7&lt;br /&gt;
III. The Passage ol thu Bill. By Kato Tannatt Woods 9&lt;br /&gt;
IV. Note. By C. G. I.cland 9&lt;br /&gt;
V. Note. By William Westall 10&lt;br /&gt;
VI. Mr. C. J. Longman&amp;#039;s Article in the Economic Review 11&lt;br /&gt;
VII. Note. By H. Q. Kcene 11&lt;br /&gt;
VIII. Note. By B.H. H 11&lt;br /&gt;
The Petition to the House of Lords 11&lt;br /&gt;
The Second Reading of the Copyright Bill J&lt;br /&gt;
I&amp;#039;AOK&lt;br /&gt;
The Cost of a Stamp 3&lt;br /&gt;
Notes and News. By Walter Besant 13&lt;br /&gt;
In the Days of the Merry Monarch 18&lt;br /&gt;
Reviews and Reviewers 19&lt;br /&gt;
Library Secrets&amp;quot;&lt;br /&gt;
Maurice Maeterlinck. By William Wilson 13&lt;br /&gt;
Literature in Ireland &amp;#039;4&lt;br /&gt;
&amp;quot;A Word from you. Sir&amp;quot; &raquo;6&lt;br /&gt;
Mr. George Moore and Herr Ibsen a*1&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot;&lt;br /&gt;
On Some Cases &amp;#039;9&lt;br /&gt;
Correspondence 3&deg;&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
ACTION OF LIGHT ON WATER COLOURS&mdash;Report&lt;br /&gt;
to the Science and Art Department of the Committee of Council&lt;br /&gt;
on Education. (With Diagrams and Plates.) By post, u. 1 irf.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Clbmbst Rbid, F.LS.. F.G.8. Five Plates (48 cuts), j&raquo;. M.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Whitakeb, B.A. it.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
The Gedogy of. By W. Whitakeb. B.A., P.R.S., F.G.8..&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
cloth. 6&raquo;. Vol. II. APPENDICES. 8vo.. cloth, 5*.&lt;br /&gt;
ISLE OF WIGHT, Geology of. By H. W. Bristow,&lt;br /&gt;
F.R.S., F.G.S. Second Edition. Revised and enlarged bv&lt;br /&gt;
Clement Rbip. F.G.8., and Acbbet Stbahak, M.A., F.G.8.&lt;br /&gt;
8vo., cloth, 8&raquo;. W.&lt;br /&gt;
COPYRIGHT LAW REFORM: an Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill now before Parliament; with&lt;br /&gt;
Extracts from the Report of the Commis&amp;gt;ion of 1878, and an&lt;br /&gt;
Appendix containing the Berno Convention and the American&lt;br /&gt;
Copyright Bill. By J. M. Lblt, Esq., Barrister-at-Law. i&laquo;. 6d.&lt;br /&gt;
STATE TRIALS, Reports of; New Series. Published&lt;br /&gt;
under the direction nt the State Trials Committee. Edited by&lt;br /&gt;
Jonx MacDonell. M.A., of the Middle Temple. Barrister-at-&lt;br /&gt;
Law. Vols. I. and II. ready. Vol. III. in the Press. Price&lt;br /&gt;
1 os. per volume.&lt;br /&gt;
&amp;quot;It is for the most part interesting, not to say fascinating, study&lt;br /&gt;
for anyone, that is to say, who cares about history at all.&amp;quot;&mdash;Daily&lt;br /&gt;
yews.&lt;br /&gt;
FISHES&lt;br /&gt;
By&lt;br /&gt;
By G. C.&lt;br /&gt;
HANDBOOK OF NEW ZEALAND&lt;br /&gt;
R. A. A. Siiubrih. Demy 8vo.. cloth, m.&lt;br /&gt;
ORANGE CULTURE IN NEW ZEALAND.&lt;br /&gt;
Aldbbtoh. Demy 8vo., cloth, m.&lt;br /&gt;
FOREST FLORA OF NEW ZEALAND. By T. Kikk,&lt;br /&gt;
F.L.S., late Chief Conservator of State Forests, N.Z.. Ac.&lt;br /&gt;
Numerous Plates. Fcp.,cloth. i&amp;gt;&laquo;. W.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens. m. icxl.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, id. Appendices, zd.&lt;br /&gt;
each. Annual Subscription, including- postage, yt. t&amp;gt;d.&lt;br /&gt;
WEATHER, STUDY AND FORECAST OF. Aids to.&lt;br /&gt;
By Rev. W. Clemebt Let. M.A. is.&lt;br /&gt;
ROYAL MILITARY EXHIBITION, 1890. Descriptive&lt;br /&gt;
Catalogue of Musical Instruments recently exhibited at the&lt;br /&gt;
Royal Military Exhibition. Compiled by Copt. C. R. Day,&lt;br /&gt;
Oxfordshire Light Infantry, under the orders of Col. Siiaw-&lt;br /&gt;
Wellieb, Commandant Royal Military School of Music. The&lt;br /&gt;
instruments are fully desenbed; they are arranged systemati-&lt;br /&gt;
cally under their respective families and classes, nnd n chrono-&lt;br /&gt;
logical arrangement has, as much as possible, been adhered to.&lt;br /&gt;
Each family of instrument has been prefaced by a carefully-&lt;br /&gt;
written Introductory Essay. Musical pitch has not lieen left&lt;br /&gt;
unnoticed, and a learned Essay from the pen of a well-known&lt;br /&gt;
authority upon the subject appears in the Appendix. The b&amp;quot;ok&lt;br /&gt;
will be illustrated by a series of Twelve Artistically executed&lt;br /&gt;
Plates in Heliogravure, and with numerous Wood Engravings.&lt;br /&gt;
The issuo will be limited to 1000 copies.&lt;br /&gt;
[Ready about the middle o/Junr.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous L ist on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept iu stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
C.OVERXMEXT AXD GENERA!, publishers.&lt;br /&gt;
EYRE anil SPOTTISWOODE, ller flajesty&amp;#039;s Printers, East Harding Slrrrt, London, E.&amp;lt;\&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 2 (#406) ##############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Messrs. METHUEN&amp;#039;S NEW BOOKS.&lt;br /&gt;
PBINCE&lt;br /&gt;
a vols.&lt;br /&gt;
GEORGE&lt;br /&gt;
By S. BARING GOULD.&lt;br /&gt;
IJKITH: A Story of Dartmoor. By S. Baring Gould,&lt;br /&gt;
Author of&amp;quot; Mehalah,&amp;quot; &amp;quot; Arminell,&amp;quot; ftp. 3 vols. [Ready.&lt;br /&gt;
By HANNAH LYNCH.&lt;br /&gt;
OF TAB GLADES. Ky Hannah Lynch.&lt;br /&gt;
[Ready.&lt;br /&gt;
MEREDITH. A Study. Crown 8vo. 5*.&lt;br /&gt;
[Ready.&lt;br /&gt;
By W. CLARK RUSSELL.&lt;br /&gt;
A MARRIAGE AT SEA. By W. Clark Russell,&lt;br /&gt;
Author of &amp;quot; Tho Wreck of the Gro&amp;lt;vonor,&amp;quot; ftc. 3 vols. [Remly.&lt;br /&gt;
THE LIFE OF ADMIRAL LORD COLL1NGWOOD.&lt;br /&gt;
By W. Clark Russell, Author of &amp;quot;The Wreck of the&lt;br /&gt;
Grosvenor.&amp;quot; With [&amp;#039;lustrations by F. Branowtn. 8vo.&lt;br /&gt;
[Ready.&lt;br /&gt;
By W. H. POLLOCK.&lt;br /&gt;
BETWEEN THE LINES. By Waltkr Hurries&lt;br /&gt;
Pollock. Post 8vo. is. [April.&lt;br /&gt;
By R. PRYCE.&lt;br /&gt;
THE QUIET MRS. FLEMING. By Richard Prtob.&lt;br /&gt;
Crown 8vo. is. td. [Ready.&lt;br /&gt;
By J. B. BURNE, M.A.&lt;br /&gt;
PARSON AND PEASANT: Chapters of their Natural&lt;br /&gt;
History. By J. B. Burnk, M.A., Rector of Wasing. Crown&lt;br /&gt;
Svo. ss. [Ready.&lt;br /&gt;
By E. LYNN LINTON.&lt;br /&gt;
THE TRUE HISTORY OF JOSHUA DAVIDSON,&lt;br /&gt;
Christian and Communist. By E. Ltsn Linto.v. Tenth and&lt;br /&gt;
Cheaper Edition. Post 8vo. is. [Ready.&lt;br /&gt;
Works by S. BARING GOULD,&lt;br /&gt;
Author of&amp;quot; Mehalah,&amp;quot; frc.&lt;br /&gt;
OLD COUNTRY LIFE. By S. Baring Gould. With&lt;br /&gt;
Sixty-seven Illustrations by W. Parkinson, P. D. Bedford,&lt;br /&gt;
and F. Masev. Large Crown 8ro, cloth super extra, top edge&lt;br /&gt;
gilt, 105. bd. Second Edition.&lt;br /&gt;
&amp;quot;Old Country Life, as healthy wholesome reading, full of&lt;br /&gt;
breezy life and movement, full of quaint stories vigorously told,&lt;br /&gt;
will not lie excelled by any book to bo published throughout tho&lt;br /&gt;
venr. Sound, hearty, and English to the core.&amp;quot;&mdash; World.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
By S. Hiring Gould. First Series. Demy 8vo. 10s. bd.&lt;br /&gt;
Second Edition.&lt;br /&gt;
&amp;quot;A collection of exciting and entertaining chapters. The whole&lt;br /&gt;
volume is delightful reading.&amp;quot;&mdash; Times.&lt;br /&gt;
SECOND SERIES.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
Second Series. By S. Baring Gould, Author of &amp;quot;Mehalah.&amp;quot;&lt;br /&gt;
Demy Svo. 10s. td. [Ready.&lt;br /&gt;
&amp;quot;A fascinating book.&amp;quot;&mdash;Leeds Mercnry.&lt;br /&gt;
SONGS OF THE WEST: Traditional Ballads and Songs&lt;br /&gt;
of the West of England, with their Traditional Melodies.&lt;br /&gt;
Collected by S. Bering Gould, M.A., and H. Fleetwood&lt;br /&gt;
Siikitakd, M.A. Arranged for Voire and Piano. In 4 Parts&lt;br /&gt;
(containing 15 Songs each), is. each nett. Part I., Third&lt;br /&gt;
Edition. Part II., Second Edition. PartIIL.ready. Part IV.,&lt;br /&gt;
rend]/. $s.&lt;br /&gt;
&amp;quot;A rich and varied collection of humour, pathos, grace, and&lt;br /&gt;
poetic faiicv.&amp;quot;&mdash;Saturday Review.&lt;br /&gt;
YORKSHIRE ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
By 8. Baking Gould. New and Cheaper Edition. Crown Svo.&lt;br /&gt;
bs. [Now Ready.&lt;br /&gt;
TWO HOOKS FOR BOYS. Cr. Svo. Ss.&lt;br /&gt;
MASTER ROCKAFELLAR&amp;#039;S VOYAGE. By. W.&lt;br /&gt;
Clark Russell, Author of &amp;quot;The Wreck of tho Grosvenor,&amp;quot;&lt;br /&gt;
&amp;amp;c. Illustrated by Gordon Browne.&lt;br /&gt;
SYD HELTON; or, The Hoy who would not go to Sea.&lt;br /&gt;
By G. Manvii.i.b Fknn, Author of &amp;quot;In the King&amp;#039;s Name,&amp;quot; ftc.&lt;br /&gt;
Illustrated by Gordon Browne.&lt;br /&gt;
TWO BOOKS FOU GIRLS. Cr. Svo. 3s. 6rf.&lt;br /&gt;
DUMPS. By Mrs. Parr, Author of &amp;quot;Adam and Eve,&amp;quot;&lt;br /&gt;
&amp;#039;D-irc&amp;gt;thv Fox,&amp;quot; Ac. Illustrated liv W. Parkinson.&lt;br /&gt;
A GIRL OF THE PEOPLE. By L. T. Meade, Author&lt;br /&gt;
of&amp;quot; Scamp and I,&amp;quot; ftc. Illustrated by R. Karnes.&lt;br /&gt;
METHUEN&amp;#039;S NOVEL SERIES.&lt;br /&gt;
Three Shillings and Sixpence.&lt;br /&gt;
Messrs. METHUEN will issue from time to time a Series&lt;br /&gt;
of copyright Novels, by well-known Authors, handsomely&lt;br /&gt;
bound, at the above popular price. The first volumes (now&lt;br /&gt;
ready) are:&lt;br /&gt;
I. THE PLAN OF CAMPAIGN. By F. Mabel&lt;br /&gt;
RODINSON.&lt;br /&gt;
*. JACQITETTA. By S. Baring Gould.&lt;br /&gt;
3. MY LAND OF BEULAH. By Mrs. Lktth Adams.&lt;br /&gt;
4. ELI&amp;#039;S CHILDREN. By G. Manville Fenn.&lt;br /&gt;
5. ARMINELL: A Social Romance. By S. Baring&lt;br /&gt;
Gould.&lt;br /&gt;
6. DERRICK VAUGHAN, NOVELIST. By Edna&lt;br /&gt;
Ltall.&lt;br /&gt;
With portrait of Author.&lt;br /&gt;
7. DISENCHANTMENT. By F. Mabel Robinson.&lt;br /&gt;
8. DISARMED. By M. Betham Edwards.&lt;br /&gt;
9. JACK&amp;#039;S FATHER. By W. E. Norris.&lt;br /&gt;
Other Volumes will he announced in dne coarse.&lt;br /&gt;
Edited by A. M. M. STEDMAN, M.A.&lt;br /&gt;
Crown 8vo. 2s. 6d.&lt;br /&gt;
A series of short biographies, free from party bias, of the&lt;br /&gt;
most prominent leaders of religious life and thought in this&lt;br /&gt;
and the last century.&lt;br /&gt;
CARDINAL NEWMAN. R. H. Hutton. [Read;/.&lt;br /&gt;
JOHN WESLEY. J. H. Overton. [Ready.&lt;br /&gt;
UNIVERSITY EXTENSION SERIES.&lt;br /&gt;
Crown Svo. 2s- 6d.&lt;br /&gt;
Under the above title Messrs. Methuen have commenced&lt;br /&gt;
the publication of a series of books on historical, literary,&lt;br /&gt;
and economic subjects, suitable for extension students and&lt;br /&gt;
home-reading circles.&lt;br /&gt;
THE INDUSTRIAL HISTORY OF ENGLAND. By&lt;br /&gt;
II DK B. GtBBINB, M.A., late Scholar of Wadham College, Oxon.,&lt;br /&gt;
Cobden Prizeman. With Maps and Plans. [Ready.&lt;br /&gt;
A HISTORY OF ENGLISH POLITICAL ECONOMY.&lt;br /&gt;
By L. L. Price. M.A., Fellow of Oriel College, Oxon., Eitension&lt;br /&gt;
Lecturer in Political Economy. [Ready.&lt;br /&gt;
VICTORIAN POETS. By A. Sharp. [Nearly Ready.&lt;br /&gt;
PROBLEMS OF POVERTY: An Inquiry into the&lt;br /&gt;
Industrial Conditions of the Poor. By J. A. Hobson, M.A., late&lt;br /&gt;
Scholar of Lincoln College, Oxon., U. E. Lecturer in Economics.&lt;br /&gt;
[Ready.&lt;br /&gt;
THE FRENCH REVOLUTION. By J. E. Symks, M.A.,&lt;br /&gt;
Principal of University College, Nottingham. [Nearly Ready.&lt;br /&gt;
SOCIAL QUESTIONS OF TO-DAY.&lt;br /&gt;
A series of volumes upon the most important topics of&lt;br /&gt;
social, economic, and industrial interest&mdash;written by the&lt;br /&gt;
highest authorities on the various subjects. The first two&lt;br /&gt;
volumes will l&amp;gt;e&mdash;&lt;br /&gt;
TRADES UNIONISM&mdash;New and Old. By G. Howem.,&lt;br /&gt;
M.P. {Ready.&lt;br /&gt;
POVERTY AND PAUPERISM. By Rev. L. R. Phelps,&lt;br /&gt;
M.A.. Fellow of Oriel College, Oxon. Ml**&lt;br /&gt;
METHUEN &amp;amp; Co., 18, Bury Street, W.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 3 (#407) ##############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
The Society of Authors (Incorporated).&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hon. THE LORD TENNYSON, D.C.L.&lt;br /&gt;
Sir Edwin ARNOLD, K.C.I.E.&lt;br /&gt;
ALFRED Austin.&lt;br /&gt;
A. W. &Agrave; BECKETT.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
Sir HENRY BERGNE, K.C.M.G.&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
AUGUSTINE BIRRELL, M.P.&lt;br /&gt;
R. D. BLACKMORE.&lt;br /&gt;
Rev. Prof. BONNEY, F.R.S.&lt;br /&gt;
LORD BRABOURNE.&lt;br /&gt;
JAMES BRYCE, M.P.&lt;br /&gt;
P. W. CLAYDEN.&lt;br /&gt;
EDWARD Clodd.&lt;br /&gt;
W. MARTIN CONWAY.&lt;br /&gt;
Marion CRAWFORD.&lt;br /&gt;
Oswald CRAWFURD, C.M.G.&lt;br /&gt;
THE EARL OF DESART..&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
Joun ERIC ERICHSEN, F.R.S.&lt;br /&gt;
Prof. MICHAEL FOSTER, F.R.S.&lt;br /&gt;
HERBERT GARDNER, M.P.&lt;br /&gt;
RICHARD GARNETT, LL.D.&lt;br /&gt;
EDMUND Gosse.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
Thomas HARDY.&lt;br /&gt;
Prof. E. Ray LANKESTER, F.R.S.&lt;br /&gt;
J. M. LELY.&lt;br /&gt;
Rev. W. J. LOFTIE, F.S.A.&lt;br /&gt;
F. Max M&Uuml;LLER, LL.D.&lt;br /&gt;
GEORGE MEREDITH.&lt;br /&gt;
HERMAN C. MERIVALE.&lt;br /&gt;
Rev. C. H. MIDDLETON-WAKE, F.L.S.&lt;br /&gt;
J. C. PARKINSON.&lt;br /&gt;
THE EARL OF PEMBROKE AND MONTGOMERY.&lt;br /&gt;
SIR FREDERICK POLLOCK, BART., LL.D.&lt;br /&gt;
WALTER HERRIES POLLOCK.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
GEORGE AUGUSTUS SALA.&lt;br /&gt;
W. BAPTISTE SCOONES.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. STEVENSON.&lt;br /&gt;
Jas. SULLY.&lt;br /&gt;
William Moy THOMAS.&lt;br /&gt;
H. D, TRAILL, D.C.L.&lt;br /&gt;
The Right Hon. THE BARON HENRY DE WORMS.&lt;br /&gt;
EDMUND YATES.&lt;br /&gt;
Hon. Counsel &ndash; E. M. UNDERDOWN, Q.C.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman--WALTER BESANT.&lt;br /&gt;
EDMUND Gosse.&lt;br /&gt;
1 J. M. LELY.&lt;br /&gt;
1&lt;br /&gt;
H. RIDER HAGGARD. | Sir FREDERICK POLLOCK.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
A. W. &Aring; BECKETT.&lt;br /&gt;
W. Martin CONWAY.&lt;br /&gt;
Solicitors.&lt;br /&gt;
Messrs. FIELD, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary-S. SQUIRE SPRIGGE.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, PORTUGAL STREET, LINCOLN&amp;#039;s Inx FIELDS, WC,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 4 (#408) ##############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMEN TS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous How. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are yarions points to select from, broad, medium, aud fine, every handwriting can be suited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post free, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
i, 6ARO NEW YORK fcj^&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-eanit&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot; Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One Will OUtwear 90 grOSS Of Steel peilS. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
I)u. Oliver Wendell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 185;, and is using the same&lt;br /&gt;
0110 (his &amp;quot;old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grundy, Es&amp;lt;)., says (referring to the Fountain Pen) :&mdash;&amp;quot; It is a vast improvement 011 every Stylograph.&amp;quot;&lt;br /&gt;
Moberly Hell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. I). Waddv, Ksq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, d BARD,&lt;br /&gt;
03, CHBAPSIDE, LONDON.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 5 (#409) ##############################################&lt;br /&gt;
&lt;br /&gt;
TZhe Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.-No. i.]&lt;br /&gt;
JUNE i, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
THE AUTHOR&mdash;Second Volume.&lt;br /&gt;
&amp;quot;TTT ITH the Second Volume the Author makes a&lt;br /&gt;
V V few changes, but not many. It will continue&lt;br /&gt;
to advocate the material interests of litera-&lt;br /&gt;
ture, not only in order to obtain justice to authors of&lt;br /&gt;
ull kinds, but in the conviction that the highest and&lt;br /&gt;
best interests of literature are closely connected with&lt;br /&gt;
its material interests. A literature whose producers&lt;br /&gt;
are needy beggars, dependent on the caprice of the&lt;br /&gt;
man with money, servile because they are poor, un-&lt;br /&gt;
able to assert their rights, unable to act together,&lt;br /&gt;
unable to make the world understand that they have&lt;br /&gt;
any rights, must itself tend to become poor and&lt;br /&gt;
feeble. That it has shown vigour among ourselves&lt;br /&gt;
even when authors have been sunk in the lowest&lt;br /&gt;
depths, proves the strength of a plant which could&lt;br /&gt;
llourish in a soil so ungrateful.&lt;br /&gt;
In order to secure the complete independence&lt;br /&gt;
of the author, it is necessary that the methods of&lt;br /&gt;
publishing should l&amp;gt;e based upon principles of&lt;br /&gt;
justice and fairness both to the publisher and the&lt;br /&gt;
author. That is to say, the services of the former&lt;br /&gt;
must be fully recognised and remunerated, but on&lt;br /&gt;
a scale of proportion to be regulated and agreed&lt;br /&gt;
upon by both sides. In order to arrive at this end,&lt;br /&gt;
it is necessary that we understand (1) the cost of&lt;br /&gt;
printing, paper, binding, advertising, &amp;amp;c. involved&lt;br /&gt;
in the preparation of a MS. for publication; (2)&lt;br /&gt;
the trade price; and (3) the meaning of royalties&lt;br /&gt;
as applied to author and to publisher.&lt;br /&gt;
It is next necessary to understand the arrange-&lt;br /&gt;
ments commonly proposed in agreements submitted&lt;br /&gt;
to authors by publishers; what the clauses mean to&lt;br /&gt;
either side, and especially to the author.&lt;br /&gt;
These things have been carefully ascertained by&lt;br /&gt;
the Society, and the results are now published&lt;br /&gt;
in &amp;quot;The Cost of Production&amp;quot; and &amp;quot;Methods of&lt;br /&gt;
Publishing.&amp;quot;&lt;br /&gt;
For the first time, authors can learn for them-&lt;br /&gt;
selves their own business.&lt;br /&gt;
It will be the duty of the Author to keep this&lt;br /&gt;
information steadily before the eyes of its readers.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
The pages of the Author will also be open to&lt;br /&gt;
questions of every kind connected with literature.&lt;br /&gt;
The Editor invites correspondence on the profession&lt;br /&gt;
of letters in every branch from those who read this&lt;br /&gt;
paper or are Members of the Society.&lt;br /&gt;
The following, among others, have promised&lt;br /&gt;
literary assistance during the year:&mdash;&lt;br /&gt;
Arthur a Beckett.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
J. A. Blnikie.&lt;br /&gt;
J. H. McCarthy.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
W. Morris Colles.&lt;br /&gt;
Austin Dobson.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
H. Hermann.&lt;br /&gt;
Henry Arthur Jones.&lt;br /&gt;
Budyard Kipling.&lt;br /&gt;
Andrew Lang.&lt;br /&gt;
C. G. Leland.&lt;br /&gt;
J. M. Lelv.&lt;br /&gt;
Rev. W. J. Lottie.&lt;br /&gt;
Cosmo Monkhouse.&lt;br /&gt;
B. M. Richardson,&lt;br /&gt;
M.D.&lt;br /&gt;
F. W. Robinson.&lt;br /&gt;
Robert Ross.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
S. S. Sprigge.&lt;br /&gt;
J. Ashby Sterrv.&lt;br /&gt;
William Westell.&lt;br /&gt;
&amp;quot;William Wilson.&amp;quot;&lt;br /&gt;
The Author will in future be printed and&lt;br /&gt;
published by Messrs. Eyre and Spottiswoode, East&lt;br /&gt;
Harding Street, on the 1st of every month, instead&lt;br /&gt;
of the 10th. Communications should be addressed&lt;br /&gt;
to the Editor, Authors&amp;#039; Society, 4, Portugal Street,&lt;br /&gt;
Lincoln&amp;#039;s Inn Fields. They should reach him&lt;br /&gt;
not later than the 22nd.&lt;br /&gt;
THE AMERICAN COPYRIGHT ACT.&lt;br /&gt;
I.&lt;br /&gt;
Directions for securing Copyrights&lt;br /&gt;
Under the Revised Acts of Congress, including the&lt;br /&gt;
Provisions for Foreign Copyright, by Act of&lt;br /&gt;
March 3rd, 1891.&lt;br /&gt;
Printed Title required.&lt;br /&gt;
1. A printed copy of the title of the book, map,&lt;br /&gt;
chart, dramatic or musical composition, engraving,&lt;br /&gt;
cut, print, photograph, or chromo, or a description&lt;br /&gt;
a 3&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 6 (#410) ##############################################&lt;br /&gt;
&lt;br /&gt;
6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
of the painting, drawing, statue, .statuary, or model&lt;br /&gt;
or design for a work of the fine arts for which copy-&lt;br /&gt;
right is desired, must be delivered to the Librarian&lt;br /&gt;
of Congress or depos-ted in the mail within the&lt;br /&gt;
United States, prepaid, addressed&mdash;&lt;br /&gt;
Librarian of Congress,&lt;br /&gt;
Washington, D.C.&lt;br /&gt;
This must l&amp;gt;e done on or before day of publication&lt;br /&gt;
in this or any foreign country. &amp;quot;*&lt;br /&gt;
What style of Print.&lt;br /&gt;
The printed title required may be a copy of&lt;br /&gt;
the title page of such publications as have title&lt;br /&gt;
pages. In other cases, the title must be printed&lt;br /&gt;
expressly for copyright entry, with name of&lt;br /&gt;
claimant of copyright. The style of type is&lt;br /&gt;
immaterial, and the print of a type-writer will&lt;br /&gt;
be accepted. But a separate title is required for&lt;br /&gt;
each entry, and each title must be printed on&lt;br /&gt;
paper as large as commercial note. The title of&lt;br /&gt;
a periodical must include the date and numl&amp;gt;er,&lt;br /&gt;
and each number of a periodical requires a separate&lt;br /&gt;
entry of copyright.&lt;br /&gt;
Copyright Fees.&lt;br /&gt;
2. The legal fee for recording each copyright&lt;br /&gt;
claim is 5o cents, and for a copy of this record&lt;br /&gt;
(or certificate of copyright under seal of the office)&lt;br /&gt;
an additional fee of oo cents is required, making&lt;br /&gt;
$i in case certificate is wanted, which will be&lt;br /&gt;
mailed as soon as reached in the records. In&lt;br /&gt;
the case of publications produced by other citizens&lt;br /&gt;
or residents of the United States, the fee for&lt;br /&gt;
recording title is $l, and 5o cents additional&lt;br /&gt;
for a copy of the record. Certificates covering&lt;br /&gt;
more than one entry in one certificate are not&lt;br /&gt;
issued.&lt;br /&gt;
Two Copies required.&lt;br /&gt;
3. Not later than the day of publication of each&lt;br /&gt;
book or other article, in this country or abroad,&lt;br /&gt;
two complete copies of the best edition issued&lt;br /&gt;
must be delivered to perfect the copyright, or&lt;br /&gt;
deposited in the mail within the United States,&lt;br /&gt;
addressed&mdash;&lt;br /&gt;
Librarian of Congress,&lt;br /&gt;
&amp;quot;Washington, D.C.&lt;br /&gt;
Free by Mail.&lt;br /&gt;
The freight or postage must be prepaid, or the&lt;br /&gt;
publications enclosed in parcels covered by printed&lt;br /&gt;
penalty labels, furnished by the Librarian, in which&lt;br /&gt;
case they will come free by mail (not express),&lt;br /&gt;
without limit of weight, according to rulings of the&lt;br /&gt;
Post Office Department. In the case of books,&lt;br /&gt;
photographs, chromos, or lithographs, the two&lt;br /&gt;
copies deposited must lie printed from type set or&lt;br /&gt;
plates made in the United States, or from negatives&lt;br /&gt;
or drawings on stone, or transfers therefrom, made&lt;br /&gt;
within the United States.&lt;br /&gt;
Penalty.&lt;br /&gt;
Without the deposit of copies aliove required the&lt;br /&gt;
copyright is void, and a penalty of $20 is incurred.&lt;br /&gt;
No copy is required to Ik- deposited elsewhere.&lt;br /&gt;
The law requires one copy of each new edition&lt;br /&gt;
wherein any substantial changes are made to be&lt;br /&gt;
deposited with the Librarian of Congress.&lt;br /&gt;
Notice of Copyright to be given by Imprint.&mdash;&lt;br /&gt;
Claimant&amp;#039;s name to be printed.&lt;br /&gt;
4. No copyright is valid unless notice is given&lt;br /&gt;
by inserting in every copy published, on the title&lt;br /&gt;
page or the page following, if it be a book; or if&lt;br /&gt;
a map, chart, musical composition, print, cut,&lt;br /&gt;
engraving, photograph, painting, drawing, chromo,&lt;br /&gt;
statue, statuary, or model or design intended to l&amp;gt;e&lt;br /&gt;
perfected as a work of the fine arts, by inscribing&lt;br /&gt;
upon some portion thereof, or on the substance on&lt;br /&gt;
which the same is mounted, the following words,&lt;br /&gt;
viz.: &amp;quot;Entered according to Act of Congress, in&lt;br /&gt;
the year , by , in the office&lt;br /&gt;
of the Librarian of Congress, at Washington,&amp;quot; or,&lt;br /&gt;
at the option of the person entering the copyright,&lt;br /&gt;
the words: &amp;quot; Copyright, 18 , by .&amp;quot;&lt;br /&gt;
The law imposes a penalty of $100 upon any&lt;br /&gt;
person who has not obtained copyright who shall&lt;br /&gt;
insert the notice &amp;quot;Entered according to Act of&lt;br /&gt;
Congress,&amp;quot; or &amp;quot;Copyright,&amp;quot; &amp;amp;c, or words of the&lt;br /&gt;
same import, in or upon any lx&amp;gt;ok or other article.&lt;br /&gt;
Translations and Dramas.&lt;br /&gt;
5. The copyright law secures to authors or their&lt;br /&gt;
assigns the exclusive right to translate or to drama-&lt;br /&gt;
tize their own works.&lt;br /&gt;
Rights reserved.&lt;br /&gt;
Since the phrase all rights reserved refers exclu-&lt;br /&gt;
sively to the right to dramatize or to translate, it&lt;br /&gt;
has no bearing upon any publications except&lt;br /&gt;
original works, and will not be entered upon the&lt;br /&gt;
record in other cases.&lt;br /&gt;
Duration of Copyright.&lt;br /&gt;
6. The original term of copyright runs for&lt;br /&gt;
twenty-eight years. Within six months liefore&lt;br /&gt;
the end of that time, the author or designer, or his&lt;br /&gt;
widow or children, may secure a renewal for the&lt;br /&gt;
further term of fourteen years, making forty-two&lt;br /&gt;
years in all.&lt;br /&gt;
Rcneicals.&lt;br /&gt;
Applications for renewal must l&amp;gt;e accomjianied&lt;br /&gt;
by explicit statement of ownership, in the case of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 7 (#411) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
7&lt;br /&gt;
the author, or of relationship, in the case of his&lt;br /&gt;
heirs, and must state definitely the date and place&lt;br /&gt;
of entry of the original copyright. Advertisement&lt;br /&gt;
of renewal is to l&amp;gt;e made within two months of&lt;br /&gt;
date of renewal certificate in some newspaper for&lt;br /&gt;
four weeks.&lt;br /&gt;
Time of Publication.&lt;br /&gt;
7. The time within which any work entered for&lt;br /&gt;
copyright may l&amp;gt;e issued from the press is not&lt;br /&gt;
omited by any law or regulation, but the courts&lt;br /&gt;
have held that it should take place within a rea-&lt;br /&gt;
sonable time. A copyright may be secured for&lt;br /&gt;
a projected work as well as for a completed one.&lt;br /&gt;
But the law provides for no caveat, or notice of&lt;br /&gt;
interference&mdash;only for actual entry of title.&lt;br /&gt;
Assignments.&lt;br /&gt;
8. A copyright is assignable in law by any&lt;br /&gt;
instrument of writing, and such assignment is&lt;br /&gt;
to be recorded in the office of the Librarian of&lt;br /&gt;
Congress within 60 days from its date. The fee&lt;br /&gt;
for this record and certificate is $1, and for a&lt;br /&gt;
certified copy of any record of assignment $ 1.&lt;br /&gt;
Copies or Duplicate Certificates.&lt;br /&gt;
9. A copy of the record (or duplicate certificate)&lt;br /&gt;
of any copyright entry will be furnished, under&lt;br /&gt;
seal of the office, at the rate of 5o cents each.&lt;br /&gt;
Serials or separate Publications.&lt;br /&gt;
10. In the case of lx&amp;gt;oks published in more than&lt;br /&gt;
one volume, or of periodicals published in numbers,&lt;br /&gt;
or of engravings, photographs, or other articles pub-&lt;br /&gt;
lished with variations, a copyright is to be entered&lt;br /&gt;
for each volume or part of a book, or number of&lt;br /&gt;
a periodical, or variety, as to style, title, or inscrip-&lt;br /&gt;
tion, of any other article. But a book published&lt;br /&gt;
serially in a periodical, under the same general&lt;br /&gt;
title, requires only one entry. To complete the&lt;br /&gt;
copyright on such a work, two copies of each serial&lt;br /&gt;
part, as well as of the complete work (if published&lt;br /&gt;
separately), should be deposited.&lt;br /&gt;
Copyright for Works of Art.&lt;br /&gt;
11. To secure copyright for a painting, statue,&lt;br /&gt;
or model or design intended to l&amp;gt;e perfected as&lt;br /&gt;
a work of the fine arts, a definite description must&lt;br /&gt;
accompany the application for copyright, and a&lt;br /&gt;
photograph of the same as large as &amp;quot;cabinet size,&amp;quot;&lt;br /&gt;
mailed to the Librarian of Congress not later than&lt;br /&gt;
the day of publication of the work or design.&lt;br /&gt;
The fine arts, for copyright purposes, include&lt;br /&gt;
only painting and sculpture, and articles of merely&lt;br /&gt;
ornamental and decorative art are referred to the&lt;br /&gt;
Patent Office, as subjects for Design Patents.&lt;br /&gt;
No Labels or Names Copyright.&lt;br /&gt;
12. Copyrights cannot be granted upon trade&lt;br /&gt;
marks, nor upon names of companies or articles,&lt;br /&gt;
nor upon an idea or device, nor upon prints or&lt;br /&gt;
labels intended to be used for any article of manu-&lt;br /&gt;
facture. If protection for such names or labels is&lt;br /&gt;
desired, application must be made to the Patent&lt;br /&gt;
Office, where they are registered at a fee of &sect;6 for&lt;br /&gt;
labels and ?25 for trade marks.&lt;br /&gt;
Foreign or International Copyright.&lt;br /&gt;
13. The provisions as to copyright entry in the&lt;br /&gt;
United States by foreign authors, &amp;amp;c, by Act of&lt;br /&gt;
Congress approved March 3rd, 1891 (to take effect&lt;br /&gt;
July 1st, 1891), are the same as the foregoing.&lt;br /&gt;
The right of citizens or subjects of a foreign&lt;br /&gt;
nation to copyright within the United States is not&lt;br /&gt;
to take effect unless such nation permits to United&lt;br /&gt;
States citizens the benefit of copyright on the same&lt;br /&gt;
basis as to its own citizens, or unless such nation&lt;br /&gt;
is a party to an international agreement providing&lt;br /&gt;
for reciprocity in copyright, to which the United&lt;br /&gt;
States may become a party. The Librarian of&lt;br /&gt;
Congress can enter copyright for foreigners only&lt;br /&gt;
after a proclamation of the President of the United&lt;br /&gt;
States, certifying the existence of either of the&lt;br /&gt;
foregoing conditions.&lt;br /&gt;
The right of Americans to secure copyright&lt;br /&gt;
abroad is unchanged by the new law, pending new&lt;br /&gt;
legislation in foreign countries, or international&lt;br /&gt;
agreements as to copyright between their govern-&lt;br /&gt;
ments and that of the United States.&lt;br /&gt;
Full Name of Proprietor required.&lt;br /&gt;
14. Every applicant for a copyright should&lt;br /&gt;
state distinctly the full name and residence of the&lt;br /&gt;
claimant, and whether the right is claimed as&lt;br /&gt;
author, designer, or proprietor. No affidavit or&lt;br /&gt;
witness to the application is required.&lt;br /&gt;
Office of tub Librarian of Congress,&lt;br /&gt;
Washington, 1891.&lt;br /&gt;
H.&lt;br /&gt;
Robert Underwood Johnson.&lt;br /&gt;
It is only natural and proper that English&lt;br /&gt;
authors should wish to know more about the most&lt;br /&gt;
ardent and active of those American friends to&lt;br /&gt;
whom the passing of the Copyright Bill is due.&lt;br /&gt;
It is no exaggeration, and it conveys no slight&lt;br /&gt;
to other industrious promoters of the copvriglit&lt;br /&gt;
movement, to say that, as Secretary of the American&lt;br /&gt;
Authors&amp;#039; Copyright League and of the Joint&lt;br /&gt;
Executive Committee or all the organizations&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 8 (#412) ##############################################&lt;br /&gt;
&lt;br /&gt;
8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
supporting the Bill, Mr. 11. U. Johnson had more&lt;br /&gt;
than anyone else to do with the final victory. In&lt;br /&gt;
signing the Copyright Bill, President Harrison&lt;br /&gt;
used a large quill taken from an American eagle,&lt;br /&gt;
procured for that purpose by Mr. Johnson, to&lt;br /&gt;
whom the pen was then returned with the Presi-&lt;br /&gt;
dent&amp;#039;s compliments. Not many authors possess&lt;br /&gt;
pens that so well deserve to become heirlooms.&lt;br /&gt;
Robert Underwood Johnson was born on Capitol&lt;br /&gt;
Hill, Washington, D.C., January nth, i853. He&lt;br /&gt;
was named after his great-grandfather, Robert&lt;br /&gt;
Underwood, one of the early settlers of Washing-&lt;br /&gt;
ton, and a mathematician of ability. His maternal&lt;br /&gt;
grandfather was John Underwood of that city,&lt;br /&gt;
afterward for many years a resident of Wayne&lt;br /&gt;
County, Indiana, with which Mr. Johnson&amp;#039;s paternal&lt;br /&gt;
grandfather, Dr. Nathan Johnson, was also long&lt;br /&gt;
identified, having been one of the original Aboli-&lt;br /&gt;
tionists of Eastern Indiana. On his mother&amp;#039;s side&lt;br /&gt;
the Underwoods and Ingles are of a Calvinistic&lt;br /&gt;
strain, while on his father&amp;#039;s side the Johnsons and&lt;br /&gt;
Hoges who come from Loudon County, Virginia,&lt;br /&gt;
are of Quaker stock of a liberal type, and of&lt;br /&gt;
marked literary tastes.&lt;br /&gt;
Mr. Johnson&amp;#039;s father, the late Honourable&lt;br /&gt;
Nimrod H. Johnson, in addition to his prominence&lt;br /&gt;
in Eastern Indiana as an able lawyer and a just&lt;br /&gt;
and discriminating jurist, was known among his&lt;br /&gt;
associates for his wide and exact knowledge of&lt;br /&gt;
history, poetry, fiction, and general literature. To&lt;br /&gt;
him Mr. Johnson owes his literary temperament&lt;br /&gt;
and predilections. After an ordinary high school&lt;br /&gt;
education at Centreville, Indiana, where his boy-&lt;br /&gt;
hood was passed, Robert matriculated at Earlham&lt;br /&gt;
College, an institution of the Society of Friends,&lt;br /&gt;
Richmond, Indiana, in 1867. In 1871, at the&lt;br /&gt;
age of 18, he was graduated from that institution&lt;br /&gt;
as Bachelor of Science, to which the college in&lt;br /&gt;
1889 added the honorary degree of Ph.D. From&lt;br /&gt;
college he went immediately into business as clerk&lt;br /&gt;
in the Western agency of the Scribner educational&lt;br /&gt;
books at Chicago. After nearly two years of this&lt;br /&gt;
work (including the year of the great fire) he&lt;br /&gt;
became connected, in 1873, with the editorial&lt;br /&gt;
staff of the Century Magazine (then Scribner&amp;#039;s&lt;br /&gt;
Monthly), a connexion which still exists.&lt;br /&gt;
On the death of the Editor-in-Chief, Dr. J. G.&lt;br /&gt;
Holland, in 1881, Mr. R. W. Gilder became the&lt;br /&gt;
Editor, and Mr. Johnson succeeded him as the&lt;br /&gt;
Associate-Editor. This position he now occupies,&lt;br /&gt;
with a large measure of responsibility, having&lt;br /&gt;
also acted virtually as Managing Editor under&lt;br /&gt;
Dr. Holland for a year in 1879-80, during Mr.&lt;br /&gt;
Gilder&amp;#039;s absence in Europe. In 18 83 Mr. Gilder&lt;br /&gt;
intrusted to Mr. Johnson and Mr. C. C. Buel,&lt;br /&gt;
the conduct of the well-known Century War&lt;br /&gt;
Series, and they had charge of it both in the&lt;br /&gt;
Magazine and in the enlarged and revised book&lt;br /&gt;
publication of four volumes &amp;quot; Battles and Leaders&lt;br /&gt;
of the Civil War,&amp;quot; which was begun in 1887 and&lt;br /&gt;
completed in 1889&mdash;Mr. Buel, however, having&lt;br /&gt;
sole charge of the Magazine papers for a year&lt;br /&gt;
during Mr. Johnson&amp;#039;s absence in Europe in 1885-6.&lt;br /&gt;
This trip was undertaken with the chief object of&lt;br /&gt;
becoming acquainted with the best examples of&lt;br /&gt;
European art and architecture, and included visits&lt;br /&gt;
to the galleries of London, Paris, Holland, and&lt;br /&gt;
Italy, and an inspection of the Greek monuments&lt;br /&gt;
of Athens and Sicily.&lt;br /&gt;
Mr. Johnson&amp;#039;s literary work, in addition to his&lt;br /&gt;
daily and exacting editorial duties, has been con-&lt;br /&gt;
fined to editorial and critical articles and to verse.&lt;br /&gt;
He h:is not yet collected his graceful poems into&lt;br /&gt;
a volume, but has scattered them in the pages of&lt;br /&gt;
the Century, Harper&amp;#039;s Monthly, St. Nicholas,&lt;br /&gt;
the Christian Union, the Tribune, and other&lt;br /&gt;
periodicals. He is a member of the Authors&amp;#039;&lt;br /&gt;
Club, the Century Club, and the Aldine Club&lt;br /&gt;
of New York, and of the Civil Service Reform&lt;br /&gt;
Association, and the Free Art League. Since&lt;br /&gt;
1883 he has been actively connected with the&lt;br /&gt;
International Copyright movement, having been&lt;br /&gt;
for several years Treasurer of the American Copy-&lt;br /&gt;
right League, and a member of its executive&lt;br /&gt;
committee of five. In 1889 he exchanged the&lt;br /&gt;
treasurership for the more responsible work of&lt;br /&gt;
Secretary of the League, becoming by this office&lt;br /&gt;
also Secretary of the Joint Executive Committee&lt;br /&gt;
(of Authors and Publishers) which was in charge of&lt;br /&gt;
the campaign for the Copyright Bill. He was&lt;br /&gt;
active in urging the northward extension of the&lt;br /&gt;
East River Park, New York, and the creation of&lt;br /&gt;
the Yosemite National Park, and has recently&lt;br /&gt;
devoted much attention to the movement in favour&lt;br /&gt;
of securing a better supervision of the Yosemite&lt;br /&gt;
Valley, which he visited in June 1889, during a&lt;br /&gt;
trip of two months to California in the interest of&lt;br /&gt;
the Century.&lt;br /&gt;
In a letter just received, Mr. Johnson says:&lt;br /&gt;
&amp;quot;The problem now is to establish the foundation&lt;br /&gt;
for the President&amp;#039;s proclamation. I have written&lt;br /&gt;
officially to Mr. Blaine to see that no time is lost,&lt;br /&gt;
and taking the ground that the Bill must 1k&amp;gt; made&lt;br /&gt;
operative towards citizens of any country which is&lt;br /&gt;
a signatory of the Berne Conference, whether that&lt;br /&gt;
country gives America copyright or not. That&lt;br /&gt;
was Simonds&amp;#039; intention in drafting that clause of&lt;br /&gt;
Section XIII., but I fear our Secretary of State&lt;br /&gt;
will not take that view of reciprocity. On your&lt;br /&gt;
part, an Order in Council would, of course, put the&lt;br /&gt;
thing beyond penulventure, and be simpler and&lt;br /&gt;
easier than the Monkswell Bill, especially as Parlia-&lt;br /&gt;
ment is likely to be prorogued, and even if it&lt;br /&gt;
continue there may be a long debate on the Bill.&lt;br /&gt;
Of course, we cannot with a good grace ask for&lt;br /&gt;
more than we offer. NoImxIv could complain if we&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 9 (#413) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
9&lt;br /&gt;
got just what we offer, but our step is irretrievable&lt;br /&gt;
now, and it is your move! As soon as I hear, if I&lt;br /&gt;
do, what view our State .Department will take, I&lt;br /&gt;
will let you know. Meanwhile, I should think the&lt;br /&gt;
Order in Council the proper cue, if practicable,&lt;br /&gt;
and in either case, prompt action would strengthen&lt;br /&gt;
us here for a more liberal law in the future.&amp;quot;&lt;br /&gt;
In acknowledgment of his services in the Inter-&lt;br /&gt;
national Copyright cause, the French Government&lt;br /&gt;
has just conferred upon him the Cross of the&lt;br /&gt;
Legion of Honour (Chevalier), and some of his&lt;br /&gt;
associates in the Copyright cause have presented&lt;br /&gt;
him with a handsome silver loving cup.&lt;br /&gt;
E. G.&lt;br /&gt;
III.&lt;br /&gt;
The Passing of the Bill.&lt;br /&gt;
In the midst of manifold business, I venture to&lt;br /&gt;
send you a hurried and imperfect account of the&lt;br /&gt;
passage of the Copyright Bill, and the &amp;quot;Ladies&amp;#039;&lt;br /&gt;
Night of the Authors&amp;#039; Club &amp;quot; in New York.&lt;br /&gt;
I find by the Author, which was here awaiting&lt;br /&gt;
my arrival, that someone has kept you informed as&lt;br /&gt;
to operations in Congress.&lt;br /&gt;
While I was in Washington a friend in Congress&lt;br /&gt;
said, &amp;quot;If you people want that Bill to pass, you&lt;br /&gt;
will have to fight for it, as the printers, litho-&lt;br /&gt;
graphers, &amp;amp;c, &amp;amp;c, an; lumbering it with all sorts&lt;br /&gt;
of weights.&amp;quot; Several of us went up; and I talked&lt;br /&gt;
&amp;quot;Bill &amp;quot; most earnestly to members of Congress in&lt;br /&gt;
the same house with us. Through the kindness of&lt;br /&gt;
Senator Allen, of Washington (State), I had a&lt;br /&gt;
seat in the Diplomatic Gallery, where I could see&lt;br /&gt;
and hear all that was going on. A great many&lt;br /&gt;
Senators spoke eloquently for the authors, but&lt;br /&gt;
opposed the Bill, only on account of its clauses&lt;br /&gt;
created by trade unions, &amp;amp;c. Several senators&lt;br /&gt;
made fine pleas for us, notably, a young man from&lt;br /&gt;
Colorado, and I have the pleasure of knowing that&lt;br /&gt;
at least one vote was changed on my account.&lt;br /&gt;
Imperfect as it is, it seems to me to be a step&lt;br /&gt;
forward. We are recognised as authors, we have&lt;br /&gt;
rights; and men who were ignorant before now&lt;br /&gt;
know that publishers generally get richer and richer&lt;br /&gt;
as authors get jworer and poorer.&lt;br /&gt;
The Western Senators, (as a rule) broad-minded&lt;br /&gt;
men from broad acres, favoured the Bill or some&lt;br /&gt;
Bill tending towards justice. As one Senator said,&lt;br /&gt;
&amp;quot;The printers, publishers, lithographers, &amp;amp;c. all&lt;br /&gt;
have their unions; they are protected, but who&lt;br /&gt;
protects the author?&amp;quot;&lt;br /&gt;
We sat listening with beating hearts longing to&lt;br /&gt;
correct some errors, and eager to put words of truth&lt;br /&gt;
in the speakers&amp;#039; mouths. About one o&amp;#039;clock in the&lt;br /&gt;
morning the roll was called on the vote, and at 1.3o&lt;br /&gt;
Vol. II.&lt;br /&gt;
we went home to bed thankful for little, hoping for&lt;br /&gt;
more.&lt;br /&gt;
I asked one of the Senators to forward you a&lt;br /&gt;
copy of the Bill as revised and past. If you did&lt;br /&gt;
not receive it, please let me know.&lt;br /&gt;
From Washington I went to New York, to find&lt;br /&gt;
that the Authors&amp;#039; Club, for the first time in their&lt;br /&gt;
history, had issued invitations to the ladies, following&lt;br /&gt;
your good example. I was induced to remain over&lt;br /&gt;
for it, and was pleased to meet many of our noted&lt;br /&gt;
and quoted men and women.&lt;br /&gt;
Rider Haggard had left that day for England, to&lt;br /&gt;
the regret of many who wished to see him.&lt;br /&gt;
In conversation with Noah Brooks, Stedman the&lt;br /&gt;
Poet, Kiehard Henry Stoddard, and others, I spoke&lt;br /&gt;
of the English Society and its brave work for&lt;br /&gt;
authors.&lt;br /&gt;
Mr. Brooks, the President of the Club, did me&lt;br /&gt;
the honour to say, &amp;quot;That, in his opinion, the three&lt;br /&gt;
authors who were doing most to give clear, finished,&lt;br /&gt;
and admirable pictures of New England life and&lt;br /&gt;
philosophy were your correspondent, Sarah Ome&lt;br /&gt;
Jeroett, and Mary E. Wilkins,&amp;quot; encouraging tri-&lt;br /&gt;
bute? from a man of Mr. Brook&amp;#039;s standing and&lt;br /&gt;
truthfulness.&lt;br /&gt;
You speak of our little &amp;quot; Guild.&amp;quot; Why not both&lt;br /&gt;
men and women? Sure enough; but the men&lt;br /&gt;
have &amp;quot;flocked by themselves,&amp;quot; and we must do the&lt;br /&gt;
best we can.&lt;br /&gt;
As it is, I find some women averse to any move-&lt;br /&gt;
ment. They say, &amp;quot;Good writers get all they want&amp;quot;;&lt;br /&gt;
&amp;quot;There is no need,&amp;quot; &amp;amp;c, &amp;amp;c. I cannot take this&lt;br /&gt;
narrow view, and therefore hope to make our&lt;br /&gt;
Guild a quiet power for good.&lt;br /&gt;
You would laugh, I am sure, could you hear the&lt;br /&gt;
comments on our Society in Loudon. One pub-&lt;br /&gt;
lisher says, &amp;quot;It is a sort of spite company gotten&lt;br /&gt;
up by growlers, who cannot sell their work.&amp;quot;&lt;br /&gt;
Another remarks: &amp;quot;I observe by the papers that&lt;br /&gt;
you are a member of that London Club. I advise&lt;br /&gt;
you to keep out of it. They are an aggressive lot&lt;br /&gt;
of men who want the earth.&amp;quot; Meantime, I go&lt;br /&gt;
steadily on doing my work.&lt;br /&gt;
Kate Tannatt Woods.&lt;br /&gt;
&amp;quot;Maple Nest,&amp;quot; Salem, Mass.,&lt;br /&gt;
April 8th, 1891.&lt;br /&gt;
IV.&lt;br /&gt;
The Bill enacts that not later than the day of&lt;br /&gt;
publication anywhere, there must 1m- two copies&lt;br /&gt;
of the work in question sent to the Librarian of&lt;br /&gt;
Congress, and these copies must be printed in&lt;br /&gt;
America. This is most, harrassing and unjust to&lt;br /&gt;
foreign authors. It can only 1k&amp;gt; of profit to those&lt;br /&gt;
who, having a great popular reputation, can secure&lt;br /&gt;
V.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 10 (#414) #############################################&lt;br /&gt;
&lt;br /&gt;
10&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
beforehand a publisher in America. But all Iwoks&lt;br /&gt;
which are ventures or risks, or not likely to sell&lt;br /&gt;
extensively (as, for instance, a young author&amp;#039;s first&lt;br /&gt;
book) cannot be lienefited by the Bill. Should an&lt;br /&gt;
author publish a book in England alone, and should&lt;br /&gt;
it by chance turn out to be a success, there is&lt;br /&gt;
nothing to prevent any American from taking it.&lt;br /&gt;
There are a great many books which have a great&lt;br /&gt;
success contrary to all expectations of both publisher&lt;br /&gt;
and author, as I myself have experienced.&lt;br /&gt;
There are also a great many l&amp;gt;ooks of immense&lt;br /&gt;
value to the world which do not sell well. No one&lt;br /&gt;
book ever had such influence on the American public&lt;br /&gt;
as the &amp;quot; Political Economy of Henry Carey,&amp;quot; yet it&lt;br /&gt;
was 3o years before the first edition of 1,000 copies&lt;br /&gt;
was sold; I having bought the very last one. I&lt;br /&gt;
could enumerate many such works.&lt;br /&gt;
According to this Bill, there can be no sending&lt;br /&gt;
from England to America of small amounts of&lt;br /&gt;
l&raquo;ooks&mdash;say 25o or 100&mdash;that is, if I understand&lt;br /&gt;
the expression &amp;quot;prohibition of importation&amp;quot; in&lt;br /&gt;
section 3, which seems to me to be very artfully&lt;br /&gt;
contrived so as to prevent all such importation, and&lt;br /&gt;
which certainly will be so carried out&mdash;making the&lt;br /&gt;
position of the foreign author as regards America,&lt;br /&gt;
on the whole, much worse than it now is. Thus I,&lt;br /&gt;
personally, have just published a very expensive&lt;br /&gt;
illustrated work. There is not the slightest pro-&lt;br /&gt;
bability that any American firm would ever print it,&lt;br /&gt;
but enough copies can now be sold to America to&lt;br /&gt;
materially aid the cost.&lt;br /&gt;
This Bill seems to me utterly adverse to all the&lt;br /&gt;
best interests of literature. It is founded on the&lt;br /&gt;
vulgar and ignorant opinion, too prevalent in&lt;br /&gt;
America, that a book is valuable exactly in propor-&lt;br /&gt;
tion to its sale. It will deter authors from making&lt;br /&gt;
efforts or taking risks. It is conceived entirely in a&lt;br /&gt;
mere tradesman-like spirit. It is really and solely&lt;br /&gt;
devised to favour publishers as much, and authors&lt;br /&gt;
as little, as possible. Public opinion in Europe, and&lt;br /&gt;
the complaints of American authors liave forced the&lt;br /&gt;
American publishers and public to grant something,&lt;br /&gt;
and so they give just as little as they possibly can.&lt;br /&gt;
This Bill will deeply injure the best interests of&lt;br /&gt;
culture and literature in America. But this will&lt;br /&gt;
Ih&raquo; a matter of no consequence to legislators, who&lt;br /&gt;
cannot see any difference to the public between the&lt;br /&gt;
sale of a black letter book and its equal value in&lt;br /&gt;
black tea.&lt;br /&gt;
As I said before, this Bill allows the American&lt;br /&gt;
publishers to wait and see whether books by un-&lt;br /&gt;
known authors (or idl not copyrighted on a certain&lt;br /&gt;
day) will succeed, and if they do, he can always&lt;br /&gt;
reprint them.&lt;br /&gt;
This is so peculiarly mean and contemptible, and&lt;br /&gt;
also cruel. It is discouraging to young authors&lt;br /&gt;
whose first works are always risks.&lt;br /&gt;
However artfully it may be worded, the intent&lt;br /&gt;
of this Bill is to allow no books to be sold in the&lt;br /&gt;
United States unless they shall be printed there.&lt;br /&gt;
According to section 3 an American publisher by&lt;br /&gt;
depositing a printed title of any forthcoming&lt;br /&gt;
English work can effectively stop its sale or its&lt;br /&gt;
republication in America if he be so minded.&lt;br /&gt;
That is, he can apply for a copyright, and either&lt;br /&gt;
make his own terms, having obtained it, or else&lt;br /&gt;
prevent its appearing altogether.&lt;br /&gt;
The Bill protects the author as regards printing&lt;br /&gt;
and publishing, but not against copyrighting his&lt;br /&gt;
title. And this same infamous injustice exists in&lt;br /&gt;
England. Thus, I know a publisher in Loudon,&lt;br /&gt;
who, having advertised a book by a certain title,&lt;br /&gt;
the title was copyrighted by another man who&lt;br /&gt;
legally notified the publisher that he must not use&lt;br /&gt;
his own title. I should say in conclusion, from my&lt;br /&gt;
very soul, that men who could conceive, carry out,&lt;br /&gt;
or approve of any such Bill as this, would be&lt;br /&gt;
capable of anything contemptible or disreputable.&lt;br /&gt;
It is altogether in the spirit of the great popular&lt;br /&gt;
theory that the minority or the weak have no&lt;br /&gt;
rights whatever which the majority or the strong&lt;br /&gt;
are l&amp;gt;ound to respect.&lt;br /&gt;
Chaiiles Godfrey Leland.&lt;br /&gt;
Florence.&lt;br /&gt;
V.&lt;br /&gt;
I am not concerned with the purely legal side of&lt;br /&gt;
the question. I leave that to Sir Frederick Pollock&lt;br /&gt;
and other lights of the law, by whom it has already&lt;br /&gt;
teen discussed. I would merely point out that the&lt;br /&gt;
English publisher of an American book can protect&lt;br /&gt;
it by the simple expedient of calling it a &amp;quot;copy-&lt;br /&gt;
right edition.&amp;quot; This may imply either that the&lt;br /&gt;
book was published simultaneously in England and&lt;br /&gt;
the United States, or that, at the time of its publi-&lt;br /&gt;
cation, the author was in British territory. Lord&lt;br /&gt;
Westbury and other authorities have expressed the&lt;br /&gt;
opinion that observance of the first of the conditions&lt;br /&gt;
secures the American author in his copyright; all&lt;br /&gt;
agree that observance of the second does. And&lt;br /&gt;
who can lie sure that Lord Westbury was mistaken,&lt;br /&gt;
or that the moment the book was published in&lt;br /&gt;
London the author was not on the Canadian side of&lt;br /&gt;
the Niagara or the St. Lawrence, or elsewhere in&lt;br /&gt;
the Queen&amp;#039;s dominions? The question could only&lt;br /&gt;
be conclusively tested by the production of a rival&lt;br /&gt;
edition; and where is the publisher who would&lt;br /&gt;
commit so great a folly? Though he might de-&lt;br /&gt;
stroy the copyright of the book, he could in no&lt;br /&gt;
circumstances acquire it for himself, while failure&lt;br /&gt;
in the action which would doubtless be brought&lt;br /&gt;
against him would involve payment of his adver-&lt;br /&gt;
sary&amp;#039;s legal costs as well as his own, in addition to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 11 (#415) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the cost of producing the rival edition, to say&lt;br /&gt;
nothing of th&laquo;! worry, and the |&amp;gt;ossibility of being&lt;br /&gt;
cast in damages. But an ounce of practice is tetter&lt;br /&gt;
than a pound of theory; and, as a matter of fact, I&lt;br /&gt;
lx-lieve that no American book described on its&lt;br /&gt;
title page as &amp;quot; copyright&amp;quot; has ever been pirated in&lt;br /&gt;
this country.&lt;br /&gt;
&amp;quot;William Westall.&lt;br /&gt;
VI.&lt;br /&gt;
Mb. C. J. Longman on the Bill.&lt;br /&gt;
Mr. C. J. Longman has contributed to the April&lt;br /&gt;
number of the Economic Review (Percival &amp;amp; Co.)&lt;br /&gt;
a very cogent article on the American Copyright&lt;br /&gt;
Bill, which will be read with considerable interest.&lt;br /&gt;
Mr. Longman points out that those writers whose&lt;br /&gt;
published works are before the world, but have&lt;br /&gt;
hitherto, from whatever cause, failed to attract the&lt;br /&gt;
attention of pirates, will derive no advantage from&lt;br /&gt;
the Act, and it is no doubt true that the enter-&lt;br /&gt;
prising American publisher will not feel stimulated&lt;br /&gt;
to engage in undertakings of this character now&lt;br /&gt;
that the law makes him pay the authors. It is, as&lt;br /&gt;
Mr. Longman puts it, impossible to make people&lt;br /&gt;
read or buy unreadable books by Act of Congress.&lt;br /&gt;
Mr. Longman thinks that British authors will also&lt;br /&gt;
find that they liave to compete with books of their&lt;br /&gt;
own and other authors which have been published&lt;br /&gt;
previous to the date on which the Act comes into&lt;br /&gt;
force, which will of course remain on sale at the&lt;br /&gt;
old price, as the Bill is not retrospective. But as&lt;br /&gt;
to this, it may be remarked that in the opinion of&lt;br /&gt;
at least some authorities, copyright editions of all&lt;br /&gt;
these books will appear, and if so, it is possible that&lt;br /&gt;
the American public will buy the copyright edition&lt;br /&gt;
and not the cheap one.&lt;br /&gt;
As to the effects of the Bill upon British trade,&lt;br /&gt;
Mr. Longman thinks that American printers are&lt;br /&gt;
clever enough to adapt their type and methods of&lt;br /&gt;
spelling to our needs; that plates will be sent over&lt;br /&gt;
here, and, in some cases, l&amp;gt;ooks sent over in sheets.&lt;br /&gt;
The loss therefore in his view will fall upon&lt;br /&gt;
printers and subsidiary trades, as type founders,&lt;br /&gt;
ink manufacturers, while binders will not be greatly&lt;br /&gt;
affected. As for the publishing trade, Mr. Longman&lt;br /&gt;
thinks that it will not be much affected in so far as&lt;br /&gt;
publishers are concerned with the publication of&lt;br /&gt;
books. It of course follows that the l&amp;gt;est British&lt;br /&gt;
houses will open branches in New York or Boston,&lt;br /&gt;
and Mr. Longman, at any rate, thinks that American&lt;br /&gt;
publishers have quite as much to fear as British&lt;br /&gt;
linns.&lt;br /&gt;
VII.&lt;br /&gt;
Regarding this Bill solely from my own point of&lt;br /&gt;
view&mdash;that of a writer of historical l&amp;gt;ooksand works&lt;br /&gt;
of reference not likely to have a rapid or immediate&lt;br /&gt;
sale&mdash;I see no advantage to accrue from the provi-&lt;br /&gt;
sions. It is unlikely that such books should come&lt;br /&gt;
to be printed in America, as the publishers would&lt;br /&gt;
prefer to print in England. Wages, I presume,&lt;br /&gt;
are less; correction of proofs must be easier and&lt;br /&gt;
cheaper. Lastly, consideration is due to the eccentric&lt;br /&gt;
spelling of American printers, which would, in some&lt;br /&gt;
cases, be a disfigurement of some moment to l&amp;gt;ooks&lt;br /&gt;
intended to have an educational scope. But these&lt;br /&gt;
are matters to be profitably discussed in an open&lt;br /&gt;
meeting of the Society.&lt;br /&gt;
H. G. Kekne.&lt;br /&gt;
VIII.&lt;br /&gt;
The point of faithful reproduction ought to be&lt;br /&gt;
strenuously urged. If America desires to have&lt;br /&gt;
English literature, she must accept it in the&lt;br /&gt;
language in which it is written. The option of&lt;br /&gt;
acceptance or refusal being in her own hands, she&lt;br /&gt;
may better express her appreciation of an author&amp;#039;s&lt;br /&gt;
capacity in accepting him as he writes than by&lt;br /&gt;
doing this violence both to his feelings and reputa-&lt;br /&gt;
tion that unauthorised and, in many cases, un-&lt;br /&gt;
educated alterations inflict.&lt;br /&gt;
I do not know whether others consider this as&lt;br /&gt;
important a point as I do, but I speak from the&lt;br /&gt;
experience of comparing some of our standard&lt;br /&gt;
writers&amp;#039; works with their American editions ; and in&lt;br /&gt;
such perusal one cannot help recognising the&lt;br /&gt;
malignant influence a &amp;quot;good book spoilt&amp;quot; would&lt;br /&gt;
have on a future generation, whose circumstances&lt;br /&gt;
might put it out of their power to see the work in&lt;br /&gt;
its original form.&lt;br /&gt;
B. H. H.&lt;br /&gt;
&lt;br /&gt;
PETITION TO THE HOUSE OP LORDS.&lt;br /&gt;
THE following Petition, signed by Lord Tenny-&lt;br /&gt;
son, President of the Society, was presented&lt;br /&gt;
to the House of Lords by Lord Herschell on&lt;br /&gt;
Monday the 10th of May :&mdash;&lt;br /&gt;
In the House of Lords, Session of 1891.&lt;br /&gt;
Copyright.&lt;br /&gt;
To the Right Honourable the Lords Spiritual and&lt;br /&gt;
Temporal of the United Kingdom of Great&lt;br /&gt;
Britain and Ireland in Parliament assembled.&lt;br /&gt;
The Humble Petition of the President, Fellows,&lt;br /&gt;
Associates, and Members of the Incorporated&lt;br /&gt;
Society of Authors&mdash;&lt;br /&gt;
Sheweth as follows :&mdash;&lt;br /&gt;
I. That a Bill entitled &amp;quot;An Act to amend&lt;br /&gt;
and consolidate the Law relating to Copyright&amp;quot; has&lt;br /&gt;
B if&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 12 (#416) #############################################&lt;br /&gt;
&lt;br /&gt;
12&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
been introduced into and read a first time by your&lt;br /&gt;
Right Honourable House.&lt;br /&gt;
2. That your Petitioners were incorporated on&lt;br /&gt;
the 20th June 1884 by a Board of Trade License,&lt;br /&gt;
granted to the Association in pursuance of section 23&lt;br /&gt;
of the Companies Act, 1867, under the name of the&lt;br /&gt;
&amp;quot;Incorporated Society of Authors&amp;quot; for the follow-&lt;br /&gt;
ing, amongst other, objects: &amp;quot; To represent, further,&lt;br /&gt;
aid, and assist the objects, and to protect the rights&lt;br /&gt;
and interests in their works, of authors, and every&lt;br /&gt;
kind of literary, dramatic, artistic, scientific, tech-&lt;br /&gt;
nical, educational, and musical works and publica-&lt;br /&gt;
tions, and the rights and interests in the same of&lt;br /&gt;
the assigns and representatives of such authors.&amp;quot;&lt;br /&gt;
3. That the present state of the Law of Copy-&lt;br /&gt;
right is eminently unsatisfactory and injurious to&lt;br /&gt;
the interests both of producers of, and dealers in,&lt;br /&gt;
literary, dramatic, artistic, scientific, technical,&lt;br /&gt;
educational, and musical works, and of the public&lt;br /&gt;
in general. The existing law on the subject&lt;br /&gt;
consists of no less than 18 Acts of Parliament,&lt;br /&gt;
l&amp;gt;esides Common Law principles. Owing to the&lt;br /&gt;
manner in which the Acts have been drawn, the&lt;br /&gt;
law is, in many cases, hardly intelligible, and is full&lt;br /&gt;
of arbitrary distinctions, for which it is impossible&lt;br /&gt;
to find a reason.&lt;br /&gt;
4. That the provisions of the said Bill have lieen&lt;br /&gt;
prepared with careful regard to the recommenda-&lt;br /&gt;
tions of the Copyright Commission of 1878, and&lt;br /&gt;
with the assistance not only of authors, artists, and&lt;br /&gt;
musical composers, but of persons well qualified to&lt;br /&gt;
represent the various business interests concerned&lt;br /&gt;
in the production of literary, dramatic, artistic,&lt;br /&gt;
scientific, technical, educational, and musical works.&lt;br /&gt;
Your Petitioners, therefore, humbly pray that it&lt;br /&gt;
may please Your Right Honourable House to pass&lt;br /&gt;
the said Bill into Law.&lt;br /&gt;
And your Petitioners will ever humbly pray, &amp;amp;c.&lt;br /&gt;
(Signed) Tennyson,&lt;br /&gt;
President.&lt;br /&gt;
&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
The Second Reading of the Bill.&lt;br /&gt;
OUR Copyright Bill was read a second time in&lt;br /&gt;
the House of Lords on Monday the 10th of&lt;br /&gt;
May. Lord Monkswell, to whom the Bill&lt;br /&gt;
had been entrusted many months ago, but who has&lt;br /&gt;
never from the first received any encouragement&lt;br /&gt;
from the Qovernment, did his work bravely and&lt;br /&gt;
well, and our Society is under a deep obligation to&lt;br /&gt;
him. In a speech full of facts and illustrations, he&lt;br /&gt;
directed attention to the amazing confusion of the&lt;br /&gt;
present law in point of form, to its many admitted&lt;br /&gt;
defects in point of substance, and to the remarkable&lt;br /&gt;
unanimity (considering the complications of the&lt;br /&gt;
subject) with which all interested in the subject&lt;br /&gt;
have agreed in supporting the amendments of the&lt;br /&gt;
law which our draftsman had thrown into legal&lt;br /&gt;
shape. He quoted, of course, again and again&lt;br /&gt;
from the Report of the Royal Commissioners, three&lt;br /&gt;
of whom&mdash;the Duke of Rutland, Lord Herschell,&lt;br /&gt;
anil Lord Knutsford&mdash;were Members of the House&lt;br /&gt;
he was addressing, to show on what a strong&lt;br /&gt;
foundation the Bill had been built up. He duly&lt;br /&gt;
went through the much-needed amendments&mdash;the&lt;br /&gt;
substitution of &amp;quot;life and 3o years&amp;quot; for the pre-&lt;br /&gt;
sent awkward term of copyright, the levelling up&lt;br /&gt;
of artists with authors, the extinction of fraudulent,&lt;br /&gt;
dramatisation of novels, the enfranchisement of&lt;br /&gt;
newspapers, and so on. He was strong enough to&lt;br /&gt;
admit his weak points, such as his inability to find&lt;br /&gt;
a complete modus vivendi with Canada, whether&lt;br /&gt;
by a licensing system or otherwise. Finally he,&lt;br /&gt;
or rather Lord Herschell in his name, called upon&lt;br /&gt;
the Government either to help him in carrying&lt;br /&gt;
our Bill through Parliament, or forthwith to come&lt;br /&gt;
forward with a better Bill of their own. A11&lt;br /&gt;
irresistible attack!&lt;br /&gt;
And what did the Government say to all this?&lt;br /&gt;
Both Lord Balfour and the Lord Chancellor&lt;br /&gt;
admitted to the full the case for the Bill, but for&lt;br /&gt;
some inconceivable reason the Lord Chancellor&lt;br /&gt;
(who was too prudent to take the responsibility of&lt;br /&gt;
dividing the House) would consent only to a&lt;br /&gt;
second reading on condition that the Bill should&lt;br /&gt;
not be taken any further during the present Session.&lt;br /&gt;
Difficulties were darkly hinted at, but with the&lt;br /&gt;
exception of that in connexion with registration,&lt;br /&gt;
not a single one was specifically mentioned. To&lt;br /&gt;
5o clauses, it was said by Lord Balfour, certain&lt;br /&gt;
draftsmen had objected. Not one of them teas&lt;br /&gt;
named. On not a single one of the main amend-&lt;br /&gt;
ments, not even on the proposed new term of&lt;br /&gt;
&amp;quot;life and 3o years,&amp;quot; was a word spoken. The&lt;br /&gt;
Lord Chancellor merely observed, that if the Bill&lt;br /&gt;
wont into Committee there would be much con-&lt;br /&gt;
troversy on many parts of it, and that all such&lt;br /&gt;
controversy would be renewed when the Bill&lt;br /&gt;
should come again before the House. Truly, we&lt;br /&gt;
are entitled to ask, What controversy, and on what&lt;br /&gt;
parts? Perfect, of course, the Bill is not, but if&lt;br /&gt;
this is all that can l&amp;gt;e said against it by critics so&lt;br /&gt;
highly qualified and painstaking as Lord Halsbury&lt;br /&gt;
and Lord Balfour, it is at least as perfect as any&lt;br /&gt;
Government measure of the present session.&lt;br /&gt;
Of course, the matter cannot be allowed to rest.&lt;br /&gt;
As Lord Herschell finely said in his pointed speech,&lt;br /&gt;
which will long be remembered by all interested in&lt;br /&gt;
the subject, the Legislature exists for the purpose of&lt;br /&gt;
remedying imperfect and mischievous legislation,&lt;br /&gt;
such as that o:i copyright is universally admitted&lt;br /&gt;
to be. &amp;quot;As far as indications go, the programme&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 13 (#417) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
of Hit Majesty&amp;#039;s Government,&amp;quot; observed the&lt;br /&gt;
noble and learned lord, &amp;quot;is approaching its end.&lt;br /&gt;
Why should they not take up such a subject as&lt;br /&gt;
copyright and deal with it? It is a matter of&lt;br /&gt;
interest to authors and the public alike that the&lt;br /&gt;
question should be settled, and the law amended.&lt;br /&gt;
I lielieve a great many of the supposed difficulties&lt;br /&gt;
will vanish if once a resolute and earnest endeavour&lt;br /&gt;
be made to grapple with them. What the 5o points&lt;br /&gt;
of objection to which the noble lord (Lord Balfour)&lt;br /&gt;
referred an1 I do not know, but for my part I&lt;br /&gt;
lielieve the real difficulties would be found to be&lt;br /&gt;
not more than three or four. If once these are&lt;br /&gt;
settled, there will be no difficulty about a consoli-&lt;br /&gt;
dation of the law.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
THE COST OF A STAMP.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;MT^HE article in the April numl&amp;gt;erof the Author&lt;br /&gt;
I on the cost of a stamp did not make clear&lt;br /&gt;
what I think is very desirable to have known:&lt;br /&gt;
that is, what the law requires in the matter of the&lt;br /&gt;
stamping of agreements.&lt;br /&gt;
&amp;quot;I have just signed an agreement to which a&lt;br /&gt;
sixpenny stamp was affixed.&lt;br /&gt;
&amp;quot;Is this mode of stamping agreements sufficient?&lt;br /&gt;
Is it legal? Would documents so stamped be held&lt;br /&gt;
valid in a court of law? Or ought they to be&lt;br /&gt;
submitted to and stamped by the authorities of&lt;br /&gt;
Somerset House?&lt;br /&gt;
&amp;quot;I am sure that many would like a competent&lt;br /&gt;
opinion in the matter.&amp;quot;&lt;br /&gt;
A. B.&lt;br /&gt;
II.&lt;br /&gt;
Deab Sib,&lt;br /&gt;
We have received your letter of yesterday&lt;br /&gt;
and enclosures. We think there can be no doubt&lt;br /&gt;
as to the meaning of sub-section I. of section i5 of&lt;br /&gt;
the Revenue Act, 1889, to which attention is called&lt;br /&gt;
in the article in the April edition of the Author.&lt;br /&gt;
The sub-section runs: &amp;quot;any contract or agreement&lt;br /&gt;
made in England or Ireland under seal or under&lt;br /&gt;
hand only, or made in Scotland for&lt;br /&gt;
the sale of any equitable estate or interest in any&lt;br /&gt;
property, or for the pale of any estate or interest in&lt;br /&gt;
any property .... (with certain exceptions,&lt;br /&gt;
among which the sale of Copyright or any interest&lt;br /&gt;
in Copyright is not mentioned) shall 1m&amp;gt; charged&lt;br /&gt;
with the same ad valorem duty to l&amp;gt;e paid by the&lt;br /&gt;
purchaser as if it were an actual conveyance on&lt;br /&gt;
sale of the estate, interest, or property agreed or&lt;br /&gt;
contracted to be sold.&amp;quot; It follows therefore that&lt;br /&gt;
since the passing of this Act the same ad valorem&lt;br /&gt;
duty will lie charged on a contract for the sale of&lt;br /&gt;
Copyright or any interest in it as on a conveyance&lt;br /&gt;
of Copyright. If this view is right, the 6d. stamp&lt;br /&gt;
is no longer sufficient, and whether a 6d. adhesive;&lt;br /&gt;
stamp is used or the document actually stamped&lt;br /&gt;
at Somerset House, wh( re a 6d. stamp might well&lt;br /&gt;
be jmssed by inadvertence, the document will Ik?&lt;br /&gt;
insufficiently stanq&amp;gt;ed, and the excess and &pound;10&lt;br /&gt;
penalty and interest will be charged on it l&amp;gt;efore it&lt;br /&gt;
can be received as evidence in any court of law.&lt;br /&gt;
The Act, we think, applies not only to agreements&lt;br /&gt;
to sell some interest in Copyright, but also to many&lt;br /&gt;
licences to publish; but as the terms of licences&lt;br /&gt;
vary so much it would be a matter for consideration&lt;br /&gt;
on each document whether it came within 1 lit* Act.&lt;br /&gt;
We return you Mr. A.B.&amp;#039;s letter and the Author.&lt;br /&gt;
Yours truly,&lt;br /&gt;
Field, Roscoe, &amp;amp; Co.&lt;br /&gt;
&diams;-&amp;lt;&amp;gt;.&diams;&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
THE Right Honourable Baron Henry de&lt;br /&gt;
Worms has joined the Council of the Society.&lt;br /&gt;
Mr. Robert Bateman, in consequence of&lt;br /&gt;
leaving town, has been unfortunately compelled to&lt;br /&gt;
resign his post on the Committee.&lt;br /&gt;
The number of new Members elected since&lt;br /&gt;
December last&mdash;inclusive, because the elections in&lt;br /&gt;
that month were for 1891&mdash;amounts to g5. This&lt;br /&gt;
must be acknowledged to be very satisfactory. Our&lt;br /&gt;
numbers, however, ought now to increase at a&lt;br /&gt;
much more rapid rate. We look for a roll of&lt;br /&gt;
Members, before the lapse of many years, number-&lt;br /&gt;
ing thousands. Let it lie remembered that the&lt;br /&gt;
Society is concerned with every form of literature,&lt;br /&gt;
and works for Authors in every branch.&lt;br /&gt;
Let me call attention very particularly to the&lt;br /&gt;
directions for securing Copyright issued at Congress,&lt;br /&gt;
ami printed on page 5 of this number of the&lt;br /&gt;
Author.&lt;br /&gt;
In March last there was a large rise in the&lt;br /&gt;
wages of compositors, to be followed, if it has not&lt;br /&gt;
already been followed, by a rise in the wages of&lt;br /&gt;
machinists. This fact alters the figures given in&lt;br /&gt;
the &amp;quot; Cost of Production.&amp;quot; Those who can &amp;quot;do&lt;br /&gt;
sums&amp;quot; may amuse themselves by adding io per&lt;br /&gt;
cent, to the charges of &amp;quot;composing&amp;quot; and &amp;quot;print-&lt;br /&gt;
ing.&amp;quot; The other figures remain. If authors are&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 14 (#418) #############################################&lt;br /&gt;
&lt;br /&gt;
&raquo;4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
told, as they have been told, that the prices are&lt;br /&gt;
incorrect, that the work cannot he done for the&lt;br /&gt;
money, and so forth, let them understand that&lt;br /&gt;
this is said with intent. I tested the figures the&lt;br /&gt;
other day with a well-known London firm, who had&lt;br /&gt;
not previously seen them. &amp;quot;We will willingly do&lt;br /&gt;
the work,&amp;quot; said their manager, &amp;quot; under your prices.&amp;quot;&lt;br /&gt;
The American Government have sent copies of&lt;br /&gt;
the new International Copyright Law to all their&lt;br /&gt;
foreign Ministers, with instructions to bring it to&lt;br /&gt;
the attention of the respective Governments to which&lt;br /&gt;
they are accredited. The least that our Government&lt;br /&gt;
can do is to take care that our own laws satisfy the;&lt;br /&gt;
conditions on which the privileges of the Act can&lt;br /&gt;
be granted to ourselves. These conditions are&lt;br /&gt;
simply the securing to American authors of the&lt;br /&gt;
same powers of obtaining Copyright as we ourselves&lt;br /&gt;
enjoy. Practically, these powers are already&lt;br /&gt;
secured for them, but perhaps the President may&lt;br /&gt;
require the additional security of removing a certain&lt;br /&gt;
doubt which now exists. This must be done&lt;br /&gt;
without the least delay.&lt;br /&gt;
The following extract from the Times of May&lt;br /&gt;
the 20th seems very significant. Lord Monkswell&amp;#039;s&lt;br /&gt;
Bill contains no clauses such as that contemplated&lt;br /&gt;
by the writer to the Solicitor and the Attorney&lt;br /&gt;
General, but could be added without altering the&lt;br /&gt;
structure of the Bill.&lt;br /&gt;
Thk Law op Copyrioiit.&mdash;The Attorney-General has&lt;br /&gt;
replied ns follows to a correspondent with reference to the&lt;br /&gt;
law of copyright:&mdash; &amp;quot; The Attorney-General&amp;#039;s Chambers,&lt;br /&gt;
2, Pump Court, Temple, E.C., May 15, 189?.&mdash;Dear Sir,&mdash;&lt;br /&gt;
The subject to which your letter refers is of great interest.&lt;br /&gt;
I have always been of opinion that protection should be&lt;br /&gt;
secured to the results of intellectual labours, whether for&lt;br /&gt;
the author or the mechanic. You are no doubt aware that&lt;br /&gt;
the question is one surrounded with difficulty, but I can&lt;br /&gt;
promise you that it shall not escape my attention in the&lt;br /&gt;
event of any opportunity arising of furthering that object.&lt;br /&gt;
&mdash;I am, yours faithfully, Richard Wkbsteb.&amp;quot;&lt;br /&gt;
Writing on the same subject, the Solicitor-&lt;br /&gt;
General says :&mdash;&lt;br /&gt;
&amp;quot;Royal Courts of Justice, May ij, 1891.&mdash;Dear Sir,&mdash;I&lt;br /&gt;
have a strong opinion in favour of some steps being taken&lt;br /&gt;
to protect Knglish labour against such unfair treatment as&lt;br /&gt;
it is subjected to by the new American copyright law, but&lt;br /&gt;
I do not feel at liberty to express more than a general&lt;br /&gt;
opinion on the subject.&mdash;Very faithfully yours, Kdward&lt;br /&gt;
Clarke.&amp;quot;&lt;br /&gt;
Mr. William Black has been good enough to&lt;br /&gt;
associate myself, among others, with him in the&lt;br /&gt;
formation of a new publishing firm. It will be&lt;br /&gt;
established in New York, and its object will be&lt;br /&gt;
to print and publish books bv English authors&lt;br /&gt;
in conformity with the new Law of Copyright.&lt;br /&gt;
This notable scheme has l*?en hatched in silence&lt;br /&gt;
and secrecy. So silent and secret have been the&lt;br /&gt;
preliminary steps, that neither Mr. William Black&lt;br /&gt;
himself nor any one of his associates has even heard&lt;br /&gt;
of the scheme, which is gravely announced in a New&lt;br /&gt;
York paper. Now, if such a scheme were attempted&lt;br /&gt;
it would be founded on the belief that it could do&lt;br /&gt;
for English authors what American publishers will&lt;br /&gt;
not do. Perhaps it is quite conceivable that a&lt;br /&gt;
plan of this kind, launched at. a great expense of&lt;br /&gt;
capital, could be worked&mdash;provided the manager&lt;br /&gt;
could be found. It is also quite conceivable that&lt;br /&gt;
a similar scheme could be launched and worked&lt;br /&gt;
in this country&mdash;provided a manager could be&lt;br /&gt;
found. But such a manager, possessed of abilities&lt;br /&gt;
capable of conducting such auenterprise successfully,&lt;br /&gt;
would, probably, very soon find out that he could&lt;br /&gt;
do better for himself, and would therefore proceed&lt;br /&gt;
to set up for himself. And unless success was&lt;br /&gt;
assured from the l&amp;gt;eginiiing, the plan would certainly&lt;br /&gt;
not enlist the confidence of authors. I think,&lt;br /&gt;
therefore, that Mr. William Black, like myself,&lt;br /&gt;
prefers existing arrangements, where agreements&lt;br /&gt;
are fair to both sides, and fairly carried out.&lt;br /&gt;
Unfortunately the list of publishers in the &amp;quot; London&lt;br /&gt;
Directory,&amp;quot; as readers of the Author very well know,&lt;br /&gt;
contains a great many gentry whose agreements&lt;br /&gt;
are never by any chance fair, and never by any&lt;br /&gt;
chance fairly carried out.&lt;br /&gt;
&amp;quot;The Society of Authors, I assure yon, my&lt;br /&gt;
dear, does no good, no good at all. Only last,&lt;br /&gt;
week, for instance, a dear young friend of mine, a&lt;br /&gt;
girl of 17, who had just left school, sent them, for&lt;br /&gt;
an opinion, a MS. novel which she had written for&lt;br /&gt;
her own amusement in leisure moments. She&lt;br /&gt;
spent a whole six weeks upon it, and it was&lt;br /&gt;
her first attempt. Would you l)elieve it? The&lt;br /&gt;
reader of the Society sent lmck the papers with&lt;br /&gt;
the most cruel remarks you ever saw. He said&lt;br /&gt;
that there was no possibility of considering the&lt;br /&gt;
piece seriously; he found fault with the plot,&lt;br /&gt;
and the characters, and the construction, and&lt;br /&gt;
advised the writer to study the Art of Fiction&lt;br /&gt;
seriously if she wished to succeed. Absurd!&lt;br /&gt;
And after that lovely article in the Spectator,&lt;br /&gt;
which proves that there is no study wanted&lt;br /&gt;
at all, but that story-making comes by nature,&lt;br /&gt;
&amp;quot;like the song to the skylark.&amp;quot; It was in&lt;br /&gt;
this case doubly absurd, and it will show how&lt;br /&gt;
ridiculous the Society is, when I tell you that a&lt;br /&gt;
most respectable publisher, on receiving the MS.&lt;br /&gt;
actually offered to bring out and sell 5,ooo copies,&lt;br /&gt;
and to give her half the profits if she would only&lt;br /&gt;
advance &pound;100 to begin with. It was the same&lt;br /&gt;
publisher who once gave my husband &pound;10&mdash;a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 15 (#419) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
whole &pound;10&mdash;for the profits on his book. Of&lt;br /&gt;
course he was most unwilling to rob the poor&lt;br /&gt;
dear man by taking it. Well, the dear child has&lt;br /&gt;
jumped at the offer. She is delighted at her&lt;br /&gt;
good fortune, and counts on making &pound;1,000 at&lt;br /&gt;
least, and means to devote herself henceforth&lt;br /&gt;
entirely to literature. Whereas, my dear, if she&lt;br /&gt;
had listened to that mischievous and meddlesome&lt;br /&gt;
Society!&amp;quot;&lt;br /&gt;
&amp;quot;The Society of Authors is a mischievous body,&lt;br /&gt;
Sir. It does nothing but encourage a parcel of&lt;br /&gt;
school girls to put their miserable trash into the&lt;br /&gt;
hands of scoundrels who make them pay for having&lt;br /&gt;
their books produced. The markets are flooded&lt;br /&gt;
with trash entirely through the efforts of this&lt;br /&gt;
Society. Say they do quite the contrary? I don&amp;#039;t&lt;br /&gt;
believe it. I have heard from a very good authority,&lt;br /&gt;
t he leading partner in Barabbis, Ananias, &amp;amp; Co.&mdash;&lt;br /&gt;
very active new firm&mdash;that this is all they even&lt;br /&gt;
attempt to do.&amp;quot;&lt;br /&gt;
&amp;quot;We consider the Society of Authors a meddle-&lt;br /&gt;
some body. They may have some good men&lt;br /&gt;
among their numbers. I don&amp;#039;t know. But they&lt;br /&gt;
are distinctly meddlesome. They actually want&lt;br /&gt;
authors to know the meaning of their agreements.&lt;br /&gt;
Why, that&amp;#039;s our business. We are the publishers;&lt;br /&gt;
we act entirely in the author&amp;#039;s interests ; why does he&lt;br /&gt;
want to know the meaning of his agreement? And&lt;br /&gt;
the actual Cost of Production? Can&amp;#039;t he trust us?&lt;br /&gt;
And the meaning of Royalties? Are they going&lt;br /&gt;
to destroy all confidence between man and man?&lt;br /&gt;
Trust my words, Sir, if that Society goes on,&lt;br /&gt;
Literature is doomed.&amp;quot;&lt;br /&gt;
What a dreadful thing it is to have such a&lt;br /&gt;
bad character&mdash;and to deserve it!&lt;br /&gt;
Mr. George Gissing ought to be publicly&lt;br /&gt;
thanked for introducing to the world a form of&lt;br /&gt;
literary life which has long been known to all who&lt;br /&gt;
have penetrated into the by-ways and slums of this&lt;br /&gt;
many-sided calling. He presents to us several well&lt;br /&gt;
defined and by no means uncommon types. There&lt;br /&gt;
is the young man of literary aspirations who rashly&lt;br /&gt;
attempts to make of letters his livelihood, encou-&lt;br /&gt;
raged by the success of a single first novel. He&lt;br /&gt;
has no education to speak of; he has no know-&lt;br /&gt;
ledge of society; he has no personal ex]&amp;gt;erienees;&lt;br /&gt;
he has no travel. In fact, he is absolutely&lt;br /&gt;
devoid of any equipment except a true feeling for&lt;br /&gt;
Art, and a burning desire to succeed. He cannot&lt;br /&gt;
succeed. It is not jwssible for such a man to&lt;br /&gt;
succeed. He fails dismally, and he dies. In real&lt;br /&gt;
life such a man would not die. He would sink&lt;br /&gt;
lower&mdash;lower&mdash;until he became the wretched&lt;br /&gt;
drudge and hack of a penny novelette publisher,&lt;br /&gt;
which is Malebolge itself. Next, there is the&lt;br /&gt;
young man who looks about him, sees what will&lt;br /&gt;
pay, and how men get on in the literary pro-&lt;br /&gt;
fession. He enters upon his work with the&lt;br /&gt;
intention of succeeding, and he does succeed. In&lt;br /&gt;
real life such a man might succeed in the way&lt;br /&gt;
indicated, but not quite so easily. He Incomes an&lt;br /&gt;
Editor. Now, one of the chief requisites in a&lt;br /&gt;
modern Editor is that he should know many men,&lt;br /&gt;
and belong to certain social circles. This young&lt;br /&gt;
man, with no social position, would certainly not be&lt;br /&gt;
made an Editor quite so easily. On the other&lt;br /&gt;
hand, his career illustrates the advantages to be&lt;br /&gt;
derived from accepting the existing conditions, and&lt;br /&gt;
trading upon them. But the truest, saddest figure&lt;br /&gt;
in the book is that of the old litterateur, a critic&lt;br /&gt;
of the former school, who hangs on to letters,&lt;br /&gt;
getting more and more soured every day, having&lt;br /&gt;
a paper accepted now and then, doing a stroke of&lt;br /&gt;
work here and another there, living a life of&lt;br /&gt;
absolute dependence upon publishers and Editors,&lt;br /&gt;
whose work nobody wants, whose whole history&lt;br /&gt;
has lieen one of humiliations, disgusts, and dis-&lt;br /&gt;
appointments, who waits humbly on publishers and&lt;br /&gt;
hopes for their &amp;quot;generosity.&amp;quot; Truly, as his&lt;br /&gt;
daughter says, his is a loathsome profession. It is&lt;br /&gt;
the utter degradation of letters; it is Grub Street&lt;br /&gt;
with us still. But he degrades his profession still&lt;br /&gt;
more, for he meditates constantly upon the pride of&lt;br /&gt;
being the Editor of a literary journal, and his only&lt;br /&gt;
thought, in that capacity, is how he will tear and&lt;br /&gt;
rend his brother writers. &amp;quot;I will show them,&amp;quot;&lt;br /&gt;
he says, &amp;quot;I will show them how to scarify.&amp;quot; Yes,&lt;br /&gt;
that is still the thought of certain authors. As it&lt;br /&gt;
was in the days of Churchill, so it is now. Because&lt;br /&gt;
a man follows the calling of letters, he must,&lt;br /&gt;
by other followers of that profession, be slated,&lt;br /&gt;
scarified, torn to pieces. Every other profession&lt;br /&gt;
has its unwritten laws of decency and politeness.&lt;br /&gt;
That of literature, none. I do not supj&amp;gt;ose that&lt;br /&gt;
Mr. Gissing&amp;#039;s book can become popular, but from&lt;br /&gt;
my own knowledge I can testify to its truth. I&lt;br /&gt;
know them all, personally,&mdash;two or three of&lt;br /&gt;
each&mdash;Mr. Yule&mdash;Jasper&mdash;Edwin&mdash;and the fidelity&lt;br /&gt;
of Mr. Gissing&amp;#039;s portraits makes me shudder.&lt;br /&gt;
Zola has been passed over in favour of &amp;quot;Loti.&amp;quot;&lt;br /&gt;
The choice of the French Academy is surprising&lt;br /&gt;
and disappointing. For if we grant everything&lt;br /&gt;
that has been said in favour of Pierre Loti, the fact&lt;br /&gt;
remains that he is a head and shoulders below&lt;br /&gt;
Zola. I have purposely abstained from reading&lt;br /&gt;
Germinal and one or two of Zola&amp;#039;s last. But.one&lt;br /&gt;
A&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 16 (#420) #############################################&lt;br /&gt;
&lt;br /&gt;
i6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
can never forget L&amp;#039;Assommoir, a work of sur-&lt;br /&gt;
prising power and genius. Nor can we forget La&lt;br /&gt;
Curie, not to speak of those short tales in which&lt;br /&gt;
he has hardly an equal. When all is said and done&lt;br /&gt;
about Zola, he will take, I am convinced, a very&lt;br /&gt;
high place, far higher than the author of the&lt;br /&gt;
charming Madame Chrysantheme is likely to&lt;br /&gt;
achieve. The election is not one which can be&lt;br /&gt;
defended by those who would like to see an&lt;br /&gt;
Academy in this country. But then we want an&lt;br /&gt;
Academy of our own, not slavishly copied from the&lt;br /&gt;
French, and able to steer clear of the shoals and&lt;br /&gt;
rocks which are always bringing that august vessel&lt;br /&gt;
into danger and ridicule.&lt;br /&gt;
An American gentleman is making application&lt;br /&gt;
to various authors for the manuscript originals of&lt;br /&gt;
their works. Unpublished MSS., indeed, authors&lt;br /&gt;
have never shown any unwillingness to part with;&lt;br /&gt;
but published MSS. !&mdash;there is the difference. Very&lt;br /&gt;
few living writers now can predict with certainty the&lt;br /&gt;
value of their MSS. in ten, twenty, thirty years&amp;#039;time.&lt;br /&gt;
Surely it is best to take the chance, refuse to sell&lt;br /&gt;
the things, and keep them for the lienefit of heirs.&lt;br /&gt;
If an autograph work be worth anything now, its&lt;br /&gt;
value will be multiplied by ten in as many years&amp;#039;&lt;br /&gt;
time, supposing the book to live. Besides, there is&lt;br /&gt;
the sentiment of the thing. One would like to&lt;br /&gt;
give to one&amp;#039;s heirs the very work in one&amp;#039;s own&lt;br /&gt;
handwriting, out of which some fame, as well as&lt;br /&gt;
some fortune, has been achieved. Let us keep our&lt;br /&gt;
MSS., brethren, and lock them up.&lt;br /&gt;
Ouida has perpetrated a long two-column small&lt;br /&gt;
print letter in the Times. She is very angry&lt;br /&gt;
because people syndicate their novels. She is very&lt;br /&gt;
angry that literary agents are allowed to exist. She&lt;br /&gt;
is very angry that so many books are published.&lt;br /&gt;
She is very angry that this Society exists. She is&lt;br /&gt;
very angry that a certain very clever young writer&lt;br /&gt;
is acknowledged to 1k&amp;gt; clever. She is very angry&lt;br /&gt;
that authors find it desirable to look after their&lt;br /&gt;
property. She is so very, very angry with every-&lt;br /&gt;
thing, that one suspects the sham indignation of&lt;br /&gt;
the satirist which compels him&mdash;poor man !&mdash;to&lt;br /&gt;
make verses.&lt;br /&gt;
The genesis of the literary agent is quite natural.&lt;br /&gt;
Owing to the chaotic condition of publishing, while&lt;br /&gt;
the publisher depends upon the author for material;&lt;br /&gt;
and while the author depends upon the publisher&lt;br /&gt;
for proceeds of his work; the publisher has no&lt;br /&gt;
recognised principles on which to lmse his proffered&lt;br /&gt;
agreement, and is therefore in the false position&lt;br /&gt;
of being taken for a screw or a cheat, when,&lt;br /&gt;
perhaps, he is only desirous of being fair ami&lt;br /&gt;
just* The author, owing to the absence of&lt;br /&gt;
recognized principles, has to go to the publisher&lt;br /&gt;
and make a targain in ignorance and dependence.&lt;br /&gt;
This dependence is loathsome and humiliating to&lt;br /&gt;
him; he hates the conduct of his own business;&lt;br /&gt;
he considers himself cheated and cajoled &mdash; as&lt;br /&gt;
very often he is. All this would be avoided if&lt;br /&gt;
authors knew what is meant by cost of pro-&lt;br /&gt;
duction, trade price, royalties; in fact, what&lt;br /&gt;
are actually meant by the clauses of the agree-&lt;br /&gt;
ments they are called upon to sign. So long as&lt;br /&gt;
secrecy on these points is maintained, there will&lt;br /&gt;
remain the humiliation of the author in l&amp;gt;cirig&lt;br /&gt;
dependent on what they call the &amp;quot;generosity&amp;quot; of&lt;br /&gt;
the publisher. Now the literary agent who takes&lt;br /&gt;
up the conduct of an author&amp;#039;s affairs is, or should&lt;br /&gt;
l&amp;gt;e, a business man as much as &amp;quot;the publisher.&lt;br /&gt;
Therefore, when he arranges an agreement, it is&lt;br /&gt;
one business man making a business agreement&lt;br /&gt;
with another, both l&amp;gt;eing entirely acquainted with&lt;br /&gt;
the nature of the transaction in all its details.&lt;br /&gt;
Such a man is invaluable. To find a good literary&lt;br /&gt;
agent, and to place all affairs in his hands is a great&lt;br /&gt;
step towards independence. The next great step&lt;br /&gt;
will 1m1 when we have at last discovered iv method&lt;br /&gt;
of publication fair to all sides, recognised and&lt;br /&gt;
adopted by all sides. Perhaps then the literary&lt;br /&gt;
agent may no lonjrer l&amp;gt;e wanted.&lt;br /&gt;
Even then there will be required someone to&lt;br /&gt;
arrange with Editors for serial rights of novelists.&lt;br /&gt;
Everybody knows that magazines vary in their&lt;br /&gt;
payments for serials: those which have but a small&lt;br /&gt;
circulation cannot pay much: those that circulate&lt;br /&gt;
largely pay more for one writer than for another.&lt;br /&gt;
It will always be the work of the literary agent to&lt;br /&gt;
arrange these things for his clients. I recommend&lt;br /&gt;
everybody who has any business arrangements of&lt;br /&gt;
importance to transact them by means of an agent.&lt;br /&gt;
But&mdash;and here the greatest care must be exercised&lt;br /&gt;
&mdash;do not go to any agent unless he is thoroughly&lt;br /&gt;
well recommended, if possible, by this Society.&lt;br /&gt;
I do not see that we need use up much space in&lt;br /&gt;
discussing the other points of this angry lady&amp;#039;s letter.&lt;br /&gt;
She calls this Society a &amp;quot; Caricature of Literature,&amp;quot;&lt;br /&gt;
without explaining how a Society can be a cari-&lt;br /&gt;
cature. She says that its Members are &amp;quot; makers of&lt;br /&gt;
books.&amp;quot; So they are. So they are. So is Ouida her-&lt;br /&gt;
self, if she conies to that&mdash;she has made 3o l&amp;gt;ooks,&lt;br /&gt;
I am told. In the same way Mr. Watts is a maker&lt;br /&gt;
of pictures. She feels that literature must not be&lt;br /&gt;
a trade. So long as literature in its making is&lt;br /&gt;
allowed to lie an Art, I care nothing what it is called&lt;br /&gt;
in its selling. The publisher is a tradesman or&lt;br /&gt;
a professional man, just as anybody pleases, pro-&lt;br /&gt;
vided that the poet remains an artist. We will&lt;br /&gt;
think of Art while we are engaged on Art, and we&lt;br /&gt;
will think of nothing else. When our work&mdash;our&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 17 (#421) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
17&lt;br /&gt;
artistic work&mdash;is in our hands, completed and ready&lt;br /&gt;
for issue, we will think of the property that it&lt;br /&gt;
represents, and we will defend that property, after&lt;br /&gt;
the example of Dickens, Thaekeroy, George Eliot,&lt;br /&gt;
Wilkic Collins, Anthony Trollope, Charles Reade,&lt;br /&gt;
and others, now numbered with the illustrious&lt;br /&gt;
dead.&lt;br /&gt;
Evidences are daily poured into the office to&lt;br /&gt;
prove my statement that in the modern fashion&lt;br /&gt;
publishers seldom take any risks. I have lx-fore&lt;br /&gt;
me, for instance, an agreement by which the author&lt;br /&gt;
in a half profit system is made to take 100 copies at&lt;br /&gt;
a certain price, viz., the full trade price, without&lt;br /&gt;
the discount or reduction always given to the trade.&lt;br /&gt;
This was only a little book. The cost of production&lt;br /&gt;
was set down at &pound;36, including advertising. The&lt;br /&gt;
sides are said to have produced &pound;16, and the author&lt;br /&gt;
is charged &pound;18, showing a loss of &pound;2. This, as&lt;br /&gt;
everybody will understand, is no loss at all, if for&lt;br /&gt;
no other reason, because the publisher keeps all the&lt;br /&gt;
rest of the edition. This is supposed to lx&amp;#039; a good&lt;br /&gt;
house of the second rank.&lt;br /&gt;
He sent his article to a certain journal. It had&lt;br /&gt;
an attractive title; it was on a subject that he&lt;br /&gt;
thought might also seem attractive; it was signed;&lt;br /&gt;
he hoped that it would lie accepted, and that its&lt;br /&gt;
appearance would help his name. The Editor kept&lt;br /&gt;
the MS. three weeks and sent it Iwick: &amp;quot;Editor&lt;br /&gt;
very sorry, pressure too great already.&amp;quot; On looking&lt;br /&gt;
at the paper he found it was dirty, and there were&lt;br /&gt;
marks as of an inky thumb on the back of two&lt;br /&gt;
pages. &amp;quot;This,&amp;quot; he said, &amp;quot; looks as if it had been&lt;br /&gt;
in the hands of the compositor.&amp;quot; He then sent it&lt;br /&gt;
to a second paper. It came back after three weeks&lt;br /&gt;
with more marks as of an inky thumb, and with a&lt;br /&gt;
similar letter: &amp;quot;Thanks. No room.&amp;quot; Now, the&lt;br /&gt;
compositor always has an inky thumb. If it were&lt;br /&gt;
not for his inky thumb, he would not be a&lt;br /&gt;
compositor. The writer therefore grew curious,&lt;br /&gt;
and began to take in these two journals. In a&lt;br /&gt;
fortnight he was pleased to find his article in each&lt;br /&gt;
of the papers, unsigned, and under another title.&lt;br /&gt;
There may be a conclusion to this story.&lt;br /&gt;
The Automatic Book Company has been long&lt;br /&gt;
talked alxmt, and is now apparently setting to&lt;br /&gt;
work seriously. You put in a penny and you take&lt;br /&gt;
out a l)Ook; when you have read the book you&lt;br /&gt;
put it back again. This is simple, and I lndieve&lt;br /&gt;
that everybody would Ik; glad to see it, succeed, but&lt;br /&gt;
for one reason. The directors propose to till their&lt;br /&gt;
boxes with none but books published by themselves!&lt;br /&gt;
The result, therefore, if the Company gets its boxes&lt;br /&gt;
introduced on railways will be the total destruction&lt;br /&gt;
of the whole l)ook trade now carried on at the&lt;br /&gt;
railway bookstalls. This is an enormous trade; it&lt;br /&gt;
means the diminution of the side of popular liooks&lt;br /&gt;
by perhaps 3o per cent. This is a lively prospect&lt;br /&gt;
for authors and publishers alike. But one cannot&lt;br /&gt;
believe that any railway company will grant such&lt;br /&gt;
a monopoly. It means a great deal more than if&lt;br /&gt;
such a monopoly were granted to one great&lt;br /&gt;
publishing house. For every great publishing&lt;br /&gt;
house has all its old books to offer. The new&lt;br /&gt;
Company will have to create its literature, which&lt;br /&gt;
cannot be done in a year. Fancy reducing the&lt;br /&gt;
choice of readers from the thousand volumes in all&lt;br /&gt;
branches of literature that till the stall at a London&lt;br /&gt;
terminus to half-a-dozen books in so many boxes&lt;br /&gt;
in the railway carriage!&lt;br /&gt;
The Reproduction of a Fourteenth Century&lt;br /&gt;
Poem: an Account of a French Family: a volume&lt;br /&gt;
of Essays: a Manual on Boating: a Catalogue of&lt;br /&gt;
Ancient Deeds: a History of Children&amp;#039;s Books: a&lt;br /&gt;
Book on Angling: a Book on the Telescope: a&lt;br /&gt;
Dictionary of Authors: a new Novel by George&lt;br /&gt;
Meredith. Now, of all these books, which is&lt;br /&gt;
the most important? Which is most striking?&lt;br /&gt;
Which represents the greatest event in the&lt;br /&gt;
literary history of the week? There can be no&lt;br /&gt;
doubt of the reply. It is the novel. There can be&lt;br /&gt;
no doubt, further, of the respect with which&mdash;if&lt;br /&gt;
only for his previous achievements&mdash;the book&lt;br /&gt;
singled out of this list should be received by those,&lt;br /&gt;
who review as well as those who read. The&lt;br /&gt;
position of George Meredith is that of the heir&lt;br /&gt;
apparent to the crown of English Letters. There&lt;br /&gt;
is no one who can venture to dispute with him&lt;br /&gt;
that rank. Now, a certain literary paper has&lt;br /&gt;
selected the bundle of books above named with&lt;br /&gt;
half-a-dozen other novels for review in the issue&lt;br /&gt;
of May the 23rd. Of course it gives the first&lt;br /&gt;
place to George Meredith. Not at all. The first&lt;br /&gt;
place is given to the Fourteenth Century Poem.&lt;br /&gt;
Then it gives, at least, a separate notice, a place of&lt;br /&gt;
honour, to George Meredith. Not at all. It re-&lt;br /&gt;
views him a.s one of the batch. As for the review&lt;br /&gt;
itself that is not the question, though the reviewer&lt;br /&gt;
shows himself utterly out of sympathy with his&lt;br /&gt;
author from the outset. Fancy, at this time of day,&lt;br /&gt;
a reviewer of George Meredith writing &amp;quot;In his&lt;br /&gt;
former l&amp;gt;ooks Mr. Meredith did often succeed in&lt;br /&gt;
writing clever passages and smart epigrams &amp;quot;! The&lt;br /&gt;
point is, that in such a paper such a writer should&lt;br /&gt;
be classed and reviewed with Mr. Ready-to-Halt&lt;br /&gt;
and Mr. Feeble Mind, and little Miss Buttercup,&lt;br /&gt;
fresh from school! This comes of the Iwtch prin-&lt;br /&gt;
ciple. On ]&amp;gt;age 19 another beautiful example will&lt;br /&gt;
be found of the blessings of the batch method.&lt;br /&gt;
It will be seen from the communications pub-&lt;br /&gt;
lished elsewhere in this number, that complaints&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 18 (#422) #############################################&lt;br /&gt;
&lt;br /&gt;
i8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
are rife about the reviewing of novels&mdash;perhaps,&lt;br /&gt;
also, about the reviewing of books in other branches&lt;br /&gt;
of literature, though these have not yet been con-&lt;br /&gt;
sidered. Among all the complaints that have&lt;br /&gt;
reached me&mdash;many of them only repetitions&mdash;I&lt;br /&gt;
have found none against the daily papers. On&lt;br /&gt;
looking more closely into the question, it becomes&lt;br /&gt;
apparent that the best friends of literature, as if they&lt;br /&gt;
had not enough already on their backs, are quite&lt;br /&gt;
certainly the daily papers. To have a review in the&lt;br /&gt;
Times has generally been received as a mark of&lt;br /&gt;
special honour. It is much to be hoped that this&lt;br /&gt;
old practice may be continued. Hitherto, it has&lt;br /&gt;
always l&amp;gt;een considered beneath the dignity of the&lt;br /&gt;
paper to &amp;quot; slate &amp;quot; a lx&amp;gt;ok or a writer. And it showed&lt;br /&gt;
the dignity of the paper, that it never took up a&lt;br /&gt;
book except to do it honour. The Daily News, the&lt;br /&gt;
Morning Post, the Standard, all keep literature&lt;br /&gt;
steadily to the front, and all in a spirit of appre-&lt;br /&gt;
ciation, willing to recognise good work, and fully-&lt;br /&gt;
aware that bad books die of their own accord.&lt;br /&gt;
The Telegraph has its book column every week&lt;br /&gt;
and sometimes oftener. The Daily Chronicle has&lt;br /&gt;
its literary supplement and its weekly feuilleton.&lt;br /&gt;
The evening papers seldom appear without a review&lt;br /&gt;
of some new books. Of provincial jwpers, the&lt;br /&gt;
Scotsman has long been a stalwart friend of litera-&lt;br /&gt;
ture by criticism that is for the most part kindly and&lt;br /&gt;
always sensible. The Bradford Observer contains&lt;br /&gt;
excellent papers on current literature, and there are&lt;br /&gt;
many other country papers of great help to letters.&lt;br /&gt;
In fact, the daily papers, in their readiness to&lt;br /&gt;
note the book of the clay, their general kindliness&lt;br /&gt;
and appreciation, are of very much greater im-&lt;br /&gt;
portance to us than the weeklies.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
My name and country were&mdash;Why care to know?&lt;br /&gt;
High was my hirth&mdash;What, if it had been low?&lt;br /&gt;
Glory 1 won, and died&mdash;What, if no glory?&lt;br /&gt;
I now lie here&mdash;Who tells to whom my story?&lt;br /&gt;
Srns.&lt;br /&gt;
Oinfta jMi&mdash;T&raquo; o-f ■nvTi; vdrpis hi /*&amp;#039;,&amp;lt;&mdash;&laquo;&amp;#039;{ tt hi rmno;&lt;br /&gt;
Y.\(i*m V fifM yiwvi&mdash;d ya.p dxpavporarov;&lt;br /&gt;
ZijVa? eVWf&amp;amp;jf &amp;quot;Xiirax f$!o&raquo;&mdash;(2 yap aSofai?;&lt;br /&gt;
Kiiy.ai h&amp;#039;,h6a$t wr&mdash;ti; tiVi Tavra Xeym;&lt;br /&gt;
PAULUS SlLENTIARIlTS.&lt;br /&gt;
■ &diams; ■&raquo;■+&lt;br /&gt;
Those who are interested in literature for the&lt;br /&gt;
Blind will please take note that a new magazine&lt;br /&gt;
called Playtime will be issued by the British and&lt;br /&gt;
Foreign Blind Association. The magazine is in-&lt;br /&gt;
tended for blind children. It will be edited by&lt;br /&gt;
Miss Florence Nevill, and will appear every two&lt;br /&gt;
months. The address of the Association is&lt;br /&gt;
33, Cambridge Square, Hyde Park.&lt;br /&gt;
&lt;br /&gt;
IN THE DAYS OF THE MERRY&lt;br /&gt;
MONARCH.&lt;br /&gt;
&amp;quot;&amp;quot;Jk IfY Master having now had some expe-&lt;br /&gt;
Y/l rience in this way of printing, was&lt;br /&gt;
resolved to play above board, and get&lt;br /&gt;
some Copy or Copies to print, that he might own;&lt;br /&gt;
which in short time he did, and glad was he to see&lt;br /&gt;
his name in print, supposing himself now to be&lt;br /&gt;
somebody.&lt;br /&gt;
&amp;quot;My Master having now printed two or three&lt;br /&gt;
things, did look upon himself as somebody; and&lt;br /&gt;
though he had not such good success in his last&lt;br /&gt;
undertakings as before, yet he made a shift to get&lt;br /&gt;
what they cost him for paper and print, and had&lt;br /&gt;
many of them still by him to sell when he would,&lt;br /&gt;
or exchange; but he having but two or three sorts&lt;br /&gt;
of books, could not do much good upon that: he&lt;br /&gt;
seeing this, and observing what books sold lx&amp;#039;st, it&lt;br /&gt;
being at the beginning of the late Wars, found&lt;br /&gt;
that factious Sermons, and such like things would&lt;br /&gt;
do the business; he thereupon bestirs himself, and&lt;br /&gt;
gets acquainted with most of the factious Priests&lt;br /&gt;
about Town, by often hearing them and frequent-&lt;br /&gt;
ing their Companies, and having learned to write&lt;br /&gt;
short-hand, took notes of their Sermons, which he&lt;br /&gt;
collected together, and now and then he would get&lt;br /&gt;
them to revise one of them, and print it; by this&lt;br /&gt;
means spending much time and mony amongst&lt;br /&gt;
them, he grew very intimate, and was Ix-come the&lt;br /&gt;
general publisher of most of their Sermons and&lt;br /&gt;
Controversies. This was that which brought him&lt;br /&gt;
great gain, in a short time he could vie with the&lt;br /&gt;
best, what he sold not for mony, he exchanged for&lt;br /&gt;
books: and now he could command any book in&lt;br /&gt;
all the Company without money, upon account, as is&lt;br /&gt;
the Cnstome. His Shop ln-ing well furnished, he&lt;br /&gt;
gets a Ware-house, where he bestowed his books in&lt;br /&gt;
quires; and being thus furnished, he was first&lt;br /&gt;
spoken to by some Country lwoksellers, and then&lt;br /&gt;
writ to by them and other, for severall l&amp;gt;ooks, so&lt;br /&gt;
that any thing that he printed he coidd sell off well&lt;br /&gt;
enough; for having good hap to print some very&lt;br /&gt;
good selling books, they helped away the other&lt;br /&gt;
that were not so good, and still were thrust into&lt;br /&gt;
the parcel among the rest: and now having some&lt;br /&gt;
good Authors, he would not accept of every one;&lt;br /&gt;
and as he formerly had sought for, and courted&lt;br /&gt;
Authors to write lx&amp;gt;oks for him, now they (knowing&lt;br /&gt;
his way of preferring and selling of l&amp;gt;ooks) followed,&lt;br /&gt;
and courted him to print their l&amp;gt;ooks. If a stranger&lt;br /&gt;
came with a Copy to him, though never so good,&lt;br /&gt;
he would tell them he had books enough already;&lt;br /&gt;
but however, if they would give him so much&lt;br /&gt;
money, he would do it, and they should have two,&lt;br /&gt;
or three, or six books for themselves and friends:&lt;br /&gt;
many a one did he thus j&amp;gt;erswade out of their&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 19 (#423) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
19&lt;br /&gt;
mony, licing desirous to be in print. If he had a&lt;br /&gt;
desire to have any tiling writ in History, Poetry, or&lt;br /&gt;
any other Science or Faculty, he had his several&lt;br /&gt;
Authors, who for a glass of Wine, and now and&lt;br /&gt;
then a meals Meat and half a Crown, were his&lt;br /&gt;
humble servants; having no other hire but that,&lt;br /&gt;
and six or twelve of their books, which they pre-&lt;br /&gt;
sented to friends or persons of Quality; nay, and&lt;br /&gt;
when they have had success, if they wanted any&lt;br /&gt;
more books, they must pay for them: further I&lt;br /&gt;
have known some of our Trade, that when a poor&lt;br /&gt;
Author hath written a book, and being acquainted&lt;br /&gt;
with some Person or persons of Quality whereto he&lt;br /&gt;
Dedicates and presents it, the Book-seller will go&lt;br /&gt;
snips and have half shares of what is so given him.&lt;br /&gt;
There is no Trade that I ever heard of, that gets&lt;br /&gt;
so much by their Commodity for whatever they&lt;br /&gt;
print, if it sels, they get eight pence in the shilling:&lt;br /&gt;
and for those that deal with Country-Chapmen,&lt;br /&gt;
they put off the bad well enough at one time or&lt;br /&gt;
another; and if they are very bad, then a new&lt;br /&gt;
title is printed as if it were a new book; and what&lt;br /&gt;
with this and changing, they march off in time.&lt;br /&gt;
He would also frequent the Schools, and by drink-&lt;br /&gt;
ing with the School-masters, and discoursing of&lt;br /&gt;
l&amp;gt;ooks ftnd learned men, he would get their cus-&lt;br /&gt;
tome to serve them with School-books. There&lt;br /&gt;
was one famous Country-Parson whom he much&lt;br /&gt;
desired to be acquainted with, and to him he rid,&lt;br /&gt;
telling him he was troubled in mind, and desired&lt;br /&gt;
him to satisfie him in a case of Conscience, the&lt;br /&gt;
which he did; and then for his satisfaction, and to&lt;br /&gt;
oblige him, he prayed and courted him to see him&lt;br /&gt;
when he came to London, the which he did, and&lt;br /&gt;
all this was to get the printing of his books. My&lt;br /&gt;
Master having had a book written for him by a&lt;br /&gt;
Poet, the Author (not having the wit to make his&lt;br /&gt;
liargain, and know what he should have before-&lt;br /&gt;
hand) when he had finished it, desired payment&lt;br /&gt;
for his pains: Nay, said my master, you ought&lt;br /&gt;
rather to pay me for printing it, and making you&lt;br /&gt;
famous in print. Well then, said the Author, if&lt;br /&gt;
you will not give me money, I hope you will give&lt;br /&gt;
me some twoks. How, said my master, give you&lt;br /&gt;
liooks, what will you have me forswear my Trade,&lt;br /&gt;
and 1&amp;gt;e a lx&amp;gt;ok-givcr? I am a book-seller, and to&lt;br /&gt;
you I will sell them assoon as to another, if you&lt;br /&gt;
will give me money, paper and print costs money,&lt;br /&gt;
and this was all the Author could have for his&lt;br /&gt;
pains. My Master is now one of the Grandees of&lt;br /&gt;
the Company, and that liesides the ordinary way&lt;br /&gt;
gets hiin something. Not long since, he and&lt;br /&gt;
others went a searching, and finding an impression&lt;br /&gt;
of unlicensed l&amp;gt;ooks, seized them, but instead of&lt;br /&gt;
suppressing and turning them to wast paper, they&lt;br /&gt;
divided the greatest part of them amongst them-&lt;br /&gt;
selves, and immediately my Master sent some of&lt;br /&gt;
them away to all his Chapmen, and the rest we sell&lt;br /&gt;
in the Shop. It so fell out lately; that a book&lt;br /&gt;
lieing to lie Printed, my Master repaired to the&lt;br /&gt;
Author to get the Copy, but another of the same&lt;br /&gt;
Trade had been then; before, to whom it was in&lt;br /&gt;
part promised; but however (out of respect to my&lt;br /&gt;
Master) the other lieing sent for, it was agreed that&lt;br /&gt;
they should have the printing of it between them;&lt;br /&gt;
whereupon one printer was iniployed by them both&lt;br /&gt;
to do the work. My Master soon after sent for&lt;br /&gt;
the Printer, and tells him, You must do ine a kind-&lt;br /&gt;
ness: Yes Sir, said the printer. It is this, said my&lt;br /&gt;
Master, I am to give away to the Authour some&lt;br /&gt;
Books, wherefore I would have you to print 200&lt;br /&gt;
for me above the number, and do not tell my&lt;br /&gt;
Partner, and I will pay you: Yes, said the Printer,&lt;br /&gt;
and so he did, and was paid for them accordingly.&lt;br /&gt;
But the Printer seeing the knavery of his imployers&lt;br /&gt;
(for the other had been with him; and engaged&lt;br /&gt;
him to print the same number of 200 over, pre-&lt;br /&gt;
tending some private use he had for them) he&lt;br /&gt;
likewise printed 400 over for his own use, and&lt;br /&gt;
publiquely sold them; and neither of them could&lt;br /&gt;
or would complain of him to the other, because&lt;br /&gt;
they knew themselves guilty of the same crime.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
REVIEWS AND REVIEWERS.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;TTTHAT a blessed thing it is that Nature,&lt;br /&gt;
Y V when she invented, manufactured, and&lt;br /&gt;
patented authors, contrived to make critics&lt;br /&gt;
out of the chips that were left! Painful as the&lt;br /&gt;
task is, they never fail to warn the author, in the&lt;br /&gt;
most impressive manner of the probabilities of&lt;br /&gt;
failure in what he has undertaken. Sad as the&lt;br /&gt;
necessity is to their delicate sensibilities, they never&lt;br /&gt;
hesitate to advertise him of the decline of his&lt;br /&gt;
powers, and to press upon him the propriety of&lt;br /&gt;
retiring before he sinks into imbecility.&amp;quot;&lt;br /&gt;
O. W. Holmes.&lt;br /&gt;
11.&lt;br /&gt;
In the year 1889 a novel was produced by an&lt;br /&gt;
unknown writer. On March 3oth of that year the&lt;br /&gt;
liook was reviewed &mdash; or noticed &mdash; in a certain&lt;br /&gt;
paper, as one of a batch. Evidently the reviewer&lt;br /&gt;
had read it with pleasure, for after telling the story&lt;br /&gt;
&mdash;which never ought to be done in reviewing a&lt;br /&gt;
novel&mdash;he added these words, &amp;quot; If this is &amp;#039;s&lt;br /&gt;
first novel, she has done extremely well. . . .;&lt;br /&gt;
Her characters have the stamp of good breeding,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 20 (#424) #############################################&lt;br /&gt;
&lt;br /&gt;
20&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
her situations are probable, her conversations are&lt;br /&gt;
natural and lively, and she has a good style.&amp;quot; This&lt;br /&gt;
was very satisfactory for the author, and perhaps&lt;br /&gt;
caused some readers to ask for the book.&lt;br /&gt;
This year the lady&amp;#039;s publishers brought out a&lt;br /&gt;
new edition, and on April 18th last another review&lt;br /&gt;
&mdash;or notice&mdash;of the work appeared in the same&lt;br /&gt;
paper. It was reviewed as a new book, an accident&lt;br /&gt;
which might happen to any reviewer. The review&lt;br /&gt;
again took the form of telling the story&mdash;which&lt;br /&gt;
as was said above never ought to l&amp;gt;e allowed in&lt;br /&gt;
reviewing a novel&mdash;but this time without any word&lt;br /&gt;
of comment whatever; and so telling it as, in the&lt;br /&gt;
opinion of the author and some others, to condemn&lt;br /&gt;
the book. One may be wrong, but in reading&lt;br /&gt;
the review there seemed, distinctly audible, a kind&lt;br /&gt;
of a sniffing.&lt;br /&gt;
Referring again to an article in the Saturday&lt;br /&gt;
Review which was noticed in last number of the&lt;br /&gt;
Author, one reads these lines, &amp;quot; The really curious&lt;br /&gt;
thing is that the author of this paper should fail&lt;br /&gt;
to perceive that even the briefest judgment of a&lt;br /&gt;
competent critic is based upon, and necessarily&lt;br /&gt;
implies, the study and knowledge of the art which&lt;br /&gt;
he denies to reviewers.&amp;quot;&lt;br /&gt;
No one had denied &amp;quot;the study and knowledge of&lt;br /&gt;
the art &amp;quot; to such reviewers. But never mind that.&lt;br /&gt;
The point is, which of these two opinions is by the&lt;br /&gt;
competent critic, and which by the other. Because&lt;br /&gt;
one sniffs and the other praises. Perhaps there is&lt;br /&gt;
a third way out of it. Critics of equal competency&lt;br /&gt;
may have reviewed the&amp;quot; book on both occasions,&lt;br /&gt;
and the second man did not really mean to sniff at&lt;br /&gt;
the book. He only had a cold.&lt;br /&gt;
III.&lt;br /&gt;
&amp;quot;M W is a story of incident,&lt;br /&gt;
located in Scotland, and somewhat loosely written&lt;br /&gt;
in three languages&mdash;for there is a large admixture&lt;br /&gt;
of Gaelic, and enough French to show that the&lt;br /&gt;
author is not too pedantic in his employment of a&lt;br /&gt;
foreign tongue. The Gaelic is not scrappy, like&lt;br /&gt;
the. French, but occurs in long conversations, and&lt;br /&gt;
in many successive pages. It is, moreover, suffi-&lt;br /&gt;
ciently uncompromising to puzzle a reader.&amp;quot;&lt;br /&gt;
This is taken from a leading Review. Will it&lt;br /&gt;
l&raquo;e. believed that the &amp;quot; Gaelic&amp;quot; is ordinary Lowland&lt;br /&gt;
Scotch, the language of Walter Scott and Robert&lt;br /&gt;
Burns? That good old familiar language is so&lt;br /&gt;
strange to a reviewer in this Journal that he&lt;br /&gt;
thinks it is Gaelic! As to the French, the author&lt;br /&gt;
writes that it. is simply confined to half-a-dozen&lt;br /&gt;
ordinary expressions, such as savoir faire, tout&lt;br /&gt;
ensemble, Ac.&lt;br /&gt;
But Gaelic !&mdash;Shade of Sir Walter !&mdash;Gaelic!&lt;br /&gt;
IV.&lt;br /&gt;
May ist.&lt;br /&gt;
&amp;quot;May I add my mite to the subject, under&lt;br /&gt;
discussion, i.e., Reviewers and Novels? Last year a&lt;br /&gt;
novel was published, the joint work of another&lt;br /&gt;
writer and myself. The reviews were, save for one&lt;br /&gt;
or two smaller papers, remarkably good, but this is&lt;br /&gt;
apart from the question. What I would emphasize&lt;br /&gt;
is this :&mdash;At the request of the publishers, there&lt;br /&gt;
was added a short preface. This preface is sup-&lt;br /&gt;
posed to have been written by one of the characters&lt;br /&gt;
in the book, a High Church clergyman, and this&lt;br /&gt;
is readily understood by anyone who has read either&lt;br /&gt;
the first or the last chapter, let alone the rest.&lt;br /&gt;
However, if the preface only is read, the mistake&lt;br /&gt;
is easily made of supposing him to be instead a&lt;br /&gt;
&amp;#039;real live&amp;#039; vicar, and into this innocently laid trap&lt;br /&gt;
no less than four reviewers, three of them on well-&lt;br /&gt;
known London papers, fell headlong. Now I know&lt;br /&gt;
the poor, sad-eyed reviewer is a much-to-be-pilied&lt;br /&gt;
individual, and I quite acknowledge the book in&lt;br /&gt;
question was but a little one and only light reading,&lt;br /&gt;
but editors live to boast of the correctness of their&lt;br /&gt;
paper, and surely therefore &amp;#039; The preface of&amp;#039;&mdash; only&lt;br /&gt;
three words&mdash;should have been added to the sage&lt;br /&gt;
remark, &amp;#039;This book is amusing, or dull, or clever,&lt;br /&gt;
or utterly impossible, or far-fetched, &amp;amp;c., &amp;lt;fec.&amp;#039;&lt;br /&gt;
I should not have written this egotistical epistle,&lt;br /&gt;
however, only 1 am just a little behind the scenes&lt;br /&gt;
of the. journalistic stage, and I believe and dare&lt;br /&gt;
avow that this one proven case is only one of many,&lt;br /&gt;
and also that the preface system of reviewing is not&lt;br /&gt;
confined to the smaller fry of the sea of literature.&lt;br /&gt;
And yet not only the public but the authors them-&lt;br /&gt;
selves are dependent on such reviews for learning&lt;br /&gt;
the true value of their work&mdash;for what author can&lt;br /&gt;
judge his own writings impartially ?&mdash;and they are&lt;br /&gt;
also exacted to accept such lazy critic&amp;#039;s praise or&lt;br /&gt;
blame as the judgment of Solomon. It is well,&lt;br /&gt;
surely, to review a few books properly than many&lt;br /&gt;
carelessly. It is time, surely, there was a school&lt;br /&gt;
of novelists, if only that young writers might&lt;br /&gt;
have an opportunity of obtaining fair, truthful,&lt;br /&gt;
thoughtful, and really helpful criticism, instead&lt;br /&gt;
of a few hurried words written by guesswork from&lt;br /&gt;
a short preface. Wishing all success, therefore, to&lt;br /&gt;
the new school, for which, spite of adverse opinion,&lt;br /&gt;
I prophecy a future.&amp;quot;&lt;br /&gt;
A. E. S.&lt;br /&gt;
V.&lt;br /&gt;
&amp;quot;&amp;#039;An Obscure Novelist&amp;#039;s&amp;#039; questions open up&lt;br /&gt;
fresh ground for research. Are there half-a-dozen&lt;br /&gt;
papers which can be said to review in the real&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 21 (#425) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
21&lt;br /&gt;
sense of the word at all? In the vast majority&lt;br /&gt;
of eases it seems the correct thing to turn&lt;br /&gt;
on the latest-acquired printer&amp;#039;s devil, or some&lt;br /&gt;
half-educated hack, whose slipshod English, poverty&lt;br /&gt;
of ideas, and stark inability to grasp even the&lt;br /&gt;
most elementary points of the work lieneath his&lt;br /&gt;
dissecting pen, are things&amp;#039;to shudder at. Hence, I&lt;br /&gt;
take it, the unanimity wherewith our &amp;#039;reviewers&amp;#039;&lt;br /&gt;
invariably set themselves to expose the whole plot,&lt;br /&gt;
or at any rate enough of it to spoil the reader&amp;#039;s&lt;br /&gt;
interest; that of the male reader at any rate, who&lt;br /&gt;
does not make a point of looking at the end of a&lt;br /&gt;
book first. Such a hashed-up resume as can be&lt;br /&gt;
gleaned from a casual glance into the beginning&lt;br /&gt;
and end of the book answers every purpose, since&lt;br /&gt;
it serves to conceal their own complete lack of the&lt;br /&gt;
critical faculty, and makes &amp;#039;copy.&amp;#039; The author is&lt;br /&gt;
credited with characters and scenes he never&lt;br /&gt;
invented; if there is scope for it, only too&lt;br /&gt;
frequently, with a geographical ignorance that&lt;br /&gt;
would disgrace a second form boy, the allotted&lt;br /&gt;
paragraph is filled up somehow, and our merry&lt;br /&gt;
&amp;#039;critic&amp;#039; (?) splashes out of his wallow and shakes&lt;br /&gt;
himself blithely preparatory to plunging into a fresh&lt;br /&gt;
one.&lt;br /&gt;
Another thing. When is fiction going to lie&lt;br /&gt;
relieved of those most idiotic and utterly unmeaning&lt;br /&gt;
terms &amp;#039;hero&amp;#039; and &amp;#039;heroine &amp;#039;? In the first place,&lt;br /&gt;
speaking with all due deference, I believe there is&lt;br /&gt;
no satisfactory definition extant as to what con-&lt;br /&gt;
stitutes a &amp;#039;hero&amp;#039; and his feminine counterpart.&lt;br /&gt;
Certainly, with considerable opportunities of&lt;br /&gt;
observing human nature, both civilised and savage,&lt;br /&gt;
in many lands, I have never fallen across any man&lt;br /&gt;
or woman who came within measurable distance of&lt;br /&gt;
the popular conception of this nondescript animal.&lt;br /&gt;
But he is a very marrow-bone to our friend the&lt;br /&gt;
&amp;#039;horse-reviewer&amp;#039; who jumps around him, falls&lt;br /&gt;
upon him, and cracks him, and from his spoils&lt;br /&gt;
extracts succulent &amp;#039;copy.&amp;#039; He objects that your&lt;br /&gt;
&amp;#039;hero&amp;#039; is not a hero at all. Well, you never&lt;br /&gt;
intended that he should lie, taking the term to&lt;br /&gt;
mean an impersonation of perfectibility. And&lt;br /&gt;
your &amp;#039;heroine&amp;#039; is faulty and given to failure at&lt;br /&gt;
the crucial moment. So she is. But you intended&lt;br /&gt;
her to 1k&amp;gt;. The reviewer, however, cannot, to save&lt;br /&gt;
his dear life, grasp the fact that the principal male&lt;br /&gt;
and female characters of the lx&amp;gt;ok need not&lt;br /&gt;
necessarily lie aspirants to heroic virtues, whatever&lt;br /&gt;
these may lie, and that if they did happen to realise&lt;br /&gt;
his idea of heroics they would lie as insipid and&lt;br /&gt;
wholly uninteresting as perfect people must&lt;br /&gt;
necessarily prove. &amp;#039;Our hero&amp;#039;!! In the name&lt;br /&gt;
of the Prophet, away with this fool of a word!&amp;quot;&lt;br /&gt;
Another Novelist.&lt;br /&gt;
VI.&lt;br /&gt;
&amp;quot;As one of the apparently hated class of reviewers,&lt;br /&gt;
may I lie allowed to state that I have the honour&lt;br /&gt;
to review for a weekly journal, which does consider&lt;br /&gt;
reviewing of some importance, and also, that I&lt;br /&gt;
take special pains to do my work in a responsible&lt;br /&gt;
manner? My editor does not wish the liooks to&lt;br /&gt;
be scamped. He gives me space for extracts, and&lt;br /&gt;
also I am allowed a free hand. I am not obliged to&lt;br /&gt;
praise; books by a popular author if I do not&lt;br /&gt;
consider them worthy of praise, or because the&lt;br /&gt;
publishers of the books sent in advertise; in the&lt;br /&gt;
journal for which I write. And I may add, that I&lt;br /&gt;
have by the letters from authors (absolutely unknown&lt;br /&gt;
to me personally) who have taken the trouble to write&lt;br /&gt;
to me through my editor, to thank me for sympa-&lt;br /&gt;
thetic notices. I always do my best to get a glimpse&lt;br /&gt;
into an author&amp;#039;s mind&mdash;if he has one&mdash;through his&lt;br /&gt;
work, and then to give as intelligent a reason as&lt;br /&gt;
my powers of expression will admit for praise or&lt;br /&gt;
blame. I should like to quote some of the letters&lt;br /&gt;
from authors, but it would lie an unjustifiable&lt;br /&gt;
outbreak of vanity on my part.&amp;quot;&lt;br /&gt;
A Member.&lt;br /&gt;
VIL&lt;br /&gt;
&amp;quot;A letter in the Author for February on &amp;#039; Kinds&lt;br /&gt;
of Criticism&amp;#039; recalls an experience that is instruc-&lt;br /&gt;
tive, therefore I sent it to you to use or not, as you&lt;br /&gt;
please.&lt;br /&gt;
Some years ago I was in treaty with the editor&lt;br /&gt;
of a leading paper to become a reviewer on his&lt;br /&gt;
staff. I had sent some specimens of work, of&lt;br /&gt;
which he had approved, and was nsked to call at&lt;br /&gt;
his office by appointment for my instructions. He&lt;br /&gt;
received me courteously; praised my work; then&lt;br /&gt;
gave me a three-volume novel he wished me to&lt;br /&gt;
review at length. As he handed it to me, he said&lt;br /&gt;
significantly: &amp;#039;Do you know Mrs.&amp;#039;&amp;#039;&lt;br /&gt;
(speaking of the writer) &amp;#039; I hate that woman.&amp;#039;&lt;br /&gt;
I knew at once what he meant. I was to lie&lt;br /&gt;
Balaam to this journalistic Balak. Bless his&lt;br /&gt;
friends and curse his enemies! Unfortunately I&lt;br /&gt;
possess a conscience. I read the book carefully,&lt;br /&gt;
and said what I thought, regardless of Balak&amp;#039;s&lt;br /&gt;
hint. The review was favourable on the whole, so&lt;br /&gt;
much so, that from it the publishers extracted a&lt;br /&gt;
quotation for advertisement. With this result to&lt;br /&gt;
myself, however, that I was never again employed&lt;br /&gt;
by the editor in question, who forgot, moreover, to&lt;br /&gt;
pay me for the review.&lt;br /&gt;
He is no longer editing a paper in this world,&lt;br /&gt;
therefore I may venture to give this experience&lt;br /&gt;
without provoking him to say of me to some more&lt;br /&gt;
facile reviewer as he hands my liooks for review:&lt;br /&gt;
&amp;#039;I hate that woman &amp;#039;!&amp;quot; B.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 22 (#426) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
LIBRARY SECRETS.&lt;br /&gt;
BELONGING to literary metaphysics is that&lt;br /&gt;
idea of the personality of a house or room.&lt;br /&gt;
Nathaniel Hawthorne treated this bizarre&lt;br /&gt;
notion successfully in his wonderful romance of the&lt;br /&gt;
&amp;quot;House with the Seven Gables,&amp;quot; and Edgar Poe&lt;br /&gt;
even more so in the &amp;quot; Fall of the House of Usher,&amp;quot;&lt;br /&gt;
and while other writers have made inanimate&lt;br /&gt;
objects breathe, these are the only two English&lt;br /&gt;
writers who have given to houses what Mr. Pater&lt;br /&gt;
would call &amp;quot;soul.&amp;quot; It is true now that some of&lt;br /&gt;
our art guilds profess to give this quality of&lt;br /&gt;
strangeness to furniture directly it leaves the&lt;br /&gt;
workshop; and nineteenth century decorators&lt;br /&gt;
claim to leave much of it in our modern&lt;br /&gt;
rooms along with the paint and ]&amp;gt;aj&amp;gt;er frieze.&lt;br /&gt;
Mr. James Payn tells of a young shopman who&lt;br /&gt;
described a sideboard &amp;quot;as not Chippendale, but&lt;br /&gt;
with a Chippendale feeling,&amp;quot; and this expresses&lt;br /&gt;
the more modern phase of what originally was a&lt;br /&gt;
very pleasing conceit.&lt;br /&gt;
Human mind has been compared to a kingdom,&lt;br /&gt;
and with equal felicity a room may be comjmred&lt;br /&gt;
to a person. If rooms could talk, how much&lt;br /&gt;
they would have to tell us! What useful witnesses&lt;br /&gt;
they would be in the Divorce Court&mdash;on a Royal&lt;br /&gt;
Commission &mdash; or when politicians are differing&lt;br /&gt;
about the words used at an interview. &amp;quot;Walls&lt;br /&gt;
have ears&amp;quot; is only a metaphor at present, but&lt;br /&gt;
doubtless some future Edison will discover a&lt;br /&gt;
machine no less dangerous than the phonograph&lt;br /&gt;
by which we may recover all the conversations&mdash;&lt;br /&gt;
all the secrets a room has been the involuntary&lt;br /&gt;
witness of. Philologists have never paid sufficient&lt;br /&gt;
attention to the word &amp;quot;Room.&amp;quot; No other synonym&lt;br /&gt;
of equal force has been discovered. Apartment&mdash;&lt;br /&gt;
what could ever happen in an apartment?&lt;br /&gt;
Chamber&mdash;that, too, is impossible without some&lt;br /&gt;
epithet as green, or blue, or red. But Room stands&lt;br /&gt;
alone; for poets it is particularly useful, as it is&lt;br /&gt;
one of the few rhymes to gloom.&lt;br /&gt;
Of all rooms in a house the library should have&lt;br /&gt;
most to tell us. Unlike its owner it would have&lt;br /&gt;
read all the books on the shelves, those the casual&lt;br /&gt;
visitor sees and those he does not see&mdash;the books&lt;br /&gt;
behind the shelves. We are often told that a&lt;br /&gt;
man&amp;#039;s character can bo discovered by his library.&lt;br /&gt;
I do not think this is always the case. If the&lt;br /&gt;
books are very beautifully bound in Venetian and&lt;br /&gt;
Levant, and have the work of Grolier and Derome&lt;br /&gt;
on their backs, or the delicate tooling of Mr.&lt;br /&gt;
Zaehnsdorf or Mr. Cobden Sanderson, we may be&lt;br /&gt;
assured that the owner is either a bibliophile&lt;br /&gt;
(one who likes books and reads them) or a&lt;br /&gt;
bibliomaniac (one who likes books but does not&lt;br /&gt;
read them); if the library had a tongue it would&lt;br /&gt;
tell us which.&lt;br /&gt;
If one sees a library full of standard authors, as&lt;br /&gt;
Shakespeare, Johnson, Pope, Macaulay, all bound&lt;br /&gt;
in red morocco with gilt edges, one feels sure&lt;br /&gt;
they an? never read. It is almost fatal to have a&lt;br /&gt;
standard author well bound; even a large paper&lt;br /&gt;
copy (edition de luxe) is a little suspicious. But I&lt;br /&gt;
may be judging others by myself, for I never can&lt;br /&gt;
read a standard author (in red morocco and gilt&lt;br /&gt;
edges). I always suspect the owner has bought it&lt;br /&gt;
because it was the right thing to do.&lt;br /&gt;
Another sure sign of unread books is a library&lt;br /&gt;
of first editions. They have been purchased not&lt;br /&gt;
because the first edition of some author had better&lt;br /&gt;
type, or passages omitted in subsequent editions, or&lt;br /&gt;
plates of which the impressions were inferior&mdash;but&lt;br /&gt;
simply because they were first editions. Art critics&lt;br /&gt;
talk about &amp;quot;art for art&amp;#039;s sake,&amp;quot; and bibliomaniacs&lt;br /&gt;
might have a similar cant phrase of &amp;quot;first editions&lt;br /&gt;
for first editions&amp;#039; sake.&amp;quot; I myself have a library&lt;br /&gt;
skeleton in the shape of a first edition which I&lt;br /&gt;
bought some years ago, hoping that its value would&lt;br /&gt;
increase. From time to time I take it the round&lt;br /&gt;
of the booksellers&mdash;but in vain. Nay, the very&lt;br /&gt;
wretch who sold it to me (he called it a bargain, I&lt;br /&gt;
remember, and it certainly was for him) now tells&lt;br /&gt;
me he would not give two shillings for it. I will&lt;br /&gt;
not reveal the name of the book, for I still live in&lt;br /&gt;
hope, and I show it to my friends as the greatest&lt;br /&gt;
treasure in my collection, for I place it back on&lt;br /&gt;
the shelf on my return from the goblin market of&lt;br /&gt;
the book-selling trade. Booksellers are only&lt;br /&gt;
prodigal of digits when selling books.&lt;br /&gt;
But if my library has its secrets, those of my&lt;br /&gt;
friends have theirs as well. A literary acquaintance&lt;br /&gt;
of mine who has made some mark in the world,&lt;br /&gt;
and writes delicate essays (pastels, he calls them),&lt;br /&gt;
often talks in public and private about classical&lt;br /&gt;
literature. When I speak of the achievements of&lt;br /&gt;
one of our modern English poets, he tells me that&lt;br /&gt;
Theocritus or Pindar have done the same thing&lt;br /&gt;
much ln&amp;#039;tter. On his shelves are all the Leipzig&lt;br /&gt;
series of the Greek poets, and Apollonius Bhodius&lt;br /&gt;
lies open on the table, but behind the shelves, invisible&lt;br /&gt;
to vulgar gaze, are Mr. Bonn&amp;#039;s translations. I have&lt;br /&gt;
forgotten all my classics, but I reineml&amp;gt;er in Horace&lt;br /&gt;
there is a line altout rare sitting behind a horseman;&lt;br /&gt;
so it is with the library of my friend, &amp;quot;Behind&lt;br /&gt;
his classics sits blue Bohn.&amp;quot; I hold my pence,&lt;br /&gt;
however, for hare I not the first edition on my&lt;br /&gt;
conscience?&lt;br /&gt;
Zola, I am told, has a large circle of admirers in&lt;br /&gt;
England, yet how many of them are acquainted&lt;br /&gt;
with him in the original? Mr. Vizetelly&amp;#039;s versions&lt;br /&gt;
of realistic fiction have found a place in many a&lt;br /&gt;
private library, where they corrupt our educated&lt;br /&gt;
youth just as much as the bank clerk and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 23 (#427) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
23&lt;br /&gt;
hairdresser. English people lire always attacking&lt;br /&gt;
translations, because to them they are indebted for&lt;br /&gt;
any acquaintance with foreign literature. Here&lt;br /&gt;
again I may be judging others by myself. As I&lt;br /&gt;
am for being candid, let me hasten to admit that&lt;br /&gt;
I have as large and goodly a collection of Bohns&lt;br /&gt;
and Vizetellies as any man living. Bohn has been&lt;br /&gt;
to me what Mary Stuart was to Mr. Swinburne,&lt;br /&gt;
&amp;quot;Red star of boyhood&amp;#039;s fiery thought.&amp;quot;&lt;br /&gt;
Bohns have solaced, have instructed, have enter-&lt;br /&gt;
tained me as I feel sure they have many others.&lt;br /&gt;
What a splendid language our English is, to be sure!&lt;br /&gt;
There is really no necessity to learn any other. I&lt;br /&gt;
feel I am a fine example to be held up by those&lt;br /&gt;
who are for abolishing Greek from the schools and&lt;br /&gt;
Italian from the Civil Service? examinations. Many&lt;br /&gt;
a translation of Dante have I reviewed; &amp;quot;Te duce,&lt;br /&gt;
Longfellow,&amp;quot; and have not Messrs. Heinemann&lt;br /&gt;
and Walter Scott placed Scandinavian literature in&lt;br /&gt;
my reach? Petronius, Herodotus, Pausanias are no&lt;br /&gt;
longer closed books for me. Mr. Bohn and his&lt;br /&gt;
fellow workers, like the angel in Revelation, have&lt;br /&gt;
broken the seals of a dead language. When I talk&lt;br /&gt;
of such masterpieces familiar to me only in an&lt;br /&gt;
English form, that I have pricks of conscience I do&lt;br /&gt;
not deny. I am consoled, nevertheless, when I&lt;br /&gt;
think that writers greater than I have secrets no&lt;br /&gt;
less dark and base. What man of letters reveals&lt;br /&gt;
his books of reference? True, one novelist,&lt;br /&gt;
eminent for Scotch local colour, has confided to&lt;br /&gt;
me that he lias never been north of the Tweed.&lt;br /&gt;
Nor should I be surprised to learn some day that&lt;br /&gt;
Mr. Haggard only edited &amp;quot;She,&amp;quot; in spite of his&lt;br /&gt;
assertion to the contrary, that the MSS. are per-&lt;br /&gt;
fectly genuine, but with the insidious art of the&lt;br /&gt;
storyteller he palmed them off as his own. In&lt;br /&gt;
his library perhaps are concealed the letters of&lt;br /&gt;
Mr. Allan Quatermain. Has Mr. Besant ever&lt;br /&gt;
teen further east than the Mansion House? Does&lt;br /&gt;
Mr. Hardy live in Wessex? These are questions&lt;br /&gt;
likely to raise some future literary controversy.&lt;br /&gt;
They are now library secrets. Long may they&lt;br /&gt;
remain so.&lt;br /&gt;
There are other kinds of books besides works of&lt;br /&gt;
reference and translations that a man who possesses&lt;br /&gt;
them would hesitate to show to any but an intimate&lt;br /&gt;
friend; but I trust no married men own such things.&lt;br /&gt;
Their price has placed them beyond my modest means,&lt;br /&gt;
and that original virtue in all of us would have pre-&lt;br /&gt;
vented my acquiring them had I the chance. I refer&lt;br /&gt;
to those suspicious little works published in Belgium&lt;br /&gt;
with delicate etchings on hand-made paper;&lt;br /&gt;
English volumes (privately printed, 25o copies only)&lt;br /&gt;
which have on the title-page the legend that they&lt;br /&gt;
were printed at Benares by the blameless Ethiopian.&lt;br /&gt;
And those offered at fancy prices, which all tear the&lt;br /&gt;
title of &amp;quot;Seqient Worship,&amp;quot; clothed in the modest&lt;br /&gt;
language of a scientific brochure. I trust that a&lt;br /&gt;
very small per-centage of private libraries keep such&lt;br /&gt;
books as these. Our pure and noble literature&lt;br /&gt;
has fortunately supplied few examples wherewith to&lt;br /&gt;
swell such a depraved catalogue.&lt;br /&gt;
R. R.&lt;br /&gt;
~*~^4&lt;br /&gt;
MAURICE MAETERLINCK.&lt;br /&gt;
fl^HAT amalgam of races now called Belgian&lt;br /&gt;
I has produced a dramatist of great and original&lt;br /&gt;
power. He writes in French, but his style&lt;br /&gt;
raises a suspicion even in a foreigner, that it is not&lt;br /&gt;
his native tongue. Apart from the language, the&lt;br /&gt;
treatment of his three plays, &amp;quot;La Princesse&lt;br /&gt;
Maleine,&amp;quot; &amp;quot;L&amp;#039;lntruse,&amp;quot; and &amp;quot;Les Aveugles,&amp;quot; is&lt;br /&gt;
sufficient proof that he is not a Frenchman.&lt;br /&gt;
Whatever their merits or their faults, neither are&lt;br /&gt;
French. They contain, even more than the work&lt;br /&gt;
of his countrymen Van Beers, Huysmann, and&lt;br /&gt;
Knopff, an element wholly foreign to French art.&lt;br /&gt;
No doubt none of this work would liave been&lt;br /&gt;
produced without French influence, but it all bears&lt;br /&gt;
a mark of strong native individuality. The three&lt;br /&gt;
plays which Maeterlinck has already written give&lt;br /&gt;
him a claim to the highest place among contem-&lt;br /&gt;
porary dramatists. So much attention has teen&lt;br /&gt;
devoted to detecting new schools of the drama&lt;br /&gt;
elsewhere, that it is a surprise to find such a school&lt;br /&gt;
arising in Belgium. The Flemish races are,&lt;br /&gt;
however, proving that they possess a reserve of&lt;br /&gt;
force, revived, but in no sense re-constructed, by&lt;br /&gt;
foreign example.&lt;br /&gt;
A special peculiarity in Maeterlinck&amp;#039;s work is&lt;br /&gt;
the important part which he assigns to accessory&lt;br /&gt;
effects. He animates dead matter, he humanizes&lt;br /&gt;
his animals by some mysterious power of metem-&lt;br /&gt;
psychosis, and his atmospheric phenomena are real&lt;br /&gt;
Powers of the Air. He achieves even more than&lt;br /&gt;
this, for the visions of his youths, and the dreams&lt;br /&gt;
of his old men incorporate themselves in sounds&lt;br /&gt;
and shapes that am be j&amp;gt;erceived by healthier or&lt;br /&gt;
soberer senses. Out of this very peculiarity arises&lt;br /&gt;
a rare and immense dramatic merit. With him&lt;br /&gt;
accessories never usurp a more important place.&lt;br /&gt;
No one of them is necessary to the construction of&lt;br /&gt;
the story, but all assist materially to develop it.&lt;br /&gt;
They explain the situations and emphasize the&lt;br /&gt;
characterization, but they never distract the atten-&lt;br /&gt;
tion due to either. In this way Maeterlinck&amp;#039;s is&lt;br /&gt;
art of the highest order, perfectly simple and direct&lt;br /&gt;
in construction, adorned but never burdened with a&lt;br /&gt;
wealth of ornament.&lt;br /&gt;
The special sphere of Maeterlinck&amp;#039;s genius is dark-&lt;br /&gt;
ness, the darkness of hopeless destinies and sightless&lt;br /&gt;
eyes. So far, he is fatalist, and only so far, for&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 24 (#428) #############################################&lt;br /&gt;
&lt;br /&gt;
24&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
his work is wholly free from any trace of didactic&lt;br /&gt;
fatalism; if he founds a new school it will not be&lt;br /&gt;
for purposes of instruction. It is noticeable that&lt;br /&gt;
though darkness and the fears that accompany it&lt;br /&gt;
till his dramas, he never has recourse to super-&lt;br /&gt;
natural agencies. The terror which he inspires,&lt;br /&gt;
he draws, as it were, from the brains of his own&lt;br /&gt;
characters, and expresses in the forces of nature.&lt;br /&gt;
For pure concentrated fear I do not know&lt;br /&gt;
anything more powerful than the death of La&lt;br /&gt;
Princesse Maleine. You may read the play in a&lt;br /&gt;
brightly lit room full of people, and tremble over&lt;br /&gt;
it, when you have read &amp;quot;Melmoth&amp;quot; even, alone&lt;br /&gt;
and at night. The murder scene recalls and&lt;br /&gt;
surpasses the most dramatic scene in &amp;quot; Uncle Silas.&amp;quot;&lt;br /&gt;
It is, however, improbable that Maeterlinck knows&lt;br /&gt;
the too little appreciated novelist Le Fanu. The&lt;br /&gt;
comparison between them need not be pressed&lt;br /&gt;
further, for Maeterlinck is superior in almost every&lt;br /&gt;
point.&lt;br /&gt;
To attempt any detailed examination of the three&lt;br /&gt;
plays would be impossible in a short space. It will&lt;br /&gt;
be sufficient to consider how wonderful is the little&lt;br /&gt;
scene &amp;quot;L&amp;#039;Intruse.&amp;quot; It does not take more time&lt;br /&gt;
to read than a quarter of an hour, it contains no&lt;br /&gt;
episode, it is founded on no plot that can be&lt;br /&gt;
properly so allied, and yet it is absorbingly&lt;br /&gt;
interesting, full of delicate characterization, and&lt;br /&gt;
careful, skilful touches. It is not only the creations&lt;br /&gt;
of the writer&amp;#039;s brain that interest you, but the&lt;br /&gt;
creations of his creatures&amp;#039; brains. This subtle&lt;br /&gt;
compound influence upon the reader has never been&lt;br /&gt;
achieved in the same degree of intensity and&lt;br /&gt;
sustained so long. The blood that Lady Macbeth&lt;br /&gt;
sees upon her hands does not leave a deeper stain.&lt;br /&gt;
The whole of &amp;quot; L&amp;#039;Intruse&amp;quot; is full of this influence,&lt;br /&gt;
the least incident in it becomes prophetic. The old&lt;br /&gt;
Grandfathers fancies seem even to precreate inci-&lt;br /&gt;
dents in harmony with his own melancholy, incidents&lt;br /&gt;
which would not so much be noticed at the time, as&lt;br /&gt;
remembered afterwards as having accompanied an&lt;br /&gt;
evening full of very sad memories. There was the&lt;br /&gt;
wind that came out from the cypress wood, and the&lt;br /&gt;
trembling in the trees, and the scaring of the swans&lt;br /&gt;
and the fishes, and the house dog that sat silent in&lt;br /&gt;
his kennel, and the gardener who stood in the&lt;br /&gt;
shadow and whetted his scythe, and the door that&lt;br /&gt;
no one could shut, and the door that opened of&lt;br /&gt;
itself, and the carpenter to come in the morning,&lt;br /&gt;
and the dim burning of the half-spent lamp, and&lt;br /&gt;
the physician waiting until midnight, and at mid-&lt;br /&gt;
night the hurrying footsteps and the cry of the&lt;br /&gt;
dumb child, and emphasizing these trivial incidents,&lt;br /&gt;
re-creating them as omens, the blind fear of the&lt;br /&gt;
old man. All so perfectly natural and all super-&lt;br /&gt;
naturalized by his sick fancies.&lt;br /&gt;
Nor are the two similar characters of the brothers&lt;br /&gt;
without special merit for delicate distinctive touches.&lt;br /&gt;
Both are kind-hearted, matter-of-fact men. It is&lt;br /&gt;
so natural for them to regret the time when the&lt;br /&gt;
Grandfather was as &amp;quot;reasonable&amp;quot; as they were,&lt;br /&gt;
and &amp;quot;never said anything extraordinary.&amp;quot; The&lt;br /&gt;
Father is an excellent domestic man who keeps&lt;br /&gt;
everything in order in the house during his wife&amp;#039;s&lt;br /&gt;
illness. He knows all the freaks of the furniture,&lt;br /&gt;
and expects the servant to know them too. He&lt;br /&gt;
sees the lamp filled himself, and professes all the&lt;br /&gt;
faith of a true housewife in it that &amp;quot; it will burn&lt;br /&gt;
better presently.&amp;quot; We are not surprised that his&lt;br /&gt;
ultimate conclusion concerning the blind should be&lt;br /&gt;
&amp;quot;II est certain qu&amp;#039;ils sont a plaindre.&amp;quot; The Uncle&lt;br /&gt;
is rather clever and inclined to be strict, but the gift&lt;br /&gt;
he most prides himself on is common sense. He&lt;br /&gt;
cannot endure mystery, he detects it lurking even in&lt;br /&gt;
the voice. When the Grandfather asks, &amp;quot; What is&lt;br /&gt;
that at the door?&amp;quot; he says, &amp;quot;You must not ask&lt;br /&gt;
that in such an extraordinary voice.&amp;quot; He has an&lt;br /&gt;
explanation, good or bad, ready for everything.&lt;br /&gt;
If there is a sound of mowing it is the gardener,&lt;br /&gt;
though gardeners do not mow at night. If feet&lt;br /&gt;
are heard on the stairs he recognises his sister&amp;#039;s&lt;br /&gt;
footstep at once, although she is not there. His&lt;br /&gt;
standard of appeal is the doctor. He even has a&lt;br /&gt;
certain sympathy for his sister&amp;#039;s monastic order,&lt;br /&gt;
because &amp;quot;the rule applies to all alike.&amp;quot; His worst&lt;br /&gt;
epithet is &amp;quot; useless,&amp;quot; and his sagest counsel &amp;quot;to 1 e&lt;br /&gt;
reasonable.&amp;quot; In his eyes truth and logic are&lt;br /&gt;
synonyms. No wonder that when the blind&lt;br /&gt;
Grandfather says, &amp;lt;; I can see clearly there is some-&lt;br /&gt;
thing &amp;quot;that he answers a little sharply, &amp;quot;Then&lt;br /&gt;
you can see better than we can.&amp;quot;&lt;br /&gt;
And here we come to another characteristic of&lt;br /&gt;
Maeterlinck, a hint of secret inevident forces,&lt;br /&gt;
triumphing out of obscurity. Here, the irrational&lt;br /&gt;
sight of the blind; the insight of the idiot and the&lt;br /&gt;
animal, in &amp;quot; La Princesse Maleine &amp;quot;; and the last&lt;br /&gt;
ray of hope falling on the new-born child, in&lt;br /&gt;
&amp;quot;Les Aveugles&amp;quot;; these are examples of what I&lt;br /&gt;
mean. In &amp;quot;Les Aveugles &amp;quot; indeed the climax of&lt;br /&gt;
the drama is the appeal of the utter powerlessness&lt;br /&gt;
of the blind, the deaf, the mad, and the dead to a&lt;br /&gt;
powerlessness seemingly more complete still. In&lt;br /&gt;
this scene the darkness of Maeterlinck is at its&lt;br /&gt;
deepest. Short as it is, so much might be said&lt;br /&gt;
about it, that it is too long to notice here.&lt;br /&gt;
w. w.&lt;br /&gt;
■ ■&lt;br /&gt;
LITERATURE IN IRELAND.&lt;br /&gt;
n^HE miracle performed at the request of&lt;br /&gt;
I Hezekiah may be daily observed by the traveller&lt;br /&gt;
from Holyhead to Kingstown. As the shadow&lt;br /&gt;
of old went back on the dial of the Hebrew King,&lt;br /&gt;
so apparently Time retreats as the visitor from&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 25 (#429) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
25&lt;br /&gt;
England approaches the shores of the Emerald&lt;br /&gt;
Isle, anil if he is a lover of order, he must in&lt;br /&gt;
consequenee put back bis watch five-and-twenty&lt;br /&gt;
minutes. Our relationship to tbe sun is not unlike&lt;br /&gt;
our condition in other matters. The visitor to&lt;br /&gt;
Ireland must be prepared to find the inhabitants a&lt;br /&gt;
little behind the times. It may be that Hibernia&lt;br /&gt;
has the same complaint to make of Britannia that&lt;br /&gt;
Diogenes made of Alexander, when he requested&lt;br /&gt;
that monarch, who stood at the aperture of the&lt;br /&gt;
philosopher&amp;#039;s tub with an offer of gifts, to stand&lt;br /&gt;
out of his sunshine. To fully realize how small&lt;br /&gt;
the progress made by Ireland during the centuries&lt;br /&gt;
which have elapsed since her conquest has been,&lt;br /&gt;
one has only to turn to Spenser&amp;#039;s &amp;quot;View of the&lt;br /&gt;
Present State of Ireland,&amp;quot; the greater part of&lt;br /&gt;
which description is as true to-day as it was in&lt;br /&gt;
1599. Ireland has never enjoyed the &amp;quot;Piping&lt;br /&gt;
times of peace&amp;quot; in which art flourishes. Like&lt;br /&gt;
Moloch, she has always been in favour of &amp;quot;Open&lt;br /&gt;
war.&amp;quot; She has cherished so many delusive hopes,&lt;br /&gt;
nursed so many futile rebellions, and been so much&lt;br /&gt;
occupied in endeavouring to shake off what her&lt;br /&gt;
demagogues designate the &amp;quot;yoke&amp;quot; of England,&lt;br /&gt;
that she has had no time to devote to &amp;quot;the arts of&lt;br /&gt;
peace.&amp;quot; As a natural consequenee, such of her&lt;br /&gt;
children as loved the paths of wisdom, left behind&lt;br /&gt;
them the &amp;quot;drums and trampliugs&amp;quot; of petty&lt;br /&gt;
political struggles, and found in &amp;quot;a land of settled&lt;br /&gt;
government&amp;quot; the quiet which they sought. Thus&lt;br /&gt;
it comes that Goldsmith&amp;#039;s name is associated more&lt;br /&gt;
closely with Fleet Street than with Lissoy; Burke&lt;br /&gt;
and Berkeley and Swift are English rather than&lt;br /&gt;
Irishmen of Letters; and the names of George&lt;br /&gt;
Darley and Edward Fitzgerald are almost unknown&lt;br /&gt;
in their native land; while Moore, &amp;quot;our western&lt;br /&gt;
bulbul, half Cupid and half tom-tit,&amp;quot; is still&lt;br /&gt;
considered our &amp;quot;sweetest lyrist&amp;quot; although he has&lt;br /&gt;
been succeeded in his post of Irish Laureate by at&lt;br /&gt;
least one poet, the latchet of whose shoes he would&lt;br /&gt;
be unworthy to unloose. Living Irish writers, it&lt;br /&gt;
would seem, have, like their predecessors, adopted&lt;br /&gt;
Punch&amp;#039;s recipe, and endeavoured to make home&lt;br /&gt;
happy by leaving it. Many years have elapsed&lt;br /&gt;
since Mr. Lecky was resident in Ireland. Lesser&lt;br /&gt;
lights have also departed from amongst us. Lady&lt;br /&gt;
Wilde, who as Speranza fired many hearts with&lt;br /&gt;
enthusiasm, lives in a land against which the most&lt;br /&gt;
impassioned of her lyrics were directed. The&lt;br /&gt;
author of &amp;quot;Dorian Gray,&amp;quot; like another prodigal&lt;br /&gt;
son has taken his journey into a far country. Rosa&lt;br /&gt;
Mulholland has also taken flight, and Dr. Tod-&lt;br /&gt;
hunter sings of Greece in the midst of London.&lt;br /&gt;
Justin McCarthy, father and son, perhaps live more&lt;br /&gt;
in London than among their constituents. But&lt;br /&gt;
some writers still remain with us. Professor&lt;br /&gt;
Dowden, for whom the Yankees made a bid when&lt;br /&gt;
they failed to obtain Shakespeare&amp;#039;s house, has, we&lt;br /&gt;
believe, taken out a perpetuity in the Protestant&lt;br /&gt;
burial ground, a fact which may be fairly con-&lt;br /&gt;
sidered a sign of his inclination to abide; permanently&lt;br /&gt;
with us. Dr. Mahaffy&amp;#039;s rambles in Greece have&lt;br /&gt;
evidently not proved sufficiently attractive to tempt&lt;br /&gt;
him to pitch his tent on the plains of Marathon.&lt;br /&gt;
Professor Salmon labours alternately at theology&lt;br /&gt;
and mathematics in the Provost&amp;#039;s house, Trinity&lt;br /&gt;
College. J. B. Bury, &amp;quot;the marvellous boy,&amp;quot; has&lt;br /&gt;
recently electrified scholars by his edition of &amp;quot;The&lt;br /&gt;
Nemean Odes of Pindar.&amp;quot; The author of &amp;quot;The&lt;br /&gt;
Wearing of the Green&amp;quot; writes three volume novels&lt;br /&gt;
within sound of the sea at Blackrock; and&lt;br /&gt;
Katherine Tynan, whose &amp;quot;Louise de la Valliere&amp;quot;&lt;br /&gt;
and &amp;quot; Shamrocks&amp;quot; are creditable volumes of verse,&lt;br /&gt;
lives in quiet old Clondalkin. Sir Robert Ball,&lt;br /&gt;
whose &amp;quot; Story of the Heavens&amp;quot; might lead readers&lt;br /&gt;
to the rash conclusion that he dwells among the&lt;br /&gt;
stars, resides at Dunsink; and Edwin Hamilton,&lt;br /&gt;
the Dublin Aristophanes, lives in one of the houses&lt;br /&gt;
which overlook&mdash;&lt;br /&gt;
&amp;quot;That vast enclosure, called for brevity &amp;#039; The Green.&amp;#039;&amp;quot;&lt;br /&gt;
We can also count among the representatives&lt;br /&gt;
of literature resident in Ireland the following&lt;br /&gt;
writers :&mdash;J. K. Ingram, best known as the author&lt;br /&gt;
of the song &amp;quot;Who fears to speak of &amp;#039;98 ?&amp;quot;;&lt;br /&gt;
R. Percival Graves, the friend of Wordsworth,&lt;br /&gt;
and biographer of Sir W. Rowan Hamilton; A. P.&lt;br /&gt;
Graves, author of &amp;quot;The Blarney Ballads&amp;quot; and&lt;br /&gt;
other volumes of verse; T. Caufield Irwin, the&lt;br /&gt;
poet; Robert Yelverton Tyrrell, whose translations&lt;br /&gt;
include a marvellous rendering into Greek of&lt;br /&gt;
Tennyson&amp;#039;s &amp;quot;Lotus Eaters &amp;quot;; G. T. Stokes, whose&lt;br /&gt;
&amp;quot;Irish Ecclesiastical History &amp;quot; is a standard work;&lt;br /&gt;
G. F. Armstrong, author of many volumes of verse,&lt;br /&gt;
of which the most popular is &amp;quot;Tales of Wick-&lt;br /&gt;
low &amp;quot; ; Mrs. Hartley, better known as May Laff&amp;#039;an;&lt;br /&gt;
the Hon. Miss Emily Lawless, author of &amp;quot;Hogan,&lt;br /&gt;
M.P. &amp;quot;; Professor Bastable; Mrs. Cashel Hoey,&lt;br /&gt;
whose novels have won her an enviable reputation;&lt;br /&gt;
and W. J. Fitzpatrick, author of &amp;quot;The Sham&lt;br /&gt;
Squire.&amp;quot; We have also Douglas Hyde, whose&lt;br /&gt;
hatred of &amp;quot; The proud Invader &amp;quot; forbids his signing&lt;br /&gt;
his name in English; the author of &amp;quot;Molly&lt;br /&gt;
Bawn&amp;quot; and many other popular novels, who&lt;br /&gt;
declines to grace the title pages of her books with&lt;br /&gt;
her name; J. T. Gilbert, the historian of Dublin,&lt;br /&gt;
and Aubrey de Vere, the veteran poet and his&lt;br /&gt;
brother, Sir Stephen de Vere, one of the few&lt;br /&gt;
successful translators of Horace; Sir Charles&lt;br /&gt;
Gavan Duffy, who was early &amp;quot;forced to roam,&amp;quot;&lt;br /&gt;
and has continued to do so from habit; George&lt;br /&gt;
Sigerson, author of &amp;quot;Poets of Munster.&amp;quot; Hannah&lt;br /&gt;
Lynch, whose tales have attracted much attention;&lt;br /&gt;
P. W. Joyce, author of &amp;quot; Irish Names of Places &amp;quot;;&lt;br /&gt;
T. W. Lyster, translator of Dunster&amp;#039;s &amp;quot;Life of&lt;br /&gt;
Goethe,&amp;quot; and J. H. Bernard, translator with&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 26 (#430) #############################################&lt;br /&gt;
&lt;br /&gt;
26&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Dr. Mahaffy of Kant&amp;#039;s &amp;quot;Critique of Pure Reason.&amp;quot;&lt;br /&gt;
Mary Fitzpatrick, the novelist, and C. G. O&amp;#039;Brien,&lt;br /&gt;
author of much pleasing verse. This list of names&lt;br /&gt;
might include many others of less note, but it has&lt;br /&gt;
already become too like the catalogue of the ships&lt;br /&gt;
in the Iliad to tempt any reader to ask for more.&lt;br /&gt;
It is not to be assumed that because these writers&lt;br /&gt;
reside in Ireland that therefore their books are&lt;br /&gt;
published in Dublin or Belfast. With the sole&lt;br /&gt;
exception of T. Caufield Irwin, all the above-&lt;br /&gt;
mentioned have publishers in London. The books&lt;br /&gt;
published in Dublin are either Roman Catholic&lt;br /&gt;
Books of Devotion or school books. Dublin&lt;br /&gt;
cannot, like Edinburgh, boast of a Nimmo or a&lt;br /&gt;
David Douglas, or of such a firm as A. &amp;amp; C. Black.&lt;br /&gt;
Her chief publishers occasionally publish a &amp;quot;Jus-&lt;br /&gt;
tice of the Peace&amp;quot; or a &amp;quot;Law of Land Tenure.&amp;quot;&lt;br /&gt;
No work of art ever issues from the University&lt;br /&gt;
Press. Popular discontent and the turmoil which&lt;br /&gt;
springs from discontent have banished Art from&lt;br /&gt;
Ireland. Will Ireland ever be contented? She&lt;br /&gt;
will, when the old days return, days in which, as&lt;br /&gt;
Landor says,&mdash;&lt;br /&gt;
&amp;quot;Tara rose so high&lt;br /&gt;
That her turrets split the sky,&lt;br /&gt;
And about her courts were seeu&lt;br /&gt;
Liveried Angels robed in green,&lt;br /&gt;
Wearing, by Saiut Patrick&amp;#039;s bounty,&lt;br /&gt;
Emcraldn big as half a county.&amp;quot;&lt;br /&gt;
Ramsay Coixes.&lt;br /&gt;
&amp;quot;A WORD FROM YOU, SIB.&amp;quot;&lt;br /&gt;
EVERY man known to be actively engaged as&lt;br /&gt;
as a litterateur counts upon receiving half-&lt;br /&gt;
a-dozen letters every week from people,&lt;br /&gt;
generally young people, and in most cases young&lt;br /&gt;
ladies who are ardently desirous of getting their&lt;br /&gt;
works published. Sometimes they send manu-&lt;br /&gt;
scripts for perusal, assuming as a perfectly natural&lt;br /&gt;
thing that a busy man can afford to give a day to&lt;br /&gt;
everybody who asks; sometimes they ask advice:&lt;br /&gt;
most often they say that they have sent the work to&lt;br /&gt;
this person and to that, to the editor of this or that&lt;br /&gt;
magazine, and that it always comes kick rejected.&lt;br /&gt;
The reason, they an; persuaded, is not in any&lt;br /&gt;
defects or faults of the work itself (as will 1h(&lt;br /&gt;
easily understood when the manuscript has la-en&lt;br /&gt;
carefully read), but in the difficulty of getting a&lt;br /&gt;
manuscript read by any publisher or editor what-&lt;br /&gt;
ever. This being so, all that is wanted is a little&lt;br /&gt;
personal interest from one who can influence&lt;br /&gt;
publishers and editors. &amp;quot;A word from you, sir,&lt;br /&gt;
whose influence is so great, would at once remove&lt;br /&gt;
all difficulty from my path and ensure the accept-&lt;br /&gt;
ance of my work.&amp;quot; Or, as sometimes happens, the&lt;br /&gt;
work has been actually issued and has fallen&lt;br /&gt;
flat. Then the single word of influence is asked&lt;br /&gt;
to induce editors to give the book a favour-&lt;br /&gt;
able notice. Nay, if they happen to know or to&lt;br /&gt;
find out&mdash;their ingenuity in finding out these little&lt;br /&gt;
details is enormous&mdash;that a man is a personal friend&lt;br /&gt;
of any editor, they will even ask him to use his&lt;br /&gt;
influence with that editor, so that against his honour&lt;br /&gt;
and his conscience, he shall direct a critic against&lt;br /&gt;
his honour and his conscience, to write a favourable&lt;br /&gt;
review of a worthless book. Not only this, but&lt;br /&gt;
they believe tliat the thing is actually done, and&lt;br /&gt;
done every day. It is a curious sign of the times&lt;br /&gt;
that such a Ixdief is prevalent; but there is no&lt;br /&gt;
doubt about it. A large section of the world has&lt;br /&gt;
no belief in the honour of any class of mankind at&lt;br /&gt;
all. They believe that trickery rules everything,&lt;br /&gt;
from the little suburl&amp;gt;an shop to the editorial chair.&lt;br /&gt;
It is impossible to answer such people, but those&lt;br /&gt;
who honestly believe in the inaccessibility of editors&lt;br /&gt;
and publishers unless persuaded by &amp;quot; a single word&lt;br /&gt;
from you,&amp;quot; may at least be asked to consider that&lt;br /&gt;
Itooks are not published by caprice, or in order to&lt;br /&gt;
gratify anyone, or out of kindness, but wholly and&lt;br /&gt;
solely for mercantile reasons. Fortunately good&lt;br /&gt;
work of all kinds has its mercantile value. There-&lt;br /&gt;
fore the only thing to advise is that they should&lt;br /&gt;
produce good work. The tears and entreaties&lt;br /&gt;
which accompany many of these letters are most&lt;br /&gt;
grievous to hear. A girl who is struggling to keep&lt;br /&gt;
herself, to help others dependent upon her, to&lt;br /&gt;
whom even the most miserable dole of the most&lt;br /&gt;
cruel of sweating publishers would la; gratefully&lt;br /&gt;
received, can only be told the same thing. Poverty&lt;br /&gt;
will not make a writer. It is not enough to yearn&lt;br /&gt;
ardently after a little money; if the gift has lx&amp;gt;en&lt;br /&gt;
denied another way must he found. The &amp;quot;single&lt;br /&gt;
word from you,&amp;quot; even if it could l&amp;gt;e spoken, would&lt;br /&gt;
not move editor or publisher in the slightest&lt;br /&gt;
degree, except to wonder how one could l&amp;gt;e such a&lt;br /&gt;
fool as to utter that single word. The number of&lt;br /&gt;
those who l)esiege the gates of literature increases&lt;br /&gt;
daily, and will continue to increase, both here and&lt;br /&gt;
in America. Indeed, where there are hundreds of&lt;br /&gt;
pens at their futile work in Great Britain there&lt;br /&gt;
are thousands in the United States. All we can&lt;br /&gt;
do is to hope that their disappointment may come&lt;br /&gt;
speedily and while there is still time for them to&lt;br /&gt;
turn to other things.&lt;br /&gt;
■*-+&bull;+&lt;br /&gt;
MB. GEORGE MOORE AND HERR IBSEN.&lt;br /&gt;
No doubt there is much in dramatic criticism&lt;br /&gt;
to incline a man of any taste or discrimination to&lt;br /&gt;
adopt views opposed to the critic&amp;#039;s, and no doubt&lt;br /&gt;
the irrelevancies of professed Anti-ibsenites have&lt;br /&gt;
produced some able defences of the &amp;quot;master.&amp;quot;&lt;br /&gt;
Perhaps Mr. George Moore&amp;#039;s appearance in the&lt;br /&gt;
Ibsenite camp may be partly explained in this way.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 27 (#431) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
27&lt;br /&gt;
It is, however, disappointing to find a really just&lt;br /&gt;
and delicate critic drawn from liis judicial attitude.&lt;br /&gt;
He would be the last to maintain that adverse&lt;br /&gt;
criticism by Mr. Clement Scott necessarily proves&lt;br /&gt;
the excellence of a play. He may remember also&lt;br /&gt;
that the school in whose company he finds himself&lt;br /&gt;
for the moment, is not wholly unrepresented in&lt;br /&gt;
bogus prophecy. It is to be hoped, however, that&lt;br /&gt;
he will yet examine Herr Ibsen&amp;#039;s prose dramas for&lt;br /&gt;
us solely on their dramatic merits, by clearing the&lt;br /&gt;
ground of moral questions and Ibsenitc controversy.&lt;br /&gt;
No English critic is more fit to do so.&lt;br /&gt;
Mr. George Moore will surely allow that Art&lt;br /&gt;
is essentially absolute and dogmatic in principle,&lt;br /&gt;
having no knowledge of contradiction. Argument&lt;br /&gt;
or didacticism therefore, by acknowledging resist-&lt;br /&gt;
ance to it, violate its elementary laws. That is to&lt;br /&gt;
say, all works of art which purpose to illustrate&lt;br /&gt;
theories or drive home arguments are so far bad&lt;br /&gt;
art, or rather not works of art at all. This fault&lt;br /&gt;
is what the Ibsenitc school appear to claim as a&lt;br /&gt;
merit in Herr Ibsen. It appears to assert that Herr&lt;br /&gt;
Ibsen&amp;#039;s prose dramas enunciate a certain philosophy&lt;br /&gt;
of which it approves. With the quality of this&lt;br /&gt;
philosophy dramatic criticism has no concern at all,&lt;br /&gt;
indeed, in so far as a critic praises or blames it he&lt;br /&gt;
shows himself careless of the canons of Art. He&lt;br /&gt;
has to decide whether the author is guilty of the&lt;br /&gt;
merit of didacticism. It would be imi&amp;gt;ertinent to&lt;br /&gt;
remind Mr. George Moore, but it is necessary to&lt;br /&gt;
remind many professed Ibsenites, that anti-Christian&lt;br /&gt;
philosophy is not exempt from the rule against&lt;br /&gt;
didacticism in Art. What Art abhors is teaching&lt;br /&gt;
not the lesson, all lessons alike are beyond its&lt;br /&gt;
sphere.&lt;br /&gt;
I am not, however, prepared to accept the&lt;br /&gt;
Ibsenite claim that Ibsen is an intentional moralist,&lt;br /&gt;
and I imagine that Mr. George Moore does not&lt;br /&gt;
consider him so either. If he did he would&lt;br /&gt;
scarcely praise &amp;quot;Hedda Gabler&amp;quot; so highly. The&lt;br /&gt;
morality enunciated by the Ibsenites as a system,&lt;br /&gt;
and deduced from Herr Ibsen&amp;#039;s plavs, is as obvious,&lt;br /&gt;
and therefore as inartistic, as the morals drawn by&lt;br /&gt;
Mr. Barlow for the benefit of Sandford and&lt;br /&gt;
Merton. The Ibsenite system may present to the&lt;br /&gt;
vulgar an appearance of profundity, but it is none&lt;br /&gt;
the less subject to the artistic charge of didacticism&lt;br /&gt;
on that account. Having regard, however, to the&lt;br /&gt;
acknowledged power of Herr Ibsen&amp;#039;s work, I&lt;br /&gt;
cannot imagine he would have fallen into so glaring&lt;br /&gt;
an artistic fault. Is it possible to account for the&lt;br /&gt;
opinion of his followers regarding him, in this&lt;br /&gt;
way? I l&amp;gt;elieve that inquisitiveness is the most&lt;br /&gt;
powerful quality of his mind, and has led him&lt;br /&gt;
to the perpetual setting of riddles to which he&lt;br /&gt;
would abhor to receive any answer. Certainty&mdash;&lt;br /&gt;
even probability&mdash;represents to his mind a vacuum.&lt;br /&gt;
Nothing can lx- more foreign to such a mind than&lt;br /&gt;
an intention to teach, indeed the obviousness of&lt;br /&gt;
such a charge should have protected from it a&lt;br /&gt;
dramatist of such subtle effects. To harp on a few&lt;br /&gt;
strings may at last become wearisome, but it is a&lt;br /&gt;
fault against taste rather than against the canons&lt;br /&gt;
of Art. The more serious charge of deliberate&lt;br /&gt;
didacticism may fairly be shifted upon the commen-&lt;br /&gt;
taries of his followers.&lt;br /&gt;
It cannot, however, be concealed that there are&lt;br /&gt;
other considerable faults in Herr Ibsen&amp;#039;s prose&lt;br /&gt;
dramas. Perhaps the most glaring is the unreality&lt;br /&gt;
of his protagonists. They are not human; they&lt;br /&gt;
are not even capable of evoking human sympathy.&lt;br /&gt;
All they touch in humanity is the inquisitive cells&lt;br /&gt;
of the brain. They also afford illustrations of&lt;br /&gt;
theories which can now command approval. It is&lt;br /&gt;
true that all dramatis persona are but types to Ixi&lt;br /&gt;
personalized by the actor. Curiously enough, Herr&lt;br /&gt;
Ibsen leaves less to the actor in this respect than&lt;br /&gt;
perhaps any other dramatist. But, apart from this&lt;br /&gt;
necessity of the drama, Herr Ibsen&amp;#039;s heroes and&lt;br /&gt;
heroines are intrinsically unnatural, unreal, and in-&lt;br /&gt;
consistent. There are exceptions, perhaps Dr.&lt;br /&gt;
Stohmar is the most like life&mdash;but Nora, Hedda&lt;br /&gt;
Gabler, and Rebckka West are notable examples.&lt;br /&gt;
Hedda Gabler especially contains no drop of &amp;quot; the&lt;br /&gt;
milk of human kindness&amp;quot; in her composition. She&lt;br /&gt;
has no more contact with humanity than the&lt;br /&gt;
vegetable to which Mr. George Moore implicitly&lt;br /&gt;
compares her. He admires her as the product of&lt;br /&gt;
Nature, which never swerves from its own ends.&lt;br /&gt;
She was, as he says, &amp;quot;born to kill herself.&amp;quot; With&lt;br /&gt;
all deference to his judgment be it said: She is&lt;br /&gt;
therefore not a subject for dramatic art; a nettle&lt;br /&gt;
would be as suitable. Some plants indeed, the&lt;br /&gt;
pansy for instance, are said actually to possess this&lt;br /&gt;
suicidal property. They poison their own soil and&lt;br /&gt;
die. The objection to Hedda Gabler is not that&lt;br /&gt;
she is monstrous; Medea, Lady Macbeth, La&lt;br /&gt;
Cousine Bette, Melmoth, Frankenstein&amp;#039;s Monster,&lt;br /&gt;
Caliban, are all monstrous, but each has some&lt;br /&gt;
trait in touch with man; Hedda Gabler has none.&lt;br /&gt;
She is not even an animal; Brer Rabbit and the&lt;br /&gt;
pantomime lieasts &amp;quot;are men of like passions to our-&lt;br /&gt;
selves&amp;quot; compared with her. She is a vegetable fit&lt;br /&gt;
to sow in one&amp;#039;s enemy&amp;#039;s garden.&lt;br /&gt;
Surely an essence of dramatic art is contrast and&lt;br /&gt;
effort, primarily between the characters, secondarily&lt;br /&gt;
within them. By praising a mere natural force as&lt;br /&gt;
a dramatis persona, Mr. George Moore seems to&lt;br /&gt;
ignore the latter. The triumph of a suicidal&lt;br /&gt;
tendency is a splendid subject for dramatic art,&lt;br /&gt;
but there can be no triumph where there is no&lt;br /&gt;
opposition, and no opposition in &amp;quot;a product of&lt;br /&gt;
Nature&amp;quot; &amp;quot;born to kill itself,&amp;quot; for suicide then&lt;br /&gt;
Ceases to l&amp;gt;e a tendency and becomes a law. &amp;quot;Man&lt;br /&gt;
cannot yield even unto death utterly save only by&lt;br /&gt;
the weakness of the feeble Will.&amp;quot; By eliminating&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 28 (#432) #############################################&lt;br /&gt;
&lt;br /&gt;
28&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the Will altogether, Nature is robbed of its triumphs,&lt;br /&gt;
ami dramatic art rendered almost impossible.&lt;br /&gt;
J. D.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
Mr. Meredith&amp;#039;s &amp;quot;One of our Conquerors&amp;quot; is&lt;br /&gt;
hardly a new book by this time. It is naturally&lt;br /&gt;
one of the great literary events of the year, and it&lt;br /&gt;
will be the. end of the year before we have found&lt;br /&gt;
out all its surpassing merits, its wit, and character-&lt;br /&gt;
isation hidden under that curious club-like style&lt;br /&gt;
which Mr. Meredith wields like a rapier. Intoler-&lt;br /&gt;
able in another writer, it seems the only possible&lt;br /&gt;
expression for one of our greatest living novelists.&lt;br /&gt;
We could never think of his writing in any other.&lt;br /&gt;
The critics have already had their say. Let us&lt;br /&gt;
hope he may be saved from disciples who even now&lt;br /&gt;
are conspiring.&lt;br /&gt;
The appearance of Herodotus under the auspices&lt;br /&gt;
of Sir John Lubbock recalls what many have&lt;br /&gt;
forgotton, the amusing lists in the Pall Mall&lt;br /&gt;
Gazette of the Best hundred books, chosen by&lt;br /&gt;
eminent writers. Herodotus was a very safe one&lt;br /&gt;
to commence with, as he appeared in nearly all of&lt;br /&gt;
them. I wonder if the working men, for whom&lt;br /&gt;
the selection was made, will read each best book as&lt;br /&gt;
it comes out. Sir John&amp;#039;s list was the first and the&lt;br /&gt;
best in a way. Other authors forgot the object in&lt;br /&gt;
view, and simply wrote down the books they pre-&lt;br /&gt;
ferred, with little thought, I fear, of the working man.&lt;br /&gt;
The Pall Mall Extra is before me, and among&lt;br /&gt;
books I rind recommended for these &amp;quot; factors&amp;quot; in&lt;br /&gt;
the British Constitution are the Poems of Hafiz and&lt;br /&gt;
Sadi&mdash;admirable poets let me add, but hardly&lt;br /&gt;
suitable for the British or even the Persian working&lt;br /&gt;
man, if there is such a thing.&lt;br /&gt;
&amp;quot;Eric Brighteyes&amp;quot; will, I think, rank with&lt;br /&gt;
&amp;quot;Cleopatra &amp;quot; and &amp;quot;She&amp;quot; as among Mr. Haggard&amp;#039;s&lt;br /&gt;
finest works. Perhaps it will not 1m&raquo; so popular&lt;br /&gt;
among boys, who naturally prefer &amp;quot; Mr. Quatermain&amp;quot;&lt;br /&gt;
and his adventures in Africa. But more critical or&lt;br /&gt;
older readers will appreciate not only the splendid&lt;br /&gt;
romance of &amp;quot; Eric,&amp;quot; but the really beautiful writing&lt;br /&gt;
in some of its passages, and which I do not think&lt;br /&gt;
can be entirely attributed to Icelandic originals&lt;br /&gt;
(parallel passages of course excepted). Of course&lt;br /&gt;
the Author has been plagiarizing as usual; though&lt;br /&gt;
I am the first to denounce him, I shall not be the&lt;br /&gt;
last. It is the title this time. There are two other&lt;br /&gt;
Erics I can remember, &amp;quot;Eric; or the Golden&lt;br /&gt;
Thread&amp;quot; and &amp;quot;Eric; or Little by Little &amp;quot;; flat&lt;br /&gt;
plagiarism on the title page&amp;#039; In the next century&lt;br /&gt;
we shall have &amp;quot;Little Eric Brighteyes; or the&lt;br /&gt;
Golden Thread.&amp;quot;&lt;br /&gt;
Mr. Oscar Wilde&amp;#039;s &amp;quot;Intentions&amp;quot; (Osgood and&lt;br /&gt;
Mellvaine) is not only one of the most amusing and&lt;br /&gt;
delightful volumes that have come out recently,&lt;br /&gt;
but is a valuable contribution to English criticism.&lt;br /&gt;
The general &amp;quot;intention&amp;quot; which Mr. Wilde is&lt;br /&gt;
anxious to enunciate is that criticism is a creative&lt;br /&gt;
art, and not a destructive art. Mr. Wilde will, no&lt;br /&gt;
doubt, learn with regret that he has converted&lt;br /&gt;
his readers. The estimate of Browning is far the&lt;br /&gt;
most tempered and critical that has appeared since&lt;br /&gt;
the poet&amp;#039;s death.&lt;br /&gt;
Certain very young men on the press are&lt;br /&gt;
naturally annoyed to find that Mr. Saintsbury knew&lt;br /&gt;
all about Flaubert, and the realists and the&lt;br /&gt;
naturalists long before they were born, so they&lt;br /&gt;
have not found his Essays on the French novelists&lt;br /&gt;
exhilarating. Even the &amp;quot;adorable&amp;quot; Verlaine is&lt;br /&gt;
not so new as they would have us think.&lt;br /&gt;
Although the French Academy has not yet&lt;br /&gt;
recognised the poet of the Decadence, a benefit has&lt;br /&gt;
l&amp;gt;een given for him at the Vaudeville in Paris. It&lt;br /&gt;
was an interesting and very miscellaneous perform-&lt;br /&gt;
ance, attended by an interesting and miscellaneous&lt;br /&gt;
audience. There is a very marvellous portrait of&lt;br /&gt;
Verlaine by Eugene Carriere in the Champs de Mars&lt;br /&gt;
this year. It should be brought to England and&lt;br /&gt;
exhibited (adults only admitted).&lt;br /&gt;
At the Academy M. Loti certainly had greater&lt;br /&gt;
claim than Henri de Bornier, who is to l&amp;gt;e condoled&lt;br /&gt;
with, however. His play of Mahomet was prohibits!&lt;br /&gt;
by the Government not long ago, and his election to&lt;br /&gt;
the Academy might have compensated him for his&lt;br /&gt;
disappointment. The French Republic is very&lt;br /&gt;
delicate about the susceptibilities of Mahomedans&lt;br /&gt;
and Atheists. M. Francois Coppee&amp;#039;s Le Pater met&lt;br /&gt;
with a like fate because it showed Christianity in&lt;br /&gt;
too favourable a light. Thermidor is the last of&lt;br /&gt;
the offending plays. Many, I hear, are anxious for&lt;br /&gt;
the suppression of the Ainmergau Passion Play, as&lt;br /&gt;
it is calculated to wound the Jewish community in&lt;br /&gt;
Europe.&lt;br /&gt;
Of recent verse, &amp;quot;Lapsus Calami,&amp;quot; by J. K. S.,&lt;br /&gt;
has already gained a deserved reputation for its&lt;br /&gt;
author, who comes from a Cambridge college already&lt;br /&gt;
distinguished for its minor poets&mdash;minor only from&lt;br /&gt;
the quantity, not the quality of their work.&lt;br /&gt;
&amp;quot;Pearl,&amp;quot; an English poem of the Fourteenth&lt;br /&gt;
Century, edited by Israel Gollancz, is a beautiful&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 29 (#433) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
29&lt;br /&gt;
poem, which was worth resuscitating, and not&lt;br /&gt;
merely a philological conundrum. The name of Mr.&lt;br /&gt;
Crollanez is a passport for scholarship. &amp;quot;Pearl&amp;quot;&lt;br /&gt;
is embellished with a delightful frontispiece by&lt;br /&gt;
Mr. Holman Hunt.&lt;br /&gt;
Mr. James Baker&amp;#039;s &amp;quot;John Westacott&amp;quot; and also&lt;br /&gt;
his &amp;quot; By the Western Sea &amp;quot; liave both just appeared&lt;br /&gt;
in a cheap popular edition, and are again receiving&lt;br /&gt;
exceptional notice from the Press. The author has&lt;br /&gt;
just returned from a tour in Austria, where he has&lt;br /&gt;
been completing his studies for the &amp;quot; Great For-&lt;br /&gt;
gotten Englishman,&amp;quot; upon whose life he lately&lt;br /&gt;
published some articles in the Leisure Hour.&lt;br /&gt;
The Quarterly Review has been cratostratizing&lt;br /&gt;
again. Sir John Maundeville is now the victim of&lt;br /&gt;
its inateh-box. With the aid of Colonel Yule and&lt;br /&gt;
Mr. Warner it has reduced his claims to existence,&lt;br /&gt;
to dust and ashes. One of the great trio of&lt;br /&gt;
credible travellers has been banished into the&lt;br /&gt;
shades of myth. We do not know how soon&lt;br /&gt;
Herodotus and Marco Polo nmy follow his flight&lt;br /&gt;
liefore the impartial light of modern history held&lt;br /&gt;
aloft by Mr. Froude and Professor Freeman, and&lt;br /&gt;
the trusty guidance of modern travel, supplied at&lt;br /&gt;
first-elass prices by Mr. Stanley. Fortunately for&lt;br /&gt;
Marco Polo, we l&amp;gt;elieve he has a friend at court.&lt;br /&gt;
As for the Quarterly and Mr. Warner, we can&lt;br /&gt;
only wish them the success which has crowned the&lt;br /&gt;
efforts of their Ephesian antitype. Perhaps even&lt;br /&gt;
they may be contented with a reputation no longer&lt;br /&gt;
nor more brilliant than the fame of the whilom&lt;br /&gt;
father of English prose.&lt;br /&gt;
Dr. Momerie&amp;#039;s lecture on the &amp;quot; Corruption of the&lt;br /&gt;
Church,&amp;quot; was given at Prince&amp;#039;s Hall on the evening&lt;br /&gt;
of May 25th. It was the most interesting theolo-&lt;br /&gt;
gical event of the year. The Hall was well tilled&lt;br /&gt;
in anticipation of the lecturer&amp;#039;s skill in dealing with&lt;br /&gt;
questions which have to do with advanced thought,&lt;br /&gt;
already proved by the brilliant sermons delivered by&lt;br /&gt;
him at the Foundling upon &amp;quot;Church and Creed&amp;quot;&lt;br /&gt;
and &amp;quot;Inspiration.&amp;quot; The lecture of the 20th was&lt;br /&gt;
introductory, but it will be followed, should the&lt;br /&gt;
public show interest in the subject, by others to&lt;br /&gt;
illustrate the mischievous effects of Ecclesiasticism&lt;br /&gt;
upon Art, Science, Literature, and Social Institu-&lt;br /&gt;
tions. Dr. Momerie is ready in the future to give&lt;br /&gt;
these lectures free to working men if they wish to&lt;br /&gt;
hear him.&lt;br /&gt;
Apropos to the alwve, it may interest some of&lt;br /&gt;
our readers to hear that the June number of&lt;br /&gt;
Messrs. Eglington &amp;amp; Co.&amp;#039;s popular &amp;quot;Men and&lt;br /&gt;
Women of the Day&amp;quot; contains a portrait of&lt;br /&gt;
Dr. Momerie by Barnaul, and a short biographical&lt;br /&gt;
sketch.&lt;br /&gt;
&lt;br /&gt;
ON SOME CASES.&lt;br /&gt;
EVERY case, on being sent in to the Society&lt;br /&gt;
and read, is either dealt with at once by the&lt;br /&gt;
Secretary, or, in case of any doubtful point&lt;br /&gt;
arising out of the facts, the case is sent to the&lt;br /&gt;
Society&amp;#039;s solicitors for advice. The expense&lt;br /&gt;
of obtaining such advice is, of course, the greatest&lt;br /&gt;
charge upon the Society&amp;#039;s income, but no part of&lt;br /&gt;
it is expended to greater advantage or with better&lt;br /&gt;
results. At a late meeting of the Committee, the&lt;br /&gt;
following resume of recent work was laid before&lt;br /&gt;
the Committee&mdash;it must be observed that the Com-&lt;br /&gt;
mittee are not usually informed of the names&lt;br /&gt;
concerned&mdash;never, if the author desires secrecy. In&lt;br /&gt;
that case the Chairman and Secretary only know,&lt;br /&gt;
or perhaps the Secretary alone.&lt;br /&gt;
I.&lt;br /&gt;
1. A.B., a young author, commissioned another,&lt;br /&gt;
CD., to revise his work, find a publisher, and see&lt;br /&gt;
it through the press in consideration of certain&lt;br /&gt;
payments. A.B. refused to carry out the contract.&lt;br /&gt;
CD. submitted the case to the Society. It was&lt;br /&gt;
decided that the contract had not been fairly carried&lt;br /&gt;
out, and that A.B. should not be called upon to&lt;br /&gt;
pay.&lt;br /&gt;
2. A.B. agreed with CD. (editor of a magazine)&lt;br /&gt;
to write certain papers on certain terms. The&lt;br /&gt;
proprietor, though pledged by his editor, refused to&lt;br /&gt;
pay more than about two-thirds the price agreed.&lt;br /&gt;
Result: Full payment.&lt;br /&gt;
3. A.B. was to receive a certain payment by a&lt;br /&gt;
certain date. She lived at a considerable distance&lt;br /&gt;
from London, and had to conduct her business&lt;br /&gt;
entirely by correspondence. She parted with her&lt;br /&gt;
MS. on condition of receiving a certain sum at a&lt;br /&gt;
certain date. When the time came she could get&lt;br /&gt;
neither money nor any reply to her letters. She&lt;br /&gt;
referred the case to the Society.&lt;br /&gt;
Result: Payment in full.&lt;br /&gt;
4. A.B. sent MS. to an editor who accepted it,&lt;br /&gt;
and promised payment on publication. He left it&lt;br /&gt;
with him for a year, when the editor returned it,&lt;br /&gt;
stating that the magazine was coming to an end.&lt;br /&gt;
Had he any right to compensation? Reply : None&lt;br /&gt;
whatever. He should have taken his MS. out of&lt;br /&gt;
the hands of the editor long before.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 30 (#434) #############################################&lt;br /&gt;
&lt;br /&gt;
3&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
5. A.B. (author) v. CD. (publisher).&lt;br /&gt;
The hook had been published for some time, but&lt;br /&gt;
no accounts could be obtained. A writ was issued.&lt;br /&gt;
The l&raquo;oks were audited, and the accounts cleared&lt;br /&gt;
up.&lt;br /&gt;
6. A.B. (author) v. CD. (publisher).&lt;br /&gt;
Author was induced to pay in advance for the&lt;br /&gt;
production of his book a sum of money repre-&lt;br /&gt;
sented as half the actual cost. It was in reality&lt;br /&gt;
about &pound;i5 more than the whole sum actually&lt;br /&gt;
expended. The Secretary demanded the return&lt;br /&gt;
of the &pound;i5 and all the copies. This was refused.&lt;br /&gt;
A writ was issued.&lt;br /&gt;
Result: Return of &pound;i5 and all the copies.&lt;br /&gt;
7. A.B. v. CD. (editor).&lt;br /&gt;
A disputed claim. A.B. demanded &pound;40. CD.&lt;br /&gt;
denied the indebtedness.&lt;br /&gt;
Result: CD. paid &pound;20 in settlement.&lt;br /&gt;
8. A publisher, on receiving a MS. sent it to be&lt;br /&gt;
printed, and issued it without even consulting the&lt;br /&gt;
author or submitting any agreement with him.&lt;br /&gt;
Result: An agreement very much better for the&lt;br /&gt;
author than would have been made but for the fact&lt;br /&gt;
that the author was able to procure an injunction&lt;br /&gt;
and bring an action.&lt;br /&gt;
9. A.B. (author) v. CD.&lt;br /&gt;
No accounts to be obtained by letter. Society&amp;#039;s&lt;br /&gt;
solicitor intervened.&lt;br /&gt;
Result: Accounts rendered.&lt;br /&gt;
10. Question submitted&mdash;&lt;br /&gt;
In the case of a royalty system, has the publisher&lt;br /&gt;
the right to give away books to his private friends&lt;br /&gt;
(not for press puq&amp;gt;oses) without paying the&lt;br /&gt;
royalty?&lt;br /&gt;
Reply: Certainly not. All copies except those&lt;br /&gt;
sent to press and those presented to author or any-&lt;br /&gt;
one else by agreement must be regarded as sold.&lt;br /&gt;
Here is the publisher&amp;#039;s little account rendered&lt;br /&gt;
to himself in the most favourable event, viz., the&lt;br /&gt;
sale of all copies :&mdash;&lt;br /&gt;
The sale of 2,000 copies at is. lod. produces&lt;br /&gt;
&pound;2 83 6s. Sd.&lt;br /&gt;
Cost of production&lt;br /&gt;
Less author&amp;#039;s share&lt;br /&gt;
Author&amp;#039;s royalty&lt;br /&gt;
Publisher&amp;#039;s profit&lt;br /&gt;
Author&amp;#039;s return :&mdash;&lt;br /&gt;
By royalties -&lt;br /&gt;
Less share of expense&lt;br /&gt;
Profit&lt;br /&gt;
&pound;&lt;br /&gt;
s.&lt;br /&gt;
d.&lt;br /&gt;
160&lt;br /&gt;
0&lt;br /&gt;
0&lt;br /&gt;
55&lt;br /&gt;
0&lt;br /&gt;
0&lt;br /&gt;
io5&lt;br /&gt;
0&lt;br /&gt;
0&lt;br /&gt;
62&lt;br /&gt;
10&lt;br /&gt;
0&lt;br /&gt;
n5&lt;br /&gt;
16&lt;br /&gt;
8&lt;br /&gt;
&pound;2 83&lt;br /&gt;
6&lt;br /&gt;
8&lt;br /&gt;
&pound;&lt;br /&gt;
&laquo;.&lt;br /&gt;
d.&lt;br /&gt;
■ 62&lt;br /&gt;
10&lt;br /&gt;
8&lt;br /&gt;
- 55&lt;br /&gt;
0&lt;br /&gt;
0&lt;br /&gt;
&bull; &pound;7&lt;br /&gt;
10&lt;br /&gt;
8&lt;br /&gt;
So that the author by this beautiful arrangement&lt;br /&gt;
stands to win, under the most favourable circum-&lt;br /&gt;
stances, the enormous sum of &pound;7 1 os. Sd., while the&lt;br /&gt;
publisher stands to win &pound;115 16*. Sd.&lt;br /&gt;
Now woidd the author have signed the agree-&lt;br /&gt;
ment had he been able to do this little sum?&lt;br /&gt;
Another case. The publisher says: &amp;quot;I will&lt;br /&gt;
give you a 10 per cent, royalty unless I sell the&lt;br /&gt;
book for less than half price, and then I will give&lt;br /&gt;
you 5 per cent.&amp;quot;&lt;br /&gt;
How does this work out? The book was of a kind&lt;br /&gt;
sometimes sold for just over half price, and often&lt;br /&gt;
sold for just under half price. The difference to&lt;br /&gt;
the publisher might mean a few pence on each&lt;br /&gt;
volume. To the author it made a difference of I*.&lt;br /&gt;
In other words, by lowering the price a few pence&lt;br /&gt;
so as to bring it under the half price, the publisher&lt;br /&gt;
actually gained money.&amp;quot; This the author did not&lt;br /&gt;
know or he would not have signed the agreement.&lt;br /&gt;
II.&lt;br /&gt;
A certain worthy publisher -wrote as follows:&lt;br /&gt;
&amp;quot;To print and produce 2,000 copies of your work&lt;br /&gt;
will cost &pound;140. If we add &pound;20 for advertising,&lt;br /&gt;
that makes &pound;160. Give me &pound;55 towards this initial&lt;br /&gt;
expenditure and I will give you 12^ per cent, on&lt;br /&gt;
the nominal price, 5s., for all copies sold.&amp;quot; There&lt;br /&gt;
was another clause about a decreased (!) royalty for&lt;br /&gt;
copies over and above the 2,000, but let us be&lt;br /&gt;
content with this.&lt;br /&gt;
The author accepted the proposal.&lt;br /&gt;
Needless to say that he did not work out the&lt;br /&gt;
little sum in multiplication and addition which this&lt;br /&gt;
proposal presented. Let us do so.&lt;br /&gt;
The trade price of a 5.?, book is about 2*, lod.&lt;br /&gt;
III.&lt;br /&gt;
From the Law Reports. &laquo;&lt;br /&gt;
On April 24th, in the Queen&amp;#039;s Bench Divi-&lt;br /&gt;
sion, before Mr. Justice Smith and Mr. Justice&lt;br /&gt;
Grantham, judgment was delivered in the case&lt;br /&gt;
of Maul and another v. Greenings. Mr. Justice&lt;br /&gt;
Smith said it was a test action to ascertain&lt;br /&gt;
the true construction of section 6 of the Inter-&lt;br /&gt;
national Copyright Act of 1886. The county&lt;br /&gt;
court judge of Brighton found for the defendant,&lt;br /&gt;
and the -question to lie decided was whether a&lt;br /&gt;
foreign composer of a piece of music, protected&lt;br /&gt;
according to the law of the composer&amp;#039;s country,&lt;br /&gt;
but not protected iti the United Kingdom, could&lt;br /&gt;
claim the protection afforded to foreign composers. *&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 31 (#435) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3&amp;#039;&lt;br /&gt;
by the International Copyright Act as against a&lt;br /&gt;
bandmaster who had purchased the piece and&lt;br /&gt;
performed it in public with his liand prior to&lt;br /&gt;
December 1887, when the Act came into force.&lt;br /&gt;
He came to the conclusion that although neither&lt;br /&gt;
the publisher of the piece in the country nor the&lt;br /&gt;
defendant had any &amp;quot;rights&amp;quot; under the section&lt;br /&gt;
they had &amp;quot;interests,&amp;quot; and, therefore, the learned&lt;br /&gt;
county court judge was right in entering judgment&lt;br /&gt;
for the defendant. The appeal must l)e dismissed&lt;br /&gt;
with costs.&mdash;Mr. Justice Grantham concurred.&mdash;&lt;br /&gt;
Appeal dismissed.&lt;br /&gt;
■&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
IN the March numl)er of the Author, women&lt;br /&gt;
writers are accused by &amp;quot;No Pay, No Pen &amp;quot; of&lt;br /&gt;
cheapening the literary market. I wish to&lt;br /&gt;
point out that it is often difficult to know what it&lt;br /&gt;
the market price of one&amp;#039;s wares. I write a&lt;br /&gt;
good deal of verse. From one magazine I receive&lt;br /&gt;
5*. a poem, from another firm 10*., from another&lt;br /&gt;
magazine 15*., from yet another &pound;1 is. I believe&lt;br /&gt;
these all to l&amp;gt;e regular prices, which those particular&lt;br /&gt;
editors and publishers would not alter to any con-&lt;br /&gt;
tributor. But after receiving such different rates&lt;br /&gt;
of pay, when a new employer asks me for my&lt;br /&gt;
charge, is it not a little difficult to fix this? And&lt;br /&gt;
perhaps from fear of losing the employment, one&lt;br /&gt;
may fix the price too low rather than too high. I&lt;br /&gt;
wish more uniform rates were paid.&lt;br /&gt;
I like much the idea, in the April numlxr, of&lt;br /&gt;
the register for translators, verifiers, &amp;amp;c. But&lt;br /&gt;
could not fellow authors help each other some-&lt;br /&gt;
times without paving for services? I should l&amp;gt;e&lt;br /&gt;
glad (living in the country) of someone to look&lt;br /&gt;
up points in the British Museum occasionally. In&lt;br /&gt;
return I could do translations. Indeed, I would&lt;br /&gt;
l&amp;gt;e quite willing (within due bounds) to help a&lt;br /&gt;
fellow author without return of pay or help. And&lt;br /&gt;
I think such services would promote a fraternal&lt;br /&gt;
feeling in our Society. Why, in the proposed&lt;br /&gt;
register, should not an asterisk be placed against&lt;br /&gt;
certain names, which should signify, Willing to&lt;br /&gt;
help a fellow mcml&amp;gt;er gratuitously?&lt;br /&gt;
ROSSIGNOL.&lt;br /&gt;
II.&lt;br /&gt;
In the Author of March I made some remarks&lt;br /&gt;
re Advertising. I wish to state that I had no&lt;br /&gt;
intention of making any charge against the firm&lt;br /&gt;
alluded to, and if what 1 said contained anything&lt;br /&gt;
that might be supposed to do that, I hereby express&lt;br /&gt;
my regret.&lt;br /&gt;
My point was, that where advertisements appear&lt;br /&gt;
is of great importance to authors. I had and have&lt;br /&gt;
no animus in the matter. I am informed by the&lt;br /&gt;
publishers that the amount charged to the book for&lt;br /&gt;
advertising in the ]&amp;gt;aper supjwsed to lx&amp;gt; referred to&lt;br /&gt;
was 5*. 3d., therefore I admit that my remarks, so&lt;br /&gt;
far as that journal is concerned, are pointless, and&lt;br /&gt;
I hereby withdraw them.&lt;br /&gt;
Pachyderm.&lt;br /&gt;
&lt;br /&gt;
BOOKS FOR SALE.&lt;br /&gt;
Oxberry&amp;#039;s Flowers of Literature, 4 vols.&lt;br /&gt;
Reflections upon the Politeness of Manners, &amp;amp;c.&lt;br /&gt;
(1710).&lt;br /&gt;
New Year&amp;#039;s Gift. Alice Watts, 1829. Illus-&lt;br /&gt;
trated by Cruikshank, &amp;amp;c.&lt;br /&gt;
Acting Charades. Brothers Mayhew. Illustrated&lt;br /&gt;
by Haine and Cruikshank.&lt;br /&gt;
The Dangers of the Deep. Published by Orlando&lt;br /&gt;
Hodgson.&lt;br /&gt;
Australian Tales and Sketches.&lt;br /&gt;
Beaumont and Fletcher. First complete edition.&lt;br /&gt;
Address&mdash;H. G. W.&lt;br /&gt;
&diams;■&raquo;■&diams;&lt;br /&gt;
MACHINE-CUT BOOKS.&lt;br /&gt;
IT is greatly to be wished that the practice, now&lt;br /&gt;
very little observed, but slightly on the increase,&lt;br /&gt;
of issuing machine-cut l&amp;gt;ooks will before long&lt;br /&gt;
Income general. We have inquired carefully into&lt;br /&gt;
this matter. The cost of machine cutting is&lt;br /&gt;
infinitesimaUy small. Where we have lieen able to&lt;br /&gt;
get the cost estimated, a shilling for every hundred&lt;br /&gt;
copies is the highest amount we have heard named.&lt;br /&gt;
The average time expended by amateurs on&lt;br /&gt;
cutting by hand we believe to be 20 minutes per&lt;br /&gt;
octavo volume of 1000 pages. If any of our&lt;br /&gt;
readers (always excepting Mr. W. H. Smith&amp;#039;s very&lt;br /&gt;
expert boys) can accomplish the task of cutting&lt;br /&gt;
more quickly, we shall be glad to hear from them.&lt;br /&gt;
Moreover, very few amateurs can cut with pro]&amp;gt;er&lt;br /&gt;
neatness, and efficient paper-cutters are often (as&lt;br /&gt;
on a railway journey) not to be had by the reader.&lt;br /&gt;
But stay! Perhaps the present foolish system is&lt;br /&gt;
kept up for the benefit of those who do not like&lt;br /&gt;
to have their lx&amp;gt;oks cut quickly for them by other&lt;br /&gt;
people, but rather cut by themselves only with&lt;br /&gt;
extreme slowness in order to lengthen out the&lt;br /&gt;
process of reading. If we hare any such amongst&lt;br /&gt;
our readers, we should like to hear from them.&lt;br /&gt;
To reviewers the machine cutting would be an&lt;br /&gt;
unmixed boon, for a reviewer never, or at least&lt;br /&gt;
hardly ever, reviews a book which he has not first&lt;br /&gt;
cut.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 32 (#436) #############################################&lt;br /&gt;
&lt;br /&gt;
32&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
&lt;br /&gt;
ELECTROTYPES OF ENGRAVINGS&lt;br /&gt;
FOR SALE&lt;br /&gt;
A THE attention of Authors, Publishers,&lt;br /&gt;
and others is directed to the large&lt;br /&gt;
and varied Collection of Engravings&lt;br /&gt;
in the possession of Cassell and Com-&lt;br /&gt;
pany, Limited, from which they offer&lt;br /&gt;
Electros for Sale. The Collection&lt;br /&gt;
embraces every class of subject--&lt;br /&gt;
History, Topography, Natural History, Scientific,&lt;br /&gt;
Figure Subjects, &amp;amp;c., &amp;amp;c. produced by the best Artists&lt;br /&gt;
and Engravers.&lt;br /&gt;
Call and examine this Collection, or apply for&lt;br /&gt;
specimens, giving &iacute;ull particulars of the subjects and&lt;br /&gt;
sizes required to-&lt;br /&gt;
CASSELL &amp;amp; COMPANY, LIMITED,&lt;br /&gt;
LA BELLE SAUVAGE, LUDGATE HILL, E.C.&lt;br /&gt;
All applications relating to Advertisements in this&lt;br /&gt;
Journal should be addressed to the Printers and&lt;br /&gt;
Publishers,&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE,&lt;br /&gt;
East Harding Street, Fetter Lane, London, E.C.&lt;br /&gt;
LONDON: Printed by EYRE and SrottiSWOODE, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/252/1891-06-01-The-Author-2-1.pdf</td><td>publications, The Author</td></tr><tr><td>253</td><td>https://historysoa.com/items/show/253</td><td>The Author, Vol. 02 Issue 02 (July 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+02+%28July+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 02 (July 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-07-01-The-Author-2-2</td><td></td><td></td><td></td><td></td><td>33&ndash;64</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-07-01&quot;&gt;1891-07-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>2</td><td></td><td></td><td>18910701</td><td>&amp;lt;I b e Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 2.]&lt;br /&gt;
JULY i, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGE&lt;br /&gt;
&amp;quot;Warning 37&lt;br /&gt;
International Copyright &mdash;&lt;br /&gt;
I. Action of Ihe Society 37&lt;br /&gt;
II. Note. By R. U. Johnson 3&amp;quot;&lt;br /&gt;
III. Mr. Putnam&amp;#039;&raquo; Hook 39&lt;br /&gt;
IV. Extract from thu New York Critic 39&lt;br /&gt;
V. Note. By Julian Corbett 40&lt;br /&gt;
VI. Queries 4&deg;&lt;br /&gt;
Some Note* on a Bill. By Rudyard Kipling 40&lt;br /&gt;
An Antiquary&amp;#039;s Remonstrance 4*&lt;br /&gt;
Realism in Grub Street. By A. Lang 43&lt;br /&gt;
The Turning of the Worm.&mdash;A Pablo 44&lt;br /&gt;
PAGE&lt;br /&gt;
Mr. Gladstone on Author and Publisher 45&lt;br /&gt;
The Author&amp;#039;s Club. By Arthur Moutcllorc 4*&lt;br /&gt;
Reviews and Reviewers 4&deg;&lt;br /&gt;
Notes and News. By Walter Besant 4s&lt;br /&gt;
The Red Mouse. By Charles G. Leland 54&lt;br /&gt;
The Book of the Month 5S&lt;br /&gt;
If Shakspeare had been Priest. By II. Schtttz Wilson .. .. 5&raquo;&lt;br /&gt;
&amp;quot;ContesCrucls&amp;quot; 5&deg;&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head *&amp;#039; 01&lt;br /&gt;
Similarity of Plot&lt;br /&gt;
Some Books of the Month&lt;br /&gt;
&amp;#039;■J&lt;br /&gt;
&amp;quot;3&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
ACTION OF LIGHT ON WATER COLOURS&mdash; licport&lt;br /&gt;
to the Science and Art Department of the Committee of Council&lt;br /&gt;
on Education. (With Diagrams and Plates.) By post, h. i irf.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Cleur.st Rkid, F.LK. V.G 8. Five Plates (48 cuts). 5*. 6d.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Gcolosyof. By Williak Whitakkr, B.A. 1*.&lt;br /&gt;
LONDON AND OF PART OK THE THAMES VALLEY,&lt;br /&gt;
The Gc logv of. By W. Wiiitakfr. B A.. P.R.S., F.G.8.,&lt;br /&gt;
Assoc. Inst. CE. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
cloth, 6*. Vol. II. APPENDICES. 8vo.. cloth, &amp;lt;&raquo;.&lt;br /&gt;
ISLE OF WIGHT, Geolopy of. By H. W. Bbtstow,&lt;br /&gt;
F.R.S., F.G.S. Second Edition. Revised and enlarged by&lt;br /&gt;
Cleme&amp;gt;t Rbid. F.G.S., and Aubrey Steahax, M.A.. F.G.S.&lt;br /&gt;
8vo., cioth, 8&raquo;. M.&lt;br /&gt;
COPYRIGHT LAW REFORM: An Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill now before Parliament: with&lt;br /&gt;
Extracts from the&amp;#039;Report of the Commission of 1878, and on&lt;br /&gt;
Appendix containing the Berne Convention and the American&lt;br /&gt;
Copyright Bill. By J. M. Lelt, Esq., Barrister-at-Law. i&raquo;. 61I.&lt;br /&gt;
STATE TRIALS, Reports of; New Series. Published&lt;br /&gt;
nnder the direction ot the State Trials Committee. Edited by&lt;br /&gt;
Joun MicDosell, M.A., of the Middle Temple. Barrister-at-&lt;br /&gt;
Law. Vols. I. and II. ready. Vol. III. in the Press. Price&lt;br /&gt;
iof. per volume.&lt;br /&gt;
&amp;quot;It is for the most part interesting, not to say fascinating, study&lt;br /&gt;
for anyone, that is to say, who cares about history at all.&amp;quot;&mdash;Vailf&lt;br /&gt;
CHINA (No. i). Report, by C. W. Campbell, of a&lt;br /&gt;
Journey in North Corca, in September and Octolier, iHSq. A&lt;br /&gt;
considerable jiortion of the narrative contains descriptive&lt;br /&gt;
matter that appeals to the general nnder. but there arc also&lt;br /&gt;
many interesting facts tearing u|xui mining, forestry, agricul-&lt;br /&gt;
ture, trade, and kindred topics, qd.&lt;br /&gt;
WESTMINSTER ABBEY. Final Report of the Royal&lt;br /&gt;
Commission appointed to inquire into the present want of space&lt;br /&gt;
for Monuments in Westminster Abbey; with Appendices. qtl.&lt;br /&gt;
KKW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens. in. io&amp;lt;/.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, ad. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, qd.&lt;br /&gt;
WEATHER, STUDY AND FORECAST OK. Aids to.&lt;br /&gt;
By Rev. W. Clemext Lev. M.A. i&raquo;.&lt;br /&gt;
ROYAL MILITARY EXHIBITION, 1890. Descriptive&lt;br /&gt;
Catalogue of Musical Instruments recently exhibited at the&lt;br /&gt;
Royal Military Exhibition. Compiled by Capt. C. R. Day,&lt;br /&gt;
Oxfordshire Light Infantry, under the orders of Col. Siiaw-&lt;br /&gt;
Hkllikk, Commandant Royal Military School o! Music. The&lt;br /&gt;
instruments are fully described; they are arranged systemati-&lt;br /&gt;
cally under their respective families and classes, and a chrono-&lt;br /&gt;
logical arrangement has, as much as possible, Itetn adhered to.&lt;br /&gt;
Each family of instrument has been prefaced by a carefully-&lt;br /&gt;
written Introductory Essay. Musical pitch has not been left&lt;br /&gt;
unnoticed, and a learned Essay from the pen of a well-known&lt;br /&gt;
authority upon the subject appears in the Appendix. The book&lt;br /&gt;
is illustrated by a series of Twelve Artistically executed Plates&lt;br /&gt;
in Heliogravure, and with numerous Wood Engravings. The&lt;br /&gt;
issue is limited to 1,000 copies. ai&raquo;.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free,&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents j and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PUBLISHERS.&lt;br /&gt;
EYRE anil SPOTTISWOODE, Her Jlajesty&amp;#039;s Printers, East Harding Slreet, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 34 (#438) #############################################&lt;br /&gt;
&lt;br /&gt;
34&lt;br /&gt;
A D VE R TI SEMEN TS.&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887,)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
}Ji iitrinnls:&lt;br /&gt;
Miss M. E. DUCK and JIiss I. B. LOOKEB.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHOBS and others.&lt;br /&gt;
PRICE LIST OJV APPLICATION-TERMS MODERATE.&lt;br /&gt;
MISS ZFt. -V. aiLL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C, and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to diificult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
FURTHER PARTICULARS OX APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES&lt;br /&gt;
13, Dorskt Street, Portman Square, W.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, Lombard Street, E.C.&lt;br /&gt;
Office Ho. 59 (close to Lift).&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
TYPEWRITES,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
&mdash;**&mdash;&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from Is. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) snpplied Free of Charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASH WORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C.&lt;br /&gt;
&mdash; - - -&lt;br /&gt;
Authors&amp;#039; MSS. type-written from Is. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATION&amp;#039;S.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
The Department for Lady Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success which has attended its&lt;br /&gt;
management. The Course includes Shorthand, Type writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency&mdash;&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
Particulars on application to&mdash;&lt;br /&gt;
MARY IFt. PAY.&lt;br /&gt;
MRS. GII.I.,&lt;br /&gt;
TYPEWRITING OFFICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
Author&amp;#039;s MSS. carefully copied from is. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge.&lt;br /&gt;
References kindly permitted to many well-known&lt;br /&gt;
Authors and Publishers. Further particulars on&lt;br /&gt;
application.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSP00N,&lt;br /&gt;
SHORTHAND, TRANSLATING, and WP8WRITING OFFICES.&lt;br /&gt;
4, SUIT COURT, CORHHIIL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
All applications relating to Advertisements&lt;br /&gt;
in this Journal should be addressed to the&lt;br /&gt;
Printers and Publishers,&lt;br /&gt;
EYRE &amp;amp; SP0TT1SW00DE,&lt;br /&gt;
East Harding Street, Fetter Lane,&lt;br /&gt;
London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 35 (#439) #############################################&lt;br /&gt;
&lt;br /&gt;
A D VERTISEMENTS.&lt;br /&gt;
35&lt;br /&gt;
CIk briery of Qutfiors (JfttcorporatrtO*&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sir Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Becker.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Behgnk, K.C.M.O.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. I). IIlackmore.&lt;br /&gt;
Rev. Prok. Bonnet, F.B.S.&lt;br /&gt;
Lord Hrabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. C&amp;#039;layden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawkurd, C.M.G.&lt;br /&gt;
The Earl of Desaet.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
A. W. Duhourg.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, E.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.I).&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Prof. E. Ray Lankester, E.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of Pembroke and&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.I).&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Haitiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
J as. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. 1). Traill, D.C.L.&lt;br /&gt;
The Right Hon. the Baron Henry&lt;br /&gt;
de Worms.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
lion. Counsel&mdash;E. M. Undehdown, Q.C.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
Edmund Gosse. J. M. Lely.&lt;br /&gt;
H. Rider Haggard. Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for .January 1891 can 1m; ha&amp;lt;l on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Menihers.&lt;br /&gt;
3. The Grievances Of Authors. (Field &amp;amp; Tuer.) 2s. The Report of three Meetings on the general&lt;br /&gt;
.subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
g5, Strand, W.C.) 3*.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost of Production. Li this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, Ac, with estimates showing what it costs to produce the more common kinds of liooks.&lt;br /&gt;
2s. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods Of Publication. By S. Sqt&amp;#039;ire Sprigge. In (his work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord MonkswelPs Copyright Bill now before Parliament&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Other works bearing on the Liternri/ Profession trill follow.&lt;br /&gt;
vol. 11. C a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 36 (#440) #############################################&lt;br /&gt;
&lt;br /&gt;
ADVER TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are various points to select from, broad, meflinm, and flue, every handwriting can lie suited,&lt;br /&gt;
and toe uricc of toe entire instrument, with filler complete, post free, is only iOs. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-earat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
l)u. Oliver Wkndki.t. IIolmks has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot;old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Gulndv, Ksq., says (referring to die Fountain Pen) :&mdash;&amp;quot; It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Mobekly Hull, Esq., Manager, The Tunes, says (referring to the Fountain Pen):&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. ]). Waddy, Ksq., Q.C., M.P., Bays (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
E&raquo;3,&lt;br /&gt;
LOXDON.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 37 (#441) #############################################&lt;br /&gt;
&lt;br /&gt;
TZhe Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
II.&mdash;No. 2.] JULY i, 1891. [Price Sixpence.&lt;br /&gt;
Vol.&lt;br /&gt;
For the Opinions expressed in papers that arc&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
■&lt;br /&gt;
WARNING.&lt;br /&gt;
WE have recently ascertained that the &amp;quot; quire&lt;br /&gt;
stock &amp;quot; of books, if it should bo destroyed&lt;br /&gt;
by fire either at the printer&amp;#039;s or the pub-&lt;br /&gt;
lisher&amp;#039;s, is practically lost to the author, if he should&lt;br /&gt;
not have sold it. out and out, in the great majority&lt;br /&gt;
of cases. In hardly any agreements is provision&lt;br /&gt;
made for insurance of this stock, and without&lt;br /&gt;
insurance, or negligence on the part of either&lt;br /&gt;
publisher or printer, the author must bear the&lt;br /&gt;
whole loss of fire. Manuscript, we may observe,&lt;br /&gt;
cannot bo insured at all, no fire office being willing&lt;br /&gt;
to undertake the risk. We propose to return to&lt;br /&gt;
this important subject next month, and meanwhile&lt;br /&gt;
shall be glad to receive any suggestions upon it.&lt;br /&gt;
&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
1.&lt;br /&gt;
Action of the Society.&lt;br /&gt;
BY the lime that this number of the Author is&lt;br /&gt;
in the hands of readers, it, will probably be&lt;br /&gt;
known whether the American International&lt;br /&gt;
Copyright Act is hold on the- other side of the&lt;br /&gt;
Atlantic to include writers of this country or not.&lt;br /&gt;
It is time, therefore, to place upon record and to&lt;br /&gt;
make quite plain the action of the Society as regards&lt;br /&gt;
the position of American authors in Great Britain.&lt;br /&gt;
This position is perfectly well known. Two Law&lt;br /&gt;
Lords of the highest eminence held in a certain&lt;br /&gt;
case that Americans can obtain copyright by simul-&lt;br /&gt;
taneous publication: two other Law Lords, of&lt;br /&gt;
perhaps lesser eminence, doubted. Thorp has never&lt;br /&gt;
been any doubt that by a term of residence on&lt;br /&gt;
British soil copyright could be secured.&lt;br /&gt;
The Society two years ago undertook to draft a&lt;br /&gt;
Bill which should amend and consolidate the Law&lt;br /&gt;
of Copyright in this country.&lt;br /&gt;
In this Bill a clause was inserted which would&lt;br /&gt;
have removed at a single stroke any doubt as to the&lt;br /&gt;
position of the American thus made as free as&lt;br /&gt;
ourselves.&lt;br /&gt;
It was found, however, impossible when the Bill&lt;br /&gt;
was completed to bring it before the House of&lt;br /&gt;
Commons with any chance of getting it through.&lt;br /&gt;
It was therefore resolved to attempt the House&lt;br /&gt;
of Lords. The Bill was taken in charge by Lord&lt;br /&gt;
Monkswell, after consultation with our Copyright&lt;br /&gt;
Commit too. It was read for the first time in&lt;br /&gt;
November of last year. In April of this year it&lt;br /&gt;
was road a second time, and after a certain amount&lt;br /&gt;
of discussion was shelved for the session.&lt;br /&gt;
Seeing, therefore, the impossibility of getting&lt;br /&gt;
their Bill through either House, and seeing, further,&lt;br /&gt;
the necessity of immediate action, in order to give&lt;br /&gt;
the President of the United States an occasion to&lt;br /&gt;
refuse the Proclamation so far as this country was&lt;br /&gt;
concerned, the Committee hold consultations witli&lt;br /&gt;
various Members of Parliament and American&lt;br /&gt;
authors and publishers on the whole subject.&lt;br /&gt;
There appeared several ways out of the diffi-&lt;br /&gt;
culty :&mdash;&lt;br /&gt;
(1) A single-clause Act of Parliament defining&lt;br /&gt;
the position of Americans. The objection to this&lt;br /&gt;
apparently simple measure was the certainty that&lt;br /&gt;
the opportunity would be seized for proposing&lt;br /&gt;
retaliatory measures in the interests of printers and&lt;br /&gt;
paper makers. These measures, proposed perhaps&lt;br /&gt;
rashly, and before we know whether printers and&lt;br /&gt;
paper makers will suffer at all, would certainly give&lt;br /&gt;
rise to great discussion and opposition in the&lt;br /&gt;
House; they would certainly delay anil perhaps&lt;br /&gt;
wreck the Bill, in which case our position would&lt;br /&gt;
In- worse than over.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 38 (#442) #############################################&lt;br /&gt;
&lt;br /&gt;
3B&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
(2) An Order in Council.&lt;br /&gt;
This would take too long to procure, and it was&lt;br /&gt;
not at all certain that the Government would consent&lt;br /&gt;
to it.&lt;br /&gt;
(3) An opinion of the Judicial Committee.&lt;br /&gt;
To obtain this would probably take too long.&lt;br /&gt;
(4) An opinion of the Law Officers.&lt;br /&gt;
The last method appeared to be the readiest and&lt;br /&gt;
the most likely to produce a satisfactory result.&lt;br /&gt;
Sir Michael Hicks Beach granted an interview&lt;br /&gt;
on the subject to Sir Frederick Pollock, the&lt;br /&gt;
Chairman of the Copyright Committee, and Mr.&lt;br /&gt;
James Bryce, at which the views of the Committee&lt;br /&gt;
were submitted.&lt;br /&gt;
The Government then referred the point to the&lt;br /&gt;
law officers, including those of the late Govern-&lt;br /&gt;
ment.&lt;br /&gt;
It has been announced in the House, in reply to&lt;br /&gt;
a question by Mr. James Bryce, that these lawyers&lt;br /&gt;
are all unanimous in their opinion, and that it is a&lt;br /&gt;
favourable opinion as to the position and rights of&lt;br /&gt;
American subjects in this country, and that the&lt;br /&gt;
Foreign Office is in possession of this opinion.&lt;br /&gt;
Lord Monkswell, whatever may be the result of&lt;br /&gt;
this action, proposes to press on the Bill at the first&lt;br /&gt;
opportunity.&lt;br /&gt;
II.&lt;br /&gt;
From Mb. R. U. Johnson.&lt;br /&gt;
The Copyright negotiations are moving more&lt;br /&gt;
rapidly. As you have doubtless seen, France has&lt;br /&gt;
already made formal application for admittance to&lt;br /&gt;
the benefits of our law, accompanying its request&lt;br /&gt;
with a certificate (1) of its membership in the&lt;br /&gt;
Berne Convention, and (2) of the fact that&lt;br /&gt;
Americans have, substantially, the same security&lt;br /&gt;
under its laws as the citizens of France. It is&lt;br /&gt;
understood from the State Department (with which&lt;br /&gt;
1 am in constant unofficial communication) that the&lt;br /&gt;
President will admit the existence of the second con-&lt;br /&gt;
dition as the basis of his proclamation, leaving the&lt;br /&gt;
value of the first condition in abeyance. We now&lt;br /&gt;
are expecting that England will make similar appli-&lt;br /&gt;
cation and certification, and last Tuesday (June 2)&lt;br /&gt;
our Executive Council (of the Authors&amp;#039; Copyright&lt;br /&gt;
League) passed resolutions which I have sent to&lt;br /&gt;
the President, earnestly requesting that he will&lt;br /&gt;
consider whether the uniform security afforded to&lt;br /&gt;
American literary projxjrty for many years under&lt;br /&gt;
British law through simultaneous publication does&lt;br /&gt;
not furnish the condition precedent of a procla-&lt;br /&gt;
mation including your authors. Also, another&lt;br /&gt;
resolution setting forth our opinion that the Berne&lt;br /&gt;
Convention is such &amp;quot;an international agreement&amp;quot;&lt;br /&gt;
as that contemplated in Section XIII. of the new&lt;br /&gt;
Act. We want Great Britain to assume this to be&lt;br /&gt;
the case by asking for admittance on that ground&mdash;&lt;br /&gt;
even if she be admitted on the other, for we shall&lt;br /&gt;
then have the moral effect of the support of France&lt;br /&gt;
and Great Britain in asking that the Berne Con-&lt;br /&gt;
vention shall be recognised in the cases of the other&lt;br /&gt;
governments.&lt;br /&gt;
Now, as to the recognition of the fact that we&lt;br /&gt;
already have virtually the same rights as you under&lt;br /&gt;
your law: this very recognition would also have a&lt;br /&gt;
moral effect in aiding to preserve our status quo&lt;br /&gt;
Tinder your law. Moreover, a prompt settlement&lt;br /&gt;
of the question by the admittance of your authors&lt;br /&gt;
would greatly reinforce the sentiment which must&lt;br /&gt;
be relied upon to support the Bill here, and to&lt;br /&gt;
support future amendment of it after it has had&lt;br /&gt;
a fair working trial. We are urging all these con-&lt;br /&gt;
siderations upon the State Department. You&lt;br /&gt;
know what a provincial and uneducated opposition&lt;br /&gt;
we have had to contend with, and how the question&lt;br /&gt;
of copyright has been intentionally confused in the&lt;br /&gt;
public mind here with party questions. Against&lt;br /&gt;
this feeling (which English criticism of the details&lt;br /&gt;
of the Bill has heightened) we have had (1) the&lt;br /&gt;
prestige of success, (2) the recognition of the&lt;br /&gt;
French Government, and (3) the influence of the&lt;br /&gt;
Copyright Dinner, which was planned to strengthen&lt;br /&gt;
copyright sentiment. I have now proposed (4) the&lt;br /&gt;
striking of a medal in honour of the security&lt;br /&gt;
offered by the law to literary, artistic, and musical&lt;br /&gt;
products, and though it is not far enough along to&lt;br /&gt;
admit of any public mention, 1 think there is no&lt;br /&gt;
doubt that the project will l&amp;gt;c carried out. Each&lt;br /&gt;
one of these four events makes it more difficult for&lt;br /&gt;
our opponents to repeal the law or alter it except&lt;br /&gt;
as we desire. Now, if we can obtain a prompt&lt;br /&gt;
arrangement with Great Britain, it will knock out&lt;br /&gt;
the last of the underpinning of the opposition,&lt;br /&gt;
which will otherwise say that the Bill is a failure;&lt;br /&gt;
that &amp;quot;nobody is satisfied wilh it,&amp;quot; &amp;amp;c., &amp;amp;c.&lt;br /&gt;
There are two other ways in which your Govern-&lt;br /&gt;
ment might have come in for sure recognition as&lt;br /&gt;
entitled to a proclamation: (1) by the Order in&lt;br /&gt;
Council extension to us of the Imperial and&lt;br /&gt;
Colonial Copyright Act, and (2) by new legislation,&lt;br /&gt;
such as the Monkswell Bill. I learn from&lt;br /&gt;
Mr. Bryce that the first is impnicticable, and that&lt;br /&gt;
the second has lx&amp;gt;en postponed to the next session&lt;br /&gt;
of Parliament, and I judge that he is prodding the&lt;br /&gt;
Foreign Office to application on the other two&lt;br /&gt;
grounds. I see nothing else left to do. The&lt;br /&gt;
President evidently expects foreign Governments&lt;br /&gt;
to take the initiative, and he will act promptly on&lt;br /&gt;
their applications.&lt;br /&gt;
I should be very glad if I could get a reply&lt;br /&gt;
to this question: Does the English law, in the&lt;br /&gt;
matter of residence, impose any terms upon&lt;br /&gt;
Americans not imposed upon yourselves? Note&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 39 (#443) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
39&lt;br /&gt;
the query carefully, for it is often being con-&lt;br /&gt;
founded with the question of whether or not&lt;br /&gt;
the residence clause is a dead letter. The&lt;br /&gt;
question in Section XIII. of our law is not&lt;br /&gt;
What conditions arc imposed I but Is there any&lt;br /&gt;
discrimination against Americans in imposing&lt;br /&gt;
them i This may seem impertinently elementary&lt;br /&gt;
to you, but you will, perhaps, pardon it when I&lt;br /&gt;
tell you that a number of our men here insist on&lt;br /&gt;
discussion of our absolute status under your law&lt;br /&gt;
instead of our relative status; just as they think it&lt;br /&gt;
pertinent to discuss whether or not we shall&lt;br /&gt;
attempt to join the Berne Convention, the only&lt;br /&gt;
question l&amp;gt;eing whether we &amp;quot;may at our pleasure&lt;br /&gt;
enter&amp;quot; that agreement. Simond&amp;#039;s idea was a&lt;br /&gt;
reciprocity of sentiment&mdash;to give the benelits of&lt;br /&gt;
the Act to any country which had ever offered&lt;br /&gt;
copyright security to us. In this light, perhaps,&lt;br /&gt;
our Hill is not so entirely sordid as some of the&lt;br /&gt;
English manufacturers would have it thought.&lt;br /&gt;
Bowker has lately been (with Mr. Spofford) in&lt;br /&gt;
Washington, personally urging our officials to pre-&lt;br /&gt;
pare for the operation of the law (the Secretary of&lt;br /&gt;
the Treasury and the Postmaster-General must&lt;br /&gt;
prepare certain rules), and reinforcing my efforts&lt;br /&gt;
to hasten the proclamations. Everything seems&lt;br /&gt;
in good shape now, and no time will be lost at this&lt;br /&gt;
end of the negotiations.&lt;br /&gt;
III.&lt;br /&gt;
Mr. Putnam&amp;#039;s Book.&lt;br /&gt;
Mr. George Putnam has compiled an exceedingly&lt;br /&gt;
useful volume on the question of Copyright. It&lt;br /&gt;
contains a useful summary of the Copyright Laws&lt;br /&gt;
at present in force in the chief countries of the&lt;br /&gt;
world, as well as a report of the legislation now&lt;br /&gt;
pending in Great Britain; a sketch of the contest&lt;br /&gt;
in the United States for 1837 to 1891 in behalf of&lt;br /&gt;
the International Copyright, and papers on the&lt;br /&gt;
development of the conception of literary property&lt;br /&gt;
and on the probable effect of the new American&lt;br /&gt;
Law. At the present juncture in the history of the&lt;br /&gt;
law governing literary property, such a contribution&lt;br /&gt;
possesses the highest interest for all concerned, and&lt;br /&gt;
all are concerned who either read or write. With&lt;br /&gt;
Mr. R.R. Bowker&amp;#039;s paper on the &amp;quot; Nature and Origin&lt;br /&gt;
of Copyright,&amp;quot; and Mr. Brander Matthews&amp;#039; valuable&lt;br /&gt;
article on the &amp;quot; Evolution of Copyright,&amp;quot; most of our&lt;br /&gt;
readers are already familiar. But Mr. Putnam has&lt;br /&gt;
done well to reprint them in the present volume,&lt;br /&gt;
but for the moment Mr. Putnam&amp;#039;s Analysis of the&lt;br /&gt;
Chase&mdash;Breckinridge&mdash;Adams&mdash;Simonds&mdash;Piatt&mdash;&lt;br /&gt;
Copyright Act of 1891 possesses a paramount&lt;br /&gt;
interest, explaining as it does the conditions of that&lt;br /&gt;
remarkable measure. Mr. Putnam believes that no&lt;br /&gt;
material difficulty will be experienced in securing&lt;br /&gt;
the assistance of American publishers in procuring&lt;br /&gt;
for less-known British authors their American&lt;br /&gt;
Copyright.&lt;br /&gt;
A point of importance which Mr. Putnam&lt;br /&gt;
makes clear is the position of foreign artisans&lt;br /&gt;
and designers. &amp;quot;The condition of American&lt;br /&gt;
manufacture is attached to the Copyright of repro-&lt;br /&gt;
ductions in the form of chromos, lithographs, and&lt;br /&gt;
photographs, only it was not made a condition of&lt;br /&gt;
the more artistic forms of reproduction, and foreign&lt;br /&gt;
artists therefore are now in a position to control&lt;br /&gt;
the copyright of their engravings or photogravures&lt;br /&gt;
of their productions, whether these engravings are&lt;br /&gt;
manufactured in Europe or the United States.&amp;quot;&lt;br /&gt;
The importance of this is obvious.&lt;br /&gt;
IV.&lt;br /&gt;
Fito.M the New Yobk Critic.&lt;br /&gt;
In his forecast of the working of &amp;quot; Our Inter-&lt;br /&gt;
national Copyright Law,&amp;quot; in the June Forum,&lt;br /&gt;
Mr. Henry Holt predicts, among other things,&lt;br /&gt;
that, the habit of paying foreign authors for their&lt;br /&gt;
work once established, royalties will be freely paid&lt;br /&gt;
them, in many cases, without copyright. Books&lt;br /&gt;
which will not at first seem likely to pay for the&lt;br /&gt;
American type-setting which the law requires, but&lt;br /&gt;
which, like Mr. Bryce&amp;#039;s &amp;quot;American Common-&lt;br /&gt;
wealth,&amp;quot; may become unexpectedly popular, will&lt;br /&gt;
continue to offer a temptation to pirates, but will&lt;br /&gt;
be too few to support them, and when the pirates&lt;br /&gt;
are starved out, respectable American houses will&lt;br /&gt;
either abstain from competing or will make proper&lt;br /&gt;
terms with the foreign publisher or author.&lt;br /&gt;
Another result of the law will be an improvement&lt;br /&gt;
in the make-up of many new books, which in&lt;br /&gt;
previously existing circumstances would have to be&lt;br /&gt;
brought out very cheaply. Since a price must now&lt;br /&gt;
be demanded which will cover the author&amp;#039;s royalty,&lt;br /&gt;
it will l&amp;gt;e found better to add a little more for good&lt;br /&gt;
paper and presswork, and to seek a new class of&lt;br /&gt;
buyers for limited first editions, than to depend&lt;br /&gt;
wholly on the rare chance of a very wide sale.&lt;br /&gt;
When a book becomes popular, a cheap edition can&lt;br /&gt;
always l&amp;gt;e brought out to meet the demand. We&lt;br /&gt;
may hope, on this account, to compete more&lt;br /&gt;
extensively than we have hitherto done with French&lt;br /&gt;
and English editions dc luxe. Our printers,&lt;br /&gt;
no longer obliged to work for quantity merely,&lt;br /&gt;
will have a chance to take the lead in artistic&lt;br /&gt;
printing.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 40 (#444) #############################################&lt;br /&gt;
&lt;br /&gt;
40&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
v.&lt;br /&gt;
In answer to your invitation for comments on&lt;br /&gt;
the American Copyright Bill, I beg to note the&lt;br /&gt;
following point:&mdash;&lt;br /&gt;
■Sec. 4906 requires the deposit with the Librarian&lt;br /&gt;
of Congress of &amp;quot;two copies of every such&lt;br /&gt;
copyright booh, map, chart, dramatic or&lt;br /&gt;
musical composition, engraving,&amp;quot; fyc.&lt;br /&gt;
The proviso requiring such two copies to be&lt;br /&gt;
printed, &amp;amp;c. within the United States applies&lt;br /&gt;
only to a &amp;quot;book, photograph, chromo, or&lt;br /&gt;
lithograph.&amp;quot;&lt;br /&gt;
Is it then the law&mdash;&lt;br /&gt;
1. That a book containing only a dramatic com-&lt;br /&gt;
position need not be printed from American&lt;br /&gt;
type?&lt;br /&gt;
2. That to receive the right of performing a&lt;br /&gt;
dramatic composition the author has only to&lt;br /&gt;
register the title, and deposit two copies,&lt;br /&gt;
which may be in MS., type-written, or&lt;br /&gt;
printed elsewhere than in the United States?&lt;br /&gt;
The letter of the Bill seems on these two points&lt;br /&gt;
to belie its spirit.&lt;br /&gt;
Julian Cobbett.&lt;br /&gt;
VI.&lt;br /&gt;
1. In what ways is a book published in England&lt;br /&gt;
now, after the passing of the Act, open to piracy&lt;br /&gt;
and under-selling from America?&lt;br /&gt;
2. Taking all things into consideration (cost of&lt;br /&gt;
printing and publishing, question of piracy, &amp;amp;c),&lt;br /&gt;
on which side of the Atlantic is it best to publish,&lt;br /&gt;
England or America?&lt;br /&gt;
3. Supposing an author gave a copy of MS. of&lt;br /&gt;
an unpublished work to a public library (as British&lt;br /&gt;
Museum in England, Library of Congress in&lt;br /&gt;
United States of America, &amp;amp;c.)&mdash;notice of intention&lt;br /&gt;
to copyright being given at the same time&mdash;what&lt;br /&gt;
effect such gift would have on the subsequent&lt;br /&gt;
copyright of that work?&lt;br /&gt;
&lt;br /&gt;
SOME NOTES ON A BILL.&lt;br /&gt;
0PERUSE a simple Story&mdash;read a parable detached&lt;br /&gt;
From the vice of vending pullets ere the little beasts arc hatched;&lt;br /&gt;
A weird, bi-lingual prophecy, with Hying footnotes shored,&lt;br /&gt;
On the means of slipping sideways from the, World&amp;#039;s je-jogglc-board. (&amp;#039;)&lt;br /&gt;
&amp;#039;Twas (he Broncho (-) among Nations&mdash;a severely cultured race,&lt;br /&gt;
Though their mode of spelling centre proved them clearly off their base&mdash; (;))&lt;br /&gt;
Passed a Bill of three dimensions&mdash;two of which concerned the trade&mdash;&lt;br /&gt;
And one, but this was fiction, books the British Author made.&lt;br /&gt;
Softly sang the British Author, for a dream was in his brain&lt;br /&gt;
Of Landaus from Longacre and of houses in Park Lane;&lt;br /&gt;
But ere he went to Tnttersalls&amp;#039; or changed his modest dwelling&lt;br /&gt;
He explained, per Western Union, his objections to their spelling.&lt;br /&gt;
&amp;quot;Oh, my Largest Reading Public,&amp;quot; thus the coded cable came,&lt;br /&gt;
&amp;quot;You drop one (hell) in &amp;#039; travelling &amp;#039; and&mdash;get there just the same : (&amp;#039;)&lt;br /&gt;
&amp;quot;If to Webster and to Worcester, and your sauce at large I grovel,&lt;br /&gt;
&amp;quot;It will vulgarize our fiction&mdash;taint the Holy British Novel. (&amp;#039;)&lt;br /&gt;
(&amp;#039;) An elastic Heat, found in the verandahs of Southern houses.&lt;br /&gt;
(■) An underbred animal with u swelled head, (riven to jumping nervously 011 inspection. Anglice: &amp;quot;Bounder.&amp;quot;&lt;br /&gt;
(&amp;#039;) They are very like tlieir babies, if you notice &amp;#039;em they cry;&lt;br /&gt;
If you don&amp;#039;t they steal your candy and their teachers call &amp;#039;em &amp;quot; Spry ;&amp;quot;&lt;br /&gt;
Their father&amp;#039;s name was Washington&mdash;mis-statements made him wince&mdash;&lt;br /&gt;
Hut his sons declare on &amp;quot; honor &amp;quot;&mdash;there&amp;#039;s been no one like him since.&lt;br /&gt;
(&amp;#039;) V. 1. Suppressed by Western I&amp;#039;nion as a casus belli. &amp;quot;Your views of spelling &amp;#039; honour &amp;#039; match your notions on the&lt;br /&gt;
same.&amp;quot;&lt;br /&gt;
(&amp;#039;) Now the Holy British Novel&mdash;from this verdict none shall warp us&mdash;&lt;br /&gt;
Is the Maiden&amp;#039;s Magna Charta and the Matron&amp;#039;s Habeas Corpus:&lt;br /&gt;
For when Maid and Wife have finished with the volume Father paid for&mdash;&lt;br /&gt;
You can read it to the Bahy, This is what all books are made for.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 41 (#445) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
4i&lt;br /&gt;
&amp;quot;Yet I&amp;#039;ll vitiate the spelling of the Children of my friends,&lt;br /&gt;
&amp;quot;If you pay me something extra for my labor.&amp;quot; (Message ends.)&lt;br /&gt;
And it filled that Author&amp;#039;s system with severe electric shocks&lt;br /&gt;
When his Largest Heading Public cabled back: &amp;quot;You&amp;#039;re on the box. (6)&lt;br /&gt;
&amp;quot;The fact of being shouted for a dime along the cars&lt;br /&gt;
&amp;quot;Does not fix you for a planet among Literary Stars;&lt;br /&gt;
&amp;quot;Nor is it a safe assumption you can tetur continents&lt;br /&gt;
&amp;quot;When our high-toned Mister H-rp-r (7) sews you up for fiftyleents.&lt;br /&gt;
&amp;quot;British parsons make us tired&mdash;British dukes, our (laughters doubt &amp;#039;em&mdash;&lt;br /&gt;
&amp;quot;Cuss-words of the British Army, we can mosey on without &amp;#039;em;&lt;br /&gt;
&amp;quot;Take a walk and get your hair cut (8)&mdash;sit on Mister M-d-e-&amp;#039;s shelves,&lt;br /&gt;
&amp;quot;If we&amp;#039;ve got to pay for reading, guess we&amp;#039;ll read about ourselves.&amp;quot;&lt;br /&gt;
So they read by free selection on a principle their own&mdash;&lt;br /&gt;
&amp;#039;Twas the most exhaustive weeding that an inkstained earth had known;&lt;br /&gt;
And the palpitating cable sizzled madly under sea,&lt;br /&gt;
&amp;quot;Honour without &amp;#039; u&amp;#039; I&amp;#039;ll stomach; what is Honor without me &amp;#039;?&amp;quot;&lt;br /&gt;
No, the fame the newsboys give you when they board the C.B.Q.&lt;br /&gt;
Does not predicate your kiting into honour without u.&lt;br /&gt;
If you cannot bang the big drum, vou must twang the harp of Tarn (9)&lt;br /&gt;
With McGinty (ln) and O&amp;#039;Grady (&raquo;) and the man that struck O&amp;#039;Hara.&lt;br /&gt;
It was good for Zenas Mather, Independence Psickafoos,&lt;br /&gt;
Adah Isaacs Menken, Shuswap, Janet, Thackeray, Van Dewze,&mdash;&lt;br /&gt;
They stood pat as home-grown produce, with some seven thousand more&lt;br /&gt;
They were paid at full face-value&mdash;they came in on the ground floor. (,:))&lt;br /&gt;
For they wove their country&amp;#039;s fiction, triple-ply, of many shades,&lt;br /&gt;
From the big blue bergs at Sitka to the rotting Everglades;&lt;br /&gt;
And never since the Pilgrims furled the Mayflower&amp;#039;s sea-worn sail,&lt;br /&gt;
Hail the Bounder among Nations seen herself done out to scale.&lt;br /&gt;
It was woolly&mdash;wild and woolly&mdash;it was more than three feet wide,&lt;br /&gt;
For it ran from Maine to Oregon and out the other side.&lt;br /&gt;
With one nasal Hallelujah, like a giant Jews&amp;#039; harp drone,&lt;br /&gt;
The Bounder among Nations claimed a bookcase of her own. (u)&lt;br /&gt;
Now they&amp;#039;re running ninety Shakespeares&mdash;all with variegated dictions,&lt;br /&gt;
They have put the growth of Miltons under interstate restrictions,&lt;br /&gt;
They brake the CP. freight-cars with the Laureates of the West,&lt;br /&gt;
And a vigilance committee is sub-editing the rest.&lt;br /&gt;
They are writing of Proportion, and Reserve, and Racial Feeling,&lt;br /&gt;
Like an introspective sneak-thief who has just abandoned stealing,&lt;br /&gt;
And we can&amp;#039;t attend to baby, and we can&amp;#039;t lie down at night,&lt;br /&gt;
For those queer self-conscious schoolboys howl: &amp;quot;Git up and see us write.&amp;quot;&lt;br /&gt;
(r&amp;#039;) V. 1. &amp;quot;Come off the rocks.&amp;quot; Anglice: &amp;quot;You labour under a misapprehension.&amp;quot;&lt;br /&gt;
(&amp;#039;) The leading sporting bookmaker of the United States. He does not bet on outsiders.&lt;br /&gt;
C) Mutilated in transmission. Supposed to indicate esteem and personal interest.&lt;br /&gt;
(,J) This instrument is distinguished for its enduring silences.&lt;br /&gt;
(&amp;quot;&amp;#039;) Famous for his exploration of the depths of the Ocean.&lt;br /&gt;
(&amp;quot;) He was owed ten dollars&mdash;presumably on account of American royalties, for the money was never paid.&lt;br /&gt;
(&amp;#039;&amp;#039;-) The remains of this gentleman would not furnish a biography.&lt;br /&gt;
i.e.. There was no necessity in their case for abasement.&lt;br /&gt;
(&amp;#039;&amp;#039;) They abandoned watered Herrick, and Elizabethan echoes,&lt;br /&gt;
They were not stuck on Browning like a horde of homeless geckoes,&lt;br /&gt;
Twas a second Boston bust-up, but it cost us more than tea,&lt;br /&gt;
Yot the alphabet of authors they discarded&mdash;a to zee.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
I)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 42 (#446) #############################################&lt;br /&gt;
&lt;br /&gt;
42&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
But they&amp;#039;re learning not to &amp;quot;wiggle &amp;quot; when you photograph their manners;&lt;br /&gt;
They are guessing at a medium &amp;#039;twixt &amp;quot;yon skunk !&amp;quot; and matl Hosannas;&lt;br /&gt;
And the men who know &amp;#039;em fancy&mdash;if the measure they have made lasts&mdash;&lt;br /&gt;
That some day they&amp;#039;ll he a Public&mdash;not a girl&amp;#039;s school swapping Trade-lasts.&amp;quot; (ls)&lt;br /&gt;
Ends my lurid lucid legend, halts my parable divorced&lt;br /&gt;
From the blame of hunting Navajhoes before your scouts are horsed;&lt;br /&gt;
Oh, the Author &amp;#039;a in the puree (l8), and the deuce is in the Bill,&lt;br /&gt;
But the Holy British Novel&mdash;yes&mdash;it&amp;#039;s wholly British still.&lt;br /&gt;
Rudyabd Kipling.&lt;br /&gt;
(1S) Saidie tells Maimie that Huttie&amp;#039;s now frock is pretty. Maimie repeats the compliment to Hattie, who tells Maimie&lt;br /&gt;
that Saidie is &amp;quot;just too sweet to live.&amp;quot; This is a trade-last. It is also called criticism.&lt;br /&gt;
(&amp;quot;&amp;quot;&amp;#039;) This is the position formerly occupied by the oyster.&lt;br /&gt;
AN ANTIQUARTS REMONSTRANCE.&lt;br /&gt;
IVENTURE to think that the Authors&amp;#039; Society&lt;br /&gt;
is, without intending it, bringing about a&lt;br /&gt;
great and very mischievous change in the&lt;br /&gt;
way in which the literary profession lias hitherto&lt;br /&gt;
been regarded in this country and everywhere else.&lt;br /&gt;
For instance, the general conception of the author&lt;br /&gt;
is of a man&mdash;or woman&mdash;full of ideas, a crank in&lt;br /&gt;
his views, a fool in business, hasty, unpractical, and&lt;br /&gt;
liable to be cheated by the first who chooses to&lt;br /&gt;
undertake that easy job. He has therefore met&lt;br /&gt;
with universal commiseration, except from those&lt;br /&gt;
who live upon him.&lt;br /&gt;
Next, he is regarded as a dependant, a person&lt;br /&gt;
with no rights at all, obliged to take whatever the&lt;br /&gt;
&amp;quot;generosity&amp;quot; of the publisher allowed him,&lt;br /&gt;
subsisting on doles.&lt;br /&gt;
A Royal Literary Fund has been established for&lt;br /&gt;
him, and at a great dinner held every year charity&lt;br /&gt;
is asked for this unfortunate pauper. , He is .there-&lt;br /&gt;
lore an object of universal contempt.&lt;br /&gt;
Thirdly, he is supposed to be wholly unable to&lt;br /&gt;
combine or to act with other persons of the same&lt;br /&gt;
profession for his own interests. And it is known&lt;br /&gt;
that he takes the greatest possible joy in jumping&lt;br /&gt;
upon his brother authors, trampling upon them,&lt;br /&gt;
and sticking knives into them. He is therefore a&lt;br /&gt;
by-word and a proverb, and children are taught not&lt;br /&gt;
to hate each other like authors.&lt;br /&gt;
Fourthly, if he is a good author, he instructs,&lt;br /&gt;
amuses, and delights the whole world, so that every-&lt;br /&gt;
body loves him and admires him and begs him to&lt;br /&gt;
keep on making the world laugh and cry. In short,&lt;br /&gt;
the world at the same time loves, reproaches,&lt;br /&gt;
despises, and commiserates the author. But the&lt;br /&gt;
Society is changing all that. It persuades authors&lt;br /&gt;
to act. together for their common interest; it&lt;br /&gt;
exhorts them to demand justice, not to whine for&lt;br /&gt;
&amp;quot;generosity&amp;quot;; it exhorts them not to slash and&lt;br /&gt;
bludgeon each other, but to observe the common&lt;br /&gt;
rules of good breeding towards each other. If&lt;br /&gt;
this goes on, the next generation will see the&lt;br /&gt;
followers of literature as sober in business matters&lt;br /&gt;
as City men; as respectful (outwardly) to each&lt;br /&gt;
other as physicians and lawyers; and as much&lt;br /&gt;
filled with self-respect as either. What will then&lt;br /&gt;
be the feelings of the world towards the author?&lt;br /&gt;
Love and admiration may be left, it is true. Respect&lt;br /&gt;
will have grown up. But contempt, commiseration,&lt;br /&gt;
and reproach&mdash;these will have gone.&lt;br /&gt;
Now, tin; combination of all these emotions&lt;br /&gt;
together formed the romantic side of the pro-&lt;br /&gt;
fession. In this respect&mdash;and in this respect&lt;br /&gt;
alone&mdash;the author was like the highway robber.&lt;br /&gt;
If the romance goes out of literature, may it not&lt;br /&gt;
become, as some of your correspondents suggest,&lt;br /&gt;
a simple trade? What is Art without romance?&lt;br /&gt;
What is romance without illusion? Does not&lt;br /&gt;
the author feel, while he holds out his hand for&lt;br /&gt;
the doles of the Literarv Fund and the &amp;quot; generous&amp;quot;&lt;br /&gt;
. &laquo; . . * &amp;lt;&bull;&lt;br /&gt;
guineas of his publisher, that he is carrying on&lt;br /&gt;
the best traditions of the profession? While he&lt;br /&gt;
squirms under &amp;quot;generosity,&amp;quot; and writhes under&lt;br /&gt;
charity, is it not a sufficient balm for him to know&lt;br /&gt;
that poverty and writhing have been the lot of&lt;br /&gt;
nearly all who have written?&lt;br /&gt;
This is one aspect of the ease, which I think the&lt;br /&gt;
managers of the Society would do well to consider.&lt;br /&gt;
If the old traditions are to be swept away, let them&lt;br /&gt;
at least maintain, even at their own expense, a&lt;br /&gt;
publisher of the old school. Let him continue to&lt;br /&gt;
cheat in the cost, of production and in the advertise-&lt;br /&gt;
ments; let him advertise in none but his own&lt;br /&gt;
publications, and put all the money under that head&lt;br /&gt;
into Lis own pocket. Let him refuse the author&lt;br /&gt;
any rights, and exercise a noble &amp;quot;generosity&amp;quot;&lt;br /&gt;
towards him. An old-fashioned author ought also&lt;br /&gt;
to be kept at the same time its an illustration&mdash;&lt;br /&gt;
without him the publisher alone would be incom-&lt;br /&gt;
plete&mdash;one l&amp;gt;elonging to the good old times from&lt;br /&gt;
which we seem now to lie emerging.&lt;br /&gt;
F. S. A.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 43 (#447) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
REALISM IN GRUB STREET.&lt;br /&gt;
GRUB Street is the mother of all of us&lt;br /&gt;
&amp;quot;(1 (1 literary fellows,&amp;quot; whether we&lt;br /&gt;
dwell on the first floor or in the attics.&lt;br /&gt;
Even these eminences were not disenchanted, when&lt;br /&gt;
we were twenty, M. Beranger says; and why&lt;br /&gt;
should Mr. Gissing try to disenchant the whole&lt;br /&gt;
eligible district? I woidd be understood to speak&lt;br /&gt;
with all respect of Mr. Gissing&amp;#039;s &amp;quot;New Grub&lt;br /&gt;
Street&amp;quot;; it is not his fault, but his misfortune,&lt;br /&gt;
that he sees everything in black. This is the&lt;br /&gt;
burden of what is queerly called &amp;quot; Realism.&amp;quot;&lt;br /&gt;
One reads in reviews about Mr. Gissing&amp;#039;s&lt;br /&gt;
&amp;quot;poignant realism,&amp;quot; but is it real at all? To&lt;br /&gt;
myself it seems a perverted idealism, idealism on&lt;br /&gt;
the seamy side. In Grub Street there are many&lt;br /&gt;
mansions; they are not all full of failure, and&lt;br /&gt;
envy, and low cunning, and love of money, and&lt;br /&gt;
hatred of success. In the Author of June, a writer&lt;br /&gt;
says that he &amp;quot;can testify to the truth&amp;quot; of the&lt;br /&gt;
&amp;quot;New Grub Street.&amp;quot; He is unlucky enough to&lt;br /&gt;
know people like Mr. Gissing&amp;#039;s characters, and the&lt;br /&gt;
fidelity of the portraits makes him shudder. I also&lt;br /&gt;
am a dweller in Grub Street, but am so fortunate&lt;br /&gt;
as not to know anybody who resembles these&lt;br /&gt;
unhappy rates. I do not know the man of&lt;br /&gt;
comparative genius, with no health, and with an&lt;br /&gt;
unsympathetic wife. I do not know the impudent&lt;br /&gt;
and half-educated speculator in &amp;quot; literature.&amp;quot; I do&lt;br /&gt;
not know&mdash;I wish I did&mdash;the gentleman who wants&lt;br /&gt;
to write on Diogenes Laertius, a delightful subject,&lt;br /&gt;
and I hope, when he does writ** that essay, he will&lt;br /&gt;
clear up the passage about the Megarian historian&lt;br /&gt;
and Homer.&lt;br /&gt;
Willamowitz is too speculative, though decidedly&lt;br /&gt;
ingenious; but Mr. Yule is not here. I want to&lt;br /&gt;
talk Diogenes Laertius and kindred pedantries with&lt;br /&gt;
him in vain. However, it is not to be questioned&lt;br /&gt;
that persons like Jasper and Mr. Yule and Edwin&lt;br /&gt;
may exist, or may have existed; so may Lucien&lt;br /&gt;
de Rul)empre. They may be &amp;quot;real,&amp;quot; but then&lt;br /&gt;
they are not everybody. They are not the whole&lt;br /&gt;
population of Grub Street. There are good fellows&lt;br /&gt;
there, poor, plucky, contented. Them, at least,&lt;br /&gt;
I have known, and no picture of Grub Street is&lt;br /&gt;
real which leaves them out. In Miss Braddon&amp;#039;s&lt;br /&gt;
excellent story, &amp;quot;The Doctor&amp;#039;s Wife,&amp;quot; there is a&lt;br /&gt;
line denizen of Grub Street, Mr. Sigismund Smith,&lt;br /&gt;
a penny novelist. He has humour, and good&lt;br /&gt;
humour; he likes his trade, and there are many&lt;br /&gt;
worse trades. The Muses have not given it to me&lt;br /&gt;
to write a good penny novel; would that they had.&lt;br /&gt;
It is an enviable art. What is much of Balzac,&lt;br /&gt;
but glorified penny novel? Well, nobody calls&lt;br /&gt;
Miss Braddon a realist, but Sigismund Smith is as&lt;br /&gt;
&amp;quot;real&amp;quot; as these envious failures, these evil suc-&lt;br /&gt;
cesses. He is not recognised as real, because he is&lt;br /&gt;
jolly. There are plenty of jolly people in Grub&lt;br /&gt;
Street, only Realism averts her blue spectacles from&lt;br /&gt;
them. As to &amp;quot;scarifying,&amp;quot; what nonsense is talked&lt;br /&gt;
about it! It is only a battle with snowballs at&lt;br /&gt;
most. Let some gentleman have his fling at me,&lt;br /&gt;
let me have my fling at him, if I like; &amp;quot;it is such&lt;br /&gt;
easy writing.&amp;quot;&lt;br /&gt;
Who is a penny the worse? In some&lt;br /&gt;
paper I read, for example, that Mr. Robert&lt;br /&gt;
Buchanan has been calling me a Cockney some-&lt;br /&gt;
where. That, surely, is &amp;quot;scarifying &amp;quot;? Perhaps&lt;br /&gt;
the snowball would hurt if it hit. But it seems to&lt;br /&gt;
go a little wide; and, if I choose, I can bowl at&lt;br /&gt;
Mr. Buchanan&amp;#039;s manly legs. Does he plav cricket&lt;br /&gt;
in a kilt? It seems to me that, in Grab Street,&lt;br /&gt;
we cry out a great deal for very little hurt. This&lt;br /&gt;
&amp;quot;scarifying &amp;quot; is not so bad as what Apollo did to&lt;br /&gt;
Marsyas. Our skins, however thin, are left to&lt;br /&gt;
decorate our persons.&lt;br /&gt;
In real life, the unlucky hero of Mr. Gissing&lt;br /&gt;
would have had a devoted wife, who believed in her&lt;br /&gt;
husband&amp;#039;s genius; but to give him such a wife&lt;br /&gt;
would not be Realism. It would be romance, or&lt;br /&gt;
something improper of that kind. There are depths&lt;br /&gt;
a good deal deeper in Grub Street than Mr. Gis-&lt;br /&gt;
sing has chosen to sound. He might have been&lt;br /&gt;
much more realistic, and yet have lieen not untrue,&lt;br /&gt;
except by the suppression of the other side of the&lt;br /&gt;
truth.&lt;br /&gt;
M. Grimaudet, in M. Paul Bourget&amp;#039;s new book,&lt;br /&gt;
is excessively &amp;quot; realistic,&amp;quot; but then M. Bourget has&lt;br /&gt;
introduced lights as well as shadows. Light is&lt;br /&gt;
quite as real as darkness; sun as shade. La Vic de&lt;br /&gt;
Boheme is as real as &amp;quot; The New Grab Street,&amp;quot; but&lt;br /&gt;
it has the unpardonable defect of humour, and so&lt;br /&gt;
it is not realistic. Captain Shandon and Archer&lt;br /&gt;
are true to life; but they are humorous, so they&lt;br /&gt;
are not realistic. Again, is it real to say, Mr.&lt;br /&gt;
A uthor, that literature has &amp;quot;no unwritten laws of&lt;br /&gt;
decency and politeness &amp;quot;? It has such laws; I&lt;br /&gt;
hope that we try to obey them; there would be no&lt;br /&gt;
fun in the game if we did not. They are not uni-&lt;br /&gt;
versally obeyed. There are Bounders in the land,&lt;br /&gt;
but we are not all Bounders in Grab Street. Our&lt;br /&gt;
adverse criticism&mdash;the slating with slates&mdash;is not&lt;br /&gt;
all envy. We think things should be done diffe-&lt;br /&gt;
rently, and say so, with more or less urbanity;&lt;br /&gt;
usually, perhaps, with less. Urbanity is what we&lt;br /&gt;
all need. It would be l&amp;gt;etter to fight, like Jem&lt;br /&gt;
Crawley, &amp;quot; with the gloves.&amp;quot; I confess that, some-&lt;br /&gt;
how, this method seems to irritate the enemy even&lt;br /&gt;
much more, but that is his fault. He should&lt;br /&gt;
learn to keep his temper, and to take things in&lt;br /&gt;
less furious earnest; to remember that, after all,&lt;br /&gt;
Mr. Toots was right, and &amp;quot;it does not signify.&amp;quot;&lt;br /&gt;
Literary rivalries and hatreds, nbout which so&lt;br /&gt;
much is said, will lose all that is enjoyable if&lt;br /&gt;
we do not keep our tempers, and remember that&lt;br /&gt;
I) 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 44 (#448) #############################################&lt;br /&gt;
&lt;br /&gt;
44&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
we are only children playing at the game which&lt;br /&gt;
was old in Hesiod&amp;#039;.s time, at the game in&lt;br /&gt;
which Callimachus and Apollonius were performers.&lt;br /&gt;
When one sees the blind ferocity of some players,&lt;br /&gt;
one is reminded of the Maoris, who were so dis-&lt;br /&gt;
gusted with a manoeuvre of ours, that they declined&lt;br /&gt;
to light any more. They made peace; they said&lt;br /&gt;
we were not the men they took us for. Now here&lt;br /&gt;
is a view of the &amp;quot;scarifying&amp;quot; business which is&lt;br /&gt;
just as true as some other excited theories. But&lt;br /&gt;
you shall not find it in a realistic novel of Grub&lt;br /&gt;
Street, because it is not grimy.&lt;br /&gt;
A. Lang.&lt;br /&gt;
- &mdash;&mdash;&diams;■&bull;■&raquo;&lt;br /&gt;
THE TURNING OF THE WORM.-A Fable.&lt;br /&gt;
&amp;quot;rTTHEN the Worm turned, the bystanders&lt;br /&gt;
VV laughed and derided the presumption of&lt;br /&gt;
the creature. This helpless, wretched thing&lt;br /&gt;
had hitherto been allowed to live on sufferance; he&lt;br /&gt;
was unprovided with the least means of attack or&lt;br /&gt;
defence; he would not have been tolerated&mdash;for he&lt;br /&gt;
really was wretchedly shabby to look at&mdash;except for&lt;br /&gt;
the purpose of enriching the soil for his Master,&lt;br /&gt;
which he did very cleverly, wriggling in and about&lt;br /&gt;
the clods, converting them into a light and fertile&lt;br /&gt;
earth, turning them now this side up, now that,&lt;br /&gt;
for the sun to warm them, insomuch that the most&lt;br /&gt;
beautiful crops of grain, the choicest fruit in vast&lt;br /&gt;
quantities, grapes for wine in abundance, grass for&lt;br /&gt;
cattle, trees for shade, and gardens for flowers were&lt;br /&gt;
all produced out of the ground by the industry and&lt;br /&gt;
cleverness of the Worm. Now and then the&lt;br /&gt;
Master tossed him an apple, or a raw turnip, or&lt;br /&gt;
something else light and inexpensive.&lt;br /&gt;
&amp;quot;Oh! most generous patron!&amp;quot; cried the Worm,&lt;br /&gt;
the tears of gratitude rolling over his brown skin,&lt;br /&gt;
&amp;quot;How can I thank thee? How serve thee with&lt;br /&gt;
suflicient zeal? Take all&mdash;all&mdash;all that I produce.&amp;quot;&lt;br /&gt;
&amp;quot;Such, Worm, is my intention,&amp;quot; said the&lt;br /&gt;
Master.&lt;br /&gt;
Now, one clay the Worm discovered that he had&lt;br /&gt;
grown; he had without knowing it, grown quite&lt;br /&gt;
large; he was no longer a little brown thing,&lt;br /&gt;
wriggling among the clods; he was quite three&lt;br /&gt;
feet long, and of a very beautiful variegated colour,&lt;br /&gt;
and he was conscious that he was possessed of a&lt;br /&gt;
weapon in the shape of a pair of front teeth very&lt;br /&gt;
sharp, and poisoned. He pondered over this dis-&lt;br /&gt;
covery; he even conferred with his brethren, who&lt;br /&gt;
had undergone a similar transformation, on the&lt;br /&gt;
subject. But, as yet, they hardly understood the&lt;br /&gt;
extent of the change or their own power, and went&lt;br /&gt;
on, although now far more subtle than all the&lt;br /&gt;
creatures of the held, contentedly on the whole,&lt;br /&gt;
though not without a question or a growl, slaving&lt;br /&gt;
for the Master and taking with gratitude, though&lt;br /&gt;
that was now somewhat modified, whatever apples&lt;br /&gt;
he chose to bestow upon them. He was now also&lt;br /&gt;
become so rich through their labours, that he&lt;br /&gt;
gave them many more apples, but yet their gratitude&lt;br /&gt;
did not increase; so that it became a proverb with&lt;br /&gt;
the Masters that the more you give a Worm, the&lt;br /&gt;
more he wants, and that he would like to take the&lt;br /&gt;
whole earth.&lt;br /&gt;
Now, one day, when the time came for a certain&lt;br /&gt;
Worm to be fed, the Master tossed him, for all&lt;br /&gt;
his reward, a single apple, and that half rotten. So&lt;br /&gt;
this Worm lifted his head. Never before had a&lt;br /&gt;
worm so much as dared to lift his head. And the&lt;br /&gt;
Master marvelled.&lt;br /&gt;
&amp;quot;Sir,&amp;quot; said the Worm, &amp;quot; who has made all this&lt;br /&gt;
wealth for you and your family? Who has created&lt;br /&gt;
this orchard?&amp;quot;&lt;br /&gt;
&amp;quot;You have, Worm. Hold your tongue, and go&lt;br /&gt;
on working,&amp;quot; said the Master.&lt;br /&gt;
With that the ungrateful creature sprang upon&lt;br /&gt;
his Master, and bit him on the ankle, and the&lt;br /&gt;
bite was like unto a red-hot wire applied to the&lt;br /&gt;
foot, or like the raging fiery gout in the great toe,&lt;br /&gt;
or like the accursed twinge of a tooth in mortal&lt;br /&gt;
pain. So the Master lied, howling.&lt;br /&gt;
Then the Worm called together all the other&lt;br /&gt;
Worms who were, like himself, grown into serpents,&lt;br /&gt;
all long and strong and swift, and each armed with&lt;br /&gt;
sharp front teeth, and all able and ready to use&lt;br /&gt;
them. Then the Worms took possession of the&lt;br /&gt;
orchards, and the gardens, and the fields, and when&lt;br /&gt;
a Master&mdash;now called the Usurper&mdash;ventured near&lt;br /&gt;
the place, he was assailed in such a manner that&lt;br /&gt;
he was fain to flee.&lt;br /&gt;
Then there was great agitation among the&lt;br /&gt;
Masters, and they trembled excessively. But. first&lt;br /&gt;
they said that the Worm was no Serpent at all,&lt;br /&gt;
but only a Worm still, and harmless. Yet those&lt;br /&gt;
who had been bitten shook their heads. Then they&lt;br /&gt;
said that the Worms were ungrateful. But the&lt;br /&gt;
world laughed. Then they said that the Worms&lt;br /&gt;
already devoured the whole produce. But they&lt;br /&gt;
were themselves so fat that nobody believed them.&lt;br /&gt;
Long time the struggle lasted between the&lt;br /&gt;
Master and the Worms. At last the Master sent&lt;br /&gt;
swine into the. orchard. Everybody knows that&lt;br /&gt;
serpents cannot hurt, pigs, though they throw all&lt;br /&gt;
their poison into their bites, but that pigs can,&lt;br /&gt;
and do, hurt serpents, taking them by the tail,&lt;br /&gt;
and slowly munching them, ribs and skin and all,&lt;br /&gt;
till there is nothing left. But the Master made&lt;br /&gt;
in this case a mistake, because, although his pigs&lt;br /&gt;
were as swinish in all other respects as any other&lt;br /&gt;
pigs, and could befoul anything placed before them,&lt;br /&gt;
they could not eat, destroy, or hurt this kind of&lt;br /&gt;
serpent. They could only trample the orchard and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 45 (#449) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
45&lt;br /&gt;
the gardens, and they could cover with foul abuse&lt;br /&gt;
and fouler lies the names of the Serpents, so that,&lt;br /&gt;
for a time, some people were led to ln-lieve that&lt;br /&gt;
they were nothing but u wicked and a mischievous&lt;br /&gt;
crew instead of a most harmless folk, seeking&lt;br /&gt;
nothing hut common justice and protection for&lt;br /&gt;
their own.&lt;br /&gt;
Now, after a long struggle, the Serpent&mdash;subtle,&lt;br /&gt;
wise, and clever &mdash; possesses his own. Gardens,&lt;br /&gt;
orchards, fields&mdash;all are his own because he created&lt;br /&gt;
them. The former Master now looks over the&lt;br /&gt;
garden wall; and as for the pigs which were to&lt;br /&gt;
have slain and devoured the Serpents, they are now&lt;br /&gt;
themselves slain and partly devoured. What is left&lt;br /&gt;
of them is hanging on the rafters, in shape of fat&lt;br /&gt;
and brown sides of bacon, large hams, and goodly&lt;br /&gt;
gammons.&lt;br /&gt;
&diams;&bull;&diams;*&diams;&mdash;&lt;br /&gt;
ME. GLADSTONE ON THE AUTHOR AND&lt;br /&gt;
THE PUBLISHER.&lt;br /&gt;
WE are indebted to the Critic (New York)&lt;br /&gt;
for the following. It is extracted from the&lt;br /&gt;
Xew York Herald, and it is an indication&lt;br /&gt;
of the growing power of the Press that such a man&lt;br /&gt;
as Mr. Gladstone should contribute to a foreign&lt;br /&gt;
paper an article on such a subject, and that such a&lt;br /&gt;
communication should not even be noticed by our&lt;br /&gt;
own Press. The remarks about the necessity of&lt;br /&gt;
taking a partner into the enterprise of publishing&lt;br /&gt;
a lnjok are perfectly just. Unfortunately they are&lt;br /&gt;
not new, and they stop at the threshold. They lay&lt;br /&gt;
down a definition or an axiom and leave it there.&lt;br /&gt;
Also Mr. Gladstone is a few years behind the time&lt;br /&gt;
when he speaks of the extremely small numl&amp;gt;cr of&lt;br /&gt;
publishers. In London alone there are more than&lt;br /&gt;
384. This is what he has written for the New&lt;br /&gt;
York Herald:&mdash;&lt;br /&gt;
&amp;quot;Books are, after all, a product of manufacturing&lt;br /&gt;
industry; but, among manufactures, theirs is surely&lt;br /&gt;
the most interesting, and the most peculiar, because&lt;br /&gt;
it is based upon the reduction of a mental product to&lt;br /&gt;
a material form, and what was originally intangible&lt;br /&gt;
and ethereal, in this way, without losing its earlier&lt;br /&gt;
character, comes to be embraced within the same&lt;br /&gt;
category as a yard of calico or a bushel of wheat.&lt;br /&gt;
&amp;quot;But while these have no value except what is&lt;br /&gt;
exhibited by their outward form, so that the inde-&lt;br /&gt;
pendent producers of other bushels of wheat or&lt;br /&gt;
yards of calico meet them in 1 the market&amp;#039; upon&lt;br /&gt;
equal terms, the producer of the l&amp;gt;ook exhibits to&lt;br /&gt;
the world a double entity, one material, the other&lt;br /&gt;
mental; and the author pleads that, as the material&lt;br /&gt;
thing which we call a l&amp;gt;ook is protected by the law&lt;br /&gt;
against abstraction, so the thoughts contained in it&lt;br /&gt;
and wrought by him into a structure more or less&lt;br /&gt;
elaborate should in like manner be protected from&lt;br /&gt;
reproduction. For reproduction, from his point of&lt;br /&gt;
view, is theft. It is offering to the world, for such&lt;br /&gt;
price as the world lie willing to give, not. only the&lt;br /&gt;
paper and print which the producer has to buy and&lt;br /&gt;
pay for, but the composition contained in them,&lt;br /&gt;
which represents the time and labour, and, there-&lt;br /&gt;
fore, the food and raiment and lodging and all the&lt;br /&gt;
lawful expenditure of the author.&lt;br /&gt;
&amp;quot;On this basis has been erected that curious&lt;br /&gt;
formation which we call the law of copyright. The&lt;br /&gt;
conditions of its birth and history have lxjen&lt;br /&gt;
chequered and abnormal; but the reasonableness&lt;br /&gt;
of the proposition that mental toil, on taking&lt;br /&gt;
literary form, should not be deprived of the re-&lt;br /&gt;
muneration enjoyed by bodily labour, has brought&lt;br /&gt;
it out into the light of day, and so secured its&lt;br /&gt;
acceptance ....&lt;br /&gt;
&amp;quot;But the author, when he has obtained an ack-&lt;br /&gt;
nowledgment of his right to protection, has not yet&lt;br /&gt;
surmounted his difficulties. The grower of wheat&lt;br /&gt;
and the manufacturer of calico produce articles&lt;br /&gt;
complete in themselves, and only require certain&lt;br /&gt;
manipulations before reaching the ultimate con-&lt;br /&gt;
sumer. These processes are performed by a&lt;br /&gt;
multitude of persons; and the function of the&lt;br /&gt;
intermediate! distributors, being simple, is performed&lt;br /&gt;
by large numbers of persons. But the author has&lt;br /&gt;
given birth to a commodity which is perfectly un-&lt;br /&gt;
available for the purpose of yielding him support,&lt;br /&gt;
until he has contracted, as it were, a marriage with&lt;br /&gt;
a capitalist who will agree to become joint partner&lt;br /&gt;
of the book, giving it a body where the author has&lt;br /&gt;
supplied the soul, and thus at length constituting it&lt;br /&gt;
a marketable and productive commodity. The&lt;br /&gt;
author cannot himself, as a rule, 1m&amp;gt; the publisher,&lt;br /&gt;
and publishers are extremely few, so few that, until&lt;br /&gt;
a very recent date, they might be counted on the&lt;br /&gt;
lingers. Practically, and as a general rule, the author&lt;br /&gt;
in relation to his customer is nobody until his&lt;br /&gt;
initial performance has been capped by the accession&lt;br /&gt;
of the publisher. Better would be the position of&lt;br /&gt;
a man who should offer for sale the stock and&lt;br /&gt;
lock of a rifle without the barrel to complete.&amp;#039;&amp;#039;^&lt;br /&gt;
A Practical Note.&lt;br /&gt;
&amp;quot;I have just read your wail over the dust on the&lt;br /&gt;
rough tops of uncut books. If you wish to clean&lt;br /&gt;
them, and also to leave them a little rough, take&lt;br /&gt;
the finest grade of sand-paper and rub them with&lt;br /&gt;
it. If a piece is tacked on a bit of wood about an&lt;br /&gt;
inch square at the, end anil three or four inches&lt;br /&gt;
long, the work can l&amp;gt;e done very rapidly. I have&lt;br /&gt;
treated uncut books in that way, and find it works&lt;br /&gt;
admirably.&amp;quot;&lt;br /&gt;
A (JoliliESl&amp;#039;ONI)ENT TO THE New YoRK Critic.&lt;br /&gt;
+-+~*&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 46 (#450) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
AS a large number of your readers are interested&lt;br /&gt;
in the formation of the Authors&amp;#039; Club, it may&lt;br /&gt;
be of some service if I give a few particulars&lt;br /&gt;
of the Authors&amp;#039; Club of New York, gleaned from the&lt;br /&gt;
beautifully-printed and quaintly-bound little book&lt;br /&gt;
which that Club issues. Such particulars may be&lt;br /&gt;
suggestive partly of what to imitate, and partly,&lt;br /&gt;
owing to your different circumstances, of what it&lt;br /&gt;
may be necessary to avoid. I should like to state&lt;br /&gt;
that I am indebted to the courtesy of Mr. J. B.&lt;br /&gt;
Gilder, of the New York Critic, who has been&lt;br /&gt;
good enough to procure and send me this interesting&lt;br /&gt;
little book.&lt;br /&gt;
I first of all gather that the Authors&amp;#039; Club of&lt;br /&gt;
New York is what we call, a members&amp;#039; club, and&lt;br /&gt;
that it is incorporated pursuant to the provisions of&lt;br /&gt;
an Act of the Legislature of the State of New&lt;br /&gt;
York. On this side we should find a parallel in&lt;br /&gt;
a limited liability company.&lt;br /&gt;
In the certificate of incorporation the particular&lt;br /&gt;
business of the Club is set out as for literary and&lt;br /&gt;
library purposes, and for the promotion of social&lt;br /&gt;
intercourse among authors; and in the &amp;quot;Constitu-&lt;br /&gt;
tion,&amp;quot; under section 2, I find that &amp;quot;the object of&lt;br /&gt;
the Club shall be the promotion of social intercourse&lt;br /&gt;
among authors.&amp;quot;&lt;br /&gt;
The membership of the Club is limited to a&lt;br /&gt;
smaller number than would be desirable, perhaps,&lt;br /&gt;
in the case of the London Club; the New York&lt;br /&gt;
maximum lwing 3oo, more than 5o per cent, of&lt;br /&gt;
which number are required to reside in or within&lt;br /&gt;
z5 miles of New York city.&lt;br /&gt;
For the London Club it has, I believe, been&lt;br /&gt;
suggested that journalism should be a qualification:&lt;br /&gt;
for the New York Club, on the other hand,&lt;br /&gt;
&amp;quot;technical books of journalism as such shall not&lt;br /&gt;
be accounted literature,&amp;quot; and &amp;quot; no person shall be&lt;br /&gt;
eligible to membership who is not the author of a&lt;br /&gt;
published book proper to literature, or who has not&lt;br /&gt;
a recognised position in other kinds of distinctively&lt;br /&gt;
literary work.&amp;quot;&lt;br /&gt;
Thus it will be seen that a large and useful body&lt;br /&gt;
of literary men&mdash;the writers of technical manuals&lt;br /&gt;
and dictionaries, and those journalists who from&lt;br /&gt;
day to day or from week to week turn out really&lt;br /&gt;
sound literary work, would be disqualified if the&lt;br /&gt;
New York rule were adopted in the case of the&lt;br /&gt;
London Club. But this, I take it, is not likely to&lt;br /&gt;
be done.&lt;br /&gt;
The government of the New York Club is vested&lt;br /&gt;
in an executive council of nine &amp;quot;trustees,&amp;quot; who&lt;br /&gt;
are chosen by ballot, three of whom annually&lt;br /&gt;
retire. The trustees elect from their own number&lt;br /&gt;
a secretary and treasurer, and a librarian; and&lt;br /&gt;
they appoint all committees except a portion of the&lt;br /&gt;
Committee on Membership.&lt;br /&gt;
This Committee on Membership consists of twelve&lt;br /&gt;
members, and the trustees are disqualified from&lt;br /&gt;
joining it. The committee fix their own time and&lt;br /&gt;
place of meeting, and seven members constitute a&lt;br /&gt;
quorum. Any member who absents himself from&lt;br /&gt;
three consecutive regularly-called meetings is&lt;br /&gt;
deemed to have resigned. The committee elects&lt;br /&gt;
&amp;quot;by ballot, three adverse ballots excluding.&amp;quot;&lt;br /&gt;
Each candidate for membership has to be pro-&lt;br /&gt;
posed by two members, who are required to present&lt;br /&gt;
to the committee in writing, and through the&lt;br /&gt;
secretary, his claims to election. The name of&lt;br /&gt;
each candidate for election, together with those&lt;br /&gt;
of his proposer and seconder, is posted for two&lt;br /&gt;
weeks before he can be balloted for.&lt;br /&gt;
Here is rather a curious rule: &amp;quot;No member of&lt;br /&gt;
the Committee on Membership shall propose a&lt;br /&gt;
candidate.&amp;quot;&lt;br /&gt;
Election to honorary membership of distinguished&lt;br /&gt;
men of letters of other nations is provided for, but&lt;br /&gt;
not more than one honorary member resident in&lt;br /&gt;
the United States can be elected in any one year.&lt;br /&gt;
Members may introduce one friend to the Club,&lt;br /&gt;
and the hospitality of the Club may be offered to&lt;br /&gt;
distinguished gentlemen of any profession.&lt;br /&gt;
The entrance! fee is &sect;25 = &pound;5, and the annual&lt;br /&gt;
subscription for those resident in or within 20 miles&lt;br /&gt;
of New York city is S20 - &pound;4 ; and of those not so&lt;br /&gt;
resident (onr &amp;quot; country members &amp;quot;) &pound;2. It should&lt;br /&gt;
be noted that these sums do not represent in the&lt;br /&gt;
United States anything like the amount they re-&lt;br /&gt;
present here, but at the same time the expenses of&lt;br /&gt;
the New York Club are probably not so heavy&lt;br /&gt;
as those of a London Club would be.&lt;br /&gt;
In conclusion, I hope that these few notes may&lt;br /&gt;
be found of interest and use to those who contem-&lt;br /&gt;
plate with some degree of pleasure and hopefulness,&lt;br /&gt;
the foundation of an Authors&amp;#039; Club in London for&lt;br /&gt;
the promotion of social intercourse among those&lt;br /&gt;
engaged in literary work.&lt;br /&gt;
Akthub Montefiobe.&lt;br /&gt;
&lt;br /&gt;
REVIEWS AND REVIEWERS.&lt;br /&gt;
I.&lt;br /&gt;
ALTHOUGH I am an occasional Reviewer as&lt;br /&gt;
well as Author, I hope you will uot consider&lt;br /&gt;
the incident I am about to relate a case of&lt;br /&gt;
&amp;quot;dog biting dog.&amp;quot;&lt;br /&gt;
I may commence by saving I am a scientific&lt;br /&gt;
writer&mdash;or one of those who often try to explain&lt;br /&gt;
what thev themselves do not understand, as some-&lt;br /&gt;
one has truly said&mdash;and author of a number of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 47 (#451) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
47&lt;br /&gt;
successful books&mdash;italics, please Mr. Printer&mdash;my&lt;br /&gt;
vanity lias therefore l&amp;gt;een satiated some time since,&lt;br /&gt;
and I do not write from the standpoint of a&lt;br /&gt;
disappointed Author from which Critics are&lt;br /&gt;
popularly supposed to be made.&lt;br /&gt;
A few years back, when I published my well-&lt;br /&gt;
known work on &amp;quot;The Extraction of Caloric from&lt;br /&gt;
Cucumbers,&amp;quot; my publisher sent a copy for review&lt;br /&gt;
to a paj&amp;gt;er with which we are all well acquainted,&lt;br /&gt;
viz., the Weekly Mastodon. Shortly after its&lt;br /&gt;
receipt I was gratified by a very favourable review&lt;br /&gt;
containing such remarks as the following: &amp;quot;Mr.&lt;br /&gt;
Jones&amp;#039;s book will be found of much value to those&lt;br /&gt;
interested in cucumbers,&amp;quot; &amp;quot;A book we have much&lt;br /&gt;
pleasure in recommending,&amp;quot; &amp;lt;fcc, &amp;amp;e.&lt;br /&gt;
The success of this book was such that my&lt;br /&gt;
publisher advised the reprint of the more popular&lt;br /&gt;
part of it, and its re-issue at a cheaper price. This&lt;br /&gt;
was done, and it appeared under the title, &amp;quot; Cucum-&lt;br /&gt;
bers, sliced and otherwise; with Notes on their&lt;br /&gt;
Affinity for Salmon,&amp;quot; by Thomas Cwmrag Jones,&lt;br /&gt;
Author of, &amp;amp;c, which you may remember made a&lt;br /&gt;
considerable sensation at the time amongst cucum-&lt;br /&gt;
ber eaters. A copy of this was also sent to the&lt;br /&gt;
Mastodon, and you may imagine my horror when&lt;br /&gt;
a few weeks afterwards I read a review in which&lt;br /&gt;
the. book was thoroughly well slated, and I was&lt;br /&gt;
called over the coals in all directions, the notice&lt;br /&gt;
being fidl of such remarks as the following: &amp;quot;We&lt;br /&gt;
are astonished that Mr. Jones can recommend&lt;br /&gt;
eating cucumber with salmon, as he ought to be&lt;br /&gt;
aware that it is most indigestible,&amp;quot; and &amp;quot; Mr. Jones&lt;br /&gt;
says nothing whatever about oil and vinegar with&lt;br /&gt;
cucumber, which we consider a very grave&lt;br /&gt;
omission,&amp;quot; &amp;amp;c, &amp;amp;c.&lt;br /&gt;
In case you should imagine that the above&lt;br /&gt;
account is &amp;quot; writ sarkastic,&amp;quot; as Artemus Ward \ised&lt;br /&gt;
to say, I beg to assure you the incident absolutely&lt;br /&gt;
occurred, and is a fair example of a critical&lt;br /&gt;
journal eating its own words, and damning and&lt;br /&gt;
praising the same matter. I enclose you the&lt;br /&gt;
name of the journal, and also of the books con-&lt;br /&gt;
cerned, not necessarily for publication, but as a&lt;br /&gt;
guarantee of good faith, as the newspaper legend&lt;br /&gt;
has it.&lt;br /&gt;
Thomas Cwmrag Jones.&lt;br /&gt;
II.&lt;br /&gt;
A novel of mine&mdash;my first novel&mdash;was reviewed&lt;br /&gt;
by the on its first appearance. The&lt;br /&gt;
review was the first notice that appeared of the&lt;br /&gt;
work. To say that they &amp;quot;slated &amp;quot; it is to put the&lt;br /&gt;
case with ridiculous mildness. It was torn to bits,&lt;br /&gt;
and a frantic war dance was executed on the muti-&lt;br /&gt;
lated remains. Imagine my feelings! My first&lt;br /&gt;
book! My first review! What a beginning!&lt;br /&gt;
In course of time my publisher produced a cheap&lt;br /&gt;
edition of the book. I could only pray that the&lt;br /&gt;
would pass it by in the silence and&lt;br /&gt;
contempt such a worthless book deserved. Not at&lt;br /&gt;
all! They renewed it again, but this time they&lt;br /&gt;
spoke of the work in terms of the highest praise!!!&lt;br /&gt;
I assure; you that in my opinion that second review&lt;br /&gt;
of the book was a &amp;quot;thing of beauty and a joy for&lt;br /&gt;
ever.&amp;quot;&lt;br /&gt;
E.&lt;br /&gt;
III.&lt;br /&gt;
&amp;quot;Formerly I hail to do, among other work, the&lt;br /&gt;
&amp;#039;reviewing&amp;#039; of the novels for a certain paper.&lt;br /&gt;
I was allowed a single column, or perhaps a little&lt;br /&gt;
over. I was paid one guinea for this column.&lt;br /&gt;
I had to &amp;#039;review&amp;#039; from eight to a dozen novels&lt;br /&gt;
in this space. You may imagine the individual&lt;br /&gt;
attention and the amount of muling I could&lt;br /&gt;
afford to bestow on each!&amp;quot;&lt;br /&gt;
P.&lt;br /&gt;
In other words, this writer, to put his necessities&lt;br /&gt;
at a very low rate, had to make at least &pound;3oo a year,&lt;br /&gt;
or six guineas a week. He got his batch of novels&lt;br /&gt;
every fortnight or so. How long could he afford&lt;br /&gt;
to give towards the earning of one guinea?&lt;br /&gt;
One day. One day of, say, eight hours for an&lt;br /&gt;
average of ten books! Less than one hour each.&lt;br /&gt;
What judgment, even in a single sentence, could&lt;br /&gt;
he pass&mdash;and write&mdash;upon a book in such a space&lt;br /&gt;
of time? This is an extreme case, but we must&lt;br /&gt;
take extreme cases into consideration. They are,&lt;br /&gt;
indeed, the most important as test cases. It may&lt;br /&gt;
l&amp;gt;c argued that no one has a right to accept work&lt;br /&gt;
of this kind unless he can perform it properly.&lt;br /&gt;
Quite so; but this is not an argument calculated&lt;br /&gt;
to carry weight with the ordinary breadwinner.&lt;br /&gt;
IV.&lt;br /&gt;
The following is a collection of judgments on a&lt;br /&gt;
single book which seem almost unique. The names&lt;br /&gt;
of the papers were given by the author concerned,&lt;br /&gt;
but they are suppressed for obvious reasons. An&lt;br /&gt;
interesting problem arises. Given i5 opinions by&lt;br /&gt;
as many critics, all different, on a little book, and,&lt;br /&gt;
remembering that each sentence is the judgment&lt;br /&gt;
of a truly competent critic, construct the true&lt;br /&gt;
character of the book.&lt;br /&gt;
1.&amp;quot; . . . The story is not a clever one,&lt;br /&gt;
and the writer lacks the gift of making his readers&lt;br /&gt;
accept the impossible as at least plausible. . . .&amp;quot;&lt;br /&gt;
2.&amp;quot; . . . Certainly ... a very clever&lt;br /&gt;
book, one of the cleverest of its kind that has&lt;br /&gt;
recently appeared.&amp;quot;&lt;br /&gt;
3.&amp;quot; The book is madness run riot,&lt;br /&gt;
and why the publishers should have endangered&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 48 (#452) #############################################&lt;br /&gt;
&lt;br /&gt;
48&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
their reputation by issuing it is as inexplicable as&lt;br /&gt;
the pages themselves. . . .&amp;quot;&lt;br /&gt;
4. &amp;quot;... A tale of absorbing interest. . .&amp;quot;&lt;br /&gt;
5.&amp;quot; . . . As a story the book is profoundly&lt;br /&gt;
metaphysical and very dull.&amp;quot;&lt;br /&gt;
6. &amp;quot; This is a weird and fascinating novel. . . .&lt;br /&gt;
The story abounds with thrilling enigmas, and&lt;br /&gt;
a tragedy and a love romance are skilfully&lt;br /&gt;
interwoven.&amp;quot;&lt;br /&gt;
7.&amp;quot; . . . Metaphysical balderdash. . . .&amp;quot;&lt;br /&gt;
8. &amp;quot;A shilling shocker of the most robust&lt;br /&gt;
tvpc . . . Defects are compensated for by an&lt;br /&gt;
unlimited flow of blood, curses, and spasmodic&lt;br /&gt;
ejaculations.&amp;quot;&lt;br /&gt;
g. &amp;quot;... It may l&amp;gt;e summed up in a quota-&lt;br /&gt;
tion from his own pages: &amp;#039;In the name of science&lt;br /&gt;
&mdash;bosh ! *&amp;quot;&lt;br /&gt;
10.&amp;quot; . . . For those fond of the mysterious&lt;br /&gt;
the book should lie acceptable reading.&amp;quot;&lt;br /&gt;
11. &amp;quot;After some hours&amp;#039; earnest wrestling with&lt;br /&gt;
the extraordinary philosophy propounded herein&lt;br /&gt;
we have &amp;#039;given it up&amp;#039; just in time to save our&lt;br /&gt;
reason. . . .&amp;quot;&lt;br /&gt;
12. &amp;quot;It has an ingenious, if somewhat extra-&lt;br /&gt;
vagant, plot of mystery and murder, and though&lt;br /&gt;
it never takes any very strong hold on the attention&lt;br /&gt;
&mdash;it deals too largely in pure philosophy for that&mdash;&lt;br /&gt;
the mild interest which it does excite is well&lt;br /&gt;
sustained to the end.&amp;quot;&lt;br /&gt;
13.&amp;quot; . . . Quite out of the usual run of&lt;br /&gt;
shilling shockers. . . . The writer has talent,&lt;br /&gt;
but it might l&amp;gt;e better employed.&amp;quot;&lt;br /&gt;
14.&amp;quot; . . . A praiseworthy attempt to make&lt;br /&gt;
the matter of a shilling shocker less rude&mdash;in the&lt;br /&gt;
old sense of the word&mdash;and to give even the railway&lt;br /&gt;
reader a few sentences which may make him take&lt;br /&gt;
the trouble of thinking. . . . The writer is&lt;br /&gt;
evidently a clever student who has drunk deep,&lt;br /&gt;
if not wisely, at the well of contemporary fiction.&amp;quot;&lt;br /&gt;
15. &amp;quot;This book is very readable.&amp;quot;&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
Jf^HE Annual Gathering of the Society will this&lt;br /&gt;
I year l&amp;gt;egiven in recognition of the International&lt;br /&gt;
Copyright Bill. It will be held at the White-&lt;br /&gt;
hall Rooms of the Hotel Metropole on the 16th.&lt;br /&gt;
Long before the dinner it will be known whether&lt;br /&gt;
the President has, or lias not, acknowledged that&lt;br /&gt;
Americans have equal rights with our own people&lt;br /&gt;
in this country. The function of the 16th,&lt;br /&gt;
however, will mark our sense of what has been&lt;br /&gt;
done by Americans. And as for ourselves, we shall&lt;br /&gt;
very shortly put the position of Americans l&amp;gt;eyond&lt;br /&gt;
any doubt. The Chairman will be Lord Monkswell,&lt;br /&gt;
who has done such great, service to the cause of&lt;br /&gt;
International Copyright by his conduct of the Bill&lt;br /&gt;
for the Amendment and Consolidation of Copyright.&lt;br /&gt;
The principal guest will be Mr. Lincoln, the United&lt;br /&gt;
States Minister to this country. It is greatly&lt;br /&gt;
hoped that we may have a.s guests a good nunil&amp;gt;er&lt;br /&gt;
of American men and women of letters, and that&lt;br /&gt;
we may have to receive them as brilliant a company&lt;br /&gt;
as can be gathered together.&lt;br /&gt;
The communication of Mr. Arthur Montefiore&lt;br /&gt;
will cause inquiries to be made as to the progress of&lt;br /&gt;
the Authors&amp;#039; Club. We have advanced to this&lt;br /&gt;
stage: we had got together a provisional com-&lt;br /&gt;
mittee; we had found a man ready to act as&lt;br /&gt;
honorary secretary. Then he fell ill, and could do&lt;br /&gt;
nothing; nor could, for a long time, another man&lt;br /&gt;
he found. Now we have a candidate for the post,&lt;br /&gt;
and we hope to begin. If the project proves a&lt;br /&gt;
success, the club should open about the end of the&lt;br /&gt;
year.&lt;br /&gt;
I think I have found out the reason of the&lt;br /&gt;
astonishing little paragraphs which, from time to&lt;br /&gt;
time, appear in the papers concerning this Society.&lt;br /&gt;
Some of them, of course, contain designed and&lt;br /&gt;
deliberately invented falsehoods. They are inspired&lt;br /&gt;
by certain friends of ours who find their old games&lt;br /&gt;
becoming difficult. There is, however, another&lt;br /&gt;
kind&mdash;sometimes they take the form of long&lt;br /&gt;
articles&mdash;which are not malevolent, but ignorant.&lt;br /&gt;
These are written by men who simply cannot&lt;br /&gt;
understand that there is any property in Literature.&lt;br /&gt;
To them the maintenance or defence of literary&lt;br /&gt;
proj&amp;gt;erty seems a fussy attempt to protect a five-&lt;br /&gt;
pound note at most&mdash;they call it squabbling for&lt;br /&gt;
guineas; they either believe in the old superstition&lt;br /&gt;
that authors must be beggars, or they have their&lt;br /&gt;
own experiences to quote, for they have themselves&lt;br /&gt;
written books which have brought in nothing&mdash;or&lt;br /&gt;
this five-pound note. Very likely their book was&lt;br /&gt;
good, but not popular. This kind of writer cannot&lt;br /&gt;
believe that a book may be both good and popular;&lt;br /&gt;
and his ignorance makes him a greater enemy of&lt;br /&gt;
the Society even than the mischievous liar. He&lt;br /&gt;
has in his mind a round half-dozen of deeply-&lt;br /&gt;
rooted prejudices. Thus&mdash;&lt;br /&gt;
1. There is no money in a book, and the&lt;br /&gt;
publisher must lose by most of his books,&lt;br /&gt;
and the more he loses the richer he gets.&lt;br /&gt;
2. The publisher is constantly playing a kind of&lt;br /&gt;
baccarat, in which he is always staking&lt;br /&gt;
immense sums of money, and always losing.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 49 (#453) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
49&lt;br /&gt;
3. The publisher does not care in the least how&lt;br /&gt;
much he loses.&lt;br /&gt;
4. Poetry and Fiction come by nature, and&lt;br /&gt;
require no training.&lt;br /&gt;
5. True self-respect consists in throwing a MS.&lt;br /&gt;
at the publisher and never afterwards asking&lt;br /&gt;
what has been done with it in book form.&lt;br /&gt;
6. If money is wanted, the author must go hat&lt;br /&gt;
in blind, and humbly ask for it. Whatever&lt;br /&gt;
he gets is due to the &amp;quot; generosity &amp;quot; of the&lt;br /&gt;
publisher. He is not entitled to anything&lt;br /&gt;
at all. He has no rights; he has no&lt;br /&gt;
property. How can a guinea or two be&lt;br /&gt;
called property?&lt;br /&gt;
Several correspondents have sent me a prospectus&lt;br /&gt;
entitled &amp;quot;The Authors&amp;#039; Advice Bureau,&amp;quot; and have&lt;br /&gt;
asked advice upon it. We know, at the Society,&lt;br /&gt;
nothing at all about the name at the end of the&lt;br /&gt;
prospectus, Mr. H. Douglas Vincent&mdash;nothing at&lt;br /&gt;
all, either for good or ill. He undertakes to read&lt;br /&gt;
MSS., and to suggest a suitable publisher at the&lt;br /&gt;
following rates :&mdash;is. for 10 pages of foolscap, and&lt;br /&gt;
2.v. for 20 pages. For every additional 20 pages, 6d.&lt;br /&gt;
extra. If he gives, in addition, literary criticism&lt;br /&gt;
he charges 2s. 6d. for 10 pages, and 3s. 6d. for&lt;br /&gt;
20 pages, with is. for every additional 20 pages.&lt;br /&gt;
Reckoning 35o words to a page of foolscap, this&lt;br /&gt;
wntleman would give a literary opinion on, and&lt;br /&gt;
suggt.-&amp;#039;t a publisher for, a three-volume novel of&lt;br /&gt;
average Ifssgth for the sum of 19s. This might be&lt;br /&gt;
what advertisers call getting &amp;quot;good value.&amp;quot;&lt;br /&gt;
What advice can be given in such a case?&lt;br /&gt;
This :&mdash;&lt;br /&gt;
If Mr. H. Douglas Vincent has such experience&lt;br /&gt;
of publishers as would enable him to advise as to&lt;br /&gt;
the lx^st house for any particular work, his advice&lt;br /&gt;
to an ignorant person might be useful. The first&lt;br /&gt;
thing, therefore, is for him to show that he has&lt;br /&gt;
Mich experience.&lt;br /&gt;
If Mr. H. Douglas Vincent is a person of proved&lt;br /&gt;
lite.-ary ability, an author of repute, a critic of&lt;br /&gt;
posit&amp;#039;on, his literary opinion might be of the&lt;br /&gt;
greatest value to a beginner. Let him, therefore,&lt;br /&gt;
state his qualifications and give references.&lt;br /&gt;
And let anylnxly who proposes to give him 2S.&lt;br /&gt;
first ask him for information on these two points.&lt;br /&gt;
If the replies are satisfactory, we wish Mr. Douglas&lt;br /&gt;
Vincent every success.&lt;br /&gt;
Here is a suggested difficulty. &amp;quot;I should like to&lt;br /&gt;
join your Society, but at the present moment my&lt;br /&gt;
work is principally taken by Messrs. A. and B. and&lt;br /&gt;
by a certain religious society. Suppose that they&lt;br /&gt;
resent my Incoming a Member, and refuse, in&lt;br /&gt;
consequence, to take my work : what am I to do?&amp;quot;&lt;br /&gt;
Well, first of all, it is rapidly becoming thoroughly&lt;br /&gt;
suspected that a publisher who objects to the&lt;br /&gt;
Society can only belong to the dishonourable Fringe,&lt;br /&gt;
because the Society aims at nothing but fair agree-&lt;br /&gt;
ments, fairly carried out; and all that has been done,&lt;br /&gt;
said, or published by the Society lias been in the&lt;br /&gt;
advance of that aim; for instance, the Cost of&lt;br /&gt;
Production and the Methods of Publication. If,&lt;br /&gt;
then, any publisher should so attempt to punish any&lt;br /&gt;
such author, let us learn the fact, and we will&lt;br /&gt;
&amp;quot;govern ourselves accordingly.&amp;quot; We are now, as&lt;br /&gt;
has been already stated more than once, in a&lt;br /&gt;
position to keep a vast quantity of work out of the&lt;br /&gt;
hands of persons whose methods will not bear&lt;br /&gt;
the light of day. This power is a very useful&lt;br /&gt;
weapon, and is (&amp;#039;very day becoming more powerful.&lt;br /&gt;
A great deal of wrath lias lieen aroused by a&lt;br /&gt;
bumble remonstrance made in these columns on&lt;br /&gt;
certain practices of reviewers. Bludgeons have&lt;br /&gt;
been waved over the head of the offender; rapiers,&lt;br /&gt;
flashing horribly, have been stuck into his vital&lt;br /&gt;
parts. Fortunately, this kind of bludgeon breaks&lt;br /&gt;
no head, and this kind of rapier does not kill.&lt;br /&gt;
Therefore, one still lives to repeat the remonstrance&lt;br /&gt;
as an abstract proposition or two without any&lt;br /&gt;
names. Tims, our contention was, and is, as&lt;br /&gt;
follows :&mdash;&lt;br /&gt;
1. Should such a thing as a good novel ever&lt;br /&gt;
appear, it is worth at least as much attention,&lt;br /&gt;
and should command as much separate space&lt;br /&gt;
as is allotted to, say, the smallest of the&lt;br /&gt;
many biographies or books of essays to&lt;br /&gt;
which is now accorded the respect of in-&lt;br /&gt;
dividual consideration.&lt;br /&gt;
2. When a man, holding a great and acknow-&lt;br /&gt;
ledged position in the world of letters,&lt;br /&gt;
produces a new book, its apjiearance is a&lt;br /&gt;
literary event. In any other country this&lt;br /&gt;
proposition would be commonplace. In ours,&lt;br /&gt;
unfortunately, it is not. The book, whether&lt;br /&gt;
good or bad, whether judged unfavourably&lt;br /&gt;
or not, should be at least treated with the&lt;br /&gt;
respect due to the literary rank, and the&lt;br /&gt;
previous work of the author.&lt;br /&gt;
There are three critics of every book. The&lt;br /&gt;
author himself, who may be presumed at least to&lt;br /&gt;
know what he intended; the reviewer, who ought&lt;br /&gt;
to take the trouble at least to find out so much;&lt;br /&gt;
and the reading public, who very soon finds out&lt;br /&gt;
whether it likes the book or not. Whether this&lt;br /&gt;
third party does or docs not like it, he says so&lt;br /&gt;
without much searching into the reason why. And&lt;br /&gt;
the real cause of thu l&amp;gt;ook&amp;#039;s success, when it&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 50 (#454) #############################################&lt;br /&gt;
&lt;br /&gt;
5&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
docs succeed, is not so much the review, or the&lt;br /&gt;
inline of the author, but the way in which people&lt;br /&gt;
talk to each other about the books they read.&lt;br /&gt;
The free libraries, for instance, are rapidly be-&lt;br /&gt;
coming in this way, rough-and-ready reviewers;&lt;br /&gt;
they push the book around; they create the&lt;br /&gt;
demand. Perhaps they are too often like the&lt;br /&gt;
gallery at the theatre. Well, the gallery of some&lt;br /&gt;
houses is now very much what the pit was for-&lt;br /&gt;
merly: its taste is chastened. Certainly it must&lt;br /&gt;
be admitted that there are authors who are not&lt;br /&gt;
greatly asked for by the free libraries&mdash;Landor,&lt;br /&gt;
for instance, De Quineey, Leigh Hunt, Pater,&lt;br /&gt;
Meredith, Symonds, Lang&mdash;to name only a few,&lt;br /&gt;
and these greatly dissimilar&mdash;are seldom read at&lt;br /&gt;
free libraries. At the same time Marrvat&mdash;first&lt;br /&gt;
favourite&mdash;Scott, Dickens, Kingslcy, George Hentv,&lt;br /&gt;
Kingston, Charlotte Yonge&mdash;to name others also&lt;br /&gt;
greatly dissimilar, yet all wholesome and good&mdash;are&lt;br /&gt;
in very great demand. Of one thing we may be very&lt;br /&gt;
sure, that if a book is dull, if it treats of unin-&lt;br /&gt;
teresting subjects, unless it has &amp;quot;grip &amp;quot;&mdash;a thing&lt;br /&gt;
which an essay, or a history, or a treatise may have,&lt;br /&gt;
as well as a novel or a drama&mdash;the readers at the&lt;br /&gt;
free libraries will have none of it.&lt;br /&gt;
What part, then, does the reviewer play? It is&lt;br /&gt;
impossible to estimate too highly the enormous&lt;br /&gt;
advantage to literature of criticism, compe-&lt;br /&gt;
tent, free, and unbiassed, such as we might be&lt;br /&gt;
able to show under happier conditions. Every-&lt;br /&gt;
one knows critics who thoroughly realize the&lt;br /&gt;
responsibilities of their work. Everyone knows&lt;br /&gt;
papers where the work is at least taken in hand&lt;br /&gt;
seriously, even though the performance is not&lt;br /&gt;
always up to the editor&amp;#039;s own standard. It is,&lt;br /&gt;
however, absurd to pretend that literature is&lt;br /&gt;
advanced by the common mass of criticism. I&lt;br /&gt;
refer the wider to Mr. Saintsbury&amp;#039;s pupers on&lt;br /&gt;
the &amp;quot;Kinds of Criticism&amp;quot; in his &amp;quot;Essays on&lt;br /&gt;
English Literature&amp;quot; (Percival, 1891) for a state-&lt;br /&gt;
ment of the. case put at greater length and with&lt;br /&gt;
more fulness than we can command in these pages.&lt;br /&gt;
I have quoted already (Author for April 1891)&lt;br /&gt;
some of the following. It is quoted again because&lt;br /&gt;
it exactly expresses our case, and exactly justifies&lt;br /&gt;
our remonstrance.&lt;br /&gt;
He says (Introduction, p. xxiii) :&mdash;&lt;br /&gt;
&amp;quot;Reviewing is, on the whole, the most difficult&lt;br /&gt;
kind of newspaper writing, and it is, 011 the whole,&lt;br /&gt;
the most lightly assigned and the most irresponsibly&lt;br /&gt;
performed. I have heard of newspapers where the&lt;br /&gt;
reviews depended almost wholly on the accident&lt;br /&gt;
of some of the staff taking a holiday, or being laid&lt;br /&gt;
for a time on the shelf, or being considered not up&lt;br /&gt;
to other work; of others, though this I own is&lt;br /&gt;
scarcely credible, where the whole reviewing was&lt;br /&gt;
farmed out to a manager, to be allotted to such as&lt;br /&gt;
good to him seemed; of many where the reviews&lt;br /&gt;
were a sort of exercising ground on which novices&lt;br /&gt;
were trained, broken-down hacks turned out to&lt;br /&gt;
grass, and invalids allowed a little gentle exercise.&amp;quot;&lt;br /&gt;
He goes on to say that he knows papers where&lt;br /&gt;
the best work possible is given to one of the most&lt;br /&gt;
important kinds of work. Quite so. We also&lt;br /&gt;
know such papers.&lt;br /&gt;
Again, Mr. Henry James in the May number&lt;br /&gt;
of the New Review draws with masterly hand a&lt;br /&gt;
portrait of the Ideal Critic. Here it is :&mdash;&lt;br /&gt;
&amp;quot;Not only do I not question in literature the high&lt;br /&gt;
utility of criticism, but I should be tempted to say&lt;br /&gt;
that the part it plays may l&amp;gt;e the supremely bene-&lt;br /&gt;
ficent one when it proceeds from deep sources, from&lt;br /&gt;
the efficient combination of experience and per-&lt;br /&gt;
ception. In this light one sees the critic as a real&lt;br /&gt;
helper of mankind, a torch-bearing outrider, the&lt;br /&gt;
interpreter par excellence. The more we have of&lt;br /&gt;
such the better, though there will surely always be&lt;br /&gt;
obstacles enough to our having many. When one&lt;br /&gt;
thinks of the outfit required for fine work in this&lt;br /&gt;
spirit, one is ready to pay almost any homage to&lt;br /&gt;
the intelligence tlnit has put it on; and when one&lt;br /&gt;
considers the noble figure completely equipped&mdash;-&lt;br /&gt;
armed cap d pie in curiosity and sympathy&mdash;one&lt;br /&gt;
falls in love with one&amp;#039;s conception. It certainly&lt;br /&gt;
represents the knight who has knelt through his&lt;br /&gt;
long vigil, and who has the piety of his office. For&lt;br /&gt;
there is something sacrificial in his function, inas-&lt;br /&gt;
much as he offers himself as a touchstone. To lend&lt;br /&gt;
himself, to project himself and steep himself, to feel&lt;br /&gt;
and feel till he understands, and to understand so&lt;br /&gt;
well that he can say, to have perception at the&lt;br /&gt;
pitch of passion and expression in the form of&lt;br /&gt;
talent, to be infinitely curious and incorrigibly&lt;br /&gt;
patient, with the intensely fixed idea of turning&lt;br /&gt;
character and genius and history inside out&mdash;these&lt;br /&gt;
are ideas to give an active mind a higher programme&lt;br /&gt;
and to add the element of artistic beauty to the&lt;br /&gt;
conception of success. Just in proportion as he is&lt;br /&gt;
sentient and restless, just in proportion as he&lt;br /&gt;
vibrates with intellectual experience is the critic a&lt;br /&gt;
valuable instrument; for in literature, assuredly,&lt;br /&gt;
criticism is the critic, just as art is the artist; it&lt;br /&gt;
being assuredly the artist who invented art and the&lt;br /&gt;
critic who invented criticism, and not the other way&lt;br /&gt;
round.&amp;quot;&lt;br /&gt;
To draw a practical conclusion from these&lt;br /&gt;
remarks. The author, through his publisher,&lt;br /&gt;
presents certain journals with a copy of his book.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 51 (#455) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
5&laquo;&lt;br /&gt;
He says: &amp;quot;Gentlemen, here is my work. I shall&lt;br /&gt;
be grently obliged if your reviewer will give the&lt;br /&gt;
public his opinion on the book. If that opinion is&lt;br /&gt;
favourable, it will serve me by advancing my name,&lt;br /&gt;
and by promoting the demand for the volume. If it&lt;br /&gt;
is unfavourable&mdash;although an adverse verdict will&lt;br /&gt;
afflict me more than words can say&mdash;I cannot&lt;br /&gt;
complain if it is the opinion of a competent critic,&lt;br /&gt;
not a broken-down hack, or a novice, or an in-&lt;br /&gt;
valid, or a brutal scarifier, or one whose blackguard&lt;br /&gt;
and ill-bird delight it is to bludgeon a writer.&lt;br /&gt;
And if the opinion is that of a competent critic,&lt;br /&gt;
every word that he says ought to furnish some&lt;br /&gt;
suggestion or instruction for me in future efforts.&amp;quot;&lt;br /&gt;
If, after this, he finds that his critics are the&lt;br /&gt;
hacks, the invalids, the novices, and the bludgeon&lt;br /&gt;
brandishers, is he not, out of self-respect alone,&lt;br /&gt;
justified in withholding his next book, and all his&lt;br /&gt;
future books, from papers where these gentry are&lt;br /&gt;
allowed to prance?&lt;br /&gt;
This is our conclusion. Journals have no pre-&lt;br /&gt;
scriptive right to have books sent to them for&lt;br /&gt;
review. A bad and incomplete review may do a&lt;br /&gt;
book most serious injury, and can do it no good.&lt;br /&gt;
Every new weekly journal thinks itself entitled lo&lt;br /&gt;
copies of every new book. The thing is a tax,&lt;br /&gt;
which, though lightly felt by the individual author,&lt;br /&gt;
is very serious to a great publisher, who has to&lt;br /&gt;
expend many hundreds a year in these presents.&lt;br /&gt;
Every present should be received as conditional&lt;br /&gt;
on the execution of a trust, namely, that the book&lt;br /&gt;
shall be fairly and adequately reviewed. When&lt;br /&gt;
that trust is broken, the presentation copies should&lt;br /&gt;
cease.&lt;br /&gt;
This is our case, and our conclusion. Editors&lt;br /&gt;
of papers cannot but approve of this jealousy. It&lt;br /&gt;
may be argued that every author who received an&lt;br /&gt;
unfavourable verdict would withdraw his books from&lt;br /&gt;
the journal where it appeared, in a rage. Not so.&lt;br /&gt;
But even if he did, it would make no difference,&lt;br /&gt;
because a lmd writer left to silence perishes, and&lt;br /&gt;
that quite as quickly as a bad writer who is tried at&lt;br /&gt;
the Court of the Critic and condemned. On the&lt;br /&gt;
other hand, it will be most useful for reviewers to&lt;br /&gt;
understand that, like the Judges in the High Court&lt;br /&gt;
of Justice, they hold their places only during good&lt;br /&gt;
behaviour; and that their work is itself as liable&lt;br /&gt;
to criticism as the works of the authors.&lt;br /&gt;
Our case is in our own hands. In stilting it in&lt;br /&gt;
the pages of the Author month after month, the&lt;br /&gt;
volume of correspondence has shown that it is a&lt;br /&gt;
case in which writers of every kind&mdash;not novels&lt;br /&gt;
only, by any means&mdash;are most deeply concerned.&lt;br /&gt;
The case, I repeat, again and again, is in our own&lt;br /&gt;
hands. It is a business in which authors may take&lt;br /&gt;
counsel together, and, I hope, will. Let anyone&lt;br /&gt;
who has suggestions to offer send them here. One&lt;br /&gt;
cannot publish everything in our narrow space,&lt;br /&gt;
but we can read everything. The vacation cometh,&lt;br /&gt;
and is close at hand. In that holy season we&lt;br /&gt;
live like gods, anil feel neither wrath nor pity.&lt;br /&gt;
When that is over, let us take counsel together.&lt;br /&gt;
In another part of this paper Mr. Andrew Lang&lt;br /&gt;
offers a few remarks on Mr. Gissing&amp;#039;s &amp;quot; Grub Street.&amp;quot;&lt;br /&gt;
So much the better for Mr. Gissing&amp;#039;s book, which&lt;br /&gt;
should become in greater demand, even though the&lt;br /&gt;
writer says he knows no such residents in Grub&lt;br /&gt;
Street. He touches also on sundry questions&lt;br /&gt;
rising out of the book, especially on the great Ai t&lt;br /&gt;
of Scarifying. &amp;quot;It is only,&amp;quot; he says, &amp;quot; a battle with&lt;br /&gt;
snowballs at most.&amp;quot; The ordinary fellow who&lt;br /&gt;
writes, thin skinned, morbid, sensitive, fails to rise&lt;br /&gt;
to the height of caring no more for the Scarifier&lt;br /&gt;
than for the boy who throws a snowball. It is,&lt;br /&gt;
however, pleasant for him to feel that he ought&lt;br /&gt;
to receive the blows of the bludgeon, or the&lt;br /&gt;
rasping of the harrow with so much tranquility.&lt;br /&gt;
He envies the man who can: for himself, it is&lt;br /&gt;
beyond him, even if he knows that he shall get&lt;br /&gt;
the chance of hitting back again&mdash;which does&lt;br /&gt;
not too often happen; he writhes, he groans, he&lt;br /&gt;
swears. And it is small comfort to him that&lt;br /&gt;
another man stalks in silent dignity as careless&lt;br /&gt;
of bludgeon, and nike, and harrow, as if they&lt;br /&gt;
were no more than light and feathery snowballs.&lt;br /&gt;
A Game of Snowball.&lt;br /&gt;
Unmoved he holds his tranquil way,&lt;br /&gt;
The Philosophic Sage:&lt;br /&gt;
No whit the worse, though the critics curse,&lt;br /&gt;
And though the heathen rage.&lt;br /&gt;
And when they rolled the snowballs round,&lt;br /&gt;
And hurled them swift and strong,&lt;br /&gt;
&amp;quot;A merry game !&amp;quot; he said, &amp;quot;The same&lt;br /&gt;
I could play the whole day long.&amp;quot;&lt;br /&gt;
They lodged a snowball in his neck;&lt;br /&gt;
One in his left ear lay;&lt;br /&gt;
As one who shakes the falling flukes&lt;br /&gt;
He brushed those balls away.&lt;br /&gt;
And larger rolled those snowballs still&lt;br /&gt;
And faster still they flew.&lt;br /&gt;
He only cried: &amp;quot;That ball&amp;#039;s a wide!&lt;br /&gt;
Wait till I shy at you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 52 (#456) #############################################&lt;br /&gt;
&lt;br /&gt;
52&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
He chose n drift beneath a hedge&lt;br /&gt;
With icicles fringed and bound:&lt;br /&gt;
He made a ball of the ice and all&lt;br /&gt;
And rolled it round and round.&lt;br /&gt;
The white snow wrapped its icy points&lt;br /&gt;
And hid its icy heart.&lt;br /&gt;
He smiled, &amp;quot;For fun, no game is done&lt;br /&gt;
Till each has played his part.&amp;quot;&lt;br /&gt;
The other laughed and the other cried;&lt;br /&gt;
He laughed and he cried, and he ran;&lt;br /&gt;
Until the Sage his snowball shied,&lt;br /&gt;
Which hit that merry man.&lt;br /&gt;
Like David&amp;#039;s pebble it smote him full:&lt;br /&gt;
He stopped, he fell&mdash;he lav&mdash; [said,&lt;br /&gt;
&amp;quot;Dear Heart! He&amp;#039;s dead !&amp;quot; the Philosopher&lt;br /&gt;
&amp;quot;And all at a game of play!&amp;quot;&lt;br /&gt;
Mr. Thomas Hardy&amp;#039;s &amp;quot; Group of Noble Dames&amp;quot;&lt;br /&gt;
reads exactly as if the ten stories had l&amp;gt;een taken&lt;br /&gt;
bodily from the &amp;quot;Cent Nouvellos Nouvelles,&amp;quot; and&lt;br /&gt;
had formed one di.rain in that eolleetion. There&lt;br /&gt;
is the same simplicity of motive, the same directness&lt;br /&gt;
in the narrative; no rhetoric is here, no fine&lt;br /&gt;
description, no subtle analysis. They are not&lt;br /&gt;
society stories, although the Dames are noble.&lt;br /&gt;
They deal with men and women living in the&lt;br /&gt;
country, who belong to no time and all time;&lt;br /&gt;
and they deal with the simple theme of love,&lt;br /&gt;
and its complications, and its consequences.&lt;br /&gt;
Perhaps the most remarkable of the stories is that&lt;br /&gt;
of the girl who was married at thirteen. I believe&lt;br /&gt;
there are many&mdash;I have long since joined their ranks&lt;br /&gt;
&mdash;who consider Mr. Hardy in many respects the&lt;br /&gt;
most remarkable of English-speaking novelists.&lt;br /&gt;
The &amp;quot;Group of Noble Dames&amp;quot; will certainly&lt;br /&gt;
not diminish that number of disciples, though it&lt;br /&gt;
is food for men and women rather than for school&lt;br /&gt;
girls. The book appears to me, in fact, to be&lt;br /&gt;
what we have elsewhere called a literary event.&lt;br /&gt;
It ought to be added, that in type, binding, and&lt;br /&gt;
adornment, the book is admirably presented by&lt;br /&gt;
Messrs. Osgood &amp;amp; Go.&lt;br /&gt;
It is rather late to notice on the 1st of July a paper&lt;br /&gt;
which appeared on the ist of June. But, though&lt;br /&gt;
in the next generation the Author will l&amp;gt;c a great&lt;br /&gt;
daily paper, entirely devoted to Art and Letters, and&lt;br /&gt;
everything of importance will naturally appear in our&lt;br /&gt;
own columns first, to be humbly copied by the news-&lt;br /&gt;
papers of general interest afterwards, at present&lt;br /&gt;
the interval of a month is imposed upon us by the&lt;br /&gt;
exigency of existing arrangements. The paper I&lt;br /&gt;
wish to notice is that in the June Fortnightly&lt;br /&gt;
called &amp;quot;An Election at the English Academy.&amp;quot;&lt;br /&gt;
Apparently we have among us a new satirist, one&lt;br /&gt;
with a gentle touch and a light hand. Nothing&lt;br /&gt;
lighter or more certainly imbued with the true&lt;br /&gt;
satiric vein has appeared for a long time. The&lt;br /&gt;
supposed English Academicians are actually capable&lt;br /&gt;
of electing the Archbishop of Canterbury, because&lt;br /&gt;
he is Archbishop, over the heads of Samuel&lt;br /&gt;
Bawson Gardiner and Thomas Hardy. That is&lt;br /&gt;
all. It might be said in one sentence. That the&lt;br /&gt;
Academy should, or could, do such a thing would&lt;br /&gt;
be accepted as its final condemnation. But to say&lt;br /&gt;
so in one sentence would be to imitate the bludgeon&lt;br /&gt;
practice of certain well-known literary friends. We&lt;br /&gt;
have been so long accustomed to the exhibition of the&lt;br /&gt;
bludgeon that we have been in danger of forgetting&lt;br /&gt;
the rapier. We have been so brutalized by the&lt;br /&gt;
heavy blows of the common weapon that we have&lt;br /&gt;
well-nigh forgotten the bright and dexterous play&lt;br /&gt;
of the nobler steel. May one venture to express a&lt;br /&gt;
hope that more, a great deal more, may be heard of&lt;br /&gt;
this new satirist&mdash;who comes with a smile in his&lt;br /&gt;
eyes instead of a frown and a scowl, and bears&lt;br /&gt;
garlands instead of brickbats, and poises a rapier&lt;br /&gt;
instead of a cudgel? I observe that one of the&lt;br /&gt;
critics, in his infinite wisdom, suggests Budvard&lt;br /&gt;
Kipliug as the author. That seems to me hardly&lt;br /&gt;
felicitous. John Milton, from internal evidence,&lt;br /&gt;
would be as likely a name&mdash;perhaps more likely.&lt;br /&gt;
As Charles Lamb would say: &amp;quot;There&amp;#039;s a d.. d .. d..&lt;br /&gt;
deal of fun in John Milton.&amp;quot;&lt;br /&gt;
Grant Allen, in the same number of the same&lt;br /&gt;
paper, lifts up his voice on the decadence of&lt;br /&gt;
English literature and on the limitations of English&lt;br /&gt;
novel-writing. We are very often reminded of&lt;br /&gt;
these limitations. Of course they exist; no one&lt;br /&gt;
can possibly deny that As Mr. Grant Allen truly&lt;br /&gt;
states, if a man writes for a paper which goes&lt;br /&gt;
into the middle-class family, the editor will not let&lt;br /&gt;
him write about things which may be considered&lt;br /&gt;
immoral by the ordinary paterfamilias&mdash;not, how&lt;br /&gt;
ever, the &amp;quot;dissenting grocer&amp;quot; because that worthy&lt;br /&gt;
person takes in no such paper. The simple answer&lt;br /&gt;
is that the novelist who does not like this limitation&lt;br /&gt;
may go elsewhere. Mr. Grant Allen says it means&lt;br /&gt;
starvation. Nonsense! Let him try. Let him&lt;br /&gt;
produce a novel dealing with any and every&lt;br /&gt;
passion or emotion that he may choose, any&lt;br /&gt;
problem he pleases to set before his readers of&lt;br /&gt;
morals, religion, human life, or social relations. One&lt;br /&gt;
may safely predict, from a writer of his power, that&lt;br /&gt;
if he dares to lay aside his fears, and to write with&lt;br /&gt;
freedom, he will obtain a success which will astonish&lt;br /&gt;
him. Let him forget the dissenting grocer and the&lt;br /&gt;
sentimental maiden of seventeen&mdash;that sweet young&lt;br /&gt;
thing, indeed, under the awakening influence of&lt;br /&gt;
Ne.wnham, is so changed that her own mother knows&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 53 (#457) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
53&lt;br /&gt;
her no longer. Let him forget Mudie and the&lt;br /&gt;
e-ditor of the Family Teapot, and let him write&lt;br /&gt;
fearlessly such a work as he desires to write.&lt;br /&gt;
Surely the time has come when men should leave&lt;br /&gt;
off complaining that they are not allowed, and&lt;br /&gt;
should just dare to do what they think ought to Ik;&lt;br /&gt;
allowed.&lt;br /&gt;
In one point, I agree altogether with Mr. Grant&lt;br /&gt;
Allen. English literature is too much tainted with&lt;br /&gt;
London fog; it is tilled with London fog. But the&lt;br /&gt;
same thing might l&amp;gt;e said of French literature and of&lt;br /&gt;
Paris. The reason, I suppose, is that most writers&lt;br /&gt;
are attracted to London, and become saturated with&lt;br /&gt;
its atmosphere, so that all the scenes of the Human&lt;br /&gt;
Comedy take place on the stage of London. And&lt;br /&gt;
the actors and actresses are Londoners, and the&lt;br /&gt;
background is always a London street. If we&lt;br /&gt;
consider, however, that men and women are mostly&lt;br /&gt;
much the same whatever their conditions and&lt;br /&gt;
setting, nothing would be gained, except a little&lt;br /&gt;
freshness and change of air, by transferring the&lt;br /&gt;
at tors elsewhere.&lt;br /&gt;
Is there a new Poet? Is the reproach that-&lt;br /&gt;
there are no longer any poets under forty years of&lt;br /&gt;
age, to be at last removed? There is before me a&lt;br /&gt;
most dainty little volume called &amp;quot;Wordsworth&amp;#039;s&lt;br /&gt;
Grave.&amp;quot; It is written by William Watson, and is&lt;br /&gt;
published by Mr. Fisher Unwin. I venture to&lt;br /&gt;
think that the contents of this book have in them&lt;br /&gt;
such a ring of poetry as we have not heard for a&lt;br /&gt;
long time&mdash;the true ring of noble thought embedded&lt;br /&gt;
in noble rhyme. I believe that this book has been&lt;br /&gt;
out for some time; the excuse for noticing it&lt;br /&gt;
here&mdash;that I only saw it yesterday&mdash;may pass. Let&lt;br /&gt;
us copy one page :&mdash;&lt;br /&gt;
I hear it vouched the Muse is with us still;&lt;br /&gt;
If less divinely frenzied than of yore,&lt;br /&gt;
In lieu of feelings she has wondrous skill&lt;br /&gt;
To simulate emotion felt no more.&lt;br /&gt;
Not such the authentic Presence pure that made&lt;br /&gt;
This valley vocal in the great days gone!&lt;br /&gt;
In his great days while yet the springtime played&lt;br /&gt;
About him, and the mighty morning shone.&lt;br /&gt;
No word-mosaic artificer, he sang&lt;br /&gt;
A lofty song of lowly weal and dole.&lt;br /&gt;
Itight from the heart, right to the heart it sprang,&lt;br /&gt;
Or from the soul leaped instant to the soul.&lt;br /&gt;
He felt the charm of childhood, grace of youth,&lt;br /&gt;
Grandeur of age, insisting to be snug.&lt;br /&gt;
The impassioned argument was simple truth&lt;br /&gt;
Half wondering at its own melodious tongue.&lt;br /&gt;
Impassioned? Ay, to the song&amp;#039;s ecstatic core!&lt;br /&gt;
Not far removed were clangour, storm, and fiend:&lt;br /&gt;
For plenteous health was his, exceeding store&lt;br /&gt;
Of joy, and an impassioned quietude.&lt;br /&gt;
Surely we shall bear more of this singer.&lt;br /&gt;
Someone has lieen proposing in an American&lt;br /&gt;
paper that authors should pay a little personal&lt;br /&gt;
attention to the advertising of their books. He&lt;br /&gt;
proposes that the author should himself prepare&lt;br /&gt;
his advertisement just as he now writes his preface.&lt;br /&gt;
Well, that the author should condescend to pay a&lt;br /&gt;
little attention to the way in which his business is&lt;br /&gt;
conducted is a proposition in which we may all&lt;br /&gt;
agree. He should have a voice, and he should&lt;br /&gt;
exercise that voice, in the selection of the papers&lt;br /&gt;
in which his book is to be advertised, and the&lt;br /&gt;
money that may lie judiciously expended in adver-&lt;br /&gt;
tisements. In the same way he should claim a&lt;br /&gt;
voice, and should exercise that voice, in every other&lt;br /&gt;
part of the work. This right, once claimed and&lt;br /&gt;
exercised, would make publishing a far more careful&lt;br /&gt;
business than it is at present. It would certainly&lt;br /&gt;
lead to the restriction of the output, and to a&lt;br /&gt;
much more careful selection of works to be pub-&lt;br /&gt;
lished. And this would lie clear gain to literature.&lt;br /&gt;
But suppose authors were allowed their own way&lt;br /&gt;
in advertising. They ore not all, it must lie&lt;br /&gt;
confessed, remarkable for good taste. How would&lt;br /&gt;
it advance literature, for instance, to see the streets&lt;br /&gt;
placarded with such advertisements as this? &amp;quot;The&lt;br /&gt;
Empire Belle! Remember! The Empire Belle&lt;br /&gt;
does not clean the grates! The Empire Beli.e&lt;br /&gt;
does not whitewash the ceiling! The Empire&lt;br /&gt;
Bei.t.e does not fry bacon and eggs! The&lt;br /&gt;
Empire Belle. By the New Shakespeare! The&lt;br /&gt;
Empire Belle. By the second Dickens! Now&lt;br /&gt;
rendv! Price One Shilling only! The Empire&lt;br /&gt;
Belle for the Million!!!&amp;quot;&lt;br /&gt;
One or two complaints have been received&lt;br /&gt;
apropos of a certain paragraph in the June number.&lt;br /&gt;
The editor has lieen asked whether this paper has&lt;br /&gt;
religious views to advance. Certainly not. It&lt;br /&gt;
has none&mdash;none whatever&mdash;not even a leaning in&lt;br /&gt;
the direction of a kind of a sort of a something.&lt;br /&gt;
Therefore the editor hastens to take the sole blame&lt;br /&gt;
to himself of that paragraph, and begs to express&lt;br /&gt;
his regret that it passed his short-sighted eyes&lt;br /&gt;
without being shorn of its adjectives. These&lt;br /&gt;
adjectives! They are like women, because they&lt;br /&gt;
make or mar our happiness. Those used in this&lt;br /&gt;
paragraph may or may not lie true, but they were&lt;br /&gt;
quite out of place in these columns.&lt;br /&gt;
If the editor offers to insert a Member&amp;#039;s grievance,&lt;br /&gt;
provided it is not libellous: if the Member semis&lt;br /&gt;
him a statement, names and all, set forth plainly&lt;br /&gt;
for everybody to read, and if that statement, sub-&lt;br /&gt;
mitted to the opinion of a lawyer, is pronounced to&lt;br /&gt;
be libellous in every paragraph, has that editor any&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 54 (#458) #############################################&lt;br /&gt;
&lt;br /&gt;
54&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
right to complain it&amp;#039; that Member sends him letter&lt;br /&gt;
utter letter crammed with personal abuse? Perhaps&lt;br /&gt;
not. lie should possess his soul in patience.&lt;br /&gt;
A Boston firm, Messrs. Ester and Lauriat, are&lt;br /&gt;
going to produce a phenomenal edition of Scott&amp;#039;s&lt;br /&gt;
novels. A thousand copies will be issued at a price&lt;br /&gt;
of &pound;24 a set. The illustnitions will consist partly&lt;br /&gt;
of etchings) by French artists, and partly of photo-&lt;br /&gt;
graphic views of places made historical by the&lt;br /&gt;
events of the stories.&lt;br /&gt;
The street boys of Chicago are become students&lt;br /&gt;
of Browning. The Boston letter in the Critic&lt;br /&gt;
says so. A clergyman of that city had been&lt;br /&gt;
giving, in the basement of his Church, readings to&lt;br /&gt;
the street gamins who could be induced to enter&lt;br /&gt;
the doors. He read Uncle Remus and Hans&lt;br /&gt;
Breitmann, and then ventured on a poem by&lt;br /&gt;
Browning&mdash;one might surmise from the result that&lt;br /&gt;
it was &amp;quot; The Bide from Ghent to Aix.&amp;quot; At the&lt;br /&gt;
very next meeting the Arabs of the Windy City&lt;br /&gt;
with one accord, when asked what they wanted to&lt;br /&gt;
hear, pointed to the works of the classical Browning&lt;br /&gt;
and exclaimed: &amp;quot;Read more out of that fellow that&lt;br /&gt;
wrote about the horse-race. He knows some-&lt;br /&gt;
thing!&amp;quot;&lt;br /&gt;
Walter Bksant.&lt;br /&gt;
&mdash; &mdash;&lt;br /&gt;
THE RED MOUSE.&lt;br /&gt;
MANY readers of Goethe&amp;#039;s Faust have doubt-&lt;br /&gt;
less been startled or puzzled at the passage&lt;br /&gt;
in which the hero while dancing with&lt;br /&gt;
&amp;quot;a fair girl &amp;quot; leaves her abruptly because&mdash;&lt;br /&gt;
&amp;quot;A red mouse sprang from her mouth.&amp;quot;&lt;br /&gt;
To which Mephistopheles replies by bidding&lt;br /&gt;
him be thankful that it was not a black one.&lt;br /&gt;
Not long ago, while reading that most eccentric&lt;br /&gt;
of works the &amp;quot;Anthropodeintis Plutonicus&amp;quot; of&lt;br /&gt;
Johannes Praetorius (1666-8), I met with a story&lt;br /&gt;
which easts some light on the origin of this idea.&lt;br /&gt;
Tt happened in the time of Praetorius that in a&lt;br /&gt;
certain castle in Saxony the maids were having&lt;br /&gt;
what is culled in America &amp;quot;a paring bee,&amp;quot; that is,&lt;br /&gt;
they were paring and cutting up apples for drying.&lt;br /&gt;
One girl, seated apart from the others, fell asleep&lt;br /&gt;
with her mouth open, and what was the amazement&lt;br /&gt;
of all present to see a red mouse creep from her&lt;br /&gt;
mouth, which made its way to the window whence&lt;br /&gt;
it went forth.&lt;br /&gt;
There was present a certain Zoofe, a silly&lt;br /&gt;
conceited girl, who against the will of all present&lt;br /&gt;
insisted on rolling over and playing tricks on the&lt;br /&gt;
sleeping mnid, for the latter was put out of the&lt;br /&gt;
position in which she fell asleep. After a time&lt;br /&gt;
the mouse returned, and tried to find the sleeper&amp;#039;s&lt;br /&gt;
mouth but could not, and so it vanished and never&lt;br /&gt;
returned, nor did the girl, indeed, return to life or&lt;br /&gt;
waken again. However, it was observed that a&lt;br /&gt;
certain man in the castle had been greviously&lt;br /&gt;
tormented with nightmares, and that after this&lt;br /&gt;
girl&amp;#039;s death they came to him no more.&lt;br /&gt;
There is in South Germany a very widely&lt;br /&gt;
spread superstition to the effect that the liccr-&lt;br /&gt;
miitt.er or Gebarmutter (womb or matrix) is an&lt;br /&gt;
independent being of itself, that is, the life of the&lt;br /&gt;
body, and that very often when a girl is asleep it&lt;br /&gt;
leaves her mouth in the form of a crab or toad,&lt;br /&gt;
goes to some stream, or nibbles a certain plant, and&lt;br /&gt;
then returns to the mouth of the sleeper who, if&lt;br /&gt;
she has been ill, is always restored by this singular&lt;br /&gt;
occurrence.&lt;br /&gt;
In more than one Icelandic or Norse saga the&lt;br /&gt;
soul is seen to go as a little smoke or vapour from&lt;br /&gt;
the mouth of the sleeper and then return. On one&lt;br /&gt;
occasion the friend of a sleeping hero sees the&lt;br /&gt;
vapour go down to his feet, cross on a straw a tiny&lt;br /&gt;
rivulet, and enter the bleached and polished skull&lt;br /&gt;
of a horse which lay in the grass, in and about&lt;br /&gt;
which many bluebottle flies were buzzing. After&lt;br /&gt;
a time the vapour returned and entered the mouth&lt;br /&gt;
of the sleeper who, awaking, declared that he had&lt;br /&gt;
had a marvellous dream. For he had crossed on a&lt;br /&gt;
golden bridge a mighty river, till he came to a&lt;br /&gt;
marvellous green forest, the trees of which were&lt;br /&gt;
like giant sword blades; and in the forest was ,1&lt;br /&gt;
stupendous palace, all of ivory, which he entered,&lt;br /&gt;
and there were many knights all clad in burnished&lt;br /&gt;
blue steel armour, who danced and sang exquisitely;&lt;br /&gt;
he had never in all his life heard ought like it.&lt;br /&gt;
And after this he had returned over the golden&lt;br /&gt;
bridge and the sword-blade forest to his home.&lt;br /&gt;
Nearly connected with all this is the artistic&lt;br /&gt;
treatment during the Middle Age of death, and in&lt;br /&gt;
which the soul is represented as flying out of the&lt;br /&gt;
mouth sometimes as a dove and sometimes like&lt;br /&gt;
a little devil. As regards the former, I once had&lt;br /&gt;
related to me by a Bavarian young lady of good&lt;br /&gt;
family, a girl of singular and exceptional truth-&lt;br /&gt;
fulness, allied to common sense and good education,&lt;br /&gt;
the following :&mdash;&lt;br /&gt;
&amp;quot;I had a younger sister who had been ill for&lt;br /&gt;
a long time, and who predicted that she would soon&lt;br /&gt;
die, yet no one would witness her death. And one&lt;br /&gt;
day as I sat by her, the window being open, some-&lt;br /&gt;
thing like a white bird or a dove whirred up from&lt;br /&gt;
her mouth toward the open window and out of it.&lt;br /&gt;
I followed to look, and saw it soar far away and&lt;br /&gt;
vanish. When I went back to my sister I found&lt;br /&gt;
her dead. Her words had lieen fulfilled. No one&lt;br /&gt;
had seen her die.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 55 (#459) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
55&lt;br /&gt;
That the young ladv absolutely and honestly&lt;br /&gt;
lielieved she had seen this, I most seriously believe.&lt;br /&gt;
But what was it. I think in all probability some&lt;br /&gt;
bird or large white moth by chance in the room,&lt;br /&gt;
which disturbed, had flown through the window.&lt;br /&gt;
Excitement, a mind prone to poetry and supersti-&lt;br /&gt;
tion&mdash;and this lady&amp;#039;s family were to a very high&lt;br /&gt;
degree superstitious&mdash;and finally the frequent&lt;br /&gt;
telling the story had all led it to the form in which&lt;br /&gt;
I have given it.&lt;br /&gt;
Chaki.es G. Leland.&lt;br /&gt;
Florence, June 6th, 1891.&lt;br /&gt;
&lt;br /&gt;
THE BOOS OP THE MONTH.&lt;br /&gt;
Mrs. Orr&amp;#039;s &amp;quot;Life of Robert Browning.&amp;quot;*&lt;br /&gt;
MRS. Sutherland Orr&amp;#039;s &amp;quot;Life of Browning&amp;quot;&lt;br /&gt;
is pre-eminently judicious. It contains&lt;br /&gt;
none of that worthless tittle-tattle for which&lt;br /&gt;
the public have of late years been taught to clamour.&lt;br /&gt;
We do not learn from it that on such-and-such a day&lt;br /&gt;
Mr. Browning dined at the house of Mr. So-and-So,&lt;br /&gt;
where he met Lord , another distinguished&lt;br /&gt;
jwet, who drank nothing but claret throughout the&lt;br /&gt;
whole of the dinner. This welcome reticence on&lt;br /&gt;
the part of Mrs. Orr is partly intentional and&lt;br /&gt;
partly accidental. While, on the one hand, she&lt;br /&gt;
lias not failed to keep up the most perfect regard&lt;br /&gt;
for the subject of her memoir, she has never&lt;br /&gt;
forgotten that&mdash;&lt;br /&gt;
&amp;quot;He did but sing&lt;br /&gt;
A song that pleased us from its worth;&lt;br /&gt;
No public life was bis on earth,&lt;br /&gt;
Xo blazon&amp;#039;d statesman he, nor king.&amp;quot;&lt;br /&gt;
Petty nnd useless details are carefully avoided&lt;br /&gt;
throughout the whole of the book. Only the&lt;br /&gt;
salient facts of the poet&amp;#039;s life are given, together&lt;br /&gt;
with a selection from his letters, and some acute&lt;br /&gt;
and helpful criticism of his poems. The whole&lt;br /&gt;
story of Mr. Browning&amp;#039;s life is contained in less&lt;br /&gt;
than 460 octavo j&amp;gt;ages.&lt;br /&gt;
Mrs. Orr&amp;#039;s reticence is, as we have said, partly&lt;br /&gt;
accidental. She has not l&amp;gt;een able to command so&lt;br /&gt;
large n mass of materials as is usually placed in&lt;br /&gt;
the hands of the biographer. In the first place,&lt;br /&gt;
Browning destroyed a few years before his death,&lt;br /&gt;
all the letters he wrote to his sister during the&lt;br /&gt;
time he was in Italy (an intensely interesting&lt;br /&gt;
collection covering fifty years of his life); and in&lt;br /&gt;
the next place, he did not, so far as can be ascer-&lt;br /&gt;
tained, keep any diary. Lastly, it must l&amp;gt;e&lt;br /&gt;
reineiul&amp;gt;crcd, that there were by no means so many&lt;br /&gt;
* &amp;quot; Life and Letters of Robert Browning.&amp;quot; By Mrs.&lt;br /&gt;
Sutherland Orr. (London: Smith, Elder, &amp;amp; Co.)&lt;br /&gt;
reminiscences of him forthcoming as might have&lt;br /&gt;
been expected. A biography like Fronde&amp;#039;s&lt;br /&gt;
&amp;quot;Carl vie &amp;quot;&mdash;to cite the most popular of modern&lt;br /&gt;
lives&mdash;was, under these circumstances, entirely out.&lt;br /&gt;
of the question. Such biographies are like the&lt;br /&gt;
gossip of the New Journalism: interesting, but&lt;br /&gt;
damaging to those discussed. Our readers may&lt;br /&gt;
remember that it was a remark in Fitzgerald&amp;#039;s&lt;br /&gt;
Memoirs which drew from Mr. Browning the&lt;br /&gt;
most indignant piece of verse which he ever wrote.&lt;br /&gt;
But in fairness to Mrs. Orr, it should he said&lt;br /&gt;
that, however extensive the materials placed in her&lt;br /&gt;
hands might have been, there need have been no fear&lt;br /&gt;
of her putting them to any improper use. Every-&lt;br /&gt;
thing that could possibly be of interest and value&lt;br /&gt;
would have been given in the book&mdash;no more and&lt;br /&gt;
no less.&lt;br /&gt;
The work has l&amp;gt;cen blamed on other grounds&lt;br /&gt;
than that of reticence. Mrs. Orr has been&lt;br /&gt;
accused of deliberately minimizing the importance&lt;br /&gt;
of the poet&amp;#039;s early connexion in Dissent, This&lt;br /&gt;
is a point upon which she herself will, no&lt;br /&gt;
doubt, say something when the fitting moment&lt;br /&gt;
arrives. Meantime, it may be useful to point&lt;br /&gt;
out that Mrs. Orr had not the slightest intention&lt;br /&gt;
of doing anything of the kind suggested. A&lt;br /&gt;
good many of the facts concerning Browning&amp;#039;s&lt;br /&gt;
early days were obtained by her from his sister,&lt;br /&gt;
Miss Browning&mdash;the facts concerning his religion&lt;br /&gt;
among them. It is natural, of course, that the&lt;br /&gt;
Nonconformist papers should desire to make as much&lt;br /&gt;
as possible of the fact that Browning once attended a&lt;br /&gt;
dissenting chapel in Camberwell; but, on the other&lt;br /&gt;
hand, it is equally natural that Mrs. Orr, who had&lt;br /&gt;
to tell the story of his whole life, and preserve a&lt;br /&gt;
due sense of literary perspective, should not attach&lt;br /&gt;
such supreme importance to it. If Nonconformity&lt;br /&gt;
had anything to do with moulding the poet&amp;#039;s mind&lt;br /&gt;
or his character, the author of his biography ought&lt;br /&gt;
obviously to have laid stress upon it. But this&lt;br /&gt;
remains to be proved. Meantime, it will doubtless&lt;br /&gt;
interest Ur. Robertson Nicoll and other Noncon-&lt;br /&gt;
formist critics of the book to learn that Browning&lt;br /&gt;
never lost an opportunity of recommending&lt;br /&gt;
Mrs. Orr&amp;#039;s &amp;quot;Handbook&amp;quot; to his poems, and that&lt;br /&gt;
he alwavs expressed particular approbation of the&lt;br /&gt;
manner in which his religious views wire dealt&lt;br /&gt;
with in that book. Her discussion of these views,&lt;br /&gt;
whether in the &amp;#039;&amp;#039;Handbook,&amp;quot; or in the biography&lt;br /&gt;
now under consideration, is distinctly non-sectarian&lt;br /&gt;
in standpoint, but, at the same time, is not &amp;quot; bitterly&lt;br /&gt;
Agnostic,&amp;quot; as has been alleged. Mrs. Orr is not&lt;br /&gt;
a &amp;quot;bitter Agnostic &amp;quot;; nor, indeed, in the sense&lt;br /&gt;
usually attached to the word is she on Agnostic at&lt;br /&gt;
all. Having said thus much by way of introduction,&lt;br /&gt;
we had l)est at once proceed briefly to sketch&lt;br /&gt;
Mr. Browning&amp;#039;s career as revealed to us in the&lt;br /&gt;
interesting pages of Mrs. Sutherland Orr&amp;#039;s book.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 56 (#460) #############################################&lt;br /&gt;
&lt;br /&gt;
56 THE AUTHOR.&lt;br /&gt;
Bikth and Childhood of the Poet.&lt;br /&gt;
Robert Browning was born at Camberwell on&lt;br /&gt;
May 7th, 1812.&lt;br /&gt;
&amp;quot;He was (says Mrs. On ) a handsome, vigorous, fearless&lt;br /&gt;
child, and soon developed an unresting activity and fiery&lt;br /&gt;
temper. He clamoured for occupation from the moment lie&lt;br /&gt;
could speak. His mother could only keep him quiet when&lt;br /&gt;
once he had emerged from infancy hy telling him stories&mdash;&lt;br /&gt;
doubtless Hihle stories&mdash;while holding him on her knee.&lt;br /&gt;
. . . . It has often been told how he extemporized&lt;br /&gt;
verse aloud while walking round and round the dining-room&lt;br /&gt;
table, supporting himself by his hands, when he was still so&lt;br /&gt;
small that his head was scarcely above it. He remembered&lt;br /&gt;
having entertained his mother in the very first walk he was&lt;br /&gt;
considered old enough to take with her, by a fantastic&lt;br /&gt;
account of his possessions in houses, &amp;amp;c, of which the&lt;br /&gt;
topographical details elicited from her the remark, &amp;#039; Why,&lt;br /&gt;
sir, you are quite a geographer.&amp;#039; . . . This seems to&lt;br /&gt;
have been a first real flight of dramatic fancy, confusing&lt;br /&gt;
his identity for the time being.&amp;quot;&lt;br /&gt;
Earliest Poetical Efforts.&lt;br /&gt;
Browning wont to several private schools, at&lt;br /&gt;
every one of which he seems to have distinguished&lt;br /&gt;
himself. Of course, he l&amp;gt;egnn to write verses at an&lt;br /&gt;
early age. He also read a great deal. His first&lt;br /&gt;
volume of poems was entitled &amp;quot; Incondita &amp;quot;&mdash;a title&lt;br /&gt;
which (us Mrs. Orr points out) &amp;quot;conveyed a certain&lt;br /&gt;
idea of depreciation.&amp;quot; He was naturally very&lt;br /&gt;
anxious to see these verses in print, and his father&lt;br /&gt;
and mother, &amp;quot;poetry-lovers of the old school,&amp;quot; also&lt;br /&gt;
found in them sufficient merit to justify their&lt;br /&gt;
publication. No publisher, however, could be&lt;br /&gt;
found. Happily, both for the poet and for his&lt;br /&gt;
fond parents, the bogus publisher, with whom we&lt;br /&gt;
are now so familiar, was in those days non-existent.&lt;br /&gt;
The only result of their failure to find someone&lt;br /&gt;
who would issue the volume was that Browning&lt;br /&gt;
&amp;quot;destroyed the little manuscript in some mingled&lt;br /&gt;
reaction of disappointment and disgust.&amp;quot; In this&lt;br /&gt;
he acted most wisely. He proved not only that&lt;br /&gt;
he could write verses, but that he could do what&lt;br /&gt;
is infinitely more difficult&mdash;destroy them when it&lt;br /&gt;
became necessary to do so.&lt;br /&gt;
Influence of Keats and Shelley.&lt;br /&gt;
Browning left school soon after the completion&lt;br /&gt;
of his fourteenth year, and there came to him&lt;br /&gt;
almost immediately an influence which moulded to&lt;br /&gt;
no small extent the whole of his future career.&lt;br /&gt;
He was passing a bookstall one day, when he saw&lt;br /&gt;
in a box of second-hand volumes, a little book adver-&lt;br /&gt;
tised as &amp;quot;Mr. Shelley&amp;#039;s Atheistical Poem: very&lt;br /&gt;
scarce.&amp;quot; He went home, and begged his mother&lt;br /&gt;
to procure liim Shelley&amp;#039;s works&mdash;a request which&lt;br /&gt;
she eventually complied with. He next obtained&lt;br /&gt;
Keats&amp;#039; poems, and the influence of these two writers&lt;br /&gt;
u|&amp;gt;on his life and poetry soon became very marked.&lt;br /&gt;
For a time, at any rate, he professed Atheism, and&lt;br /&gt;
was an ardent vegetarian. He soon grew dissatisfied&lt;br /&gt;
with his narrow home circle, and yearned for a&lt;br /&gt;
career. &amp;quot;The fact was,&amp;quot; says his sister, in &amp;lt;om-&lt;br /&gt;
menting upon this period of unrest, &amp;quot;he had&lt;br /&gt;
outgrown his social surroundings. They were&lt;br /&gt;
absolutely good, but they were narrow; it could&lt;br /&gt;
not be otherwise. He chafed under them.&amp;quot; All&lt;br /&gt;
this was, no doubt, necessary to the making of the&lt;br /&gt;
man and to the shaping of the poet.&lt;br /&gt;
Literature as a Profession.&lt;br /&gt;
The time at last came when young Browning&lt;br /&gt;
definitely decided to adopt literature its a profession.&lt;br /&gt;
He qualified himself for it by reading and digesting&lt;br /&gt;
the whole of &amp;quot;Johnson&amp;#039;s Dictionary&amp;quot;; a course of&lt;br /&gt;
preparation which may l&amp;gt;o confidently recommended&lt;br /&gt;
to every young gentleman about to embark upon a&lt;br /&gt;
similar career. &amp;quot;Pauline: A Fragment of a Con-&lt;br /&gt;
fession,&amp;quot; was written and published before the poet&lt;br /&gt;
was 21 years of age. He had an early friend&lt;br /&gt;
in the Rev. Mr. Fox, a Unitarian Minister, who&lt;br /&gt;
read his poetical effusions with interest, anil who&lt;br /&gt;
reviewed them in all the papers and periodicals which&lt;br /&gt;
could lx* said to be at his command. Most literary&lt;br /&gt;
men have kindly memories of some such early&lt;br /&gt;
friend, and by them&mdash;if by nobody else&mdash;the fol-&lt;br /&gt;
lowing letter from Browning to Mr. Fox will be&lt;br /&gt;
read with interest:&mdash;&lt;br /&gt;
&amp;quot;Perhaps, by the aid of the subjoined initials and a little&lt;br /&gt;
reflection, you may recollect an oddish sort of boy, who had&lt;br /&gt;
the honour of being introduced to you at Hackney some&lt;br /&gt;
years back&mdash;at that time a sayer of verse and a doer of it,&lt;br /&gt;
and whose doings you had a little previously commended&lt;br /&gt;
after a fashion&mdash;(whether in earnest or not, God knows):&lt;br /&gt;
that individual it is who takes the liberty of addressing one&lt;br /&gt;
whose slight commendation then was more thought of than&lt;br /&gt;
all the gun, drum, and trumpet of praise would be now, and&lt;br /&gt;
to submit to you a free-and-easy sort of thing which he&lt;br /&gt;
wrote some months ago &amp;#039;On one leg,&amp;#039; and which conies out&lt;br /&gt;
this week&mdash;having either heard or dreamed that you con-&lt;br /&gt;
tribute to the Westminster.&amp;quot;&lt;br /&gt;
Another &amp;quot;spontaneous appreciatior&amp;quot; of Mr.&lt;br /&gt;
Browning&amp;#039;s genius was John Forster, the accom-&lt;br /&gt;
plished biographer of Goldsmith and of Charles&lt;br /&gt;
Dickens.&lt;br /&gt;
Publication of &amp;quot;Paracelsus.&amp;quot;&lt;br /&gt;
Mr. Browning&amp;#039;s next published work was&lt;br /&gt;
&amp;quot;Paracelsus,&amp;quot; which did not give the young poet his&lt;br /&gt;
just place in popular judgment and public esteem.&lt;br /&gt;
&amp;quot;But &amp;quot; (as Mrs. Orr remarks) &amp;quot;it compelled his&lt;br /&gt;
recognition by the leading or rising literary men&lt;br /&gt;
of the day : and a fuller and more varied social life&lt;br /&gt;
now opened lx&amp;#039;fore him. The names of Sergeant&lt;br /&gt;
Talfourd, Home, Leigh Hunt, Barry Cornwall,&lt;br /&gt;
Monekton Milnes, Eliot Warburton, Dickens,&lt;br /&gt;
Wordsworth, and Walter Savage Landor represent,&lt;br /&gt;
with t hat of Forster, some of the acquaintances made,&lt;br /&gt;
or friendships begun, at this period.&amp;quot; It was about&lt;br /&gt;
this time also, that he met Macready, who subse-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 57 (#461) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
57&lt;br /&gt;
quently produced several of Browning&amp;#039;s plays.&lt;br /&gt;
There was, however, a quarrel in the end, anil the&lt;br /&gt;
friends became permanently estranged.&lt;br /&gt;
&amp;quot;Graved inside of it, &amp;#039;Italy.&amp;#039;&amp;quot;&lt;br /&gt;
In 1838 Browning made his tirst visit to Italy.&lt;br /&gt;
To what extent he loved the country may l&amp;gt;e&lt;br /&gt;
gathered from the following couplet, which occurs&lt;br /&gt;
in one of his poems :&mdash;&lt;br /&gt;
&amp;quot;Opi&amp;#039;U my heart anil you will see&lt;br /&gt;
Graved inside of it,&amp;#039; Italy.&amp;#039;&amp;quot;&lt;br /&gt;
The lines fitly appear upon a tablet affixed to the&lt;br /&gt;
Razzonico Palazzo at Venice&mdash;the house in which&lt;br /&gt;
the poet died. The inspirations of Asolo and&lt;br /&gt;
Venice appear in &amp;quot;Pippa Passes&amp;quot; nnd &amp;quot;In a&lt;br /&gt;
Gondola.&amp;quot; More important works followed these&lt;br /&gt;
poems at a short interval. In 1840 &amp;quot;Sordello&amp;quot;&lt;br /&gt;
appeaml; and soon afterwards &amp;quot;Bells and Pome-&lt;br /&gt;
granates.&amp;quot; The story of the publication of the&lt;br /&gt;
latter is pleasantly told bv Mr. Edmund Gosse in&lt;br /&gt;
his interesting &amp;quot;Personalia&amp;quot;&mdash;a work which Mrs.&lt;br /&gt;
Orr occasionally quotes.&lt;br /&gt;
&amp;quot;A Lost Leader.&amp;quot;&lt;br /&gt;
Browning next wrote &amp;quot; A Blot in the Scutcheon&amp;quot;&lt;br /&gt;
&mdash;the last play, we fancy, that ever came from his pen&lt;br /&gt;
&mdash;us well as a good deal of miscellaneous verse.&lt;br /&gt;
Among the latter was &amp;quot; The Lost Leader.&amp;quot; Every-&lt;br /&gt;
one knows these vigorous and beautiful lines :&mdash;&lt;br /&gt;
&amp;quot;Just for a handful of silver lie left us,&lt;br /&gt;
Just for a riband to stick in his coat.&amp;quot;&lt;br /&gt;
Everyone also has heard at some time or another&lt;br /&gt;
that they refer to Wordsworth. Browning was&lt;br /&gt;
often asked the question in so many words. Here&lt;br /&gt;
is one of his replies :&mdash;&lt;br /&gt;
&amp;quot;I have been asked the question you put to me, I suppose,&lt;br /&gt;
a score of times: and I can only answer with something of&lt;br /&gt;
shame and contrition that I undoubtedly had Wordsworth&lt;br /&gt;
in ray mind&mdash;but simply as a &amp;#039;model&amp;#039;; you know an&lt;br /&gt;
artist takes one or two striking traits in the features of his&lt;br /&gt;
&amp;#039;model,&amp;#039; and uses them to start his fane}&amp;#039; on a flight which&lt;br /&gt;
may end fur enough from the good man or woman who&lt;br /&gt;
happens to be &amp;#039;sitting&amp;#039; for nose and eye. I thought of&lt;br /&gt;
the great poet&amp;#039;s abandonment of Liberalism at an unlucky&lt;br /&gt;
juncture, and no repaying consequence that I could ever&lt;br /&gt;
see. But&mdash;once call my fancy-portrait Wordsworth&mdash;anil&lt;br /&gt;
how much more one ought to say&mdash;how much more would&lt;br /&gt;
not 1 have attempted to say!&amp;quot;&lt;br /&gt;
Makriaue with Miss Barrett.&lt;br /&gt;
The story of Robert Browning&amp;#039;s marriage to the&lt;br /&gt;
greatest woman-poet which this country or this&lt;br /&gt;
century lias produced forms one of the most fasci-&lt;br /&gt;
nating chapters of Mrs. Orr&amp;#039;s l&amp;gt;ook. Since, how-&lt;br /&gt;
ever, it has already l)een very freely quoted from,&lt;br /&gt;
we shall best consult the interests of our readers&lt;br /&gt;
by passing over it lightly, so as to leave more room&lt;br /&gt;
for other quotations, which the reviewers in their&lt;br /&gt;
haste have forgotten to make. The marriage in&lt;br /&gt;
question was a singularly happy one&mdash;indeed, we&lt;br /&gt;
do not for the moment remember any biography&lt;br /&gt;
of an English man of letters (except, perhaps, that&lt;br /&gt;
of Charles Kingsley) which contains a more perfect&lt;br /&gt;
picture of conjugal bliss. Browning was a devoted&lt;br /&gt;
husband&mdash;during the ij years of his married life&lt;br /&gt;
he never dined from home but once! &mdash; and&lt;br /&gt;
Mrs. Browning, ill though she was, proved in her&lt;br /&gt;
way to be an ideal wife. Mrs. Orr says that the&lt;br /&gt;
poet used to commemorate his marriage by going&lt;br /&gt;
to the church in which it. hail been solemnized,&lt;br /&gt;
and kissing the paving-stones in front of the door.&lt;br /&gt;
He certainly retained his jiassionate devotion for&lt;br /&gt;
ElizalK&amp;#039;th Barrett up to the day of his death.&lt;br /&gt;
&amp;quot;() thou soul of my soul! I shall clasp thee again,&lt;br /&gt;
And with God be tin- rest&amp;#039;.&amp;quot;&lt;br /&gt;
he sings in &amp;quot;Prospice.&amp;quot; And just towards the&lt;br /&gt;
close of his life a stray reference to the woman&lt;br /&gt;
he had so tenderly loved in the &amp;quot;Memoirs of&lt;br /&gt;
Edward Fitzgerald &amp;quot;&mdash;an unkind reference&mdash;raised&lt;br /&gt;
his indignation to a white heat, and drew from him&lt;br /&gt;
the most vehement piece of invective that he ever&lt;br /&gt;
wrote. &amp;quot;There was a moment,&amp;quot; says Mrs. Orr,&lt;br /&gt;
&amp;quot;in which he regretted these lines, and would&lt;br /&gt;
willingly have withdrawn them. This was the&lt;br /&gt;
period, unfortunately short, which intervened&lt;br /&gt;
between his sending them to the Athenaum and&lt;br /&gt;
their appearance there.&amp;quot; That Fitzgerald&amp;#039;s remark&lt;br /&gt;
deeply pained Mr. Browning there can be no doubt.&lt;br /&gt;
&amp;quot;It affected him with the directness of a sharp&lt;br /&gt;
physical blow. lie spoke of it, and for hours,&lt;br /&gt;
even days, was known to feel it as such&lt;br /&gt;
He only recovered his lwilance in striking the&lt;br /&gt;
counter-blow.&amp;quot;&lt;br /&gt;
The Brownings is Italy.&lt;br /&gt;
But we must get on with our story. Browning&lt;br /&gt;
and his wife s]&amp;gt;cnt the greater portion of their&lt;br /&gt;
married life in Italy. These years must have been&lt;br /&gt;
the happiest of the poet&amp;#039;s life. He was in a&lt;br /&gt;
country which he dearly loved: wife and child&lt;br /&gt;
were by his side: the most congenial company was&lt;br /&gt;
close at hand. Take the year 1804 for example&mdash;&lt;br /&gt;
the year in which the Brownings spent their first&lt;br /&gt;
winter in Rome. At this time the Eternal City&lt;br /&gt;
contained Thackeray, Lockhart, and Frederic&lt;br /&gt;
Leigh ton. Of Thackeray Mrs. Browning writes&lt;br /&gt;
as follows :&mdash;&lt;br /&gt;
&amp;quot;If anybody wants small talk by bandfuls, of glittering&lt;br /&gt;
dust swept out of salons, here&amp;#039;s Mr. Thackeray!&amp;quot;&lt;br /&gt;
And of Lockhart :&mdash;&lt;br /&gt;
&amp;quot;My husband sees a good deal of him&mdash;more than I do&lt;br /&gt;
&mdash;because of the access of cold weather lately, which has&lt;br /&gt;
kept me at home chiefly. Robert went down to the seaside&lt;br /&gt;
on a day&amp;#039;s excursion with him and the Sartorises&mdash;and, I&lt;br /&gt;
hear, found favour in his sight. Said the critic: 11 like&lt;br /&gt;
Browning&mdash;he isn&amp;#039;t at all like a damned literary man.&amp;#039;&lt;br /&gt;
That&amp;#039;s a compliment, 1 believe, according to your dic-&lt;br /&gt;
tionary.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 58 (#462) #############################################&lt;br /&gt;
&lt;br /&gt;
58 THE AUTHOR.&lt;br /&gt;
The Brownings in England.&lt;br /&gt;
In 1855 the Brownings were in London; and it&lt;br /&gt;
was at their house&mdash;i3, Dorset Street, Portman&lt;br /&gt;
Square&mdash;that Tennyson first read the manuscript of&lt;br /&gt;
his new poem, &amp;quot; Maud.&amp;quot; It was at this time that&lt;br /&gt;
they first met Buskin. Here is Mrs. Browning&amp;#039;s&lt;br /&gt;
allusion to him :&mdash;&lt;br /&gt;
&amp;quot;We went to Denmark Hill yesterday to have luncheon&lt;br /&gt;
with them, and see the Turners, which, by the way, are&lt;br /&gt;
divine. I like Mr. ltuskiii much, and so does ltobert. Very&lt;br /&gt;
gentle, yet earnest&mdash;refined and truthful. I like him very&lt;br /&gt;
much. We count him one among the valuable acquaintances&lt;br /&gt;
made this year in England.&amp;quot;&lt;br /&gt;
Mrs. Browning had a hope that her father, who&lt;br /&gt;
would not forgive her for her marriage, would at&lt;br /&gt;
least so far relent towards his daughter as to kiss&lt;br /&gt;
her child. Her prayer to this effect remained,&lt;br /&gt;
however, unanswered.&lt;br /&gt;
Death of Mrs. Browning.&lt;br /&gt;
All earthly happiness has an end. Mrs.&lt;br /&gt;
Browning died at Casa Guidi, Florence, on the&lt;br /&gt;
29th of June 1861, and, for a time at any rate,&lt;br /&gt;
the light of the poet&amp;#039;s life was extinguished. What&lt;br /&gt;
he felt may he inferred from the following letter to&lt;br /&gt;
his much-esteemed friend Mr.&mdash;now Sir&mdash;Frederic&lt;br /&gt;
Leighton.&lt;br /&gt;
&amp;quot;It is like your old kindness to write to me, and to say&lt;br /&gt;
what you do&mdash;1 know you feel for me. I can&amp;#039;t write about&lt;br /&gt;
it&mdash;but there were many alleviating circumstances that yon&lt;br /&gt;
shall know one day&mdash;there seemed no pain, and (what she&lt;br /&gt;
would have felt most) the knowledge of separation from us&lt;br /&gt;
was spared her. I find these things a eomfort indeed.&lt;br /&gt;
. . Don&amp;#039;t fancy I am &amp;#039;prostrated &amp;#039;; I have enough to&lt;br /&gt;
do for the boy and myself in carrying out her wishes. He&lt;br /&gt;
is better than one would have thought, and behaves dearly&lt;br /&gt;
to me. Everybody has been very kind.&amp;quot;&lt;br /&gt;
The blow was a terrible one; but, as Mrs. Orr&lt;br /&gt;
truthfully remarks, &amp;quot;Life conquers Death for most&lt;br /&gt;
of us; whether or not, &amp;#039;Nature, Art, and Beauty&amp;#039;&lt;br /&gt;
assist in the conquest. It was bound to conquer in&lt;br /&gt;
Mr. Browning&amp;#039;s case; first, through his many-sided&lt;br /&gt;
vitality; and, secondly, through the special motive&lt;br /&gt;
of [living and striving which remained to him in&lt;br /&gt;
his son.&amp;quot;&lt;br /&gt;
Browning and Carlyle.&lt;br /&gt;
The limits of our space will not permit us to&lt;br /&gt;
tell the story of Browning&amp;#039;s later years with the&lt;br /&gt;
fulness which it deserves. But we must not fail&lt;br /&gt;
to quote Mrs. Orr&amp;#039;s reference to Carlyle. Curiously&lt;br /&gt;
enough, Browning&amp;#039;s name does not once appear in&lt;br /&gt;
Mr. Fronde&amp;#039;s Life of the Chelsea Sage. &amp;quot;Yet,&amp;quot;&lt;br /&gt;
as Mrs. Orr tells us,&mdash;&lt;br /&gt;
&amp;quot;He visited him at Chelsea in the last weary days of&lt;br /&gt;
his long life, as often as their distance from each other and&lt;br /&gt;
his own engagements allowed. He never ceased to defend&lt;br /&gt;
him against the charge of unkindness to bis wife, or to&lt;br /&gt;
believe that in the matter of their domestic nnhappiness,&lt;br /&gt;
she was the more responsible of the two. Vet Carlyle had&lt;br /&gt;
never rendered him that service, easy as it appears, which&lt;br /&gt;
one man of letters most justly values from another: that of&lt;br /&gt;
proclaiming the admiration which he privately expresses for&lt;br /&gt;
his works.&amp;quot;&lt;br /&gt;
The closing years of Robert Browning&amp;#039;s life had&lt;br /&gt;
&mdash;to put the thing briefly&mdash;all that should accom-&lt;br /&gt;
pany old age&mdash;&amp;quot; honour, love, obedience, troops of&lt;br /&gt;
friends.&amp;quot; He died at Venice on December 12th,&lt;br /&gt;
1889, and was buried in Westminster Abbey on the&lt;br /&gt;
last day of the same year.&lt;br /&gt;
Robert Browning: Some Characteristics.&lt;br /&gt;
Our extended notice of this important &amp;quot; Book of&lt;br /&gt;
the Month&amp;quot; will best conclude with some account&lt;br /&gt;
of Robert Browning the man, founded upon Mrs.&lt;br /&gt;
Orr&amp;#039;s twentieth chapter&mdash;an excellent summary&mdash;&lt;br /&gt;
obviously written by a very intimate friend. &amp;quot;The&lt;br /&gt;
poet (says our author) was strangely constant to&lt;br /&gt;
habit: what beloved once he loved always, from&lt;br /&gt;
the dearest man or woman to whom his allegiance&lt;br /&gt;
had been given, to the humblest piece of furniture&lt;br /&gt;
with had served him.&amp;quot; But his habits were not so&lt;br /&gt;
strong that they could not be broken if occasion&lt;br /&gt;
imperatively demanded the taking of such a course.&lt;br /&gt;
For years he was a devoted follower of Mr. Glad-&lt;br /&gt;
stone; but, when the time came, he did not hesitate&lt;br /&gt;
to become a passionate Unionist; although (as&lt;br /&gt;
Mrs. Orr points out) &amp;quot;the question of our political&lt;br /&gt;
relations with Ireland weighed less with him than&lt;br /&gt;
those considerations of law and order, of honesty&lt;br /&gt;
and humanity, which had been trampled under foot&lt;br /&gt;
in the name of Home Rule.&amp;quot; Like every man&lt;br /&gt;
who deserves Earth-room he worshipped genius&mdash;&lt;br /&gt;
long years ago when he was in Paris he caused&lt;br /&gt;
his little son to run up to and touch Beranger, in&lt;br /&gt;
order that the boy might be able to say in after&lt;br /&gt;
life that he had at least touched a great man. As&lt;br /&gt;
a poet he finished his work very carefully; the&lt;br /&gt;
most conscientious labour being always devoted to&lt;br /&gt;
form. He never forget that most excellent saying,&lt;br /&gt;
Nulla dies sine linea, and always counted a day&lt;br /&gt;
lost on which he had not written something. Like&lt;br /&gt;
Mr. George Meredith he could throw off impromptu&lt;br /&gt;
verses, whether serious or comical, with the utmost&lt;br /&gt;
ease. That he was a brilliant talker goes almost&lt;br /&gt;
without saying; he was admittedly more a talker&lt;br /&gt;
than a conversationalist. In a word, Robert&lt;br /&gt;
Browning, as presented to us in the fascinating&lt;br /&gt;
pages of Mrs. Sutherland Orr&amp;#039;s &amp;quot;Life &amp;quot; is at once&lt;br /&gt;
a great poet, and an interesting, widely-gifted, and&lt;br /&gt;
intensely human man. Poetic gifts apart, his&lt;br /&gt;
character is best described in the words of&lt;br /&gt;
Hamlet :&mdash;&lt;br /&gt;
&amp;quot;He was a man, take him for all in all,&lt;br /&gt;
We shall not look upon his like again.&amp;quot;&lt;br /&gt;
Pendennis.&lt;br /&gt;
■&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 59 (#463) #############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
59&lt;br /&gt;
IF SHAKSPEARE HAD BEEN PRIEST.&lt;br /&gt;
&lt;br /&gt;
|HEEE is one event which&mdash;if it had hap-&lt;br /&gt;
pened&mdash;might have changed the whole, rela-&lt;br /&gt;
tions of this world to the unseen world.&lt;br /&gt;
Let us consider what a difference it would have&lt;br /&gt;
made to the cultured dwellers upon earth if William&lt;br /&gt;
Shakspeare had elected, or had been called, to&lt;br /&gt;
become a priest or theologian by preference and&lt;br /&gt;
by profession. Think what the results must have&lt;br /&gt;
been if such an intellect had been devoted specially&lt;br /&gt;
to the service of God, and to the stewardship of&lt;br /&gt;
the divine mysteries. As layman or as priest in&lt;br /&gt;
his own day in Italy, in Spain, or France, he&mdash;a&lt;br /&gt;
man of such genius, of such honesty, and one so&lt;br /&gt;
near to God&mdash;would certainly have been burnt j&lt;br /&gt;
but it is conceivable that he might have been led,&lt;br /&gt;
it would be to consider too curiously if we should&lt;br /&gt;
try to think how, to become a clergyman in the&lt;br /&gt;
noble Church of England of his own great day.&lt;br /&gt;
A youthful frolic of park-breaking, possibly of&lt;br /&gt;
deer slaying, determined, mysteriously, Shakspeare&amp;#039;s&lt;br /&gt;
whole career; and what we call chance shaped the&lt;br /&gt;
ends which he, at 18, had scarcely rough-hewn.&lt;br /&gt;
Then came the sudden, enforced flight from Strat-&lt;br /&gt;
ford-on-Avon to the London of Elizabeth, while with&lt;br /&gt;
this flight was coupled the necessity of earning;&lt;br /&gt;
and, in this wise, the steps of the glorious youth&lt;br /&gt;
were directed, by some unseen Power, to the play-&lt;br /&gt;
house; to acting upon, and then to writing for, the&lt;br /&gt;
stage.&lt;br /&gt;
Had Shakspeare been, by the same Power,&lt;br /&gt;
directed to the priestly office, we should, no doubt,&lt;br /&gt;
have lost his plays; though the examples of George&lt;br /&gt;
Herbert and of Herrick show that a man may be&lt;br /&gt;
at once priest and poet. In his dramas, Shakspeare&lt;br /&gt;
proved himself to be a profound and lofty theo-&lt;br /&gt;
logian; and yet we can hardly reconcile ourselves&lt;br /&gt;
to the mere idea of wanting those plays which we&lt;br /&gt;
possess so proudly and prize bo highly. On the&lt;br /&gt;
other hand, we may weigh, with a certain regret,&lt;br /&gt;
the certainty that, if Shakspeare had given all his&lt;br /&gt;
powers to theology, the relations between God and&lt;br /&gt;
man would have stood upon a clearer, nobler, firmer&lt;br /&gt;
basis; so that the blank of agnosticism, or the&lt;br /&gt;
sorrows of doubt, would have been the portion only&lt;br /&gt;
of the ignoble, or the torment merely of the weak-&lt;br /&gt;
ling. We cannot regret that Shakspeare was led&lt;br /&gt;
and gifted to do that which he did do; and yet&lt;br /&gt;
wi! may contemplate, not without a certain vague&lt;br /&gt;
sorrow, the other thing which also he might have&lt;br /&gt;
been, and the other services which also he might&lt;br /&gt;
have rendered to our iufirm and erring race.&lt;br /&gt;
Shakspeare, as a professed theologian, must have&lt;br /&gt;
made his mark; and, in addition to ordinary&lt;br /&gt;
preaching, would certainly, as we may well imagine,&lt;br /&gt;
have written and have published writings which&lt;br /&gt;
would have been a revelation of revelation, which&lt;br /&gt;
would have linked man to his Creator, would have&lt;br /&gt;
removed many doubts, would have rendered clear&lt;br /&gt;
divine truth, and would have unfolded to mankind&lt;br /&gt;
divine wisdom and divine love. But it was otherwise&lt;br /&gt;
ordained.&lt;br /&gt;
Our greatest man became poet and playwright.&lt;br /&gt;
We enjoy and admire him, past all whooping, in&lt;br /&gt;
that capacity; but, meanwhile, doubt spreads and&lt;br /&gt;
sorrow deepens; and that revelation, which is but&lt;br /&gt;
a hint and a glimpse, seems to want the help of his&lt;br /&gt;
powers to render it full, clear, and dear to suffering,&lt;br /&gt;
straining men, whose eyes are wasted with looking&lt;br /&gt;
for the light behind the veil. Behind that veil&lt;br /&gt;
Shakspeare, more than any other man, could see&lt;br /&gt;
and could divine. He had insight into divine&lt;br /&gt;
meanings; and to this man was granted under-&lt;br /&gt;
standing to conceive, and ability to interpret the&lt;br /&gt;
Wokd. He understood the relations between&lt;br /&gt;
Creator and creature, and he could comprehend&lt;br /&gt;
the supremacy of Good above all the transient shows&lt;br /&gt;
of Evil. What he saw he could make others see.&lt;br /&gt;
He could reconcile intellect with spiritualism; and&lt;br /&gt;
the highest-mounted mind of man would have been&lt;br /&gt;
the truest representative of the Most High.&lt;br /&gt;
Priests, as they exist, seem to be generally unable&lt;br /&gt;
to understand fully, and unworthy to reveal fitly,&lt;br /&gt;
Him. They scarcely comprehend that God is&lt;br /&gt;
divine; but Shakspeare, as a priest, would have&lt;br /&gt;
been of more worth to us than all tin; churches.&lt;br /&gt;
We bow to the inevitable; but we, the countrymen&lt;br /&gt;
of Shakspeare, may legitimately speculate&mdash;a specu-&lt;br /&gt;
lation which if fantastic is yet not idle&mdash;upon the&lt;br /&gt;
higher and happier world which might now exist&lt;br /&gt;
if William Shakspeare, with his almost superhuman&lt;br /&gt;
intellect and with his infinite tenderness, had been&lt;br /&gt;
elected to the office of Vatrs, of Prophet as of&lt;br /&gt;
Poet, and had thus been enabled to unfold to man&lt;br /&gt;
the mysteries of the universe and the nature of its&lt;br /&gt;
Creator.&lt;br /&gt;
H. Schutz Wilson.&lt;br /&gt;
&amp;quot;CONTES CRUELS.&amp;quot;&lt;br /&gt;
YILLIERS de LTsle Adam represents the dis-&lt;br /&gt;
tinctly aristocratic element in the school of&lt;br /&gt;
&amp;quot;Les Poetes Maudits.&amp;quot; In him is a com-&lt;br /&gt;
bination rarely found: the union of satire and&lt;br /&gt;
romance. The &amp;quot;Contes Cruels&amp;quot; are of three&lt;br /&gt;
kinds: purely satirical studies, without plot; tales&lt;br /&gt;
of mystery; and tales combining these characteristics&lt;br /&gt;
in varying proportions. The volume is conspicuous&lt;br /&gt;
for its variety, a merit further enhanced by very-&lt;br /&gt;
great originality. The tales are cruel not in their&lt;br /&gt;
detail but because of their tone of thought. Witli&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 60 (#464) #############################################&lt;br /&gt;
&lt;br /&gt;
6o&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
very few exceptions they are full of scarcely con-&lt;br /&gt;
cealed scorn. Others of the stories may excel in&lt;br /&gt;
particular points, but the most perfectly pro-&lt;br /&gt;
portioned, the most successful, arc those that analyse&lt;br /&gt;
middle-class sentiment and weigh the resj&amp;gt;eetability&lt;br /&gt;
of the bourgeoisie.&lt;br /&gt;
The author possesses very strong imagination&lt;br /&gt;
and great descriptive powers, but the two gifts do&lt;br /&gt;
not run evenly. The most imaginative of the&lt;br /&gt;
stories do not make so distinct, an impression as&lt;br /&gt;
others which are less original. &amp;quot;LTntersigno,&amp;quot;&lt;br /&gt;
a ghost story of the most ordinary type, is perhaps&lt;br /&gt;
the best-produced story in the collection, and, in&lt;br /&gt;
spite of the familiarity of the main incidents, one of&lt;br /&gt;
the most striking. The fact that it suggests com-&lt;br /&gt;
parison with Thcophile Gautier&amp;#039;s &amp;quot;La Morte&lt;br /&gt;
Amoureuse,&amp;quot; and can i&amp;gt;car the comparison, is further&lt;br /&gt;
evidence of the author&amp;#039;s skill. Such stories as&lt;br /&gt;
&amp;quot;Vera,&amp;quot; while they recall the tales of Edgar Allan&lt;br /&gt;
Poe and are charming in form, are not quite&lt;br /&gt;
definite enough in idea. Poe is always extra-&lt;br /&gt;
ordinarily definite and direct in thought; Villiers&lt;br /&gt;
de L&amp;#039;Isle Adam is vague. &amp;quot;L&amp;#039;Annonciateur&amp;quot;&lt;br /&gt;
could scarcely be better in description, the im-&lt;br /&gt;
pression it creates is superb, so superb that it&lt;br /&gt;
obscures the idea which runs through it dimly&lt;br /&gt;
glimmering only and scarcely defining impression&lt;br /&gt;
into thought. For this reason I prefer &amp;quot; Souvenirs&lt;br /&gt;
Occultes,&amp;quot; which produces impressions no less vivid,&lt;br /&gt;
and expresses a clear idea. The fact is that the&lt;br /&gt;
more material theme of &amp;quot;Souvenirs Occultes&amp;quot; is&lt;br /&gt;
more suited to the genius of the author.&lt;br /&gt;
But these stories are not his most characteristic&lt;br /&gt;
work, though they are excellent in themselves, and&lt;br /&gt;
prove that he was capable of wholly divesting his&lt;br /&gt;
mind of its habitual cynicism. He is most per-&lt;br /&gt;
fectly represented by &amp;quot; Les Demoiselles de Bien-&lt;br /&gt;
lilatre,&amp;quot; &amp;quot;Deux Augures,&amp;quot; and perhaps &amp;quot;Sombre&lt;br /&gt;
recit conteur plus sombre,&amp;quot; which show his&lt;br /&gt;
different manners in his special field. &amp;quot;Les De-&lt;br /&gt;
moiselles de Bienfilatre&amp;quot; is a masterpiece. No&lt;br /&gt;
theme could be more suited to the author than the&lt;br /&gt;
relativity of Good and Evil; he must have felt so&lt;br /&gt;
himself, for he returns to it in another storv,&lt;br /&gt;
&amp;quot;Maryelle.&amp;quot;&lt;br /&gt;
The two Demoiselles de Bienfilatre are&lt;br /&gt;
engaged in a well-established business. Though&lt;br /&gt;
somewhat laborious, it is not unlucrative, so that&lt;br /&gt;
together they arc able to support their aged parents&lt;br /&gt;
in comfort. Suddenly, as may happen even to the&lt;br /&gt;
most considerable people, the younger Demoiselle&lt;br /&gt;
is seized with a caprice, gives up her business, and&lt;br /&gt;
leaves her unselfish sister to support their parents&lt;br /&gt;
alone. The patience and shame of this devoted&lt;br /&gt;
daughter, the heart-broken desolation of the worthy&lt;br /&gt;
parents, plunged almost into poverty in their&lt;br /&gt;
honourable old age; how delicately, how sympa-&lt;br /&gt;
thetically these are described! The dutiful&lt;br /&gt;
daughter, wearied by her fallen sister&amp;#039;s obstinacy,&lt;br /&gt;
at last takes the elite of her trade and her&lt;br /&gt;
custom into her confidence. The scandal has&lt;br /&gt;
spread too far to admit of reticence. Their&lt;br /&gt;
respectable experience! may be able to suggest some&lt;br /&gt;
means of reclaiming her to a healthier, a more&lt;br /&gt;
practical, state of mind. As Mademoiselle de&lt;br /&gt;
Bienfilatre axnee justly observes, &amp;quot;One is not put&lt;br /&gt;
into this world only to amuse oneself.&amp;quot; She has&lt;br /&gt;
appealed to the &amp;quot; poor lost girl &amp;quot; by the &amp;quot;memories&lt;br /&gt;
of her childhood,&amp;quot; &amp;quot;by the ties of blood,&amp;quot; all in&lt;br /&gt;
vain. But soil watered witli parental prayers,&lt;br /&gt;
bedewed by a sister&amp;#039;s tears, cannot long nourish the&lt;br /&gt;
weeds of selfish sentiment. At last the girl&amp;#039;s own&lt;br /&gt;
conscience, formed as it has been in such respect-&lt;br /&gt;
able surroundings, revolts. She is dying of very&lt;br /&gt;
shame, &amp;quot; Le moral tuait le physique, la lame usait&lt;br /&gt;
le fourreau.&amp;quot; The Priest arrives, and in the&lt;br /&gt;
dying prodigal&amp;#039;s confession wo learn her sin. &amp;quot;A&lt;br /&gt;
lover&mdash;for pleasure&mdash;without payment.&amp;quot; This is&lt;br /&gt;
her crime: she has sold the wares which were her&lt;br /&gt;
worthy parents&amp;#039; livelihood; she has left her sister to&lt;br /&gt;
pursue their arduous, if lucrative, calling alone.&lt;br /&gt;
She has deserted the beaten paths of the pavement,&lt;br /&gt;
to err in the labyrinth of gratuitous love. It is&lt;br /&gt;
true that the partner of her crime had desired to&lt;br /&gt;
marry her. &amp;quot;I want my poor daughter,&amp;quot; the old&lt;br /&gt;
man had said between his sobs. &amp;quot;Monsieur,&amp;quot;&lt;br /&gt;
replied the young man, &amp;quot; I love her; I beg you to&lt;br /&gt;
give me her hand.&amp;quot; &amp;quot;Miserable&amp;#039;.&amp;quot; exclaimed&lt;br /&gt;
Bienfilatre, revolted by this &amp;quot;cynicism.&amp;quot; But&lt;br /&gt;
this folly is past, and she is now repentant, lying,&lt;br /&gt;
waiting for death. At length her lover, a young&lt;br /&gt;
artist, enters. He brings her the first-fruits of his&lt;br /&gt;
talent, money to buy her some necessity in her&lt;br /&gt;
sickness. She sees the glitter of gold between his&lt;br /&gt;
fingers, now at last her love has received the&lt;br /&gt;
imprimatur of society, &amp;quot; The guinea stamp,&amp;quot; and&lt;br /&gt;
she dies in peace. I doubt if the petticoat of&lt;br /&gt;
that matron, whose1 skirts would envelop the world,&lt;br /&gt;
has shadowed a more dutiful daughter than&lt;br /&gt;
Mademoiselle de Bienfilatre uince. I doubt even&lt;br /&gt;
if that conscience, so singular amongst us for&lt;br /&gt;
delicacy, could wince at the Quixotic honour of&lt;br /&gt;
this respectable family.&lt;br /&gt;
Virginie ct Paul are, as their names imply,&lt;br /&gt;
very young. And is not &amp;quot;very young&amp;quot; synono-&lt;br /&gt;
mous with &amp;quot;very innocent,&amp;quot; &amp;quot;very thoughtless,&amp;quot;&lt;br /&gt;
&amp;quot;very simple &amp;quot;? When they meet at night, there&lt;br /&gt;
in the garden of Virginie&amp;#039;s Seminaire, to discuss&lt;br /&gt;
their future happiness, how can we help comparing&lt;br /&gt;
them to the simple things of nature about them&mdash;&lt;br /&gt;
the calculating ant, the economical bee? Their&lt;br /&gt;
conversation is as irreproachable as the discussions&lt;br /&gt;
that follow a lecture on &amp;quot;Courtship&amp;quot; in a British&lt;br /&gt;
British School. And then when they part, we&lt;br /&gt;
seem to hear the voices of nature re-echoing their&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 61 (#465) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
61&lt;br /&gt;
conversation: the breeze in the garden murmur of&lt;br /&gt;
&amp;quot;Securities,&amp;quot; and the nightingales warbling &amp;quot;Six&lt;br /&gt;
per Cents.&amp;quot;&lt;br /&gt;
Compared with these two &amp;quot;barbarities,&amp;quot; the&lt;br /&gt;
&amp;quot;cruelty &amp;quot; of &amp;quot;Le plus beau diner du monde &amp;quot; and&lt;br /&gt;
&amp;quot;Les Brigands&amp;quot; is mere salutary irony. &amp;quot;Lea&lt;br /&gt;
Brigands&amp;quot; is a grim farce, told with great force&lt;br /&gt;
and wit. The dead townsmen&amp;#039;s logic is delightful.&lt;br /&gt;
The author&amp;#039;s power of satire is sometimes so&lt;br /&gt;
delicate that it is almost credible that the irresis-&lt;br /&gt;
tible funniness of &amp;quot;The Duke of Portland&amp;quot; is in-&lt;br /&gt;
tentional. The peculiar vein of humour on which&lt;br /&gt;
it touches is, however, unknown in France.&lt;br /&gt;
Rather, it must be acknowledged, even to the&lt;br /&gt;
slight detraction of the author&amp;#039;s great power, that&lt;br /&gt;
certain subjects on which the. tale touches are en-&lt;br /&gt;
dowed with that faculty which draws upon them&lt;br /&gt;
the blessings of the close of a century, the unfailing&lt;br /&gt;
gift of In&amp;#039;ing ridiculous. Nevertheless, the secret&lt;br /&gt;
of the story is revealed in one page with all the&lt;br /&gt;
simple directness of true tragedy.&lt;br /&gt;
&amp;quot;Deux Augures&amp;quot;&amp;#039; and &amp;quot; La machine a gloire&amp;#039;&amp;#039; are&lt;br /&gt;
the most remarkable of the plotless satirieal studies.&lt;br /&gt;
In &amp;quot;Deux Augures &amp;quot; the requisites for success in&lt;br /&gt;
journalism are detailed with pitiless accuracy&mdash;the&lt;br /&gt;
mediocrity which excites no envy, and the careless-&lt;br /&gt;
ness which precludes all thought. &amp;quot;La machine a&lt;br /&gt;
gloire&amp;quot; is a description of the logical mechanical&lt;br /&gt;
extension of present dramatic criticism.&lt;br /&gt;
&amp;quot;Sentimentalisme,&amp;quot; &amp;quot;Sombre recit conteur plus&lt;br /&gt;
sombre,&amp;quot; and &amp;quot;Le desir d&amp;#039;etre un homnie,&amp;quot; all harp&lt;br /&gt;
in distinct fashions on the question whether the&lt;br /&gt;
exercise of the artistic faculties blunt the natural.&lt;br /&gt;
An incident of cruelty, unsurpassed in refinement,&lt;br /&gt;
is alluded to in &amp;quot;Sentimentalisme&amp;quot;&mdash;the story of the&lt;br /&gt;
man who made his wife laugh by the death-bed of&lt;br /&gt;
her dying lover. In &amp;quot;Le desir d&amp;#039;etre un honnne&amp;quot;&lt;br /&gt;
the author&amp;#039;s cynicism rises almost into pathos when&lt;br /&gt;
he describes the death-bed of the incendiary-actor&lt;br /&gt;
in his lonely lighthouse, moaning for the sight of&lt;br /&gt;
but one spectre before he dies,&amp;quot; not compre-&lt;br /&gt;
hending that he was himself the thing he sought.&amp;quot;&lt;br /&gt;
&diams;&bull;&bull;■&raquo;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
TI^DK biographers of Archbishop Tail have&lt;br /&gt;
I made no indecent haste to give the details&lt;br /&gt;
of his life to the world. If their eulogy is, as&lt;br /&gt;
the Guardian hints, &amp;quot;laid on with a trowel,&amp;quot; it&lt;br /&gt;
must l&amp;gt;c remembered not only that they were the&lt;br /&gt;
special disciples of the Archbishop, but that during&lt;br /&gt;
his life he was abused by his own llock with more&lt;br /&gt;
acrimony than any other man in England. One&lt;br /&gt;
Church paper even gravely disputed as to whether&lt;br /&gt;
he had ever been baptised, with the intention of&lt;br /&gt;
implying that his consecration as Archbishop was&lt;br /&gt;
invalid. The acrimony of the attacks upon him&lt;br /&gt;
have created a feeling in his favour. It will be&lt;br /&gt;
admitted that, as a statesmen, he excelled all the&lt;br /&gt;
occupants of the See of Canterbury since the&lt;br /&gt;
Reformation, with the exception of Parker and&lt;br /&gt;
Laud. Indeed, it is doubtful whether any Arch-&lt;br /&gt;
bishop, since those two, has had more practical&lt;br /&gt;
effect in politics. It is remarkable that an event&lt;br /&gt;
so important in the life of an Archbishop as his&lt;br /&gt;
Ordination to the priesthood is not even mentioned&lt;br /&gt;
by his ecclesiastical biographers.&lt;br /&gt;
Mr. William Wilson has in the press a transla-&lt;br /&gt;
tion of Ibsen&amp;#039;s &amp;quot;Brand&amp;quot; (Methuen &amp;amp; Co.)&lt;br /&gt;
Mr. Wilson&amp;#039;s translations from Balzac formed one&lt;br /&gt;
of the most interesting of the Camelot Series.&lt;br /&gt;
&amp;quot;Brand&amp;quot; is, in the opinion of many (not Ibsenites),&lt;br /&gt;
the Norwegian&amp;#039;s finest work. It would l&amp;gt;e im-&lt;br /&gt;
jKissible to have rendered satisfactorily the j&amp;gt;oetic&lt;br /&gt;
drama into English verse, and the translator has&lt;br /&gt;
wisely prepared a prose version. According to&lt;br /&gt;
Mr. Swinburne, the &amp;quot;Childe Harold&amp;quot; is much&lt;br /&gt;
better reading in Italian prose than in the original;&lt;br /&gt;
perhaps &amp;quot;Brand,&amp;quot; too, will benefit by the&lt;br /&gt;
transition.&lt;br /&gt;
Those who are interested in Italian Art and&lt;br /&gt;
History should not fail to get the life of&lt;br /&gt;
&amp;quot;Bartolomeo Colleoni&amp;quot; by Mr. Oscar Browning&lt;br /&gt;
(printed for the Arundel Society). With so&lt;br /&gt;
delightful a subject, it would be hard not to be&lt;br /&gt;
interesting. But Mr. Oscar Browning, whose life&lt;br /&gt;
of George Elliot proved him an ideal biographer&lt;br /&gt;
for these days, when time is short, has turned his&lt;br /&gt;
scholarship and knowledge to good account once&lt;br /&gt;
more by making history attractive, and archaeology&lt;br /&gt;
picturesque.&lt;br /&gt;
A candidate for poetic laurels, is no more. We&lt;br /&gt;
learn from France, that &amp;quot; the popular English poet&lt;br /&gt;
MacMillan&amp;quot; has been found dead alone on his&lt;br /&gt;
yacht, floating about somewhere off the coast of&lt;br /&gt;
Calvados. Mr. Swinburne, Mr. Edmund Gosse,&lt;br /&gt;
Sir Edwin Arnold, Mr. Oscar Wilde, Mr. Coventry&lt;br /&gt;
Patmore, and Mr. Austin Dobson have now the&lt;br /&gt;
lield to themselves. As for the great dead, if&lt;br /&gt;
an ungrateful country could find no laurels for&lt;br /&gt;
his brow, at least it is not too late to lav a wreath&lt;br /&gt;
of cypress on his tomb. I invite the above&lt;br /&gt;
brothers of the departed to join in a competition&lt;br /&gt;
to produce the ode which will no doubt be chanted&lt;br /&gt;
at his obsequies in Westminster Abbey shortly to&lt;br /&gt;
be announced. The. Queen will be petitioned to&lt;br /&gt;
appoint the successful poet heir-apparent to the&lt;br /&gt;
Laureatcship.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 62 (#466) #############################################&lt;br /&gt;
&lt;br /&gt;
62&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Mr. Goodman is a bold man. He leaves the last&lt;br /&gt;
chapter of his story untold and offers prizes to&lt;br /&gt;
anyone who will write it. Of course the story&lt;br /&gt;
must Ik! completed its the author intended. It&lt;br /&gt;
would not he enough to complete it as the reader&lt;br /&gt;
thinks it might be completed. The denouement of&lt;br /&gt;
the plot must be such as to follow naturally and to&lt;br /&gt;
explain every successive step of the history and&lt;br /&gt;
the situation. The book entitled &amp;quot; What did She&lt;br /&gt;
see ?&amp;quot; is on all the bookstalls.&lt;br /&gt;
More attractive than any work of fiction to&lt;br /&gt;
many readers, will be the Introductory Essay con-&lt;br /&gt;
tributed by Mr. Andrew Lang to Dr. Oskar&lt;br /&gt;
Sommer&amp;#039;s &amp;quot; Studies on the Sources &amp;quot; of &amp;quot; Le Morte&lt;br /&gt;
Darthin&amp;quot; by Sir Thomas Mallory, a colossal work&lt;br /&gt;
now completed. We do not want to be told that&lt;br /&gt;
Sir Thomas Mallory is a writer brimful of charm&lt;br /&gt;
and interest and romance, but it is pleasant to&lt;br /&gt;
have the charm translated into words for us.&lt;br /&gt;
Thus Mr. Lang sums up pretty well all that we&lt;br /&gt;
want to say, when he calls it the hook &amp;quot;of all&lt;br /&gt;
jumbles the most poetic and the most pathetic.&amp;quot;&lt;br /&gt;
Mr. Lang is a critic wrho should lie retained for&lt;br /&gt;
nothing but advocacy. He should stand perpetually&lt;br /&gt;
before some great work to explain to those who&lt;br /&gt;
feel but cannot speak why it is great. He used&lt;br /&gt;
at one time to assume occasionally the character of&lt;br /&gt;
the rapier and dagger man. The bludgeon, I&lt;br /&gt;
believe, he has never condescended to handle.&lt;br /&gt;
The Burlington Fine Arts has long been known&lt;br /&gt;
for its delightful little exhibitions. At present&lt;br /&gt;
there is a collection of book bindings from all the&lt;br /&gt;
treasuries of the United Kingdom. No art has so&lt;br /&gt;
improved of late years, but there is still much to&lt;br /&gt;
reform, and more to sweep away. The catalogue&lt;br /&gt;
of the present exhibition has two interesting prefaces&lt;br /&gt;
from the pens of Mr. E. Gordon Duff and Mr. S.&lt;br /&gt;
J. Prideaux.&lt;br /&gt;
It is rather late in the day to recommend a work&lt;br /&gt;
of reference that must already be in everyone&amp;#039;s&lt;br /&gt;
hand&mdash;the Annual Index of the Review of&lt;br /&gt;
Itcvieics. If, however, any of the readers of that&lt;br /&gt;
most wonderful of the English (I may say of the&lt;br /&gt;
world&amp;#039;s) magazines have not yet purchased the&lt;br /&gt;
index, they should immediately do so.&lt;br /&gt;
&amp;quot;The Directory of Secondhand Booksellers,&amp;quot;&lt;br /&gt;
edited by James Clegg, has reached a 3rd edition.&lt;br /&gt;
The book deserves to be even better known than it&lt;br /&gt;
is. It contains masses of useful information, con-&lt;br /&gt;
cerning all matters of literary economy. I should&lt;br /&gt;
suggest as improvements in subsequent editions, the&lt;br /&gt;
alteration of the title to one more descriptive of the&lt;br /&gt;
contents, and the omission of all poems and other&lt;br /&gt;
useless, if &amp;quot;literary,&amp;quot; matter. It is a great pity&lt;br /&gt;
also that advertisements are bound at intervals into&lt;br /&gt;
the middle of the book. This most objectionable&lt;br /&gt;
practice at once suggests inferiority in any publi-&lt;br /&gt;
cation, a suggestion seldom belied. We are bound&lt;br /&gt;
to say the Directory is not an example of the truth&lt;br /&gt;
of this self-evident truth.&lt;br /&gt;
Mr. Powis Bale, author of &amp;quot;Wood-working&lt;br /&gt;
Machinery,&amp;quot; &amp;quot;Stone-working Machinery,&amp;quot; Ac,&lt;br /&gt;
has produced a new book on &amp;quot;Saw Mills: Their&lt;br /&gt;
Arrangement and Management&amp;quot; (Crosby, Lock-&lt;br /&gt;
wood, &amp;amp; Co.).&lt;br /&gt;
Mr. J. Stanley Little contributes an article&lt;br /&gt;
entitled, &amp;quot;A Conimonsense View of England&amp;#039;s&lt;br /&gt;
Imperial Destiny&amp;quot; to the current number of&lt;br /&gt;
Greater Britain.&lt;br /&gt;
Mr. Joseph Forster, author of &amp;quot;Four Great&lt;br /&gt;
Teachers,&amp;quot; has published a volume entitled, &amp;quot;Some&lt;br /&gt;
French and Spanish Men of Genius&amp;quot; (Ellis and&lt;br /&gt;
Elvey). It contains sketches of Marivaux,&lt;br /&gt;
Voltaire, Bousseau, Diderot, Beaumarchais,&lt;br /&gt;
Mirabeau, Dautin, Rol&amp;gt;espierre, Beranger, Victor&lt;br /&gt;
Hugo, Eugene Sue, Zola, Cervantes, Lope de&lt;br /&gt;
Vega, and Calderon.&lt;br /&gt;
Good Bye. A Novel. By John Strange Winter,&lt;br /&gt;
is., paper covers; cloth, I*. 6d. F. V.White&lt;br /&gt;
&amp;amp; Co. Ready June 15th.&lt;br /&gt;
A new serial story by John Strange Winter,&lt;br /&gt;
entitled &amp;quot;Lumley, the Painter,&amp;quot; begins in Mrs.&lt;br /&gt;
Stannard&amp;#039;s successful weekly magazine, Golden&lt;br /&gt;
Gates, on July 25th. It has been written specially&lt;br /&gt;
for her own paper, and will not appear in any&lt;br /&gt;
other periodical in this country.&lt;br /&gt;
Mr. Mackenzie Bell contributes to the Rural&lt;br /&gt;
World a poem called &amp;quot;Two Lives,&amp;quot; which indi-&lt;br /&gt;
rectly refers to the &amp;quot;Old Age Pensions &amp;quot; scheme.&lt;br /&gt;
In the Author for June, a case is mentioned&lt;br /&gt;
where an author got nothing upon the smashing up&lt;br /&gt;
of a magazine; and the remark is that the author&lt;br /&gt;
left the MS. too long&mdash;a year. How long, asks&lt;br /&gt;
a correspondent, is a reasonable time between ac-&lt;br /&gt;
ceptance and appearance of an article? One of&lt;br /&gt;
mine has been waiting o\ years; in print 8 months&lt;br /&gt;
(the proofs). Again, how can one withdraw&lt;br /&gt;
article No. i, which may have been waiting a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 63 (#467) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
year or more, when No. 2 (sent, later) has appeared&lt;br /&gt;
in the magazine? One naturally imagines it is&lt;br /&gt;
unavoidably shunted for a time.&lt;br /&gt;
On Friday, June 5th, a complimentary dinner&lt;br /&gt;
was given at the Criterion to Mr. P. W. Robinson,&lt;br /&gt;
the novelist and editor of Home Chimes, by a&lt;br /&gt;
number of personal friends and contributors. The&lt;br /&gt;
chair was taken by Mr. J. K. Jerome, and Mr. J.&lt;br /&gt;
M. Barrie was Vice-Chairman ; among those present&lt;br /&gt;
were Mr. Mov Thomas, Mr. Kershaw, Mr. Rol&amp;gt;ert&lt;br /&gt;
Barr (Luke Sharp), Mr. Theodore Watts, Mr. H.&lt;br /&gt;
E. Clarke, and Mr. Charles F. Rideal.&lt;br /&gt;
In the wilderness of the book world there are&lt;br /&gt;
few wanderers that have not felt the want of a&lt;br /&gt;
guide. Bibliographies there are in plenty, but most&lt;br /&gt;
people who have to use them are anything but&lt;br /&gt;
grateful to their learned and industrious compilers.&lt;br /&gt;
It is to the ordinary student most helpful&lt;br /&gt;
to lie presented with an elaborate analysis of the&lt;br /&gt;
entire literature of a subject. This want promises&lt;br /&gt;
to lie tilled by the &amp;quot;Guide Book to Books,&amp;quot; which&lt;br /&gt;
has lx&amp;gt;en edited bv Mr. E. B. Sargant and Mr.&lt;br /&gt;
Bernhard Whishaw, and published by Mr. Frowde.&lt;br /&gt;
The task of producing a work which shall within&lt;br /&gt;
the compass of something less than 35o pages,&lt;br /&gt;
supply a selected catalogue of the lxwks which are&lt;br /&gt;
of value in each department of knowledge was&lt;br /&gt;
certainly not an easy one; and the editors may be&lt;br /&gt;
congratulated on having so capably discharged it.&lt;br /&gt;
Largely contributed by specialists, the sections of the&lt;br /&gt;
work possess an interest of their own, since they&lt;br /&gt;
indicate something like &amp;quot; the best hundred books&amp;quot;&lt;br /&gt;
in most directions of thought and action by those&lt;br /&gt;
who are well qualified to express an opinion. The&lt;br /&gt;
book, of course, tempts criticism. Anything of the&lt;br /&gt;
character of a selection of the essential literature&lt;br /&gt;
of each subject must inevitably contain omissions&lt;br /&gt;
which it is not easy to understand. Still, the work&lt;br /&gt;
as it stands may safely l&amp;gt;e recommended to the&lt;br /&gt;
most omnivorous student.&lt;br /&gt;
&lt;br /&gt;
SIMILARITY OP PLOT.&lt;br /&gt;
&amp;quot;TTAVING had occasion to make the ac-&lt;br /&gt;
I I quaintance, at second hand, of a large&lt;br /&gt;
nnmlier of novels,&amp;quot; writes W. M. G., of&lt;br /&gt;
Cambridge, Mass., &amp;quot;I have been struck by the&lt;br /&gt;
want of originality in plot and situation, even in&lt;br /&gt;
those which, at first glance, are noticeable for the&lt;br /&gt;
presence of that quality. Of the plot of what&lt;br /&gt;
work, for instance, docs the reader suppose the&lt;br /&gt;
following to Ik: a summary :&mdash;&lt;br /&gt;
&amp;quot;&amp;#039; A peculiar father is responsible for the peculiar&lt;br /&gt;
infancy, education, and subsequent fortunes of the&lt;br /&gt;
heroine. In despair at the loss of his wife, ho&lt;br /&gt;
rushes from the worship of love to an opposite&lt;br /&gt;
extreme, in which he discovers, declares, and would&lt;br /&gt;
fain propagate a philosophy which shall exclude love,&lt;br /&gt;
and herewith suffering, from the human race. He&lt;br /&gt;
is mad enough to try the experiment in sober earnest&lt;br /&gt;
on his only child.&amp;#039;&lt;br /&gt;
&amp;quot;Doubtless of the same work as that described&lt;br /&gt;
thus :&mdash;&lt;br /&gt;
&amp;quot;&amp;#039;The tale is of a man whose whole interest, in&lt;br /&gt;
existence is so centred in his wife that on her death&lt;br /&gt;
he becomes a pessimist. Sidney is his only child,&lt;br /&gt;
and from her infancy he makes it his care to rear&lt;br /&gt;
her in his own beliefs: chief among them, that love&lt;br /&gt;
is the most monstrous mistake and irony in the&lt;br /&gt;
universe, and is to be shunned as the most dreadful&lt;br /&gt;
pestilence of life.&amp;#039;&lt;br /&gt;
&amp;quot;It is not, however. The latter quotation&lt;br /&gt;
related to Mrs. Deland&amp;#039;s &amp;#039;Sidney,&amp;#039; which ran&lt;br /&gt;
through the Atlantic, in 1890; the first to&lt;br /&gt;
&amp;#039;Margaret Jermine,&amp;#039; both novel and criticism having&lt;br /&gt;
been published in 1886.&amp;quot;&lt;br /&gt;
New York Critic.&lt;br /&gt;
&lt;br /&gt;
SOME BOOKS OF THE MONTH.&lt;br /&gt;
Donald Boss of Heimra. William Black.&lt;br /&gt;
Sampson Low &amp;amp; Co.&lt;br /&gt;
Canon Cheyne&amp;#039;s Bampton Lectures. Kegan&lt;br /&gt;
Paul.&lt;br /&gt;
Sir Henry Thompson&amp;#039;s Modern Cremation.&lt;br /&gt;
Kegan Paid.&lt;br /&gt;
The Little Manx Nation. Hall Caine. Heine-&lt;br /&gt;
maun.&lt;br /&gt;
Laurence Oliphant. Mrs. Oliphant. Blackwood.&lt;br /&gt;
(Fifth Edition.)&lt;br /&gt;
St. Katherinc&amp;#039;s by the Tower. Walter Besant.&lt;br /&gt;
Chatto &amp;amp; Windus.&lt;br /&gt;
Tinkletop&amp;#039;s Crime. George R. Sims. Chatto &amp;amp;&lt;br /&gt;
Windus.&lt;br /&gt;
Sunny Stories. James Payn. Chatto &amp;amp; Windus.&lt;br /&gt;
A Leading Lady. Henry Hermann. Chatto &amp;amp;&lt;br /&gt;
Windus.&lt;br /&gt;
Robert Browning. Mrs. Sutherland Orr.&lt;br /&gt;
Smith &amp;amp; Elder. (Second Edition.)&lt;br /&gt;
London City. Rev. W. J. Loftie. Leadenhall&lt;br /&gt;
Press.&lt;br /&gt;
Ibsen&amp;#039;s Prose Dramas. William Archer. Walter&lt;br /&gt;
Scott.&lt;br /&gt;
Footsteps of Fate. Heinemann. International&lt;br /&gt;
Library.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 64 (#468) #############################################&lt;br /&gt;
&lt;br /&gt;
64&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
CONDITIONS OP MEMBERSHIP.&lt;br /&gt;
The Subscription is One Guinea annually,&lt;br /&gt;
payable on the ist of January of each year.&lt;br /&gt;
The sum of Ten Guineas for life membership&lt;br /&gt;
entitles the subscriber to full membership of the&lt;br /&gt;
Society.&lt;br /&gt;
Authors of published works alone are eligible for&lt;br /&gt;
membership.&lt;br /&gt;
Those who desire to assist the Society but are&lt;br /&gt;
not authors can be admitted as Associates, on the&lt;br /&gt;
same subscription, but can have no voice in the&lt;br /&gt;
government of the Society.&lt;br /&gt;
Cheques and Postal Orders should be crossed&lt;br /&gt;
&amp;quot;The Imperial Bank, Limited, Westminster&lt;br /&gt;
Branch.&amp;quot;&lt;br /&gt;
Those who wish to be proposed as Members may&lt;br /&gt;
send their names at any time to the Secretary at&lt;br /&gt;
the Society&amp;#039;s Offices, when they will receive a form&lt;br /&gt;
for the enumeration of their works. Subscriptions&lt;br /&gt;
entered after the ist of October will cover the next&lt;br /&gt;
year.&lt;br /&gt;
The Secretary may be personally consulted&lt;br /&gt;
between the hours of i p.m. and 5, except on&lt;br /&gt;
Saturdays. It is preferable that an appointment&lt;br /&gt;
should lie made by letter.&lt;br /&gt;
The Author, the Organ of the Society, can lie&lt;br /&gt;
procured through all newsagents, or from the&lt;br /&gt;
publishers, Messrs. Eyre and Spottiswoode, East&lt;br /&gt;
Harding Street, Fetter Lane.&lt;br /&gt;
A copy will lie sent free to any Member of the&lt;br /&gt;
Society for one twelvemonth, dating from May&lt;br /&gt;
1889. It is hoped, however, that most Members&lt;br /&gt;
will subscribe to the paper. The yearly subscrip-&lt;br /&gt;
tion is 6s. 6f/., including postage, which may l)e sent&lt;br /&gt;
to the Secretary, 4, Portugal Street, W.C.&lt;br /&gt;
With regard to the reading of MSS. for young&lt;br /&gt;
writers, the fee for this service is One Guinea.&lt;br /&gt;
MSS. will lie read and reported upon for others&lt;br /&gt;
than Members, hut Members cannot have their works&lt;br /&gt;
read for nothing.&lt;br /&gt;
In all cases where an opinion is desired 14)011 a&lt;br /&gt;
manuscript, the author should send with it a table&lt;br /&gt;
of contents. A type-written scenario is also of&lt;br /&gt;
very great assistance.&lt;br /&gt;
It must be understood that such a reader&amp;#039;s report,&lt;br /&gt;
however favourable, does not necessarily assist the&lt;br /&gt;
author towards publication.&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Nevek sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended by&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without consultation with the Society, or,&lt;br /&gt;
at least, ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any offer of money for MSS.,&lt;br /&gt;
without previously taking advice of the&lt;br /&gt;
Society.&lt;br /&gt;
(6.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(7.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(8.) Never sign away American or foreign&lt;br /&gt;
rights. Keep them. Refuse to sign an&lt;br /&gt;
agreement containing a clause which&lt;br /&gt;
reserves them for the publisher. If the&lt;br /&gt;
publisher insists, take away the MS. and&lt;br /&gt;
offer it to another.&lt;br /&gt;
(9.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
London: Printed by Eyke and Spottiswoode, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/253/1891-07-01-The-Author-2-2.pdf</td><td>publications, The Author</td></tr><tr><td>254</td><td>https://historysoa.com/items/show/254</td><td>The Author, Vol. 02 Issue 03 (August 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+03+%28August+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 03 (August 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-08-01-The-Author-2-3</td><td></td><td></td><td></td><td></td><td>65&ndash;96</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-08-01&quot;&gt;1891-08-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>3</td><td></td><td></td><td>18910801</td><td>ZTbe Hutbor*&lt;br /&gt;
{The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 3.]&lt;br /&gt;
AUGUST i, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
FAOE&lt;br /&gt;
The Dinner *9&lt;br /&gt;
Overheard&mdash;&lt;br /&gt;
I. At the Black Jack Club So&lt;br /&gt;
II. From a Letter 81&lt;br /&gt;
III. In the Train 81&lt;br /&gt;
IV. At the Table 8j&lt;br /&gt;
Literary Maxims 8a&lt;br /&gt;
Notes and News 8a&lt;br /&gt;
The Authors&amp;#039; Club 8s&lt;br /&gt;
International Copyright&mdash;&lt;br /&gt;
I. The President&amp;#039;s Proclamation 86&lt;br /&gt;
II. Mr.Secretary Foster&amp;#039;s Regulations 87&lt;br /&gt;
III. What will happen? 87&lt;br /&gt;
IV. Opinion of Sir Horace Davey 89&lt;br /&gt;
PAGE&lt;br /&gt;
International Copyright&mdash;continued.&lt;br /&gt;
V. Opinion of Sir Michael Hicks-Bcach 9&deg;&lt;br /&gt;
VI. Answer to Questions 9&amp;#039;&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I. Now Grub Street 1*&lt;br /&gt;
II. The Rev. William Shakspearfi M&lt;br /&gt;
III. Presentation Copies &deg;*&lt;br /&gt;
IV. Payment on Publication 94&lt;br /&gt;
V. Insurance 95&lt;br /&gt;
VI. Titles&lt;br /&gt;
US&lt;br /&gt;
From Grub Street 9S&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 9S&lt;br /&gt;
The Author&amp;#039;s Bookstall ,6&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
ACTION OF LIGHT ON WATER COLOURS&mdash;Report&lt;br /&gt;
to the Science and Art Department of the Committee of Council&lt;br /&gt;
on Education. (With Diagrams and Plates.) By post, 2*. 11 d.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Clement Reid, F.L S., F.G.S. Five Plates (48 cuts), s&raquo;. id.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guido to the&lt;br /&gt;
Geology of. By William Whitakeb, B.A. is.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY&amp;#039;,&lt;br /&gt;
The Geology of. By W. Wiiitaker, B.A.. F.R.S., F.G.S.,&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
cloth, 6s. Vol. II. APPENDICES. 8vo., cloth, s&raquo;.&lt;br /&gt;
ISLE OF WIGHT, Geology of. By H. W. Bkistow,&lt;br /&gt;
F.R.S., F.G.S. Second Edition. Revised and enlarged by&lt;br /&gt;
Clement Rkid. F.G.8., and Aubrey Steahan, M.A., F.G.S.&lt;br /&gt;
8vo., cloth, 8i. 6d.&lt;br /&gt;
COPYRIGHT LAW REFORM: An Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill now before Parliament; with&lt;br /&gt;
Extracts from the Report nf the Commission of 187R, and an&lt;br /&gt;
Appendix containing the Berne Convention and the American&lt;br /&gt;
Copyright Bill. By J. M. Lely, Esq., Barrister-at-Law. is. td.&lt;br /&gt;
STATE TRIALS, Reports of; New Series. Published&lt;br /&gt;
nnder the direction ot the State Trials Committee. Edited by&lt;br /&gt;
John MacDonell, M.A., of the Middle Temple. Barrister-at-&lt;br /&gt;
Law. Vols. I., II., and III. ready. Price ios. per volume.&lt;br /&gt;
&amp;quot;It is for the most part an interesting, not to say fascinating, study&lt;br /&gt;
for anyone, that is to say, who cares about history at nil.&amp;quot;&mdash;Daily&lt;br /&gt;
Newt.&lt;br /&gt;
CHINA (No. 2). Report, by C. W. Campbell, of a&lt;br /&gt;
Journey in North Corea, in September and October, 1889. A&lt;br /&gt;
considerable portion of the narrative contains descriptive&lt;br /&gt;
matter that appeals to the general reader, but there are also&lt;br /&gt;
many interesting facts bearing upon mining, forestry, agricul-&lt;br /&gt;
ture, trade, and kindred topics, od.&lt;br /&gt;
WESTMINSTER ABBEY. Final Report of the Royal&lt;br /&gt;
Commission appointed to inquire into the present want of space&lt;br /&gt;
for Monuments in Westminster Abbey; with Appendices. 91/.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens, it. iod.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, id. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, }t. 9&amp;lt;f&lt;br /&gt;
WEATHER, STUDY AND FORECAST OF. Aids to.&lt;br /&gt;
By Rev. W. Clement Lev, M.A. i&raquo;.&lt;br /&gt;
ROYAL MILITARY EXHIBITION, 1890. Descriptive&lt;br /&gt;
Catalogue of Musical Instruments recently exhibited at the&lt;br /&gt;
Royal Military Exhibition. Compiled by Capt. C. R. Day,&lt;br /&gt;
Oxfordshire Light Infantry, under the orders of Col. Shaw-&lt;br /&gt;
Hellier, Commandant Royal Military School of Music. The&lt;br /&gt;
instruments are fully described; they are arranged systemati-&lt;br /&gt;
cally under their respective families and classes, and a chrono-&lt;br /&gt;
logical arrangement has, as much as possible, been adhered to.&lt;br /&gt;
Each family of instrument has been prefaced by a carefully-&lt;br /&gt;
written Introductory Essay. Musical pitch has not been left&lt;br /&gt;
unnoticed, and a learned Essay from the pen of a well-known&lt;br /&gt;
authority upon the subject nppears in the Appendix. The book&lt;br /&gt;
is illustrated by a series of Twelve Artistically executed Plates&lt;br /&gt;
in Heliogravure, and with numerous Wood Engravings. The&lt;br /&gt;
issue is limited to 1,000 copies. 11s.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PURLISHERS.&lt;br /&gt;
EYRE anil SPttTTISffOODE, Her Majesty&amp;#039;s Printers, East Harding Street, London, B.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 66 (#470) #############################################&lt;br /&gt;
&lt;br /&gt;
66&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Messrs. METHUEN&amp;#039;S NEW BOOKS.&lt;br /&gt;
By W. E. NORRIS.&lt;br /&gt;
JACK&amp;#039;S FATHEB. By W. E. Norhis, Author of&lt;br /&gt;
&amp;quot;Matrimony,&amp;quot; Ac. Crown 8vo. 3*. bd.&lt;br /&gt;
By M. BETHAM EDWARDS.&lt;br /&gt;
DISAEMED. By M. Betham Edwards, Author of&lt;br /&gt;
&amp;quot;Kitty,&amp;quot; &amp;amp;c. Crown 8vo. 3*. bd.&lt;br /&gt;
By EDNA LYALL.&lt;br /&gt;
DEBBICK VAUQHAN, NOVELIST. By Edna Lyalt,&lt;br /&gt;
Author of &amp;quot;Donovan.&amp;quot; New and Cheaper Edition. Paper&lt;br /&gt;
cover, is.; limp doth, i&raquo;. bd. Thirty-first Thousand.&lt;br /&gt;
By S. BARING GOULD.&lt;br /&gt;
ABM1NELL: A Social Romance. By S. Baring Gould,&lt;br /&gt;
Author of &amp;quot; Mehalah.&amp;quot; &amp;amp;c. Third and Cheaper Edition. Paper&lt;br /&gt;
iKMirds, is.; limp cloth, w. bd.&lt;br /&gt;
By WALTER H. POLLOCK and A. G. ROSS.&lt;br /&gt;
BETWEEN THE LINES. By Walter H. Pollock and&lt;br /&gt;
A. G. Boss. Post 8vo. is.&lt;br /&gt;
By E. McaUEEN GRAY.&lt;br /&gt;
ELSA: A Novel. By E. McQueen Gray. Crown 8vo. 6s.&lt;br /&gt;
By W.&amp;quot; CLARK RUSSELL.&lt;br /&gt;
THE LIFE OF ADMIRAL LORD COLLINGWOOD.&lt;br /&gt;
By W. Clark Russell, Author of &amp;quot;The Wreck of the&lt;br /&gt;
&amp;#039;Grosvenor.&amp;#039;&amp;quot; With Illustrations by F. Brangwyn. 8vo.&lt;br /&gt;
By HANNAH LYNCH.&lt;br /&gt;
GEORGE MEREDITH: A Study. By Hannah Lynch.&lt;br /&gt;
With Portrait. Crown &laquo;vo. s&raquo;. A limited Large-Paper&lt;br /&gt;
Edition, 2i&laquo;.&lt;br /&gt;
By R. PRYCE.&lt;br /&gt;
THE QUIET MRS. FLEMING. By Richard Pryce.&lt;br /&gt;
Crown 8vo. 3s. bd. I Ready.&lt;br /&gt;
By J. B. BURNE, M.A.&lt;br /&gt;
PARSON AND PEASANT: Chapters of their Natural&lt;br /&gt;
History. By J. B. Buene, M.A., Rector of Wasing. Crown&lt;br /&gt;
8vo. s&raquo;. [Beady.&lt;br /&gt;
By E. LYNN LINTON.&lt;br /&gt;
THE TRUE HISTORY OF JOSHUA DAVIDSON,&lt;br /&gt;
Christian and Communist. By E. Lynn Linton. Tenth and&lt;br /&gt;
Cheaper Edition. Post 8vo. is. [Ready.&lt;br /&gt;
Works by S. BARING GOULD,&lt;br /&gt;
Author of &amp;quot; Alehalah,&amp;quot; Sfc.&lt;br /&gt;
OLD COUNTRY LIFE. By S. Baring Gould. With&lt;br /&gt;
Sixty-seven Illustrations by W. Parkinson, F. D. Bedford,&lt;br /&gt;
and F. Masey. Large Crown 8vo, clotli super extra, top edge&lt;br /&gt;
gilt, 10*. bd. Th ird Edition.&lt;br /&gt;
&amp;quot;Old Country Life, as healthy wholesome reading, full of&lt;br /&gt;
breezy life and movement, full of quaint stories vigorously told,&lt;br /&gt;
will not be excelled by any book to be published throughout the&lt;br /&gt;
year. Sound, hearty, and English to the core.&amp;quot;&mdash;World.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
By S. Baking Gould. Fihbt Series. Demy 8vo. io&raquo;. bd.&lt;br /&gt;
Second Edition.&lt;br /&gt;
&amp;quot;A collection of exciting and entertaining chapters. The whole&lt;br /&gt;
volume is delightful reading.&amp;quot;&mdash;Times.&lt;br /&gt;
SECOND SERIES.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
Second Series. By S. Barino Golld, Author of &amp;quot;Mehalah.&amp;quot;&lt;br /&gt;
Demy 8vo. ios. bd. [Ready.&lt;br /&gt;
&amp;quot;A fascinating book.&amp;quot;&mdash;Leeds Mercury.&lt;br /&gt;
SONGS OF THE WEST: Traditional Ballads and Songs&lt;br /&gt;
of the West of England, with their Traditional Melodies.&lt;br /&gt;
Collected by S. Barino Gould, M.A., and H. Fleetwood&lt;br /&gt;
SnErPARD, M.A. Arranged for Voice and Piano. In 4 Parts&lt;br /&gt;
(containing as Songs each), 3s. each nett. Part I.. Third&lt;br /&gt;
Edition. Part II., Second Edition. Part III., ready. Part IV.,&lt;br /&gt;
ready. 5&raquo;.&lt;br /&gt;
&amp;quot;A rich and varied collection of humour, pathos, grace, and&lt;br /&gt;
poetic fancy.&amp;quot;&mdash;Saturday Rtvicw.&lt;br /&gt;
YORKSHIRE ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
By 8. Barino Gould. New and Cheaper Edition. Crown 8vo.&lt;br /&gt;
**■ f-Voic Ready.&lt;br /&gt;
METHUEN&amp;#039;S NOVEL SERIES.&lt;br /&gt;
Three ShiUings and Sixpence.&lt;br /&gt;
Messrs. MKTHUEN will issue from time to time a Series&lt;br /&gt;
of copyright Novels, by well-known Authors, handsomely&lt;br /&gt;
bound, at the ubove popular price. The first volumes (now&lt;br /&gt;
ready) are:&lt;br /&gt;
1. THE PLAN OF CAMPAIGN. By F. Mabel&lt;br /&gt;
Robinson.&lt;br /&gt;
2. JACQUETTA. By S. Baring Gould.&lt;br /&gt;
3. MY LAND OF BEULAH. By Mrs. Lkith Adams.&lt;br /&gt;
4. ELI&amp;#039;S CHILDBEN. By G. Manville Fenn.&lt;br /&gt;
5. AEMINELL: A Social Bomance. By S. Baring&lt;br /&gt;
Gould.&lt;br /&gt;
6. DEBRICK VAUGHAN, NOVELIST. By Edna&lt;br /&gt;
I Lyall.&lt;br /&gt;
With portrait of Author.&lt;br /&gt;
7. DISENCHANTMENT. By F. Mabel Bobinson.&lt;br /&gt;
8. DISABMED. By M. Betham Edwards.&lt;br /&gt;
9. JACK&amp;#039;S FATHER. By W. E. Norris.&lt;br /&gt;
Other Volumes will he announced in due course.&lt;br /&gt;
Edited by A. M. M. STEDMAN, M.A.&lt;br /&gt;
Crown 8vo. 2s. 6d.&lt;br /&gt;
A series of short biographies, free from party bias, of the&lt;br /&gt;
most prominent leaders of religious life and thought in this&lt;br /&gt;
and the last century.&lt;br /&gt;
CARDINAL NEWMAN. 1{. H. Hutton. [Jiemlo.&lt;br /&gt;
JOHN WESLEY. J. H. Overton. \lleady.&lt;br /&gt;
UNIVERSITY EXTENSION SERIES,&lt;br /&gt;
Crown 8vo. 2s. 6d.&lt;br /&gt;
Under the above title Messrs. Metihjen have commenced&lt;br /&gt;
the publication of a series of books on historical, literary,&lt;br /&gt;
and economic subjects, suitable for extension students and&lt;br /&gt;
home-reading circles.&lt;br /&gt;
THE INDUSTRIAL HISTORY OF ENGLAND. By&lt;br /&gt;
H. DE B. Gibbins, M.A., late Scholar of Wadham College, Oxon.,&lt;br /&gt;
Cobden Prizeman. With Maps aud Plans. [Rcatly.&lt;br /&gt;
A HISTOBY OF ENGLISH POLITICAL ECONOMY.&lt;br /&gt;
By L. L. Price, M.A., Fellow of Oriel College, Oxon., Extension&lt;br /&gt;
Lecturer in Political Economy. [Ready.&lt;br /&gt;
VICTORIAN POETS. By A. Sharp. [Heady.&lt;br /&gt;
PROBLEMS OF POVERTY: An Inquiry iuto the&lt;br /&gt;
Industrial Conditions of the Poor. By J. A. Hobson, M.A., late&lt;br /&gt;
Scholar of Lincoln Colloge, Oxon., U.K. Lecturer in Economics.&lt;br /&gt;
[Ready.&lt;br /&gt;
THE FRENCH REVOLUTION. By J. E. Symks, M.A.,&lt;br /&gt;
Principal of University College, Nottingham. [Ifearly Ready.&lt;br /&gt;
SOCIAL QUESTIONS OF TO-DAY.&lt;br /&gt;
A series of volumes upon the most important topics of&lt;br /&gt;
social, economic, and industrial interest&mdash;written by the&lt;br /&gt;
highest authorities on the various subjects. The first two&lt;br /&gt;
volumes will be&mdash;&lt;br /&gt;
TRADES UNIONISM&mdash;New and Old. By G. Howell,&lt;br /&gt;
M.P. [Ready.&lt;br /&gt;
THE CO-OPEEATIVE MOVEMENT TO-DAY. By&lt;br /&gt;
G. J. Holyoake. Crown 8vo. it. bd. [Ready.&lt;br /&gt;
METHUEN &amp;amp; Co., 18, Bury Street, W.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 67 (#471) #############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS. 67&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
(ESTABLISHED 1887,)&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
The Department for Lady Pupils has unremitting attention, us&lt;br /&gt;
evidenced by the unqualified Success which has attended its&lt;br /&gt;
management. The Course includes Shorthand, Type-writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency&mdash;&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
PRICE LIST ON APPLICATION-TERMS MODERATE.&lt;br /&gt;
Particulars on application to&mdash;&lt;br /&gt;
MISS ZFt. V. GILL,&lt;br /&gt;
m: n. s. g-ixjXj,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C, and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
TYPEWRITING OFFICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
Author&amp;#039;s MSS. carefully copied from i*. per&lt;br /&gt;
I,coo words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
Eeferences kindly permitted to many well-known&lt;br /&gt;
Authors and Publishers. Further particulars on&lt;br /&gt;
application.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSP00N,&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES,&lt;br /&gt;
4, SUN COURT, CORHBI1L, E.C.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES ERWIN,&lt;br /&gt;
13, Dorset Street, Portman Sqcare, W.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Featnre.&lt;br /&gt;
All applications relating to Advertisements&lt;br /&gt;
in this Journal should be addressed to the&lt;br /&gt;
Printers and Publishers,&lt;br /&gt;
39, Lombard Street, E.C.&lt;br /&gt;
Office No. B9 (close to Lift).&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
TYPE-WRITER,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from Is. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of Charge.&lt;br /&gt;
Eeferences kindly permitted to George Augustus Sala. Esq.&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE,&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH I Co.,&lt;br /&gt;
East Harding Street, Fetter Lane,&lt;br /&gt;
London, E.C.&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C. +~~*&lt;br /&gt;
Authors&amp;#039; MSS. type-written from Is. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
VOL. TI.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 68 (#472) #############################################&lt;br /&gt;
&lt;br /&gt;
68&lt;br /&gt;
A D VEll TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and win be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are yarions points to select from, broad, meflmin, awl fine, every handwriting can be suited,&lt;br /&gt;
and the price of the entire instrument, with filler comulete, post free, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot;Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Oliver Wendell Holmks has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 185;, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grcndy, Ksq., says (referring to the Fountain Pen) :&mdash;&amp;quot;It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
MoBEBLY Bell, Ksq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. I). Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD.&lt;br /&gt;
93,^ 01&mdash; - &mdash; - ~&lt;br /&gt;
LONDOKr,&lt;br /&gt;
-~&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 69 (#473) #############################################&lt;br /&gt;
&lt;br /&gt;
^Tbe Butbot\&lt;br /&gt;
{The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 3.] AUGUST i, 1891. [Pbice Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that arc&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
NOTICE.&lt;br /&gt;
READERS are requested to observe that during&lt;br /&gt;
the month of August the secretarial strength&lt;br /&gt;
at the Office is greatly diminished. It will,&lt;br /&gt;
therefore, be a great convenience if letters asking&lt;br /&gt;
for advice or assistance could be kept back until&lt;br /&gt;
September. Urgent cases, however, will be sent on&lt;br /&gt;
and attended to as soon as possible. The Office is&lt;br /&gt;
open as usual for the payment of subscriptions and&lt;br /&gt;
donations, the entrance of names for membership,&lt;br /&gt;
and all ordinary office work.&lt;br /&gt;
Readers of the Author are earnestly&amp;#039; entreated&lt;br /&gt;
to disseminate as widely as possibly the warnings&lt;br /&gt;
and advice contained in every number; above all,&lt;br /&gt;
to enforce everywhere the simple counsel to have&lt;br /&gt;
nothing whatever to do with any publisher not&lt;br /&gt;
recommended by a friend who has had personal&lt;br /&gt;
experience, or by the Society.&lt;br /&gt;
&diams;■&raquo;■&diams;&lt;br /&gt;
THE ANNUAL DINNER&lt;br /&gt;
OF THE&lt;br /&gt;
INCORPORATED SOCIETY OF AUTHORS&lt;br /&gt;
HELD AT &amp;quot;THE WHITEHALL ROOMS,&amp;quot;&lt;br /&gt;
HOTEL METROFOLE,&lt;br /&gt;
ON&lt;br /&gt;
Thursday, July 16th, 1891,&lt;br /&gt;
LORD MONKSWELL in the Cuaib.&lt;br /&gt;
rflHERE were over two hundred members and&lt;br /&gt;
I guests present at the dinner. The following&lt;br /&gt;
is the list, but at the last moment two or three&lt;br /&gt;
found themselves unable to attend ;&mdash;.&lt;br /&gt;
More Adey.&lt;br /&gt;
George Allen.&lt;br /&gt;
Miss Grace Allen.&lt;br /&gt;
E. A. Armstrong.&lt;br /&gt;
Edwin Lester Arnold.&lt;br /&gt;
Mrs. Edwin Lester Arnold.&lt;br /&gt;
James Baker, F.R.G.S.&lt;br /&gt;
M. Powis Bale.&lt;br /&gt;
Wolcott Balestier.&lt;br /&gt;
The Rev. Dr. Barker.&lt;br /&gt;
Miss Jessie Barker.&lt;br /&gt;
Arthur W. a, Beckett.&lt;br /&gt;
Mrs. A. W. h Beckett.&lt;br /&gt;
Max Beerbohm.&lt;br /&gt;
Rev. Canon C. D. Bell.&lt;br /&gt;
Mackenzie Bell.&lt;br /&gt;
Miss Belloc.&lt;br /&gt;
Herbert Ben twitch.&lt;br /&gt;
Sir Henry Bergne, K.C.M.G.&lt;br /&gt;
Mrs. Oscar Beringcr.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Mrs. Walter Besant.&lt;br /&gt;
M. Bhowneggree.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
William Black.&lt;br /&gt;
Henry Blackburn.&lt;br /&gt;
Mrs. Henry Blackburn.&lt;br /&gt;
J. Arthur Blaikie.&lt;br /&gt;
Paul Blouet. (&amp;quot; Max O&amp;#039;Rell.&amp;quot;)&lt;br /&gt;
Madame Blouet.&lt;br /&gt;
Anna, Comtesse do Bremont.&lt;br /&gt;
A. E. Bridger.&lt;br /&gt;
Oscar Browning.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
Professor C. A. Buchheim, Ph.D.&lt;br /&gt;
Mrs. Mona Caird.&lt;br /&gt;
Mrs. Lovett Cameron.&lt;br /&gt;
J. Dykes Campliell.&lt;br /&gt;
Thomas Catling.&lt;br /&gt;
A. Chatto.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
John Coleman.&lt;br /&gt;
W. Morris Colles.&lt;br /&gt;
F. Howard Collins.&lt;br /&gt;
W. M. Conway. .&lt;br /&gt;
C. H. RadclifTe Cooke, M.P.&lt;br /&gt;
Miss Cordeux.&lt;br /&gt;
Miss K. M. Cordeux. (&amp;quot; Daniel Dormer.&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 70 (#474) #############################################&lt;br /&gt;
&lt;br /&gt;
7o&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Mrs. Roalfe Cox.&lt;br /&gt;
Miss Roalfe Cox.&lt;br /&gt;
Miss May Cronimelin.&lt;br /&gt;
John Beattie Crozier.&lt;br /&gt;
G. D. Dav.&lt;br /&gt;
C. F. Dowsett.&lt;br /&gt;
A. Conan Doyle.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
George Dumaurier.&lt;br /&gt;
J. W. Eilinonds.&lt;br /&gt;
Mrs. Edmonds.&lt;br /&gt;
Walter L. J. Ellis.&lt;br /&gt;
Dana Estes.&lt;br /&gt;
B. L. Farjeon.&lt;br /&gt;
George Manville Fenn.&lt;br /&gt;
Basil Field.&lt;br /&gt;
Mrs. Basil Field.&lt;br /&gt;
Clyde Fiteh.&lt;br /&gt;
Percy Fitzgerald.&lt;br /&gt;
Professor Michael Foster, F.R.S.&lt;br /&gt;
Dr. Richard Garnett.&lt;br /&gt;
William A. Gibbs.&lt;br /&gt;
Rev. Dr. Giusburg.&lt;br /&gt;
George W. Godfrey.&lt;br /&gt;
Dr. J. A. Goodchild.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
Mrs. Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Egmont Hake.&lt;br /&gt;
Professor John W. Hales.&lt;br /&gt;
Henry Harland.&lt;br /&gt;
Mrs. Henry Harland.&lt;br /&gt;
Mrs. George Harley.&lt;br /&gt;
Henry Harper.&lt;br /&gt;
Miss Harrison.&lt;br /&gt;
Bret Harte.&lt;br /&gt;
Joseph Hatton.&lt;br /&gt;
E. C. Haynes.&lt;br /&gt;
Arthur Herbert.&lt;br /&gt;
John W. Hill.&lt;br /&gt;
W. Earle Hodgson.&lt;br /&gt;
Clive Holland.&lt;br /&gt;
J. W. Houghton.&lt;br /&gt;
Miss Houghton.&lt;br /&gt;
Reginald Hughes.&lt;br /&gt;
Mrs. Reginald Hughes.&lt;br /&gt;
Rev. William Hunt.&lt;br /&gt;
Mrs. William Hunt.&lt;br /&gt;
Mrs. Hutcheson.&lt;br /&gt;
Professor Huxley.&lt;br /&gt;
Charles T. C. James.&lt;br /&gt;
Rev. Theodore Johnson.&lt;br /&gt;
Frel&amp;gt;endary Harry Jones.&lt;br /&gt;
H. G. Keene, CLE.&lt;br /&gt;
Joseph Knight.&lt;br /&gt;
Mrs. Laffan. (&amp;quot; Mrs. Leith Adams.&amp;quot;)&lt;br /&gt;
Rev. Dr. Lansdell.&lt;br /&gt;
Lorin Latbrop.&lt;br /&gt;
Mrs. Lorin Latbrop.&lt;br /&gt;
Edmund Lee.&lt;br /&gt;
Sidney Lee.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Lady William Lennox.&lt;br /&gt;
Robert Lincoln (the American Minister).&lt;br /&gt;
J. Stanley Little.&lt;br /&gt;
Mrs. Carnegie Long.&lt;br /&gt;
Sidney Low.&lt;br /&gt;
Mrs. Sidney Low.&lt;br /&gt;
Justin Huntly McCarthy.&lt;br /&gt;
Justin McCarthy.&lt;br /&gt;
Norman McColl.&lt;br /&gt;
J. W. Mcllvaine.&lt;br /&gt;
S. B. G. McKinney.&lt;br /&gt;
Dr. B. E. Martin.&amp;#039;&lt;br /&gt;
Edward Martin.&lt;br /&gt;
Brander Matthews.&lt;br /&gt;
Mrs. Brander Matthews.&lt;br /&gt;
Atbol Maudslay.&lt;br /&gt;
M. Mijatovich.&lt;br /&gt;
Mine. Mijatovich.&lt;br /&gt;
Professor W. Minto.&lt;br /&gt;
W. Cosmo Monkhouse.&lt;br /&gt;
Lord Monkswell.&lt;br /&gt;
Lewis Morris.&lt;br /&gt;
George Moore.&lt;br /&gt;
Rev. W. D. Morrison.&lt;br /&gt;
Mrs. Chandler Moulton.&lt;br /&gt;
Henry H. Newill.&lt;br /&gt;
Professor J. E. Nixon.&lt;br /&gt;
Miss Oakes.&lt;br /&gt;
John O&amp;#039;Neill.&lt;br /&gt;
James R. Osgood.&lt;br /&gt;
Walter Pater.&lt;br /&gt;
Arthur Paterson.&lt;br /&gt;
Dr. William Pole, F.R.S.&lt;br /&gt;
Sir Frederick Pollock, Bart ., LL.D.&lt;br /&gt;
Lady Pollock.&lt;br /&gt;
Walter H. Pollock.&lt;br /&gt;
Mrs. Walter H. Pollock.&lt;br /&gt;
Miss Edith Pollock.&lt;br /&gt;
Reginald S. Poole.&lt;br /&gt;
Stanley Lane Poole.&lt;br /&gt;
Norman Porritt.&lt;br /&gt;
John Rae.&lt;br /&gt;
W. Fraser Rae.&lt;br /&gt;
Miss Helen Leah Read.&lt;br /&gt;
F. W. Robinson.&lt;br /&gt;
John Robinson.&lt;br /&gt;
James Rolt.&lt;br /&gt;
Rol&amp;gt;ert Ross.&lt;br /&gt;
Miss Elise Ross.&lt;br /&gt;
Herr von Poorten Schwartz. (Mr. &amp;quot; Maar-&lt;br /&gt;
ten Maartens.&amp;quot;)&lt;br /&gt;
George Sheldon.&lt;br /&gt;
Dr. Sisley.&lt;br /&gt;
Rev. Professor Skeat, Litt.D.&lt;br /&gt;
Douglas Sladen.&lt;br /&gt;
G. W. Smalley.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 71 (#475) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
71&lt;br /&gt;
Rev. Dr. Smith.&lt;br /&gt;
Miss Jane Smith.&lt;br /&gt;
Mrs. Spender.&lt;br /&gt;
S. Squire Sprigge.&lt;br /&gt;
Dr. Balruanno Squire.&lt;br /&gt;
Sir John Staincr, Mus.D.&lt;br /&gt;
Professor C. V. Stanford, Mus.D.&lt;br /&gt;
Mrs. 0. V. Stanford.&lt;br /&gt;
Miss Stephens.&lt;br /&gt;
Miss J. Stephens.&lt;br /&gt;
J. Ashhv Sterrv.&lt;br /&gt;
C. T. Taylor.&amp;quot;&lt;br /&gt;
Dr. Todhunter.&lt;br /&gt;
H. D. Traill.&lt;br /&gt;
Mrs. H. D. Traill.&lt;br /&gt;
Andrew W. Tuer.&lt;br /&gt;
Mrs. Alec. Twecdie.&lt;br /&gt;
Miss Roraola Tynte.&lt;br /&gt;
Dr. F. Valentine.&lt;br /&gt;
Dr. Henry Veale.&lt;br /&gt;
Edric Vredenburg.&lt;br /&gt;
Charles Dudley Warner.&lt;br /&gt;
Arthur Warren.&lt;br /&gt;
A. P. Watt.&lt;br /&gt;
Alec. Watt, jun.&lt;br /&gt;
Theodore Watts.&lt;br /&gt;
William Westall.&lt;br /&gt;
Miss Beatrice Whitby.&lt;br /&gt;
Oscar Wilde.&lt;br /&gt;
W. G. Wills.&lt;br /&gt;
H. Schiitz Wilson.&lt;br /&gt;
Colonel Winsloe.&lt;br /&gt;
At the conclusion of dinner, the toast of Her&lt;br /&gt;
Majesty the Queen having been heartily responded&lt;br /&gt;
to&mdash;&lt;br /&gt;
The Chairman.&mdash;Mr. Lincoln, Ladies, and Gen-&lt;br /&gt;
tlemen, I have to announce that I have received a&lt;br /&gt;
letter from Lord Tennyson, who writes that &amp;quot;In&lt;br /&gt;
the name of the United Kingdom our Society-&lt;br /&gt;
congratulates the United States on their great act&lt;br /&gt;
of justice.&amp;quot; I have further to announce that the&lt;br /&gt;
following gentlemen regret their inability to attend:&lt;br /&gt;
The Bishops of Gloucester and Oxford, Cardinal&lt;br /&gt;
Manning, Mr. George Meredith, Mr. Holman&lt;br /&gt;
Hunt, Sir Edwin Arnold, Mr. Alfred Austin, the&lt;br /&gt;
Earl of Pembroke, Mr. Austin Dobson, Mr. Hail&lt;br /&gt;
Caine, Professor Church, and the Master of Balliol.&lt;br /&gt;
I may also mention that Lord Coleridge told me&lt;br /&gt;
the other day that it was with great regret that he&lt;br /&gt;
was compelled to decline an invitation at the&lt;br /&gt;
instance of Mr. Besant to lie here to-night, l&amp;gt;ecause&lt;br /&gt;
he was receiving company at home. There is also&lt;br /&gt;
a letter from Mr. Thomas Hardy.&lt;br /&gt;
Now, it is my pleasing duty to give you another&lt;br /&gt;
toast&mdash;that of the President of the United Suites&lt;br /&gt;
of America. The toast of the Queen it is usual to&lt;br /&gt;
consider needs no preface. I should have adopted&lt;br /&gt;
the same course with regard to the President of the&lt;br /&gt;
United States, were it not that I wish to mention&lt;br /&gt;
that we owe a debt of obligation to the President,&lt;br /&gt;
because he has without any demur at once acceded&lt;br /&gt;
to our request to lx&amp;gt; allowed to come under the&lt;br /&gt;
American Law of Copyright. It seems to me that&lt;br /&gt;
that shows a kindly feeling on the part of the&lt;br /&gt;
President of the United States towards England,&lt;br /&gt;
for he might, I think, have adopted a different&lt;br /&gt;
course, and I do not know if he had, whether we&lt;br /&gt;
should have had any reason to complain. He might&lt;br /&gt;
have said that the Law of Copyright in England is&lt;br /&gt;
quite unintelligible; that it was doubtful whether&lt;br /&gt;
the clause with regard to reciprocity in the Americjin&lt;br /&gt;
Act was complied with. The course that he has&lt;br /&gt;
adopted shows that he is animated with friendly&lt;br /&gt;
feelings towards England, and that is why I desire&lt;br /&gt;
to say a few words to the toast. I give you &amp;quot;The&lt;br /&gt;
President of the United States of America.&amp;quot;&mdash;The&lt;br /&gt;
toast was cordially received.&lt;br /&gt;
The Chairman.&mdash;Ladies and Gentlemen, the&lt;br /&gt;
toast that I have now the honour to propose is that&lt;br /&gt;
of our guests, coupled with the name of Mr. Lincoln,&lt;br /&gt;
the American Minister. I feel that my presence&lt;br /&gt;
in the chair to-night on this important occasion,&lt;br /&gt;
and in the midst of such a distinguished company,&lt;br /&gt;
exhibits the Society of Authors in a very amiable&lt;br /&gt;
light. It shows that they carry to its extreme&lt;br /&gt;
limits the virtue of gratitude, for I am here to-night&lt;br /&gt;
not in respect of any service I have been able to&lt;br /&gt;
render to the Society of Authors, but only in respect&lt;br /&gt;
of services attempted to l&amp;gt;e rendered. (No, no.)&lt;br /&gt;
Now, to-night, it is my pleasing duty to congratulate&lt;br /&gt;
the citizens of the United States of America, in the&lt;br /&gt;
person of their Minister, Mr. Lincoln, on the great&lt;br /&gt;
act of justice they have performed in recognising&lt;br /&gt;
the rights of British authors. I am sure we must&lt;br /&gt;
all lie extremelv glad to see Mr. Lincoln among us&lt;br /&gt;
to-night. Wc all know that Mr. Lincoln is the&lt;br /&gt;
distinguished son of an illustrious father. The&lt;br /&gt;
name of Abraham Lincoln ranks in the annals of&lt;br /&gt;
the United States second only to that of Washington&lt;br /&gt;
himself, of whom he was a worthy successor in the&lt;br /&gt;
Presidential Chair. If Mr. Lincoln looks around&lt;br /&gt;
him, I think he will discover that the company&lt;br /&gt;
here assembled is worthy of the occasion on which&lt;br /&gt;
we have met. I should not presume&mdash;it would be&lt;br /&gt;
impertinence for me to do so&mdash;to give a list of the&lt;br /&gt;
distinguished persons present here to-night, but I&lt;br /&gt;
should like to make one exception, I should like to&lt;br /&gt;
mention by name one great Englishman,&mdash;an&lt;br /&gt;
Englishman whose name is especially respected and&lt;br /&gt;
venerated in America, an Englishman whose&lt;br /&gt;
presence among us to-night is a signal act of&lt;br /&gt;
favour, inasmuch as for years past he has steadily&lt;br /&gt;
refused to be present at any banquet except in the&lt;br /&gt;
immediate circle of his intimate friends&mdash;I mean&lt;br /&gt;
Professor Huxley. One never knows in what&lt;br /&gt;
-&lt;br /&gt;
i&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 72 (#476) #############################################&lt;br /&gt;
&lt;br /&gt;
72&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
unexpected ways a man of gonitis may not. break&lt;br /&gt;
out. We have long known Mr. Huxley as an&lt;br /&gt;
eminent man of science and of letters. We must&lt;br /&gt;
now regard him in the liglit of a great Biblical&lt;br /&gt;
scholar; he is, as I understand, devoting his life to&lt;br /&gt;
the task of reconciling theology with science. If&lt;br /&gt;
he Bhould fail in the attempt, perhaps he will put&lt;br /&gt;
the boot on the other leg and try to reconcile&lt;br /&gt;
science with theology. Well, then, ladies and&lt;br /&gt;
gentlemen, as I have said, the United States of&lt;br /&gt;
America have done an act of justice to English&lt;br /&gt;
authors, and have done this act of justice to their&lt;br /&gt;
own material disadvantage. We speak the same&lt;br /&gt;
language as the Americans. To a great extent&lt;br /&gt;
we read the same books. The names of many&lt;br /&gt;
American authors are household words in England&lt;br /&gt;
just as they are in America, and, indeed, some&lt;br /&gt;
American authors have even become acclimatized&lt;br /&gt;
among us. And in the same way many English&lt;br /&gt;
authors arc exceedingly popular in America. The&lt;br /&gt;
United States of America have long enjoyed what&lt;br /&gt;
I may call a system of assisted education; that is&lt;br /&gt;
to say, education assisted by the industry and by&lt;br /&gt;
the intellect of English writers; but at the same&lt;br /&gt;
time the Americans have paid their teachers ex-&lt;br /&gt;
ceedingly little for their lessons, and what little&lt;br /&gt;
they have paid has hitherto been not a matter of&lt;br /&gt;
right but a matter of favour. Now, I think, it is&lt;br /&gt;
no small thing that the American people should&lt;br /&gt;
have agreed to pay for what they have so long&lt;br /&gt;
enjoyed without payment. I agree that this is&lt;br /&gt;
only a matter of justice, but at the same time it&lt;br /&gt;
is a kind of justice that it requires a good deal&lt;br /&gt;
of moral courage to carry into execution. It is&lt;br /&gt;
justice, I may mention, not only to English authors&lt;br /&gt;
but also to American authors, because for a long&lt;br /&gt;
time American authors have been subject to what&lt;br /&gt;
I may call unfair competition on the part of&lt;br /&gt;
English writers, for English writers have been&lt;br /&gt;
able to have their works printed in America at&lt;br /&gt;
what I may call an artificially low cost owing to&lt;br /&gt;
the absence of Copyright; and now the American&lt;br /&gt;
and the English writers have a fair field and no&lt;br /&gt;
favour in a friendly competition one with another.&lt;br /&gt;
Now, ladies and gentlemen, I approach a somewhat&lt;br /&gt;
debatable point. We know a great deal has been&lt;br /&gt;
said about what is called the printing clause in&lt;br /&gt;
the American Act, that is to say, the clause that&lt;br /&gt;
requires a book to be printed from type set up in&lt;br /&gt;
the United States before English writers can get&lt;br /&gt;
the benefit of American Copyright. I approach&lt;br /&gt;
this subject with a good deal of diffidence, partly&lt;br /&gt;
because my friend, Professor Bryce, has said&lt;br /&gt;
everything about it that I intended to say in last&lt;br /&gt;
Saturday&amp;#039;s number of the Speaker. But as it is&lt;br /&gt;
just possible that there may be persons here present&lt;br /&gt;
who did not read the Speaker, perhaps I may be&lt;br /&gt;
allowed, in a few words, to tell yon what my views&lt;br /&gt;
are with regard to that clause. I must say that&lt;br /&gt;
I am Englishman enough to feel annoyance, and&lt;br /&gt;
indignation even, with my American cousins if&lt;br /&gt;
I consider that annoyance and indignation is&lt;br /&gt;
warranted by the facts of the case, but I do not&lt;br /&gt;
feel that any cause of indignation is given, because&lt;br /&gt;
the Americans have passed this printing clause.&lt;br /&gt;
In the first place, I would point out this: that the&lt;br /&gt;
supporters of the Bill had absolutely no option&lt;br /&gt;
whatever but to put this clause in. The American&lt;br /&gt;
Act wiis only passed by the. display of the greatest&lt;br /&gt;
tact and ability on the part of the promoters of it;&lt;br /&gt;
and if this sop to American printers had not been&lt;br /&gt;
put in it is absolutely certain that the Act would&lt;br /&gt;
never jmiss into law. Well, now, I think that we&lt;br /&gt;
in England are very well aware of the great&lt;br /&gt;
pressure and influence that can be brought to bear&lt;br /&gt;
by any organized men in the kingdom who con-&lt;br /&gt;
sider that their interests are threatened, and we in&lt;br /&gt;
England know perfectly well how helpless the&lt;br /&gt;
general public are in an unequal contest with an&lt;br /&gt;
organized and powerful and an enraged section&lt;br /&gt;
of the community. From what I have read it does&lt;br /&gt;
seem to me that the United States of America&lt;br /&gt;
is not entirely free from experience of that kind.&lt;br /&gt;
It is said, I know, that although this clause is&lt;br /&gt;
a necessary clause that it is a dishonest one, or, at&lt;br /&gt;
all events, if not dishonest, that it is a shabby piece&lt;br /&gt;
of legislation. Now, I confess that I am unable to&lt;br /&gt;
rgree with that opinion. It is perfectly certain&lt;br /&gt;
that if the American Act had been passed without&lt;br /&gt;
this clause that the American printing industry&lt;br /&gt;
would have suffered considerably. It would imme-&lt;br /&gt;
diately have lost what it now enjoys, the printing&lt;br /&gt;
of English copyright works; and I agree entirely&lt;br /&gt;
with Mr. Bryce when he says that the object of&lt;br /&gt;
this clause in the American Act was merely to put&lt;br /&gt;
the American printers in the same condition in&lt;br /&gt;
which they would have been in ha&amp;lt;l the Act not&lt;br /&gt;
have been passed. I believe that its effect upon&lt;br /&gt;
English printing will be very slight. It may be&lt;br /&gt;
that a certain amount of English printing hitherto&lt;br /&gt;
done here will go to America, but I Ixdieve the&lt;br /&gt;
chief difference the Act will make is this: that it&lt;br /&gt;
will lead to a good deal of unnecessary and&lt;br /&gt;
wasteful printing; that most of the copyright&lt;br /&gt;
lx&amp;gt;oks for English readers will be printed in&lt;br /&gt;
England, and most of the copyright books for&lt;br /&gt;
American readers will be printed in America. And&lt;br /&gt;
I would point out this: that the printing industry-&lt;br /&gt;
is, by the nature of things, a growing industry.&lt;br /&gt;
It must grow because our population is constantly&lt;br /&gt;
increasing, and because of the spread of education,&lt;br /&gt;
and any temporary check that may be administered&lt;br /&gt;
to it by American legislation will, I believe, be&lt;br /&gt;
only momentary, and will be barely perceptible.&lt;br /&gt;
Now, I wordd point out that this clause to which&lt;br /&gt;
so much objection has been taken, both on this&lt;br /&gt;
i&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 73 (#477) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
73&lt;br /&gt;
side and on the other side of the Atlantic, is simply&lt;br /&gt;
a part of the American system of Protection. Now&lt;br /&gt;
wc, in England, consider that this system of Pro-&lt;br /&gt;
tection is unwise, hut we cannot say that for those&lt;br /&gt;
who believe in it, it is in any respect immoral.&lt;br /&gt;
We believe that the effect of the clause will be&lt;br /&gt;
this: it will be to make not only American readers&lt;br /&gt;
pay toll to American printers, but also every in-&lt;br /&gt;
dustry throughout the United States. Our con-&lt;br /&gt;
tention is this: that if the American reader has to&lt;br /&gt;
pay more for his books, he will have to economise&lt;br /&gt;
in other directions; that is to say, he will wear his&lt;br /&gt;
old coats, his old hats, and his old boots longer,&lt;br /&gt;
and, worst of all, it may be that he will not be able&lt;br /&gt;
to afford his wife as many dresses as she requires.&lt;br /&gt;
Americans believe in Protection. If we, like the&lt;br /&gt;
Americans, believed in Protection, we should be&lt;br /&gt;
bound to practise it. While we did believe in&lt;br /&gt;
Protection we did practise it, and we almndoned&lt;br /&gt;
Protection not because we were more moral than&lt;br /&gt;
our neighbours, but because we flattered ourselves&lt;br /&gt;
that we were more enlightened. Now, we further&lt;br /&gt;
believe that Protection in the United States of&lt;br /&gt;
America handicaps her very severely in her com-&lt;br /&gt;
petition with us in the commerce of the world, and&lt;br /&gt;
regarded simply from the standpoint of material&lt;br /&gt;
interests, we can afford to regard with equanimity,&lt;br /&gt;
if not with satisfaction, every fresh development of&lt;br /&gt;
Protectionist policy in America. I am not going&lt;br /&gt;
to sivy that there are not some provisions in the&lt;br /&gt;
American Act that might very well with advantage&lt;br /&gt;
lx&amp;gt; amended, but I do say this: that, substantially,&lt;br /&gt;
the Americans have gone as far to meet our views&lt;br /&gt;
as the supposed interests of their country would&lt;br /&gt;
allow them to do. I say that in their position,&lt;br /&gt;
holding their opinions, I believe we should have&lt;br /&gt;
behaved very much as they have behaved. And,&lt;br /&gt;
ladies and gentlemen, in conclusion, I hope it will&lt;br /&gt;
be generally recognised that the Americans have&lt;br /&gt;
gone as far to meet our wishes as we could reason-&lt;br /&gt;
ably hope, and I do trust that not a vestige of&lt;br /&gt;
irritation or annoyance will remain either on our&lt;br /&gt;
part or on the part of the people of the United&lt;br /&gt;
States of America to cloud that perfect under-&lt;br /&gt;
standing that ought to subsist between two peoples&lt;br /&gt;
so closely allied in blood, and so worthy of one&lt;br /&gt;
another&amp;#039;s friendship. I give you &amp;quot;Our Guests,&amp;quot;&lt;br /&gt;
coupled with the name of Mr. Lincoln.&lt;br /&gt;
The American Minister (Mr. Lincoln).&mdash;&lt;br /&gt;
Lord Monkswell, Ladies, and Gentlemen, I thank&lt;br /&gt;
you very heartily and sincerely for the very kind&lt;br /&gt;
way in which this toast has been received, at least,&lt;br /&gt;
in so far as it regards myself, for I am only one of&lt;br /&gt;
the guests of this evening, and others are here who&lt;br /&gt;
will speak for themselves&mdash;as for myself, I am&lt;br /&gt;
heartily obliged. I hope and trust that you will&lt;br /&gt;
acquit me of any affectation when I say that it&lt;br /&gt;
would be very much more agreeable to me if this&lt;br /&gt;
VOL. II.&lt;br /&gt;
event which is being celebrated here to-night, and the&lt;br /&gt;
response of the American minister to this toast, had&lt;br /&gt;
been in the time of one of my eminent predecessors,&lt;br /&gt;
whose distinguished career and personal qualities&lt;br /&gt;
not only allied him to many of those who are here&lt;br /&gt;
present, but made him their close friend, and whose&lt;br /&gt;
wit and wisdom have made his name a household&lt;br /&gt;
word all over the world, and who has used them&lt;br /&gt;
in the most strenuous way in accomplishing the&lt;br /&gt;
purpose which has been attained. As his presence&lt;br /&gt;
here is impossible, it falls upon me to have the&lt;br /&gt;
pleasure of expressing the honour I feel at this&lt;br /&gt;
opportunity of meeting this distinguished company,&lt;br /&gt;
composed of so many of those who are devoting&lt;br /&gt;
their energies and their talents to the instruction&lt;br /&gt;
and the literary entertainment of the great English-&lt;br /&gt;
speaking race; and it is especially pleasant to do&lt;br /&gt;
so under the circumstances which make this par-&lt;br /&gt;
ticular dinner of the Author&amp;#039;s Society so peculiarly&lt;br /&gt;
notable. You are signalising here the end of the&lt;br /&gt;
impatience which has existed for so many years on&lt;br /&gt;
both sides of the Atlantic, over the delay in esta-&lt;br /&gt;
blishing what may be called proper relations&lt;br /&gt;
between the Copyright laws of England and the&lt;br /&gt;
United States. How far they may have been&lt;br /&gt;
established may be a question in some minds, but&lt;br /&gt;
at all events, we all recognise that a correct principle&lt;br /&gt;
has been reached and settled. It is not at all&lt;br /&gt;
strange that such impatience has long existed, for&lt;br /&gt;
while our governments differ in form, yet the duties&lt;br /&gt;
on the one hand, and the rights and privileges on&lt;br /&gt;
the other, of the people of both our nations, are&lt;br /&gt;
nearly identical. They have a common language,&lt;br /&gt;
and for the most part a common origin, and with&lt;br /&gt;
an equally advanced civilisation, their modes of&lt;br /&gt;
thought and aspirations make our races almost&lt;br /&gt;
the same in the history and contemplation of the&lt;br /&gt;
world at large. Under those conditions it has&lt;br /&gt;
seemed to many for a long time, and it has seemed&lt;br /&gt;
to me among them, that it was almost arbitrary&lt;br /&gt;
and unreasonable that there should be continued in&lt;br /&gt;
force a rule of law which denied in each country&lt;br /&gt;
to the authors of the other, and to them alone&lt;br /&gt;
of all the people carrying on the numberless active&lt;br /&gt;
professions and trades of the civilisation of the&lt;br /&gt;
present day, the property rights which each country&lt;br /&gt;
gave to its own citizen and resident authors. In&lt;br /&gt;
saying this of England as well as the United&lt;br /&gt;
States, I speak of course in view of the fact that it&lt;br /&gt;
has only just now become certain that a non-resident&lt;br /&gt;
alien author can obtain the benefit of English&lt;br /&gt;
Copyright law, and that the first official and conclu-&lt;br /&gt;
sive declaration to that effect has just within a few&lt;br /&gt;
weeks been made and drawn forth by the passage&lt;br /&gt;
of the new American law on this subject. Between&lt;br /&gt;
our countries, to a far greater degree than l&amp;gt;etween&lt;br /&gt;
those using different languages, this question of&lt;br /&gt;
reciprocal Copyright is a practical one and of high&lt;br /&gt;
F&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 74 (#478) #############################################&lt;br /&gt;
&lt;br /&gt;
74&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
importance, and consequently opposing interests&lt;br /&gt;
are more numerous and more powerful with us than&lt;br /&gt;
anywhere else. In the very nature of things the&lt;br /&gt;
adhesion which was reached, by various countries&lt;br /&gt;
under the provisions of the Berne Convention, were&lt;br /&gt;
far easier to be attained than the great arrangement&lt;br /&gt;
which has just been closed between Great Britain&lt;br /&gt;
and the United States. I am one of those who for&lt;br /&gt;
a long time have wished such an arrangement to&lt;br /&gt;
be made. It seems to me a great many years since&lt;br /&gt;
I signed a petition to that effect. I am neither an&lt;br /&gt;
author on the one side or a publisher on the other;&lt;br /&gt;
but it is my misfortune, when I am not doing&lt;br /&gt;
something else, to be a practising lawyer, and, as a&lt;br /&gt;
practising lawyer, I have never had any difficulty&lt;br /&gt;
whatever in feeling the justice of myself being&lt;br /&gt;
paid for any printed argument that I might make,&lt;br /&gt;
provided always it was a good one, and this&lt;br /&gt;
irrespective of the nationality of my client, and&lt;br /&gt;
what I thought just as regards myself I could hardly&lt;br /&gt;
think unjust as regarded any other man, whatever&lt;br /&gt;
his nation or however remote might be his geo-&lt;br /&gt;
graphical situation, from whose mental labours I&lt;br /&gt;
had derived profit or pleasure. Besides feeling&lt;br /&gt;
this sense of justice to authors themselves &mdash; I&lt;br /&gt;
hope it was a sense of justice&mdash;I but followed&lt;br /&gt;
the lead of, I believe, almost every living author of&lt;br /&gt;
high repute in my own country, in wishing them,&lt;br /&gt;
and especially their younger brethren who are still&lt;br /&gt;
struggling to find their proper place in the public&lt;br /&gt;
estimation, to be relieved from the involuntary,&lt;br /&gt;
perhaps I should say from the very unwilling,&lt;br /&gt;
competition of uncompensated foreign authorship,&lt;br /&gt;
and so that there should be taken away what I&lt;br /&gt;
consider a very great obstacle in the path of our&lt;br /&gt;
own home literary progress. But to go into this is&lt;br /&gt;
to enter upon subjects which are very familiar, and&lt;br /&gt;
as it is a rule of my profession that all the details&lt;br /&gt;
of a controversy should be ignored and theoretically&lt;br /&gt;
forgotten after the controversy has been settled by&lt;br /&gt;
an agreement, I think it would perhaps suit you, as&lt;br /&gt;
it will certainly suit me, to follow that rule. This&lt;br /&gt;
I do not believe to be an occasion to thresh over&lt;br /&gt;
what is happily now only old straw. It is rather&lt;br /&gt;
the time and the occasion to exchange felicitations&lt;br /&gt;
over the harvest which we lx-lieve is to be shared&lt;br /&gt;
by both our countries. I myself think it idle to&lt;br /&gt;
inquire, and very much outside of the real question&lt;br /&gt;
of justice at the bottom, to inquire or to speculate in&lt;br /&gt;
what proportions the division of that harvest may&lt;br /&gt;
possibly be made. It seems quite enough to see that&lt;br /&gt;
you English authors who are here to-night, and I am&lt;br /&gt;
happy to see one or two of my American friends of&lt;br /&gt;
the same category, and all their American brethren&lt;br /&gt;
are hereafter not to see the whole fruits of their&lt;br /&gt;
labour reaped by other people; and if there was no&lt;br /&gt;
other benefit to accrue to the public at large from&lt;br /&gt;
this, than the acquisition of what I hope will be&lt;br /&gt;
an easier conscience, I think there will be a good&lt;br /&gt;
deal gained for them as well. But, ladies aud&lt;br /&gt;
gentlemen, I very heartily believe that this is not&lt;br /&gt;
all that has l&amp;gt;een provided for, for independently&lt;br /&gt;
and far beyond such considerations as I have&lt;br /&gt;
merely mentioned, it should be reineinbered that&lt;br /&gt;
by these contemporaneous acts of justice to authors,&lt;br /&gt;
the declaration of the Government of your own&lt;br /&gt;
country as to the existing law, and the new statute&lt;br /&gt;
of the United States followed by the proclamation&lt;br /&gt;
of the President, there has been removed a very just&lt;br /&gt;
cause of international irritation, and one too, if I&lt;br /&gt;
I may say so, that is felt most by a very influential&lt;br /&gt;
class of people in both countries, and by that&lt;br /&gt;
peculiar class who are best able to make them-&lt;br /&gt;
selves heard, and make their troubles known. But,&lt;br /&gt;
in addition to all this, I believe there has been&lt;br /&gt;
provided a new stimulus to literary effort, which I&lt;br /&gt;
think will lie felt long and on both sides of the&lt;br /&gt;
Atlantic, and I am sure, ladies and gentlemen, that&lt;br /&gt;
you will join me in hoping that in this new phase&lt;br /&gt;
of our community of interest and anticipation,&lt;br /&gt;
there may be found a new assurance of an exten-&lt;br /&gt;
sion in other directions of that goodwill and good&lt;br /&gt;
understanding which are so important to both our&lt;br /&gt;
countries, and which I am sure you will agree with&lt;br /&gt;
me in thinking it is so fitting should exist between&lt;br /&gt;
us.&lt;br /&gt;
The Chairman.&mdash;Ladies and Gentlemen, I have&lt;br /&gt;
the honour to propose the next toast&mdash;the toast of&lt;br /&gt;
&amp;quot;The Society of Authors.&amp;quot; Now, if I fail, as I&lt;br /&gt;
am perfectly certain to fail, in doing justice to this&lt;br /&gt;
toast, I hope I may be recommended to mercy on&lt;br /&gt;
the ground that it was only yesterday that I&lt;br /&gt;
received notice that it would be my pleasant duty&lt;br /&gt;
to propose it. I had supposed, up to that time,&lt;br /&gt;
that the toast would have been entrusted to one of&lt;br /&gt;
the distinguished visitors here to-night, but as I am&lt;br /&gt;
asked to do it, of course I must do the best I can.&lt;br /&gt;
Now, it seems to me that a combination among&lt;br /&gt;
authors is one of the most remarkable signs of the&lt;br /&gt;
times. Not a great many years ago, it would&lt;br /&gt;
hardly have been believed that authors would have&lt;br /&gt;
combined together in a Society. It was supposed&lt;br /&gt;
that they lacked the elements of cohesion, but I am&lt;br /&gt;
assured that this Society is very flourishing, that it&lt;br /&gt;
is increasing in numbers every day, and therefore,&lt;br /&gt;
it is perfectly certain that this opinion that used to&lt;br /&gt;
be held can be held no longer. It is very desirable&lt;br /&gt;
that authors should combine together to get as good&lt;br /&gt;
a remuneration as they are entitled to in respect of&lt;br /&gt;
their works. The labouring man is always telling&lt;br /&gt;
us that he does not get the proper proportion of the&lt;br /&gt;
value that he creates; he is always telling us that&lt;br /&gt;
the middleman or the capitalist runs away with an&lt;br /&gt;
undue share of the profits. Now, I suppose there&lt;br /&gt;
is no industry in this country, in which the value&lt;br /&gt;
created by authors&mdash;the true value is less in&lt;br /&gt;
i&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 75 (#479) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
7S&lt;br /&gt;
l&amp;gt;n&amp;gt;i&amp;gt;ortion to what they receive than in the case of&lt;br /&gt;
literary men&mdash;the value is enormous in respect of&lt;br /&gt;
the very small proportion of the goods of this&lt;br /&gt;
world thai find their way into tin? pockets of authors.&lt;br /&gt;
The Society does, I believe, very good work in&lt;br /&gt;
helping young authors, and I suppose of all the&lt;br /&gt;
helpless people in the whole world a young author&lt;br /&gt;
is just about the most helpless, and the most at the&lt;br /&gt;
mercy of men of business.&lt;br /&gt;
I have already observed that you, the Society of&lt;br /&gt;
Authors, have carried gratitude to its extreme limits&lt;br /&gt;
in suggesting that I should take the chair here&lt;br /&gt;
to-night. Now I will venture to say with regard to&lt;br /&gt;
the Society of Authors, that if you have a fault it&lt;br /&gt;
is that you are too virtuous. You are too guileless;&lt;br /&gt;
there is too much of the milk of human kindness&lt;br /&gt;
about you. You are too simple-minded; you trust&lt;br /&gt;
too much in your simplicity to the justice of your&lt;br /&gt;
cause. Now, allow me to say that you will never&lt;br /&gt;
get what I consider to be a really good Law of&lt;br /&gt;
Copyright passed in England, either by the powers&lt;br /&gt;
that l&amp;gt;e, or with the powers that may be, without&lt;br /&gt;
agitation; and, I do not believe that the Society of&lt;br /&gt;
Authors quite understands either the arts or the&lt;br /&gt;
necessity of agitation. I do not mean to say, of&lt;br /&gt;
course, that you should march in procession to the&lt;br /&gt;
Reform Tree in Hyde Park, with Lord Tennyson&lt;br /&gt;
and Mr. Besant at your head; I do not even&lt;br /&gt;
suggest that you should go to Trafalgar Square and&lt;br /&gt;
wave red flags. But what I do suggest is that you&lt;br /&gt;
will never get what you want until you use the&lt;br /&gt;
vast influence that you possess to get the assistance&lt;br /&gt;
of the newspaper press. You must induce the&lt;br /&gt;
newspaper press to take up your case unremittingly&lt;br /&gt;
and enthusiastically, and without that I do not&lt;br /&gt;
lK-lieve you will get what you want. I think the&lt;br /&gt;
Society would do well to take to heart the Scrip-&lt;br /&gt;
tural parable of the importunate widow. It is to&lt;br /&gt;
be regretted that while we have met here to-night&lt;br /&gt;
to congratulate America on the skill and success of&lt;br /&gt;
their own Copyright, that we Englishmen should&lt;br /&gt;
still have to groan under a Copyright that is unjust,&lt;br /&gt;
unintelligible, and grotesque, and is condemned by&lt;br /&gt;
every person who knows anything at all about it.&lt;br /&gt;
I hope the Society of Authors will take good heart,&lt;br /&gt;
and that they will leave no stone unturned to&lt;br /&gt;
obtain what I l&amp;gt;elievc are just rights here. The&lt;br /&gt;
toast is, &amp;quot;The Society of Authors.&amp;quot;&lt;br /&gt;
Mr. James Bryce, M.P.&mdash;Mr. Chairman, Mr.&lt;br /&gt;
Lincoln, Ladies, and Gentlemen, I have the honour-&lt;br /&gt;
able duty entrusted to me of proposing the toast&lt;br /&gt;
of our Benefactors, &amp;quot;the American Copyright&lt;br /&gt;
League,&amp;quot; and I am asked to couple it with the&lt;br /&gt;
name of Mr. Brander Matthews. Ladies and&lt;br /&gt;
Gentlemen, we thank the American Copyright&lt;br /&gt;
League for what they have done for us, and we also&lt;br /&gt;
salute and congratulate them as the victors in a long&lt;br /&gt;
and arduous struggle. How long and how arduous&lt;br /&gt;
that struggle has l&amp;gt;eeu, perhaps very few can under-&lt;br /&gt;
stand, except those who have from time to time&lt;br /&gt;
visited America and taken opportunities there of&lt;br /&gt;
ascertaining how great, were the difficulties which&lt;br /&gt;
confronted the advocates of International Copy-&lt;br /&gt;
right. They hod to overcome the difficulties&lt;br /&gt;
which the extremely technical procedure of the&lt;br /&gt;
American Congress presents; they had to over-&lt;br /&gt;
come the argument that the effect of Copyright&lt;br /&gt;
would l&amp;gt;e to make books dearer to the American&lt;br /&gt;
public, and they had to cut deeper still, and to&lt;br /&gt;
defend the nature of literary property itself, and&lt;br /&gt;
to prove that a man has, and ought to have,&lt;br /&gt;
the same right of property in, and the same&lt;br /&gt;
beneficial enjoyment of, his ideas, as he has of&lt;br /&gt;
the labour of his hands. I remember reading,&lt;br /&gt;
with a good deal of entertainment, some of the&lt;br /&gt;
debates that passed in the American House of&lt;br /&gt;
Representatives, when this Bill was being debated.&lt;br /&gt;
There was one Member in particular, who did&lt;br /&gt;
the honour to a book, published upon American&lt;br /&gt;
institutions by myself, of selecting it as an&lt;br /&gt;
illustration of the evils which would follow from&lt;br /&gt;
the recognition of International Copyright. He&lt;br /&gt;
said, &amp;quot; Here is a l&amp;gt;ook which is published for six&lt;br /&gt;
dollars; it could be printed, and bound, and&lt;br /&gt;
brought out in a convenient and elegant form for&lt;br /&gt;
three dollars; and it is nothing but the ruthless&lt;br /&gt;
avarice of the author and the publisher that pre-&lt;br /&gt;
vents this from being done.&amp;quot; Now, all these&lt;br /&gt;
difficulties, and many more difficulties, which it&lt;br /&gt;
would take too long to enumerate to you, have&lt;br /&gt;
been overcome by the patience, and the zeal, and&lt;br /&gt;
the tact, the untiring perseverance and the un-&lt;br /&gt;
quenchable hopefulness of our friends of the&lt;br /&gt;
American Copyright League, and we rejoice in&lt;br /&gt;
their success on account of the admirable earnest-&lt;br /&gt;
ness and public spirit which they have shown, even&lt;br /&gt;
more than in respect of the benefits which we hope&lt;br /&gt;
■will accrue to British authors; and I want to say&lt;br /&gt;
in passing, that we ought not to lx&amp;gt; ashamed of&lt;br /&gt;
expecting benefits for British authors. They are,&lt;br /&gt;
as they have often told us, a downtrodden and&lt;br /&gt;
necessitous class, and they an&amp;quot; a class which is&lt;br /&gt;
debarred from many of the opportunities that other&lt;br /&gt;
classes enjoy, of raising their remuneration. They&lt;br /&gt;
consist, I will not say of unskilled labourers, but&lt;br /&gt;
certainly of unorganised lalxmrers, and, therefore,&lt;br /&gt;
they are quite unable to get up a strike, and I do&lt;br /&gt;
not know that any philanthropist has offered to&lt;br /&gt;
protect them, even by an eight hours&amp;#039; law. But&lt;br /&gt;
there is a better reason still why those of us who&lt;br /&gt;
have watched the progress of this cause in America,&lt;br /&gt;
rejoice over the success of the Copyright League;&lt;br /&gt;
it is a victory for honesty&mdash;it is a victory of&lt;br /&gt;
enlightened public opinion. It is the greatest&lt;br /&gt;
testimony that has been given in our time of&lt;br /&gt;
the power of opinion expressed by a small circle&lt;br /&gt;
F 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 76 (#480) #############################################&lt;br /&gt;
&lt;br /&gt;
76&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
of cultivated men, to permeate and leaven the&lt;br /&gt;
whole people. It was authors themselves that&lt;br /&gt;
began this movement. I should like; to mention&lt;br /&gt;
in particular some among those to whom we are&lt;br /&gt;
indebted (because we ought to seize this opportunity&lt;br /&gt;
of making up for the lukewarmness of our own&lt;br /&gt;
press in acknowledging their services) the services&lt;br /&gt;
of Mr. Lowell, who gave the unrivalled influence&lt;br /&gt;
of his name and reputation very readily on every&lt;br /&gt;
occasion. Let me mention also four American&lt;br /&gt;
writers, probably known to many of you, who have&lt;br /&gt;
done yeoman service in this contest&mdash;Mr. Edward&lt;br /&gt;
Eggleston, Mr. R. U. Johnson, Mr. R. W. Gilder,&lt;br /&gt;
and Mr. E. C. Stedman&mdash;and I desire to add to these&lt;br /&gt;
the name of the gentleman who is going to respond,&lt;br /&gt;
and I believe in whose house it was that the&lt;br /&gt;
Copyright League was first started, a gentleman&lt;br /&gt;
who, since that date, has given unfailing attention&lt;br /&gt;
and earnest labour in endeavouring to promote its&lt;br /&gt;
objects; I mean Mr. Brander Matthews. Nor&lt;br /&gt;
would it be right to omit the names of three other&lt;br /&gt;
gentlemen also, two of them eminent politicians&lt;br /&gt;
who took up the cause and fought it with much&lt;br /&gt;
warmth,&mdash;both of them authors, as well as politi-&lt;br /&gt;
cians&mdash;Henry Cabot Lodge and Theodore Roose-&lt;br /&gt;
velt; one of them a publisher, Mr. George Haven&lt;br /&gt;
Putnam. Well, Gentlemen, there is one point more&lt;br /&gt;
t &amp;gt; which I must advert in commemorating the&lt;br /&gt;
services of the Copyright League. It is one to&lt;br /&gt;
which your attention has already been called in the&lt;br /&gt;
speech of Mr. Lincoln. This is an Act which&lt;br /&gt;
rivets the bonds of friendship between the English&lt;br /&gt;
branch of our people and that now larger branch&lt;br /&gt;
of our people which inhabits the United States, and&lt;br /&gt;
we may reflect with some pleasure that it is by&lt;br /&gt;
literary men more than by anyone else, that&lt;br /&gt;
the two main branches of the English-speaking&lt;br /&gt;
race are united and taught to sympathise with one&lt;br /&gt;
another. It is by our literature that we, the&lt;br /&gt;
English of to-day, are known in America; it is by&lt;br /&gt;
our poets and our novelists that our manners, our&lt;br /&gt;
habits, our daily life is known; and in the same&lt;br /&gt;
way it is by the authors of America&mdash;it is by&lt;br /&gt;
writers like Mr. Charles Dudley Warner, whom I&lt;br /&gt;
see here to-night, Mr. Bret Harte, Mr. Howells,&lt;br /&gt;
Mr. Henry James, Mr. Henry Nelson Page, Miss&lt;br /&gt;
Jewett, Mrs. Deland, Mr. Harris, Mr. Edward&lt;br /&gt;
Eggleston, Mr. George Cable, Mrs. Burnett, and&lt;br /&gt;
many others&mdash;it is by them that we in England are&lt;br /&gt;
taught to know what is the life, what are the&lt;br /&gt;
thoughts, and beliefs, and aspirations of the Ameri-&lt;br /&gt;
can branch of our race; and feeling that, I feel&lt;br /&gt;
that we may see with warm satisfaction the removal&lt;br /&gt;
of what was a cause of heartburning between&lt;br /&gt;
English authors and the American people, and an&lt;br /&gt;
injury to American authors themselves, since it&lt;br /&gt;
injured their remuneration while it emphasized the&lt;br /&gt;
political severance of the two counties by preventing&lt;br /&gt;
an English author from feeling that he was at&lt;br /&gt;
home wherever the English tongue was spoken.&lt;br /&gt;
There was a time when we used to boast that the&lt;br /&gt;
drum of the British army followed the rising sun&lt;br /&gt;
over the world. We may boast now, and we can&lt;br /&gt;
boast, in a far higher sense, of the Empire which&lt;br /&gt;
has been won by the literature of England and&lt;br /&gt;
America, an Empire which is more wide, and&lt;br /&gt;
which is far more enduring, because no political&lt;br /&gt;
dangers can threaten it. And at this moment,&lt;br /&gt;
when we congratulate American authors on the&lt;br /&gt;
act of justice and of friendship which they have&lt;br /&gt;
secured, we may remember not without pride, that&lt;br /&gt;
a British or an American author now addresses an&lt;br /&gt;
audience which consists of one-half of civilised&lt;br /&gt;
mankind, and we may hope that the sense of the&lt;br /&gt;
power and responsibility which the vastness of that&lt;br /&gt;
audience carries with it, will stimulate still further&lt;br /&gt;
the imagination of our authors, and will enlarge&lt;br /&gt;
the range of their thoughts with the widening&lt;br /&gt;
process of the suns.&lt;br /&gt;
Mr. Brander Matthews.&mdash;My Lord, Ladies,&lt;br /&gt;
and Gentlemen, it is greatly to be regretted that&lt;br /&gt;
this toast could not be responded to by the Presi-&lt;br /&gt;
dent of the Copyright League, Mr. Lowell, or by&lt;br /&gt;
either of its Vice-Presidents, Mr. Stedman or&lt;br /&gt;
Dr. Eggleston, or by its energetic secretary, Mr.&lt;br /&gt;
Johnson. They could explain to you far better&lt;br /&gt;
than I can whatever is doubtful and obscure in the&lt;br /&gt;
Act which has just been passed. Since my arrival&lt;br /&gt;
in England I have been somewhat suqirised to&lt;br /&gt;
discover that there are certain English authors who&lt;br /&gt;
do not understand the American Copyright Law,&lt;br /&gt;
and there are others who do not believe in it.&lt;br /&gt;
Their attitude towards the new American Copy-&lt;br /&gt;
right Law is not unlike that of the American&lt;br /&gt;
young lady towards the Multiplication Table: she&lt;br /&gt;
said that &amp;quot; she never could learn the Multiplication&lt;br /&gt;
Table, and what was more, she did not believe it&lt;br /&gt;
was so.&amp;quot; About 10 years ago, Mr. Gilder, the&lt;br /&gt;
editor of the Century Magazine, went to Wash-&lt;br /&gt;
ington to urge a Copyright treaty then under&lt;br /&gt;
consideration. The Secretary of State heard him&lt;br /&gt;
with patience, and then said, &amp;quot;Mr. Gilder, I do&lt;br /&gt;
not hear any loud popular demand for this thing.&amp;quot;&lt;br /&gt;
Now that was true; for 5o years the authors of&lt;br /&gt;
America had been asking for some kind of Copy-&lt;br /&gt;
right arrangement with England, but there was not&lt;br /&gt;
that &amp;quot; loud popular demand for the thing&amp;quot; which&lt;br /&gt;
a politician could not afford to ignore. There is&lt;br /&gt;
nothing whatever wanted only by artists, authors,&lt;br /&gt;
or musicians, which can be got without agitation.&lt;br /&gt;
If there had been a &amp;quot;loud popular demand&amp;quot; in&lt;br /&gt;
England for Copyright reform, the Bill which you&lt;br /&gt;
are advocating would have become law in the&lt;br /&gt;
present session. I l)elieve if an author wants any-&lt;br /&gt;
thing from the public he must ask for it boldly and&lt;br /&gt;
often; it is for that purpose the American Copy-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 77 (#481) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
77&lt;br /&gt;
right League was formed now eight years ago. It&lt;br /&gt;
was intended to excite sympathy, to focus public&lt;br /&gt;
opinion; and the authors belonging to the League&lt;br /&gt;
gave meetings, and lectures, anil dinners; they&lt;br /&gt;
wrote articles; they issued pamphlets; and they&lt;br /&gt;
listened to sermons. They enlisted the aid of the&lt;br /&gt;
journalists, and of the teachers, and of the clergy.&lt;br /&gt;
It was at their suggestion, and especially by the&lt;br /&gt;
zeal of Mr. Putnam, that the publishers were&lt;br /&gt;
organised into an allied league; and yet at the end&lt;br /&gt;
of five years of hard work all we could do was to&lt;br /&gt;
report progress. All that time we had been urging&lt;br /&gt;
a Hill which was a simple authors&amp;#039; Copyright. It&lt;br /&gt;
granted Copyright to the foreigner without any&lt;br /&gt;
condition whatever, being in that resjK&amp;#039;Ct like the&lt;br /&gt;
admirable law which exists in France to-day.&lt;br /&gt;
Then, at that time we received word that if we&lt;br /&gt;
were willing to modify our Bill and to make&lt;br /&gt;
manufacture in the United States a condition of&lt;br /&gt;
Copyright the journeymen printers of America, a&lt;br /&gt;
very widely organised and strong body, would lend&lt;br /&gt;
us their assistance. They promised us also the&lt;br /&gt;
sympathy and aid of all the allied labour organisa-&lt;br /&gt;
tions of the United Suites. Well, these were too&lt;br /&gt;
valuable allies to refuse; and after a very severe&lt;br /&gt;
debate in the councils of the League we amended&lt;br /&gt;
our Bill. We laboured for three years longer, the&lt;br /&gt;
printers gave us loyal assistance, and the Bill baa&lt;br /&gt;
l&amp;gt;ecome a law. That law is not perfect; I am afraid&lt;br /&gt;
that there are few perfect laws in either country;&lt;br /&gt;
but that law will do one thing, it will put a stop&lt;br /&gt;
to the habit of piracy&mdash;which is a survival from&lt;br /&gt;
our former colonial dependence. I am afraid that&lt;br /&gt;
now and again an English author will still be&lt;br /&gt;
pirated in the Uniteil States, just as even now&lt;br /&gt;
there are American authors pirated every month in&lt;br /&gt;
England. The Act is imperfect, but it is only a&lt;br /&gt;
little more imperfect than the existing English&lt;br /&gt;
Act. We demand manufacture as a condition&lt;br /&gt;
precedent to Copyright, and you insist on prior&lt;br /&gt;
publication. Imperfect as the law is, it puts the&lt;br /&gt;
American and the foreigner on exactly the same&lt;br /&gt;
level. We have granted to the foreign author&lt;br /&gt;
what we have granted to the American author&mdash;&lt;br /&gt;
for the American author cannot now have Copy-&lt;br /&gt;
right unless his book is manufactured in America.&lt;br /&gt;
In one respect the American law is more liberal&lt;br /&gt;
to the English than the English law is to the&lt;br /&gt;
American. Under the new law now the English&lt;br /&gt;
novelist can reserve his exclusive right to dramatize&lt;br /&gt;
his story in the United States, a right still denied&lt;br /&gt;
to vou in this countrv. The laws of both countries&lt;br /&gt;
are very imperfect, but they are very much letter&lt;br /&gt;
than they were. When I think of them I am&lt;br /&gt;
reminded of the remark of the old negro to the&lt;br /&gt;
parson who was conducting a series of revival&lt;br /&gt;
meetings. Said the negro to the parson, &amp;quot;You do&lt;br /&gt;
not know what a power of good your preaching&lt;br /&gt;
has done us; why in my own family here since we&lt;br /&gt;
have been sitting under you we have given up evil-&lt;br /&gt;
speaking and profane swearing, lying, and stealing,&lt;br /&gt;
and cheating&mdash;to a considerable extent.&amp;quot;&lt;br /&gt;
Professor Minto.&mdash;My Lord, Ladies, and Gen-&lt;br /&gt;
tlemen, it was only yesterday I received a summons&lt;br /&gt;
from Mr. Besant, and an intimation that I was to&lt;br /&gt;
speak to this toast. I cheerfully responded, because&lt;br /&gt;
it seems to me to be significant of the generous&lt;br /&gt;
friendship and esprit dc corps of this Society. I&lt;br /&gt;
am no longer resident in London, and it is only by&lt;br /&gt;
accident that I am here to-night, and I believe that&lt;br /&gt;
is the reason why I have been selected to propose&lt;br /&gt;
this important toast. The selection is intended a,s&lt;br /&gt;
a friendly compliment, and looking at it in that&lt;br /&gt;
light I warmly appreciate the compliment, and I&lt;br /&gt;
will repress any tendency to reflect whether after&lt;br /&gt;
all perhaps the choice is not due to the fact that&lt;br /&gt;
only the guileless person from the country could be,&lt;br /&gt;
found who was foolish enough to spoil his dinner&lt;br /&gt;
by afterwards having to make a speech. For-&lt;br /&gt;
tunately, the toast is safe in any hands, and I must&lt;br /&gt;
confess that having had only since yesterday to&lt;br /&gt;
think over the subject, and to collect my ideas, I&lt;br /&gt;
feel very much more disposed to sit down at once&lt;br /&gt;
than to inflict any speech upon you. I must say&lt;br /&gt;
that if I had teen consulted regarding the name&lt;br /&gt;
of the toast I should have preferred to spenk not&lt;br /&gt;
of American literature but of American writers of&lt;br /&gt;
English literature, for English literature is one,&lt;br /&gt;
and if, as a Scotchman, I may be allowed a theo-&lt;br /&gt;
logical allusion, I would say that the distinction&lt;br /&gt;
between American literature and English literature&lt;br /&gt;
is really not one of &amp;quot;substance &amp;quot; but of &amp;quot; i&amp;gt;ersons.&amp;quot;&lt;br /&gt;
The English and the American literature is the&lt;br /&gt;
same in substance. The fact is, that American&lt;br /&gt;
literature has no separate individuality any more&lt;br /&gt;
than Scotch literature or Irish literature. Swift&lt;br /&gt;
and Goldsmith are equally classics, so is Sir Walter&lt;br /&gt;
Scott, and even Burns, although lie wrote a dialect;&lt;br /&gt;
and I think we may claim a Washington Irving,&lt;br /&gt;
Edgar Allan Poc, with whom Oliver Wendell&lt;br /&gt;
Holmes and Bret Harte, ought to be amongst the&lt;br /&gt;
English classics. In saying that American literatim;&lt;br /&gt;
has no separate individuality I would not be mis-&lt;br /&gt;
understood to mean that American literature is&lt;br /&gt;
imitative. But a survey of too years of American&lt;br /&gt;
literature (with which I do not propose to trouble&lt;br /&gt;
you) would not bear out the same. The fact is,&lt;br /&gt;
that it is absurd to say that the influences that&lt;br /&gt;
operate upon literature as a whole, and in the&lt;br /&gt;
natural user, had operated on writers on both sides&lt;br /&gt;
of the Atlantic. Take any period that you like:&lt;br /&gt;
take the very beginnings of American Hterature,&lt;br /&gt;
when Charles Ripton Brown wrote. The influence&lt;br /&gt;
that stirred literature is not by any means through&lt;br /&gt;
English channels, and the fact is, that writers on&lt;br /&gt;
both sides have been working to build up the great&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 78 (#482) #############################################&lt;br /&gt;
&lt;br /&gt;
78&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
fabric of English literature, giving and taking, and&lt;br /&gt;
the Americans sometimes giving quite as much as&lt;br /&gt;
they took. It seems to me that if it is the case&lt;br /&gt;
that Washington Irving was influenced by Addison&lt;br /&gt;
and the essayists of the 18th Century, it is not&lt;br /&gt;
less true, as Mr. Dudley Warner, whose name I&lt;br /&gt;
have the pleasure of coupling with this toast, will&lt;br /&gt;
tell you, that Washington Irving had a very great&lt;br /&gt;
influence upon the literature of this country. I&lt;br /&gt;
also mentioned the great name of Edgar Allan Poe&lt;br /&gt;
as the greatest master of one of the new forms of&lt;br /&gt;
literature, the short story. The question is some-&lt;br /&gt;
times asked whether America is likely to produce&lt;br /&gt;
some new type of literature? Well, Sir, new types&lt;br /&gt;
of literature are not common; they do not flourish&lt;br /&gt;
on every hedge, and l&amp;gt;efore you can have a good&lt;br /&gt;
type of literature you must have a man of genius&lt;br /&gt;
to make it. Now, if the man comes and the hour&lt;br /&gt;
in America, as the man and the hour came in&lt;br /&gt;
English literature but once only&mdash;the time of&lt;br /&gt;
Shakspeare&mdash;I have not the slightest doubt that the&lt;br /&gt;
man would be welcomed by the authors of this&lt;br /&gt;
country, but he will be welcomed not as the maker&lt;br /&gt;
of a new type of American literature but as the&lt;br /&gt;
maker of a new type of English literature. We&lt;br /&gt;
should welcome his work, however racy of the soil&lt;br /&gt;
it might be, however much it might be filled with&lt;br /&gt;
what we are disposed to call Americanisms&mdash;we&lt;br /&gt;
should welcome it as an addition to the wealth of&lt;br /&gt;
the literature of our common tongue. At this late&lt;br /&gt;
hour, of the evening I will only venture to say this&lt;br /&gt;
in all seriousness, we have present among us to-&lt;br /&gt;
night a good many American authors, among them&lt;br /&gt;
Mr. Warner, a distinguished gentleman, whose&lt;br /&gt;
name I have to couple with this toast. He is an&lt;br /&gt;
example of those who make for that solidarity of&lt;br /&gt;
our literature of which I spoke. I ask you to&lt;br /&gt;
drink to the health and prosperity of American&lt;br /&gt;
authors.&lt;br /&gt;
Mr. Charles Dudley Warner. &mdash; My Lord,&lt;br /&gt;
Ladies, and Gentlemen, I have, in-the first place,&lt;br /&gt;
the pleasant duty of .thanking the&amp;#039; Society of&lt;br /&gt;
Authors and the literary people of London who&lt;br /&gt;
have, been good enough to come here, for the&lt;br /&gt;
cordial expressions which I have heard with regard&lt;br /&gt;
to my compatriots who are. present here and else-&lt;br /&gt;
where. We are not English in America. We are&lt;br /&gt;
made up of all the peoples&amp;#039; that an inscrutable&lt;br /&gt;
Providence has given us for purposes I do not&lt;br /&gt;
quite understand. We mingle there to produce a&lt;br /&gt;
race, the destiny and quality of which&amp;#039;is practically&lt;br /&gt;
yet unknown. But underneath all this, the&lt;br /&gt;
seething struggle which is going on in the United&lt;br /&gt;
States, the guiding impulse has always been that&lt;br /&gt;
regard for law and order and Christian civilisation&lt;br /&gt;
which has had its best exemplification in the Island&lt;br /&gt;
of Great Britain, and Scotland,-and Ireland. We&lt;br /&gt;
have besides a training in traditions which are as&lt;br /&gt;
old as England itself. We have always looked&lt;br /&gt;
with a great deal of affection, and a good deal of&lt;br /&gt;
wrath sometimes, towards this side of the Atlantic.&lt;br /&gt;
We have been trained from age to age in the&lt;br /&gt;
literature which is common to both countries, and&lt;br /&gt;
which Professor Bryce likened to the drum&lt;br /&gt;
which followed the sun round with the English&lt;br /&gt;
flag. That is all true; and besides, we have the&lt;br /&gt;
American, the English, the Australian, the&lt;br /&gt;
Canadian&mdash;I think I may say now, the Egyptian &mdash;&lt;br /&gt;
literature; it is all one practically; that is to say,&lt;br /&gt;
the great English conquering language for our&lt;br /&gt;
possession; and if the time ever comes which tho&lt;br /&gt;
prophets ever like to harp upon, from Isaiah down,&lt;br /&gt;
and the poets like to dwell upon, the great battle&lt;br /&gt;
of Armageddon, where civilisation and barbarism&lt;br /&gt;
contend for the mastery in this world, I know that&lt;br /&gt;
the English flag and the American flag on the&lt;br /&gt;
same field and the same side of the line, will fall&lt;br /&gt;
or rise together. I am, my Lord, in a good deal&lt;br /&gt;
of embarrassment in replying to this toast which&lt;br /&gt;
is limited, for I have learnt since I have lieen in&lt;br /&gt;
London, from one of the most authoritative of&lt;br /&gt;
your English Reviews, that there is no such thing&lt;br /&gt;
as American literature, and very small prospect,&lt;br /&gt;
and a widening horizon of there ever being any&lt;br /&gt;
such thing. Now we had thought in our humble&lt;br /&gt;
way that there was, that there had been a little&lt;br /&gt;
something contributed to this great&mdash;you do not&lt;br /&gt;
know what the Mississippi river is&mdash;it is a large&lt;br /&gt;
river&mdash;the Mississippi river of literature; and we&lt;br /&gt;
did not require any argument on our side from&lt;br /&gt;
anybody on this side to say that we had contributed&lt;br /&gt;
a little something. It was very much like the&lt;br /&gt;
gentleman in Cincinnati who met the man from&lt;br /&gt;
Ohio. I need not explain to you that Ohio is not&lt;br /&gt;
the capital of Massachusetts. Walking along the&lt;br /&gt;
street, he saw a gentleman opposite, and he said,&lt;br /&gt;
&amp;quot;You don&amp;#039;t know that man, perhaps?&amp;quot; &amp;quot;No, I&lt;br /&gt;
do not know him; who is he?&amp;quot; &amp;quot;Well, that&lt;br /&gt;
is Mr. Cackendorff; he is the ablest lawyer in the&lt;br /&gt;
State of Ohio.&amp;quot; &amp;quot;Well,&amp;quot; he said, &amp;quot;I never heard&lt;br /&gt;
of Mr. Cackendorff, and how do you prove that&lt;br /&gt;
he is the greatest lawyer in the State of Ohio?&amp;quot;&lt;br /&gt;
&amp;quot;Oh,&amp;quot; he said, &amp;quot; you do1 not have to prove it, he&lt;br /&gt;
admits it himself.&amp;quot; We admit, we know that we&lt;br /&gt;
have had from time to time in the old times, a&lt;br /&gt;
little &bull; literature of the &bull; old English flavour, kept&lt;br /&gt;
perhaps and &amp;lt; imported ■ back and forth,- like the&lt;br /&gt;
cheese which we make and send over and cure,&lt;br /&gt;
and bring back and- think it is English cheese;&lt;br /&gt;
and we have had of late years, since the shekels&lt;br /&gt;
Of silver have released the American man from&lt;br /&gt;
localism, sporadically in; the west and in the south&lt;br /&gt;
and west, and in the middle States now and then,&lt;br /&gt;
something that had a flavour and type of its own,&lt;br /&gt;
and -&amp;#039;which, although English in-its form and&lt;br /&gt;
English in its language, was not Great Britain,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 79 (#483) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
79&lt;br /&gt;
but which was most distinctly American. We&lt;br /&gt;
thought we had that, and we have not apologised&lt;br /&gt;
for it or been ashamed of it. There was some&lt;br /&gt;
time a great English literature not provincial, not&lt;br /&gt;
insular, the. literature which we all look to. I do&lt;br /&gt;
not know that it pxists to-day. I have not, in the&lt;br /&gt;
four weeks I have been in London, been able to&lt;br /&gt;
read all the smart newspapers of the place, but it&lt;br /&gt;
seemsto me that perhaps the literature of England&lt;br /&gt;
is somewhat of a local literature. Your novelist,-&lt;br /&gt;
your humorous papers, your newspaper press take&lt;br /&gt;
VP the affairs, t}iat interest the people of these&lt;br /&gt;
islands. We have also-in America a local litera-&lt;br /&gt;
ture which interests us. I believe they have in&lt;br /&gt;
Australia. I am certain they have in Canada. It&lt;br /&gt;
is just possible, that in these days of extraordinary&lt;br /&gt;
progress everywhere, literature is getting a little&lt;br /&gt;
localised, and that it will take another great period&lt;br /&gt;
of upheaval like that which &bull; preceded the Eliza-&lt;br /&gt;
lx&amp;gt;tlian literature to make a literature which will&lt;br /&gt;
go without charge and without tariff or custom&lt;br /&gt;
house, all over the world. I have some belief in&lt;br /&gt;
that, because I know very well that the language&lt;br /&gt;
of England, the English language to-day is the&lt;br /&gt;
prevailing and the conquering language of the&lt;br /&gt;
civilised world, and that, in speaking on behalf of&lt;br /&gt;
the little 62 millions in America, I think the&lt;br /&gt;
English language never before had such an oppor-&lt;br /&gt;
tunity to be the language of the world as it has&lt;br /&gt;
to-day, and that the author in Piccadilly or Pall&lt;br /&gt;
Mall never before had such a chance as he has&lt;br /&gt;
to-day to become the all embracing, comprehending&lt;br /&gt;
author of a great civilised world. I am not making&lt;br /&gt;
a speech; I want to say about the Copyright Act,&lt;br /&gt;
however, a word. It is perfectly well known that&lt;br /&gt;
all the American authors are rich. We have all&lt;br /&gt;
been made prosperous by 1 o per cent.; the pub-&lt;br /&gt;
lishers know it; they are all impoverished by our&lt;br /&gt;
exactions. Now 1 o per cent, on a book has made&lt;br /&gt;
us rich, and this enormous prospect of 62,000,000&lt;br /&gt;
of readers&mdash;of cabdrivers and millionaires&mdash;is no&lt;br /&gt;
doubt going to make all the English authors&lt;br /&gt;
prosperous and rich. I myself rejoice in that&lt;br /&gt;
prospect for them, because it is merely a matter&lt;br /&gt;
of arithmetic, that if you sell at a cheap rate of&lt;br /&gt;
10 cents a copy 10,000 things you would get&lt;br /&gt;
about 10 dollars in your pocket. You see how&lt;br /&gt;
the wealth will flow in. I hope no extravagant&lt;br /&gt;
ideas will l&amp;gt;e raised in the minds of English&lt;br /&gt;
authors in regard to this; and I merely throw&lt;br /&gt;
this out by the way in pissing along. The author&lt;br /&gt;
all over the world lias never had any great recog-&lt;br /&gt;
nition; he has been asked to eulogise, to write&lt;br /&gt;
Laureate odes, occasionally to dine at the lower&lt;br /&gt;
end of the table. I myself sometimes wonder that&lt;br /&gt;
the authors do not, as I think Professor Bryce&lt;br /&gt;
suggested, strike; and I have sometimes wondered&lt;br /&gt;
what would l&amp;gt;ecome of the rest of the world if&lt;br /&gt;
we did. What, for instance, would become of my&lt;br /&gt;
friends the publishers and the printers? What,&lt;br /&gt;
for instance, would become of all those intelligent,&lt;br /&gt;
people who give you their impression of what has&lt;br /&gt;
gone on in the world, and what the world ought&lt;br /&gt;
to have, and what the general opinion is after they&lt;br /&gt;
have read the morning papers? I wonder very&lt;br /&gt;
much what would happen if the literary folk, the&lt;br /&gt;
unconsidered folk who write in the magazines and&lt;br /&gt;
in the books, were one day to strike, and say,&lt;br /&gt;
&amp;quot;For the next year we won&amp;#039;t do anything.&amp;quot;&lt;br /&gt;
Privately I do not know that it would be a great&lt;br /&gt;
misfortune if a book was not published within the&lt;br /&gt;
next 10 years. But I am simply speaking of the&lt;br /&gt;
effect on conversation if the literary folk were&lt;br /&gt;
happening to strike for a year. You have some-&lt;br /&gt;
times crossed on an Atlantic steamer, and perhaps&lt;br /&gt;
you would notice that about the second day&lt;br /&gt;
without any newspapers the conversation lan-&lt;br /&gt;
guishes, and the people have not anything to talk&lt;br /&gt;
about. The thing has somehow died out. The&lt;br /&gt;
ordinary people&mdash;and I am quite one of them&mdash;&lt;br /&gt;
have to fill up every morning with something that&lt;br /&gt;
the editors have said in order to go on with the&lt;br /&gt;
daily conversation. Now, I am quite serious,&lt;br /&gt;
however, in standing up for a certain dignity of&lt;br /&gt;
literature, for I very well know for historical con-&lt;br /&gt;
siderations that the thing which endures and lasts&lt;br /&gt;
in all time is that little thing which we call&lt;br /&gt;
literature. You build your monuments, your&lt;br /&gt;
warehouses, your railroads, your great factories,&lt;br /&gt;
your showy palaces for a generation or two, but&lt;br /&gt;
somewhere in that time, in that period of great&lt;br /&gt;
prosperity, somebody sings a song or makes a&lt;br /&gt;
little poem&mdash;it may l&amp;gt;e nothing more than a. sheet&lt;br /&gt;
of paper. There is the pyramid, and there is the&lt;br /&gt;
Trafalgar Square and New York, and there is&lt;br /&gt;
San Francisco, teeming with wealth and with&lt;br /&gt;
ostentation, but when all these things have passed&lt;br /&gt;
you know very well, you who have collected the&lt;br /&gt;
little service of Greek and of Roman intelligence,&lt;br /&gt;
the little, records of thought and motion that some&lt;br /&gt;
poet has preserved, you very well know that that&lt;br /&gt;
little thing, that one sheet of paper, something,&lt;br /&gt;
as I may say, light as air, as a bird&amp;#039;s song&mdash;I&lt;br /&gt;
assure you is the thing that you love and that helps&lt;br /&gt;
the. world when all the rest has faded away like&lt;br /&gt;
a dream.&lt;br /&gt;
Mb. Arthub a Beckett.&mdash;Ladies and Gentle-&lt;br /&gt;
men, it is my fate to have to propose the con-&lt;br /&gt;
cluding toast of this evening. I have to propose&lt;br /&gt;
the health of our noble Chairman. I think you&lt;br /&gt;
will agree with me he has performed to-night the&lt;br /&gt;
duties of his office in a most satisfactory manner.&lt;br /&gt;
He has other claims upon our respcot, as it was&lt;br /&gt;
he who undertook the conduct of the Copyright&lt;br /&gt;
Act through Parliament, and got it as far as Par-&lt;br /&gt;
liament would allow it to go. It. is not yet beyond&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 80 (#484) #############################################&lt;br /&gt;
&lt;br /&gt;
8o&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the second reading, but Lord Monkswell was able&lt;br /&gt;
to extort a promise from the Lord Chancellor that&lt;br /&gt;
sooner or later possibly&mdash;probably later&mdash;the sub-&lt;br /&gt;
ject would occupy the attention of the Government.&lt;br /&gt;
As it is very late I would like to bring my speech&lt;br /&gt;
to a conclusion, although I feel that you would&lt;br /&gt;
like to hear what I have to say on the Triple&lt;br /&gt;
Alliance and other subjects. But I would like to&lt;br /&gt;
tell you one little anecdote in compliment to our&lt;br /&gt;
brethren, who, I believe, generally finish their&lt;br /&gt;
speeches with a short story, because it calls&lt;br /&gt;
attention to the fact that the feeling of fraternity&lt;br /&gt;
which we experience in England towards our&lt;br /&gt;
American brethren is growing on the other side&lt;br /&gt;
of the Atlantic. Not very long ago it was my&lt;br /&gt;
pleasure to meet a gentleman who, from the&lt;br /&gt;
manner in which he spoke, except for the American&lt;br /&gt;
accent, I should have taken to be a native of this&lt;br /&gt;
land. He told me that there was one omission&lt;br /&gt;
which he found in England, and it was a serious&lt;br /&gt;
omission. He was very well satisfied in England,&lt;br /&gt;
but this omission was in connexion with West-&lt;br /&gt;
minster Abbey. There was a statue absent from&lt;br /&gt;
Westminster Abbey which he would like to have&lt;br /&gt;
seen there. I wondered for the moment what&lt;br /&gt;
that statue should be. I remembered that all my&lt;br /&gt;
colleagues here present were living, and he said,&lt;br /&gt;
&amp;quot;Well, Sir, he is an Englishman who l&amp;gt;elongs to&lt;br /&gt;
a very good old English family.&amp;quot; I was rather&lt;br /&gt;
surprised at this, because I understood that&lt;br /&gt;
Americans did not think much of old families,&lt;br /&gt;
they considered that beneath them. No, those&lt;br /&gt;
coat of arms he bad often seen about us. &amp;quot;The&lt;br /&gt;
old English gentleman, the statue of whom I&lt;br /&gt;
should like to see in Westminster Abbey,&amp;quot; he said,&lt;br /&gt;
&amp;quot;is George Washington.&amp;quot; I told him we were&lt;br /&gt;
making preparations to increase the size of West-&lt;br /&gt;
minster Abbey, and after the necessary alterations&lt;br /&gt;
were completed that, no doubt that statue would&lt;br /&gt;
appear. He went on further, and said, &amp;quot;You&lt;br /&gt;
should not only have George AVashington but you&lt;br /&gt;
should have his namesake, because I think that&lt;br /&gt;
those two Georges have done more, though in&lt;br /&gt;
different ways, to make the two nations what they&lt;br /&gt;
now are. The other George is George Farmer,&lt;br /&gt;
or, as yon call him, &amp;#039; Farmer George.&amp;#039;&amp;quot;&lt;br /&gt;
The Chairman.&mdash;Ladies and Gentlemen, I shall&lt;br /&gt;
not make a speech at this late hour in the evening.&lt;br /&gt;
I can only say this: that it has afforded me very&lt;br /&gt;
great pleasure to preside, ami I shall lie very glad&lt;br /&gt;
if the result is to bind more closely the ties of&lt;br /&gt;
friendship which at present subsist between&lt;br /&gt;
England and the United States of America.&lt;br /&gt;
The proceedings then terminated.&lt;br /&gt;
,&lt;br /&gt;
OVERHEARD.&lt;br /&gt;
I.&lt;br /&gt;
At the Black Jack Club.&lt;br /&gt;
HE was an elderly gentleman with a red nose,&lt;br /&gt;
and an irascible manner. It was late&mdash;&lt;br /&gt;
towards midnight&mdash;but the room was still&lt;br /&gt;
full of men.&lt;br /&gt;
&amp;quot;I have been to the Dinner of the Society of&lt;br /&gt;
Authors. That&amp;#039;s why I am in a dress coat. I&lt;br /&gt;
don&amp;#039;t suppose I have had on evening dress for 20&lt;br /&gt;
years and more. Why they asked me I don&amp;#039;t know.&lt;br /&gt;
Why I went I don&amp;#039;t know. There wasn&amp;#039;t a soul&lt;br /&gt;
in the place that I knew. Authors! It makes me&lt;br /&gt;
sick. Waiter, a Scotch and soda. Makes a man&lt;br /&gt;
sick, I say, to see a couple of hundred men and&lt;br /&gt;
women dressed up to the eyes, sitting down to a&lt;br /&gt;
tip-top dinner, with champagne flowing like bitter&lt;br /&gt;
beer, and a band playing, and noble lords about the&lt;br /&gt;
tables, calling themselves authors. Authors ! Why,&lt;br /&gt;
when I was a young man there were authors&lt;br /&gt;
worth the name. Douglas Jerrold, and Angus&lt;br /&gt;
Reach, and Brough, and good old Thack&mdash;what&lt;br /&gt;
did you say? Wouldn&amp;#039;t have dared to call him&lt;br /&gt;
Thack? What do you know about it? You&lt;br /&gt;
weren&amp;#039;t born. I say there were authors then, and&lt;br /&gt;
no mistake, and between &amp;#039;em all not a single guinea,&lt;br /&gt;
most days of the week. How should there l&amp;gt;e any?&lt;br /&gt;
The publishers took all the money, and we scarified&lt;br /&gt;
&amp;#039;em with epigrams. That&amp;#039;s how we treated &amp;#039;cm;&lt;br /&gt;
made their lives a burden to &amp;#039;em. Look at the&lt;br /&gt;
fellows now. They can afford to pay a guinea&lt;br /&gt;
apiece for their dinner. They get up a Society&lt;br /&gt;
which can afford to ask thirty or forty guests at a&lt;br /&gt;
guinea apiece, and then they dare, to grumble at&lt;br /&gt;
their publishers! Even when they can pay a&lt;br /&gt;
guinea apiece for their dinner! What&amp;#039;s the world&lt;br /&gt;
coming to? Waiter, another Scotch and soda.&lt;br /&gt;
&amp;quot;They asked me. Why? I don&amp;#039;t know; I&lt;br /&gt;
hate &amp;#039;em. I hate all the successful men. What&lt;br /&gt;
have they done to be. successful when I have been&lt;br /&gt;
all my life a failure? Why should the world run&lt;br /&gt;
after &amp;#039;em, and praise &amp;#039;em, and buy their books?&lt;br /&gt;
They never ran after mine. Of course, it&amp;#039;s the log&lt;br /&gt;
rolling does it&mdash;the disgraceful log rolling. There&amp;#039;s&lt;br /&gt;
that new boy&mdash;what&amp;#039;s his name? What is there&lt;br /&gt;
in his things? Nothing. I give you my word&mdash;&lt;br /&gt;
nothing. No imagination, no romance, no dialogue&lt;br /&gt;
&mdash;nothing. All is creeping, real, natural, low.&lt;br /&gt;
You read a page, and you think it is the real&lt;br /&gt;
soldier talking. We knew better in our time; no&lt;br /&gt;
common, vulgar Tommy Atkins for us. But&lt;br /&gt;
his log rolled, and now he makes money. I&lt;br /&gt;
daresay he got fifty pounds&mdash;I shouldn&amp;#039;t wronder&mdash;&lt;br /&gt;
fifty pounds by a single book, though he is but a What&amp;#039;s that? Two thousand pounds&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 81 (#485) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
81&lt;br /&gt;
by a single book? Two thousand pounds? You&lt;br /&gt;
don&amp;#039;t know, Sir, what you talk about. Nobody&lt;br /&gt;
ever could make so much money out of a book.&lt;br /&gt;
Waiter, another Scotch and soda. Well, they&lt;br /&gt;
didn&amp;#039;t ask me to speak, or I could have told them&lt;br /&gt;
something. Grumbling against their publishers,&lt;br /&gt;
when they can afford to drive to the place in&lt;br /&gt;
broughams, and to dress their wives in silk, and&lt;br /&gt;
to pay a guinea down for a dinner! Grumbling!&lt;br /&gt;
Why they ought to be on their knees, the tears of&lt;br /&gt;
gratitude rolling down their cheeks, before these&lt;br /&gt;
most generous of men. I suppose they asked me&lt;br /&gt;
l&amp;gt;ecause they wanted to bribe me into silence.&lt;br /&gt;
Well, they won&amp;#039;t succeed. Waiter, another Scotch&lt;br /&gt;
and soda&mdash;big Scotch, little soda. Their champagne&lt;br /&gt;
was good. But I&amp;#039;ve got a batch of books on my&lt;br /&gt;
table at home, and, by gad, I&amp;#039;ll scarify &amp;#039;em. I&amp;#039;ll&lt;br /&gt;
stick in the knife and I&amp;#039;ll turn it round. I&amp;#039;ll let &amp;#039;em&lt;br /&gt;
know that the good old times are not gone. A&lt;br /&gt;
guinea for a dinner! In our days it was eighteen-&lt;br /&gt;
pence or two bob at most. And a band to play all&lt;br /&gt;
the time! Authors! Authors! The good old&lt;br /&gt;
name is being dragged in the mud. Never mind,&lt;br /&gt;
I&amp;#039;ll scarify &amp;#039;em.&amp;quot;&mdash;[Goes home and does.]&lt;br /&gt;
II.&lt;br /&gt;
From a Letter.&lt;br /&gt;
&amp;quot;The Authors&amp;#039; Dinner was just lovely. I went&lt;br /&gt;
with my husband, and we sat next to quite pleasant&lt;br /&gt;
people. Everybody had a great card with the&lt;br /&gt;
names of all the company, so that you only had to&lt;br /&gt;
run down the list for a name and then look at the&lt;br /&gt;
table to which it belonged, to see anybody you&lt;br /&gt;
wanted. Unfortunately, I got the tables wrong,&lt;br /&gt;
and after gazing upon Mr. Rider Haggard till I&lt;br /&gt;
knew his features by heart, I found that it was a&lt;br /&gt;
certain learned professor, and I had to begin all over&lt;br /&gt;
again. This discovery I only made at the end of the&lt;br /&gt;
dinner, when it was too late to set things right.&lt;br /&gt;
Now I shall always think of Mr. llider Haggard&lt;br /&gt;
J DP&lt;br /&gt;
as an elderly gentleman with a red face and greyish&lt;br /&gt;
hair, which I am told is not at all like him. For&lt;br /&gt;
the same reason, I came away hopelessly mixed&lt;br /&gt;
with Mr. Walter Pater, Mr. William Black,&lt;br /&gt;
Professor Huxley, Mr. George Dumaurier, and&lt;br /&gt;
half-a-dozen others who were there. So that most&lt;br /&gt;
of the good I got from the dinner was from reading&lt;br /&gt;
the list. There was a band playing all the time,&lt;br /&gt;
but softly so as not to disturb the talk. Authors,&lt;br /&gt;
I was pleased to find, can talk. They talk as&lt;br /&gt;
fast as they can all the time. After the dinner the&lt;br /&gt;
speeches began. But very soon the authors rebelled&lt;br /&gt;
against the speeches. They wouldn&amp;#039;t listen. In&lt;br /&gt;
vain the toastmaster begged for silence. They&lt;br /&gt;
only talked all the more. It seems a pity that they&lt;br /&gt;
should have any oratory at all if they dislike it so&lt;br /&gt;
much. I was told that there was no jealousy of the&lt;br /&gt;
speakers or wish to be themselves the speakers that&lt;br /&gt;
made them refuse to listen. English authors won&amp;#039;t&lt;br /&gt;
speak, and can&amp;#039;t speak. Many of them, if they&lt;br /&gt;
thought that they had to speak, would not come.&lt;br /&gt;
In the same way, they can&amp;#039;t listen, and won&amp;#039;t listen.&lt;br /&gt;
We ought to have an Authors&amp;#039; Society in New&lt;br /&gt;
York, with just such a dinner every year.&amp;quot;&lt;br /&gt;
III.&lt;br /&gt;
In the Train.&lt;br /&gt;
The speaker was a gentleman of somewhat seedy&lt;br /&gt;
exterior. His hat alone proclaimed that things&lt;br /&gt;
were not going well with him. His eye was&lt;br /&gt;
restless ami perhaps shifty. &amp;quot;Have I l&amp;gt;een to&lt;br /&gt;
the Authors&amp;#039; Dinner? No, I haven&amp;#039;t. I wouldn&amp;#039;t&lt;br /&gt;
go if I was asked. Authors? Look here now.&lt;br /&gt;
As to authors. I&amp;#039;ve long suspected, and now&lt;br /&gt;
I know. It&amp;#039;s all a swindle. There ain&amp;#039;t any&lt;br /&gt;
authors in the Society at all, except one.&lt;br /&gt;
There ain&amp;#039;t any Society. There&amp;#039;s only one man.&lt;br /&gt;
He keeps up the racket for his own purposes: he&lt;br /&gt;
pretends there&amp;#039;s five hundred&mdash;six hundred&mdash;any-&lt;br /&gt;
thing you like. Will he publish a list of the&lt;br /&gt;
Members? Not he. Will he tell us who the&lt;br /&gt;
Members are? Not he. There ain&amp;#039;t any Members&lt;br /&gt;
at all, I tell you. He persuades a few people to&lt;br /&gt;
come along and dine together every year. It&amp;#039;s very&lt;br /&gt;
easy. First he gets A to meet B, then C to meet&lt;br /&gt;
A and B, then D to meet A and B and C, and&lt;br /&gt;
so on. That&amp;#039;s all. That&amp;#039;s the way it&amp;#039;s done. As&lt;br /&gt;
for there being any real authors in the Society, or&lt;br /&gt;
any Society at all, or anything except that one&lt;br /&gt;
man, I tell you that it&amp;#039;s ail bunkum and rubbish.&lt;br /&gt;
They&amp;#039;ve got an office? Well, yes, they have. It&amp;#039;s&lt;br /&gt;
a thing, I suppose, that costs about ten pounds a&lt;br /&gt;
year. And a Journal? Well, yes, they have.&lt;br /&gt;
There&amp;#039;s a thing they call a Journal&mdash;circulation&lt;br /&gt;
about twenty. Office and Journal both paid for by&lt;br /&gt;
the same man. Well, as you say, I suppose they&lt;br /&gt;
do put out a balance sheet showing about a thousand&lt;br /&gt;
a year income. What&amp;#039;s easier than to make up a&lt;br /&gt;
balance sheet? I bring out balance sheets every&lt;br /&gt;
day for the authors, and I know. You make &amp;#039;em&lt;br /&gt;
show anything you please. The Society publishes&lt;br /&gt;
books?&amp;#039; Suppose they do. Suppose they do bring&lt;br /&gt;
out books and advertise second editions. What&amp;#039;s&lt;br /&gt;
easier than to call out second edition when you&amp;#039;ve&lt;br /&gt;
sold five-and-twenty copies? Don&amp;#039;t tell me. I&amp;#039;ve&lt;br /&gt;
done it myself&mdash;often. Gar&mdash;r&mdash;r!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 82 (#486) #############################################&lt;br /&gt;
&lt;br /&gt;
82&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
IV.&lt;br /&gt;
At a Table&amp;#039;.,&lt;br /&gt;
&amp;quot;This dinner is only a beginning of what such an&lt;br /&gt;
annual gathering; ought to- l&amp;gt;e. What the Royal1&lt;br /&gt;
Academy dinner does for Art, this dinner should&lt;br /&gt;
do for Literature. That is to say, if it is good for&lt;br /&gt;
Literature to have princes as guests, then we should&lt;br /&gt;
have princes; if. it is good for Literature to have&lt;br /&gt;
ambassadors, presidents of societies and institutions,&lt;br /&gt;
and great men in other lines, then we should have&lt;br /&gt;
these illustrious persons. It should be a dinner&lt;br /&gt;
which confers distinction on the recipient of an&lt;br /&gt;
invitation. It should lie, like the Academy dinner,&lt;br /&gt;
one of the great functions of the season. This it&lt;br /&gt;
can easily l&amp;gt;ecome if literary men and women choose&lt;br /&gt;
to make it so. The dinner indicates the power&lt;br /&gt;
which should, and does already, lie behind, con-&lt;br /&gt;
cealed, but felt&mdash;a power which will be always&lt;br /&gt;
making rough things smooth, and causing the&lt;br /&gt;
sweater and the shark to have uneasy times, and&lt;br /&gt;
making it more and more difficult for the old-&lt;br /&gt;
fashioned Fraud to continue in his fraudulency.&lt;br /&gt;
The future of the Society opens up the most&lt;br /&gt;
splendid possibilities. Only let us awaken, little by&lt;br /&gt;
little, and maintain confidence among literary men,&lt;br /&gt;
and we shall carry out a programme never dreamed&lt;br /&gt;
of by the victims of the bad old times.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
LITERARY MAXIMS.&lt;br /&gt;
1. Popularity is a sure sign of popularity.&lt;br /&gt;
2. There are only two ways of succeeding: rise&lt;br /&gt;
high enough or sink low enough.&lt;br /&gt;
3. To read a book, it is necessary to look into&lt;br /&gt;
it: to review, all that may be necessary is to look&lt;br /&gt;
at it.&lt;br /&gt;
4. Any fool can find fault: any knave may&lt;br /&gt;
destroy.&lt;br /&gt;
5. Four stages in Art: the ideal, the idea, the&lt;br /&gt;
word, and the work.&lt;br /&gt;
6. In construction or in .criticism, competency&lt;br /&gt;
depends on the harmony of the first with the last.&lt;br /&gt;
7. Understand before you know: know before&lt;br /&gt;
you judge.&lt;br /&gt;
8. Art, like nature, never shows her best on the&lt;br /&gt;
surface.&lt;br /&gt;
9. The reviewer should never forget, that he is&lt;br /&gt;
a judge, often a very bad one.&lt;br /&gt;
10. It is easy to judge: it is hard to judge&lt;br /&gt;
justly.&lt;br /&gt;
11. Even reviewers have rights: some of them&lt;br /&gt;
even a sense of right.&lt;br /&gt;
12. All the fog is not in the other man&amp;#039;s head.&lt;br /&gt;
13. If you will write for money, write for the&amp;#039;&lt;br /&gt;
many.&lt;br /&gt;
14. A first failure is not always a sure sign of&lt;br /&gt;
genius.&lt;br /&gt;
. 15. To please the public may be gratifying to the&lt;br /&gt;
soul, but is not always satisfying to the body.&lt;br /&gt;
16. Put your heart in your work, if you ha\e&lt;br /&gt;
got one to put.&lt;br /&gt;
17. If you wish to be taken seriously, write&lt;br /&gt;
satirically.&lt;br /&gt;
18. To know everything one must be a young&lt;br /&gt;
man or a myth.&lt;br /&gt;
19. &amp;#039;Tis a wise author that knows himself after&lt;br /&gt;
a course of reviews.&lt;br /&gt;
20. Remember that all men do not see satire,&lt;br /&gt;
even with a telescope.&lt;br /&gt;
21. Do not read every review of your works: it&lt;br /&gt;
is healthier for your soul, to respect even your&lt;br /&gt;
inferiors.&lt;br /&gt;
22. In reviewing there is no trial by jury: your&lt;br /&gt;
peers are too busy, working or loafing, to review&lt;br /&gt;
anything.&lt;br /&gt;
23. To view is to see once: to review is to see&lt;br /&gt;
twice&mdash;or not at all.&lt;br /&gt;
24. The value of the collection is not estimable&lt;br /&gt;
by the size of the congregation.&lt;br /&gt;
25. As an art, painting is more popular than&lt;br /&gt;
preaching.&lt;br /&gt;
26. Unpopularity is no sure proof of superiority.&lt;br /&gt;
27. When a book is unintelligible to you, this&lt;br /&gt;
Is invariably due to the author&amp;#039;s insanity or im-&lt;br /&gt;
becility.: tell him so, lest he should feel neglected!&lt;br /&gt;
Phinlay Glenelg. &diams;■&raquo;■&diams;&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
WILL our readers be so good as to consider&lt;br /&gt;
carefully the suggestions as to the Authors&amp;#039;&lt;br /&gt;
Club? It is proposed to create what is&lt;br /&gt;
called a first-class club on the level, say, of the&lt;br /&gt;
Garrick, the Savile, or the Arts, of which the first&lt;br /&gt;
condition of membership shall be some connexion&lt;br /&gt;
with the literary life. Readers of this journal&lt;br /&gt;
understand by this time that one of the chief&lt;br /&gt;
objects contemplated by the Society is the union&lt;br /&gt;
of those who follow Literature, after the manner&lt;br /&gt;
observed by those who follow the Art of Painting.&lt;br /&gt;
The Society is such an association, but it is not&lt;br /&gt;
enough, because it is only in evidence on such&lt;br /&gt;
occasions as the annual dinner, when about one-&lt;br /&gt;
fourth of the Members attend. Besides, the Society&lt;br /&gt;
is necessarily engaged mainly upon the business&lt;br /&gt;
side of the calling. A club of position and repu-&lt;br /&gt;
tation would represent the social and successful&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 83 (#487) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
83&lt;br /&gt;
side. It would always lx&amp;gt; a standing proof that&lt;br /&gt;
men of letters can unite together, are independent,&lt;br /&gt;
and have risen above the contempt which long&lt;br /&gt;
years of helpless dependence brought upon them.&lt;br /&gt;
The Club must begin with 5oo Members at least.&lt;br /&gt;
It is suggested that all Members of the Society&lt;br /&gt;
shall Ixj always eligible without entrance fee. A&lt;br /&gt;
form is enclosed which binds the signer to nothing&lt;br /&gt;
more than sympathy with the object proposed,&lt;br /&gt;
and his intention to belong, provided he approves&lt;br /&gt;
of the prospectus when decided.&lt;br /&gt;
It is not yet decided whether or no to admit&lt;br /&gt;
ladies to meml&amp;gt;ership. If they are not admitted I&lt;br /&gt;
hope we may at once proceed to the establishment&lt;br /&gt;
of the Authors&amp;#039; House, a scheme in which I place&lt;br /&gt;
great faith. This House would be especially useful&lt;br /&gt;
to ladies.&lt;br /&gt;
The Pension List for this present year of grace&lt;br /&gt;
displays the same disregard of the Resolution of&lt;br /&gt;
1837, which has always, year after year, under&lt;br /&gt;
every Government, marked this little piece of&lt;br /&gt;
administration. The Resolution provided that&lt;br /&gt;
pensions to the amount of &pound;1,200 every year might&lt;br /&gt;
l)c bestowed upon persons distinguished for Litera-&lt;br /&gt;
ture, Science, and Art. Fifteen pensions are&lt;br /&gt;
granted this year. Three are given to persons&lt;br /&gt;
distinguished in Literature and Art. Nine are&lt;br /&gt;
given to widows or daughters of persons so dis-&lt;br /&gt;
tinguished. Four are, as I think, wrongfully,&lt;br /&gt;
and in breach of trust, l&amp;gt;estowed upon ladies whose&lt;br /&gt;
fathers or husbands were connected with the naval,&lt;br /&gt;
military, or civil service. The country votes a&lt;br /&gt;
sum of money for persons distinguished in Litera-&lt;br /&gt;
ture, Science, and Art. The Government give&lt;br /&gt;
it away to persons totally unconnected with&lt;br /&gt;
Literature, Science, and Art. When shall we&lt;br /&gt;
have this miserable little grant administered as&lt;br /&gt;
was intended? And when shall we get the&lt;br /&gt;
Resolution amended so as to make it impossible&lt;br /&gt;
for these jobs to lie committed?&lt;br /&gt;
The Annual Dinner, a full report of which is&lt;br /&gt;
contained in this number, was held on Thursday&lt;br /&gt;
the 16th. Every single seat in the great room of&lt;br /&gt;
the Hotel Metropole was taken. There were 216&lt;br /&gt;
guests in all, of whom 40 were guests of the&lt;br /&gt;
Society, and the rest were Memlxrs or Associates.&lt;br /&gt;
It was cheering to reflect, that this great gathering&lt;br /&gt;
really, contained no more than the fourth part of&lt;br /&gt;
our present following. The occasion, too, called&lt;br /&gt;
forth several letters&mdash;notably one of congratulation&lt;br /&gt;
from our President, Lord Tennyson; one from the&lt;br /&gt;
Bishop of Oxford; one from Cardinal Manning,&lt;br /&gt;
through Mr. A. W. a Beckett, speaking of the&lt;br /&gt;
interest with which he regarded the Society; from&lt;br /&gt;
Mr. George Meredith, who was prevented from&lt;br /&gt;
attending; ami many others. There was a general&lt;br /&gt;
feeling that the Society had never before met&lt;br /&gt;
together under more promising conditions, or in&lt;br /&gt;
greater numbers, or, to descend to smaller considera-&lt;br /&gt;
tions, to a better dinner. The animation of the&lt;br /&gt;
evening seemed to show that everyl&amp;gt;ody was satisfied&lt;br /&gt;
with his neighbours&mdash;a very satisfactory result of a&lt;br /&gt;
very anxious distribution of places. Of course&lt;br /&gt;
there were one or two faces which we missed.&lt;br /&gt;
Bret Harte, at the last moment, was compelled to&lt;br /&gt;
stay away. Henry James could not come; we&lt;br /&gt;
were just too late for T. B. Aldrich. Professor&lt;br /&gt;
Jebb, Austin Dobson, Edmund Yates, Rudyard&lt;br /&gt;
Kipling, Thomas Hardy, Hall Caine, Mrs. Oliphant,&lt;br /&gt;
Mrs. Cashel Hoey, Edna Lyall, and many others&lt;br /&gt;
could not come. The list of those who were&lt;br /&gt;
present, however, printed in full with the report,&lt;br /&gt;
will show that English and American Literature&lt;br /&gt;
was well represented in all its branches.&lt;br /&gt;
There have been, on previous occasions, sneers&lt;br /&gt;
in certain papers at the record of the names, as&lt;br /&gt;
present, of those who are not so well known as&lt;br /&gt;
others in the profession. I think that this is&lt;br /&gt;
a very unworthy line; in literature there are&lt;br /&gt;
always men and women beginning at the bottom&lt;br /&gt;
and going up. They are at various stages of the&lt;br /&gt;
ladder when they come to us; even though they arc&lt;br /&gt;
only beginning; though a single volume is as yet the&lt;br /&gt;
whole of their literary baggage, they have a perfect&lt;br /&gt;
right to belong to us, to call themselves authors,&lt;br /&gt;
and to come to our dinner. They belong to the&lt;br /&gt;
calling: they are fellow craftsmen. It is in litera-&lt;br /&gt;
ture, in short, as with every other profession, there&lt;br /&gt;
must be in it certain leaders, there must be rank&lt;br /&gt;
and file; there must be more private soldiers than&lt;br /&gt;
officers, yet all are fighting men. Four years ago,&lt;br /&gt;
for instance, I was present at a great dinner&mdash;a&lt;br /&gt;
very great dinner&mdash;given in the Hall of the High&lt;br /&gt;
Court of Justice by the Law Institute to solicitors.&lt;br /&gt;
There were many hundreds present. I do not&lt;br /&gt;
rememl)er that anyone, speaking of this dinner,&lt;br /&gt;
sneered at these hundreds for ljeing obscure, as&lt;br /&gt;
they certainly were. I make this remark on this&lt;br /&gt;
year&amp;#039;s dinner, because such a sneer coidd hardly&lt;br /&gt;
be made of such a gathering where there were so&lt;br /&gt;
many leaders.&lt;br /&gt;
This is the Holiday Number of the Author. Let&lt;br /&gt;
us put away all our papers, straighten the stiffened&lt;br /&gt;
ringers, lay down the pen, and go forth to rest in&lt;br /&gt;
shady places. For my own part, I make of the&lt;br /&gt;
■&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 84 (#488) #############################################&lt;br /&gt;
&lt;br /&gt;
84&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
summer holiday an occasion, which only comes once&lt;br /&gt;
a year, for reading the books which everybody has&lt;br /&gt;
been talking about. I am not more than five or six&lt;br /&gt;
years in arrears, and though I despair of ever quite&lt;br /&gt;
catching up, I daresay there will be no more than&lt;br /&gt;
five years&amp;#039; books in arrear when the, time conies for&lt;br /&gt;
putting up the shutters. These can be cremated&lt;br /&gt;
with me. Some men I can hardly look in the face&lt;br /&gt;
without a blush; with others, thanks to an occa-&lt;br /&gt;
sional ramble into the present, I am more easy.&lt;br /&gt;
Since, for instance, I have read the &amp;quot;World&amp;#039;s&lt;br /&gt;
Desire &amp;quot; I feel more confidence in the presence of&lt;br /&gt;
its authors. Why has the world taken so little&lt;br /&gt;
notice of the wonderful allegory in that book? I&lt;br /&gt;
can boldly meet Thomas Hardy face to face, because&lt;br /&gt;
I have read the &amp;quot;Group of Noble Dames,&amp;quot; and&lt;br /&gt;
Budyard Kipling, l&amp;gt;ecause I can quote the &amp;quot; Light&lt;br /&gt;
that Failed.&amp;quot; There is nothing so delightful as to&lt;br /&gt;
be working up arrears; nothing so truly restful as&lt;br /&gt;
to let other people write for you. For this and&lt;br /&gt;
other reasons, the August Number of the Author&lt;br /&gt;
is shorter than its brethren.&lt;br /&gt;
We have learned, with great regret, the death of&lt;br /&gt;
Mr. James Runciman at the early age of 38.&lt;br /&gt;
Mr. Runciman was one of the youngest of our&lt;br /&gt;
Members, but not one of the least cordial. His&lt;br /&gt;
early death has prevented him from doing full&lt;br /&gt;
justice to his great&mdash;his very great&mdash;abilities.&lt;br /&gt;
What he did achieve was marked by strength and&lt;br /&gt;
firmness of drawing, a vivid imagination, and a&lt;br /&gt;
clear eye. He could write verse with ease and&lt;br /&gt;
grace; some of his pictures of certain strata of life&lt;br /&gt;
will certainly last&mdash;at least beyond the time of many&lt;br /&gt;
writers now more popular.&lt;br /&gt;
Letter from a publisher: &amp;quot;I have offered you so&lt;br /&gt;
much for your work. This sum buys the entire&lt;br /&gt;
Copyright. Your request that I should leave you&lt;br /&gt;
the American rights might have been granted a&lt;br /&gt;
month ago. Under existing circumstances this is&lt;br /&gt;
not to be thought of.&amp;quot;&lt;br /&gt;
In other words, what was worth so much when&lt;br /&gt;
American Copyright was worthless, is worth no&lt;br /&gt;
more though American Copyright doubles the&lt;br /&gt;
publishers&amp;#039; returns. This is very remarkable&lt;br /&gt;
justice. It makes one sigh for Jedburgh justice.&lt;br /&gt;
The Manchester Guardian reports that a certain&lt;br /&gt;
religions society has discovered a muddle in their&lt;br /&gt;
accounts by which debts of &amp;quot;thousands of pounds&lt;br /&gt;
for advertising&amp;quot; had not been brought forward in&lt;br /&gt;
the balance sheets, so that the committees were&lt;br /&gt;
personally liable. This society is not, we do hope&lt;br /&gt;
and trust, our dear old friend who keeps a Literary&lt;br /&gt;
Housemaid and sweats its victims with holy zeal.&lt;br /&gt;
It would lm too dreadful to think that its committee,&lt;br /&gt;
after such a long and successful course of sweating,&lt;br /&gt;
should be itself sweated! No! No! The reward&lt;br /&gt;
of the righteous is not often so thorough and so&lt;br /&gt;
certain.&lt;br /&gt;
Of &amp;quot;Literary&amp;quot; Associations, &amp;quot;Authors&amp;#039; Pub-&lt;br /&gt;
lishing&amp;quot; companies and societies which promise&lt;br /&gt;
poor, struggling authors help and pay, there is no end.&lt;br /&gt;
A blight seems to settle, upon these associations.&lt;br /&gt;
Nevertheless, one is pleased to give such publicity&lt;br /&gt;
as is possible to nil new societies of the, kind.&lt;br /&gt;
Here is one, for instance, called &amp;quot;The Authors&amp;#039;&lt;br /&gt;
Publishing Association.&amp;quot; The manager is one&lt;br /&gt;
T. M. Field, of whom we know nothing, good or&lt;br /&gt;
bad. His association receives members at 5s. a&lt;br /&gt;
year, which is indeed cheap. It also runs a little&lt;br /&gt;
magazine called Literary Land. The May number&lt;br /&gt;
&mdash;containing 16 pages&mdash;is before us at this moment,&lt;br /&gt;
so that it really does exist. Literary workers of&lt;br /&gt;
all classes are invited to become meml^r?, particu-&lt;br /&gt;
larly those who seek&mdash;but have not yet found&mdash;a&lt;br /&gt;
remunerative return for their labours. This, they&lt;br /&gt;
may perhaps believe, will be found for them in&lt;br /&gt;
Literary L.and. Now, if this paper is to go on&lt;br /&gt;
presenting 16 pages every month to the world it will&lt;br /&gt;
remunerate&mdash;reckoning each article at three pages,&lt;br /&gt;
and the pay at&mdash;is 5s. a page too high?&mdash;five&lt;br /&gt;
authors a month or Co authors a year. If, there-&lt;br /&gt;
fore, an author is so fortunate as to become one of&lt;br /&gt;
this 6o he would receive, say, ios. in the year, out&lt;br /&gt;
of which he would pay 5s. for the magazine and 5&raquo;&amp;#039;.&lt;br /&gt;
for the association. For himself, 5*. will remain&lt;br /&gt;
&mdash;a princely income. I daresay a good many sub-&lt;br /&gt;
scribers will be found. It .seems hopeless to expect&lt;br /&gt;
that people who aspire to literary success will bring&lt;br /&gt;
the commonest rules of arithmetic, reason, and&lt;br /&gt;
common sense to bear upon their hopes and their&lt;br /&gt;
calculations. The &amp;quot;association&amp;quot; may mean well&lt;br /&gt;
and honestly, but let young writers ask what any&lt;br /&gt;
such association can do for anybody? There is&lt;br /&gt;
no royal road to success&mdash;there are no back stairs&lt;br /&gt;
to literary fame; every writer must with his own&lt;br /&gt;
pen fight his own way to the, front.&lt;br /&gt;
Yet another Society! This time it is the pro-&lt;br /&gt;
spectus of the &amp;quot;London Copy Society.&amp;quot; It has&lt;br /&gt;
offices, and a secretary, but, as yet, neither directors,&lt;br /&gt;
bankers, nor solicitors. Its modest capital is &pound; i ,ooo.&lt;br /&gt;
It. proposes to become a syndicate for placing&lt;br /&gt;
things in newspapers both here and in America.&lt;br /&gt;
People are asked to pay a guinea a year in order to&lt;br /&gt;
have a chance of being taken by the American and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 85 (#489) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
85&lt;br /&gt;
English journals through this agency. There are&lt;br /&gt;
already a good many such syndicates in the field,&lt;br /&gt;
and their experience is always the same, namely,&lt;br /&gt;
that then! is little difficulty in placing writers of&lt;br /&gt;
repute, but tliat it is absolutely impossible to place&lt;br /&gt;
writers who have not yet made their name.&lt;br /&gt;
Very likely this syndicate sees a way out of this&lt;br /&gt;
difficulty. &bull;&lt;br /&gt;
The &amp;quot;Society&amp;quot; will also act as literary agents,&lt;br /&gt;
and will establish a school for journalism. The&lt;br /&gt;
subscribers will have to pay for the printing, mani-&lt;br /&gt;
folding, stereotyping, and postage of their work to&lt;br /&gt;
the &amp;quot;hundreds of journals&amp;quot; spoken of in the&lt;br /&gt;
prospectus. Suppose one of them writes a novel.&lt;br /&gt;
It would cost perhaps &pound;80 to print. Another &pound;20&lt;br /&gt;
might easily be spent in sending the work among&lt;br /&gt;
the &amp;quot;hundreds of journals.&amp;quot; Are young literary&lt;br /&gt;
aspirants prepared to spend &pound;100 on the very,&lt;br /&gt;
very slender chance of an unknown writer l&amp;gt;eing&lt;br /&gt;
accepted by the country press? As for the school&lt;br /&gt;
of journalism, we wait to see who are the Professors&lt;br /&gt;
and Lecturers in that school.&lt;br /&gt;
From time to time there are sent to the Office&lt;br /&gt;
cuttings from certain papers in which the truth,&lt;br /&gt;
the whole truth, and a great deal more than the&lt;br /&gt;
truth is frankly and generously told about this&lt;br /&gt;
Society. In three or four cases we have held a&lt;br /&gt;
little inquiry into the cause and origin of this&lt;br /&gt;
generous amplification of the truth. It has been&lt;br /&gt;
found in all that the paragraphs have been&lt;br /&gt;
preceded, very strangely, by action on the part of&lt;br /&gt;
our Secretary. For instance, the editor of the&lt;br /&gt;
Universal Genius has refused to reply to a&lt;br /&gt;
contributor nsking payment for a MS. which has&lt;br /&gt;
appeared in the paper. The contributor, a Member&lt;br /&gt;
of the Society, brings the case before the Secretary.&lt;br /&gt;
The Secretary addresses a letter to the Editor.&lt;br /&gt;
Result: (1) Cheque to the author. (2) Nasty one&lt;br /&gt;
for the Society in the paper.&lt;br /&gt;
Again, the editor or proprietor of the Bear Pit&lt;br /&gt;
refuses to return a MS. sent to him by a writer for&lt;br /&gt;
publication, or to answer any letters relating to&lt;br /&gt;
that MS. The writer brings tin; case before the&lt;br /&gt;
Society. The Secretary addresses a letter to that&lt;br /&gt;
editor or proprietor. Result: (1) Return of the&lt;br /&gt;
MS. to the author. (2) Nasty one for the Society&lt;br /&gt;
in the paper. Moral&mdash;Obvious.&lt;br /&gt;
Readers of Mrs. Oliphant&amp;#039;s &amp;quot;Life of Laurence&lt;br /&gt;
Oliphant&amp;quot; should read Mrs. Phillips&amp;#039; paper on&lt;br /&gt;
Mr. Harris in the National Review of July. Those&lt;br /&gt;
who possess the book should cut out the article and&lt;br /&gt;
bind it up as an appendix, ljecause the article gives&lt;br /&gt;
the other side of the question as seen by the friends&lt;br /&gt;
of Mr. Harris. No denial is offered by the writer&lt;br /&gt;
of the article of the facts as stated by Mrs. Oliphant.&lt;br /&gt;
They remain, presumably, undeniable. From the&lt;br /&gt;
point of view of Harris&amp;#039;s disciples it is right, I&lt;br /&gt;
suppose, and only what was to be expected, that a&lt;br /&gt;
gentleman should be made to sell strawberries in&lt;br /&gt;
the street, that a lady should be made to tlo menial&lt;br /&gt;
work, and that a wedded pair should be separated.&lt;br /&gt;
These things l&amp;gt;elong to spiritual levels, to which I,&lt;br /&gt;
alas! cannot reach. Heaven itself is out of the&lt;br /&gt;
reach of most of us, unless we can get to it with&lt;br /&gt;
our own people and following our own manners&lt;br /&gt;
and customs. At the same time, the paper of&lt;br /&gt;
Mrs. Phillips is not only extremely interesting but&lt;br /&gt;
extremely instructive, if only as showing what&lt;br /&gt;
qualities there were in Harris which could attract&lt;br /&gt;
such a man as Laurence Oliphant . And so much,&lt;br /&gt;
I believe, the author of this beautiful biography&lt;br /&gt;
would be the first to acknowledge. In every&lt;br /&gt;
generation there arises a Harris, either in this&lt;br /&gt;
country, or in America, or somewhere else. To&lt;br /&gt;
every Harris there comes a Revelation, to every one&lt;br /&gt;
a school of disciples, and every disciple is convinced&lt;br /&gt;
that he sees the beginning of the end&mdash;and the&lt;br /&gt;
assurance of the Second Coming of the Lord, when,&lt;br /&gt;
by the aid of the Harris, all things shall be made&lt;br /&gt;
straight.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
AMEETING of the Preliminary Committee&lt;br /&gt;
was held at the Society&amp;#039;s offices on Thursday,&lt;br /&gt;
July 23rd. Present: Mr. Walter Besant,&lt;br /&gt;
Mr. Howard Collins, Mr. W. M. Colles, Mr. Oswald&lt;br /&gt;
Crawfurd, Mr. Egmont Hake, Mr. Arthur Montc-&lt;br /&gt;
fiore, and Mr. Vagg Walter, as Honorary Secretary&lt;br /&gt;
ad interim.&lt;br /&gt;
Mr. Walter reported that he had visited many&lt;br /&gt;
houses to let in the vicinity of Piccadilly and else-&lt;br /&gt;
where, anil sub mitted plans and drawings of certain&lt;br /&gt;
houses which might seem suitable for the Club, with&lt;br /&gt;
estimates for furniture and installation, and for the&lt;br /&gt;
day-by-day management of the Club.&lt;br /&gt;
After conversation it was Resolved to put forth&lt;br /&gt;
the following Suggestions for the consideration of&lt;br /&gt;
the Society, and of those who might be desirous of&lt;br /&gt;
joining the Club, and to invite comment and further&lt;br /&gt;
suggestions from all interested.&lt;br /&gt;
1. That it is desirable to found a Club whose&lt;br /&gt;
first condition of meml)ership shall be a&lt;br /&gt;
bona fide connexion with the life of Letters.&lt;br /&gt;
2. That, though the rules of the Society of&lt;br /&gt;
Authors admit into that body as MchiIhts&lt;br /&gt;
none but those who have actually produced&lt;br /&gt;
at least one printed and published volume,&lt;br /&gt;
the Club shall admit not only authors of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 86 (#490) #############################################&lt;br /&gt;
&lt;br /&gt;
86&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
lmoks, but also . dramatists, journalists,&lt;br /&gt;
authors of papers in reviews and magazines,&lt;br /&gt;
editors of newspapers, journals, and maga-&lt;br /&gt;
zines, professors, lecturers, and Fellows of&lt;br /&gt;
colleges, men of science, scholars, and all&lt;br /&gt;
gentlemen who in their public or private&lt;br /&gt;
capacity shall advance the cause of Letters.&lt;br /&gt;
3. That since the first and most important side&lt;br /&gt;
of a Club is its social side, the new Club&lt;br /&gt;
should lie one in which the social attrac-&lt;br /&gt;
tions should at least equal those of any&lt;br /&gt;
other Club in London.&lt;br /&gt;
4. That the Club, though unconnected with the&lt;br /&gt;
Society of Authors, should recognise and&lt;br /&gt;
develop, as far as possible, the services&lt;br /&gt;
rendered to the cause of Letters by that&lt;br /&gt;
Society.&lt;br /&gt;
5. That the Club should be one of reasonable&lt;br /&gt;
charges and reasonable living.&lt;br /&gt;
6. That the serious and practical side of the&lt;br /&gt;
literary life should not be forgotten by the&lt;br /&gt;
Club, but that, as occasion may arise, meet-&lt;br /&gt;
ings and debates should be held or papers&lt;br /&gt;
read on subjects connected with the practical&lt;br /&gt;
Ride.&lt;br /&gt;
7. That ladies should be admitted either on&lt;br /&gt;
ladies&amp;#039; nights or on ladies&amp;#039; afternoons, or to&lt;br /&gt;
concerts or entertainments organized by the&lt;br /&gt;
committee.&lt;br /&gt;
8. That Members should present to the library&lt;br /&gt;
complete copies of their own works.&lt;br /&gt;
g. That the entrance fee be ten guineas, and the&lt;br /&gt;
annual subscription be five guineas; but that&lt;br /&gt;
the first 5oo members be admitted without&lt;br /&gt;
entrance fee.&lt;br /&gt;
10. That Members of the Society of Authors be&lt;br /&gt;
always admitted without entrance fee.&lt;br /&gt;
11. That before proceeding farther, the opinion&lt;br /&gt;
of the Members of the Society be ascer-&lt;br /&gt;
tained on the matter, and that a book be&lt;br /&gt;
opened at the office of the Society for the&lt;br /&gt;
entrance of names of those who would wish&lt;br /&gt;
to become original Members.&lt;br /&gt;
12. That the money requisite for first expenses&lt;br /&gt;
be subscribed by the Members in the form&lt;br /&gt;
of debentures at a certain interest, a method&lt;br /&gt;
frequently adopted by clubs.&lt;br /&gt;
13. That as soon as sufficient names have been&lt;br /&gt;
enrolled to warrant further proceeding, the&lt;br /&gt;
preliminary committee should dissolve and&lt;br /&gt;
be replaced by a Committee of Management&lt;br /&gt;
elected by the original Members, with power&lt;br /&gt;
to raise money by debentures, take pre-&lt;br /&gt;
mises, purchase furniture, draw up rules,&lt;br /&gt;
call meetings, and in all other ways act at*&lt;br /&gt;
may be necessary for the foundation of the&lt;br /&gt;
Club.&lt;br /&gt;
14. That the election of Members for the first year&lt;br /&gt;
at least should be in the hands of the&lt;br /&gt;
Committee of Management.&lt;br /&gt;
15. That these suggestions should be published&lt;br /&gt;
in the Author, and that Members of the&lt;br /&gt;
Society should Ik; earnestly requested to&lt;br /&gt;
contribute their own opinions, addressed to&lt;br /&gt;
the Secretary of the Society of Authors,&lt;br /&gt;
4, . Portugal Street, W.C.&lt;br /&gt;
&diams;■&amp;gt;■&diams;&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
L&lt;br /&gt;
The President&amp;#039;s Proclamation.&lt;br /&gt;
From the &amp;quot; Times,&amp;quot; July 2nd, 1891.&lt;br /&gt;
Washington, July 1.&lt;br /&gt;
PRESIDENT Harrison has issued a procla-&lt;br /&gt;
mation which provides for granting Copy-&lt;br /&gt;
right in the United States to citizens or&lt;br /&gt;
subjects of Great Britain, France, Belgium, and&lt;br /&gt;
Switzerland.&lt;br /&gt;
The text of the proclamation is as follows :&mdash;&lt;br /&gt;
&amp;quot;Whereas it is provided by Section i3 of the&lt;br /&gt;
Act of Congress of March 3, 1891, that the said&lt;br /&gt;
Act shall only apply to a citizen or subject of a&lt;br /&gt;
foreign State or nation, when such foreign State&lt;br /&gt;
or nation permits to citizens of the United States&lt;br /&gt;
the benefit of Copyright on substantially the same&lt;br /&gt;
basis as to its own citizens, or when such foreign&lt;br /&gt;
State or nation is a party to an International&lt;br /&gt;
agreement which provides for reciprocity in the&lt;br /&gt;
granting of Copyright, by the terms of which&lt;br /&gt;
agreement, the United States may, at their pleasure,&lt;br /&gt;
become a party to such agreement; and whereas,&lt;br /&gt;
satisfactory official assurances have been given in&lt;br /&gt;
Belgium, France, Great Britain, the British posses-&lt;br /&gt;
sions, and Switzerland, that the law permits to&lt;br /&gt;
citizens of the United States the same benefit of&lt;br /&gt;
Copyright as to their own citizens: Now, therefore,&lt;br /&gt;
I, as President, do declare and proclaim that the&lt;br /&gt;
first conditions specified in the said Section i3are&lt;br /&gt;
now fulfilled in respect to the citizens and subjects&lt;br /&gt;
of Belgium, France, Great Britain, and Switzer-&lt;br /&gt;
land.&amp;quot;&lt;br /&gt;
This proclamation is preceded by a recital of the&lt;br /&gt;
Copyright Act passed by the last Congress, a copy&lt;br /&gt;
of the circular letter addressed to the United States&lt;br /&gt;
Ministers abroad, and an able and exhaustive&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 87 (#491) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
report to President Harrison, prepared- by&amp;#039; Mr.&lt;br /&gt;
Moon, Third Assistant Secretary of State, inter-&lt;br /&gt;
preting the law, and explaining why the operations&lt;br /&gt;
of the law are limited to the four countries named&lt;br /&gt;
in the proclamation, and why nations which are&lt;br /&gt;
parties to the Berne agreement are excluded from&lt;br /&gt;
the proclamation on that ground.&lt;br /&gt;
II.&lt;br /&gt;
The American Regulations.&lt;br /&gt;
Washington, July 6.&lt;br /&gt;
In pursuance of the provisions of the Copyright&lt;br /&gt;
Act of March 3, 1891, Mr. Foster, Secretary&lt;br /&gt;
of the Treasury, has prescribed the following&lt;br /&gt;
regulations:&lt;br /&gt;
1. Copyrighted books and articles of importation&lt;br /&gt;
which are prohibited by section 4956 of the&lt;br /&gt;
Revised Statutes, as amended by section 8 of&lt;br /&gt;
the said Act, shall not be admitted to entry. Such&lt;br /&gt;
books and articles, if imported with the previous&lt;br /&gt;
consent of the proprietor of the Copyright, shall&lt;br /&gt;
Ik) seized by the Collector of Customs, who shall&lt;br /&gt;
take proper steps for the forfeiture of the goods&lt;br /&gt;
to the United States under section 3o82 of the&lt;br /&gt;
Revised Statutes.&lt;br /&gt;
2. Copyrighted books and articles imported con-&lt;br /&gt;
trary to the said prohibition without the previous&lt;br /&gt;
consent of the proprietor of the Copyright, being&lt;br /&gt;
primarily subject to forfeiture to the proprietor&lt;br /&gt;
of the Copyright, shall be detained by the collector,&lt;br /&gt;
who shall forthwith notify such proprietor in order&lt;br /&gt;
to ascertain whether or not he wishes to institute&lt;br /&gt;
proceedings for the enforcement of the right to&lt;br /&gt;
forfeiture. If the proprietor institutes such pro-&lt;br /&gt;
ceedings, and obtains a decree of forfeiture, the&lt;br /&gt;
goods shall be delivered to him on payment of&lt;br /&gt;
the expenses incurred in the detention, storage,&lt;br /&gt;
and duties accruing thereon. If such proprietor&lt;br /&gt;
fails to institute proceedings within 60 days from&lt;br /&gt;
the date of notice, or declaration in writing, he&lt;br /&gt;
abandons his right to forfeiture, and the collector&lt;br /&gt;
shall proceed as in the case of articles imported&lt;br /&gt;
with the previous consent of the proprietor.&lt;br /&gt;
3. Copyrighted articles of importation which are&lt;br /&gt;
not prohibited, but which, by virtue of section&lt;br /&gt;
4965 of the Revised Statutes, as amended by&lt;br /&gt;
section 8 of the said Act, are forfeited to the&lt;br /&gt;
proprietor of the said Copyright when imported&lt;br /&gt;
without his previous consent, and, moreover,&lt;br /&gt;
subject to the forfeiture of Si or &sect;10 per copy, as&lt;br /&gt;
the case may be, one-half thereof to the said&lt;br /&gt;
proprietor, and the other half to the United States,&lt;br /&gt;
shall lie taken possession of by the collector, who&lt;br /&gt;
shall take the necessary steps for securing to the&lt;br /&gt;
United States half the sum forfeited, and shall keep&lt;br /&gt;
the goods in his possession until the decree of&lt;br /&gt;
forfeiture has been obtained, and half of the sum so&lt;br /&gt;
forfeited, as well as the duties and charges accruing&lt;br /&gt;
are paid, whereupon he shall deliver the goods to&lt;br /&gt;
the proprietor of the Copyright. In case of a&lt;br /&gt;
failure to obtain a decree of forfeiture, the goods&lt;br /&gt;
shall be admitted to entry.&mdash;Dalziel {The Times&lt;br /&gt;
Special).&lt;br /&gt;
HI.&lt;br /&gt;
What will happen?&lt;br /&gt;
At last we have it. The next questions are:&lt;br /&gt;
What we shall do with it? What it will do for&lt;br /&gt;
us? And how we shall protect ourselves? For,&lt;br /&gt;
as it needs no prophet to understand, a most&lt;br /&gt;
determined effort will be made to defraud the author&lt;br /&gt;
of all the benefits which the Act might have con-&lt;br /&gt;
ferred upon him, and to convert it into an engine&lt;br /&gt;
for the further enrichment of the publisher.&lt;br /&gt;
Successful authors must understand&mdash;the sooner&lt;br /&gt;
the better&mdash;that they have now two countries to&lt;br /&gt;
deal with, and not one; that in many respects the&lt;br /&gt;
two countries are not alike, but dissimilar; that&lt;br /&gt;
what pleases one country may not please lx&amp;gt;th;&lt;br /&gt;
that they have two sets of publishers; that although&lt;br /&gt;
they must not assume because they have got their&lt;br /&gt;
work accepted in this country that it will l&amp;gt;e accepted&lt;br /&gt;
in the other, but they must act as if they were&lt;br /&gt;
going to be popular in both countries. That is to&lt;br /&gt;
say, in negotiating for their work they must strictly&lt;br /&gt;
reserve the American rights as the subject of separate&lt;br /&gt;
arrangement.&lt;br /&gt;
Again and again has the Author pointed out to&lt;br /&gt;
readers, that in all agreements they must put them-&lt;br /&gt;
selves into the position of business men agreeing&lt;br /&gt;
for the management of property, and this even&lt;br /&gt;
though the MS. represents no property at all. The&lt;br /&gt;
other side is always a business man actuated by no&lt;br /&gt;
other object than that of doing business, and&lt;br /&gt;
securing a good property for himself, if possible;&lt;br /&gt;
if not, on the best terms he can command.&lt;br /&gt;
If the Author warned and exhorted its readers&lt;br /&gt;
before the pawing of this Act, it must raise a&lt;br /&gt;
louder and a more warning voice still. The risk of&lt;br /&gt;
being plundered is twice as great as before; the&lt;br /&gt;
property to be defended is twice as great as before.&lt;br /&gt;
What books will take out Copyright? This is a&lt;br /&gt;
question of the greatest importance to printers, as&lt;br /&gt;
well as to authors. At a recent deputation to Sir&lt;br /&gt;
Michael Hicks-Beach, one of the speakers (see&lt;br /&gt;
p. 91) assumed that every author would not only&lt;br /&gt;
want Copyright, but would get it.&lt;br /&gt;
Indeed! And who is to pay the printer&amp;#039;s bill?&lt;br /&gt;
A very large numl&amp;gt;er of books are published at&lt;br /&gt;
1&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 88 (#492) #############################################&lt;br /&gt;
&lt;br /&gt;
88&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the expense of the authors who have nothing, sub-&lt;br /&gt;
sequently, to show for their money but weeping,&lt;br /&gt;
wailing, and gnashing of teeth. Printing is a much&lt;br /&gt;
more expensive luxury in the States than here. It&lt;br /&gt;
is supposed, perhaps, that the author will pay the&lt;br /&gt;
increased bill with the additional expense of freight.&lt;br /&gt;
Hut there are, it will be said, a great many books&lt;br /&gt;
which both countries will want. Let us see what&lt;br /&gt;
these are.&lt;br /&gt;
First, we may exclude&mdash;&lt;br /&gt;
a. All theological books, sermons, and religious&lt;br /&gt;
books. Generally speaking, the Americans&lt;br /&gt;
will at least find their own religious food.&lt;br /&gt;
/3. All educational books, except a very few.&lt;br /&gt;
y. All scientific and technical books, except a&lt;br /&gt;
very few. The Americans will continue&lt;br /&gt;
to find their own works on science.&lt;br /&gt;
8. All three-volume novels.&lt;br /&gt;
f. Nearly all works connected with the history&lt;br /&gt;
of this country.&lt;br /&gt;
&pound;. Works written for a very small circle, such&lt;br /&gt;
as special monographs, books of scholar-&lt;br /&gt;
ship, &amp;amp;c. These books will be exported&lt;br /&gt;
in the same way as at present, in very&lt;br /&gt;
small quantities, paying a duty.&lt;br /&gt;
)). All our journals, magazines, and news-&lt;br /&gt;
papers.&lt;br /&gt;
What remain?&lt;br /&gt;
a. A great many novels.&lt;br /&gt;
jS. A few books of travel, history, biography,&lt;br /&gt;
science, and poetry.&lt;br /&gt;
As regards the first, I do not believe that the&lt;br /&gt;
popular novelist will be set up in America and&lt;br /&gt;
re-printed here. Why should he be? Consider.&lt;br /&gt;
It costs, for composition alone, of a one-volume&lt;br /&gt;
novel from &pound;20 to &pound;:5. It would cost in America&lt;br /&gt;
from &pound;2o to &pound;35. The extra cost of printing and&lt;br /&gt;
paper is in proportion. Considering, in addition,&lt;br /&gt;
all the worry and trouble, the extra cost, the cost&lt;br /&gt;
of freight, &amp;amp;c, who would incur all this in order&lt;br /&gt;
to save a ten-pound note in the English edition of&lt;br /&gt;
a popidar author? It is absurd. Then, if we&lt;br /&gt;
take an English author who is not popular, are&lt;br /&gt;
we going to print him in the States, where he&lt;br /&gt;
is no more popidar than here, at an increased&lt;br /&gt;
cost, when there is great doubt whether he will&lt;br /&gt;
repay here the cost of setting him up?&lt;br /&gt;
If, on the other hand, a popular novelist is pub-&lt;br /&gt;
lished simultaneously on both sides, it will be as if&lt;br /&gt;
he were published in two languages; there will be&lt;br /&gt;
separate composition. We have not considered&lt;br /&gt;
here the attention which must be paid to the subject&lt;br /&gt;
of spelling, which is a very important point.&lt;br /&gt;
In the same way, special books &mdash; such as&lt;br /&gt;
Darwin&amp;#039;s books, Herbert Silencer&amp;#039;s books, Stanley&amp;#039;s&lt;br /&gt;
Travels, &amp;amp;c.&mdash;woidd be set up on both sides,&lt;br /&gt;
simply because in such a big thing it would&lt;br /&gt;
not be worth while to save a ten-pound note, at&lt;br /&gt;
the risk of exasperating one side or the other with&lt;br /&gt;
the spelling.&lt;br /&gt;
It certainly appears to the present writer that&lt;br /&gt;
printers will lose little or nothing by the &amp;quot;manu-&lt;br /&gt;
facture&amp;quot; clause, and that the whole action of the&lt;br /&gt;
Loudon Chamber of Commerce has been produced&lt;br /&gt;
by a panic.&lt;br /&gt;
The reply of Sir Michael Hicks-Beach to the&lt;br /&gt;
deputation was damping to their hopes. Probably,&lt;br /&gt;
he knew pretty well what he was saying. We&lt;br /&gt;
have ourselves felt the pulse of certain Members of&lt;br /&gt;
the House, not without influence. It may be taken&lt;br /&gt;
as perfectly certain and beyond all doubt, that Free&lt;br /&gt;
Trade Members will move Heaven and Earth&lt;br /&gt;
against any so-called retaliatory measures. There&lt;br /&gt;
need be no illusion on this head. Meantime, if it be&lt;br /&gt;
proved that our people suffer sensibly from the Act,&lt;br /&gt;
we shall do more by representations made to the&lt;br /&gt;
United States Government and its people than by&lt;br /&gt;
any fruitless agitation for Protection.&lt;br /&gt;
&amp;quot;I would suggest to printers, as a measure of self&lt;br /&gt;
defence, that they should join with authors and&lt;br /&gt;
insist upon a clause in authors&amp;#039; agreements, binding&lt;br /&gt;
the publisher to produce an English-manufactured&lt;br /&gt;
book. I can assure them beforehand of the&lt;br /&gt;
sympathy of authors, and of their rooted antipathy&lt;br /&gt;
to American spelling. All we have to do is to insert&lt;br /&gt;
that clause. If a book is worth copyrighting in&lt;br /&gt;
America, it is certainly worth setting up in both&lt;br /&gt;
countries.&amp;quot;&lt;br /&gt;
In order to get an approximate idea of what&lt;br /&gt;
new English books are likely to take out Copyright&lt;br /&gt;
in America, let us run through the lists of the&lt;br /&gt;
advertisements in the last number of the At/iencettm.&lt;br /&gt;
It is true that it is a very bad time for new books,&lt;br /&gt;
and that the list is extremely scanty, but it will&lt;br /&gt;
serve our purpose to a certain extent.&lt;br /&gt;
The first, taking the publishers in their order&lt;br /&gt;
as they appear in the advertisement columns, is&lt;br /&gt;
the list of Messrs. Osgood, Mellvaine, and Co.&lt;br /&gt;
Ten books are in this list. Of these, seven&lt;br /&gt;
appear to be by Americans. There remain&lt;br /&gt;
three, viz., two by Oscar Wilde and one by&lt;br /&gt;
Thomas Hardy. Both these books would want&lt;br /&gt;
Copyright in the States. Next comes the&lt;br /&gt;
list of Messrs. Methuen. Here are works by&lt;br /&gt;
Norris, M. Betliam Edwards, Edna Lyall, S. Baring&lt;br /&gt;
Gould, W. Clark Russell, and Walter Pollock, all&lt;br /&gt;
of which would take out Copyright. There are&lt;br /&gt;
four books on social and political economy; two&lt;br /&gt;
biographies of religious leaders; two books of&lt;br /&gt;
poems; and a critical study on George Meredith.&lt;br /&gt;
Result: out of nineteen books, six would be copy-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 89 (#493) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
89&lt;br /&gt;
righted in the States. The list of Smith and&lt;br /&gt;
Elder shows six books, of which three novels (by&lt;br /&gt;
Anstey, Norris, and Gissing) and one biography&lt;br /&gt;
&mdash;that of Robert Browning, by Mrs. Sutherland&lt;br /&gt;
Orr&mdash;would be copyrighted.&lt;br /&gt;
The list of Macmillan contains sixteen books,&lt;br /&gt;
mostly new editions. I should judge that six of&lt;br /&gt;
these would be published in the States. Chapman&lt;br /&gt;
and Hall advertise eleven books. If these were all&lt;br /&gt;
new books, three would certainly be copyrighted.&lt;br /&gt;
Of nine books advertised by Bentley, two would&lt;br /&gt;
certainly be copyrighted. Of fifteen advertised by&lt;br /&gt;
Hurst and Blackett, I do not think that more than&lt;br /&gt;
two would find it necessary to be copyrighted.&lt;br /&gt;
This, however, does not include their &amp;quot; Standard&lt;br /&gt;
Library &amp;quot; which is also advertised. Longman&amp;#039;s list&lt;br /&gt;
contains eleven books, only two of which seem&lt;br /&gt;
likely to be in demand in America. Sampson&lt;br /&gt;
Low&amp;#039;s list of five includes two&mdash;William Black&amp;#039;s&lt;br /&gt;
last novel and the &amp;quot;Life of Gladstone&amp;quot;&mdash;which&lt;br /&gt;
would certainly be copyrighted. Clowes has a list of&lt;br /&gt;
law books which we may pass over. Then follow&lt;br /&gt;
a few books separately advertised. They are seven&lt;br /&gt;
in miml&amp;gt;er, and one at least&mdash;Leland&amp;#039;s &amp;quot;Heine&amp;quot;&lt;br /&gt;
would be copyrighted. Then follows Arrowsmith&amp;#039;s&lt;br /&gt;
list of shilling books, all of which, I suppose, would&lt;br /&gt;
be copyrighted as they came out. But with old&lt;br /&gt;
lists we are not concerned. The result is that&lt;br /&gt;
25 per cent, would be copyrighted. But then we&lt;br /&gt;
must remember that a great many of these are&lt;br /&gt;
new editions of successful books. Let us wait till&lt;br /&gt;
October, when the great rush of new books appear.&lt;br /&gt;
Then we shall lx; able to form a closer estimate of&lt;br /&gt;
the proportion. But&mdash;and this is a very important&lt;br /&gt;
point&mdash; nearly all the books selected are in English&lt;br /&gt;
form, and would always be printed in that form.&lt;br /&gt;
Moreover, they are for the greater part written by&lt;br /&gt;
authors of so much eminence that the saving of&lt;br /&gt;
the initial cost of composition need not be reckoned.&lt;br /&gt;
Let us next turn to some American paper, and&lt;br /&gt;
find out, if we can, the kind of book likely to be&lt;br /&gt;
wanted in both countries. I have before me a&lt;br /&gt;
number of the New York Nation, which is half&lt;br /&gt;
literary, half political. The book advertisements&lt;br /&gt;
are not very numerous, but they are suggestive.&lt;br /&gt;
Professor Henry Brummond&amp;#039;s works are reprinted&lt;br /&gt;
in full. Mona Caird&amp;#039;s new novel &amp;quot;A Romance of&lt;br /&gt;
theMoors&amp;quot;: Jerome&amp;#039;s works in full: Mrs. Oliphant&amp;#039;s&lt;br /&gt;
&amp;quot;Life of Laurence Oliphant&amp;quot;: the University&lt;br /&gt;
Extension &amp;quot;Manuals&amp;quot;: Russell&amp;#039;s &amp;quot;Life of Glad-&lt;br /&gt;
stone &amp;quot;: Munro&amp;#039;s &amp;quot;Grammar of the Homeric&lt;br /&gt;
Dialect&amp;quot;: Frederick Locker Sampson&amp;#039;s &amp;quot;Lyra&lt;br /&gt;
Elegantiarum&amp;quot;: Herbert Spencer&amp;#039;s &amp;quot;Plea for&lt;br /&gt;
Lilx-rty &amp;#039;&amp;#039;: Oscar Wilde&amp;#039;s &amp;quot;Intentions&amp;quot;; appear&lt;br /&gt;
either in the advertisements or in the book notices.&lt;br /&gt;
We, do not look in the Nation for lists of novels,&lt;br /&gt;
but we observe that the Tauchnitz books are adver-&lt;br /&gt;
tised for sale. I suppose that the result of the new&lt;br /&gt;
Act will be to stop the sale in America of any&lt;br /&gt;
new additions to the &amp;quot; Baron&amp;#039;s&amp;quot; list.&lt;br /&gt;
IV.&lt;br /&gt;
Opinion of Sin Horace Davey.&lt;br /&gt;
Extract from Cask of Questions put. to Sir&lt;br /&gt;
Horace Davey, Q.C., and Mr. James Rolt,&lt;br /&gt;
and their Opinion thereon.&lt;br /&gt;
1. Whether section i3 of the American Copy-&lt;br /&gt;
right Act will lie satisfied as regards Great Britain&lt;br /&gt;
so as to enable English authors to obtain Copyright&lt;br /&gt;
in the United States by (a) the present state, of&lt;br /&gt;
the English law, or (6) the Berne Convention?&lt;br /&gt;
2. What may be considered the date of first&lt;br /&gt;
publication of a book as recognised by the English&lt;br /&gt;
courts of law, whether the English courts would&lt;br /&gt;
consider the hour as well as day of publication, and&lt;br /&gt;
whether any suggestion can be made as to keeping&lt;br /&gt;
impartial evidence of the date of first publication of&lt;br /&gt;
an English book?&lt;br /&gt;
3. Whether a publication by an American&lt;br /&gt;
publisher, wrongfully claiming to be proprietor&lt;br /&gt;
of an English book would prevent the English&lt;br /&gt;
author from publishing subsequently and obtaining&lt;br /&gt;
Copyright?&lt;br /&gt;
4. How far will English authors be entitled to&lt;br /&gt;
American Copyright in alterations or revisions of,&lt;br /&gt;
or additions to, their books previously published in&lt;br /&gt;
the States under section 5 of the American Bill,&lt;br /&gt;
and will they be entitled to this Copyright in cases&lt;br /&gt;
where they have absolutely ]&raquo;rted with their&lt;br /&gt;
English Copyright in such alterations, revisions, or&lt;br /&gt;
additions, or in the books to which they relate?&lt;br /&gt;
5. Whether the publication by an English&lt;br /&gt;
dramatist in the United States under the present&lt;br /&gt;
Bill of a drama as to which he has already granted&lt;br /&gt;
performing rights in the States will interfere with&lt;br /&gt;
such rights?&lt;br /&gt;
Opinion.&lt;br /&gt;
1. Notwithstanding the decision of the House of&lt;br /&gt;
Lords under the Statute 8 Anne c. 19 in Jeffreys v.&lt;br /&gt;
Boosey, 4 H.L.C. 815, we are of opinion that&lt;br /&gt;
under the present statute the benefit of Copyright&lt;br /&gt;
in books is conferred on aliens upon substantially&lt;br /&gt;
the same basis as on British authors (see per Lords&lt;br /&gt;
Cairns and Westbury in Routledgex. Lowe, L.R. 3&lt;br /&gt;
H.L. 100), and that, therefore, section i3 of the&lt;br /&gt;
American Copyright Act should in respect of books&lt;br /&gt;
be satisfied as regards Great Britain by the present&lt;br /&gt;
state of the English law. Whether section i3 of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 90 (#494) #############################################&lt;br /&gt;
&lt;br /&gt;
9&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the American Copyright Act is satisfied, however,&lt;br /&gt;
depends on the construction which the President&lt;br /&gt;
or the American courts may give to that section.&lt;br /&gt;
It will be observed that the Act applies to Copy-&lt;br /&gt;
right not only in books but also in engravings,&lt;br /&gt;
prints, photographs, paintings, Ac. If section i3&lt;br /&gt;
be construed as not giving Copyrights of any kind&lt;br /&gt;
to aliens unless the foreign country gives to citizens&lt;br /&gt;
of the United States the benefit of Copyright in all&lt;br /&gt;
these subjects (as we think is the probable con-&lt;br /&gt;
struction) it must be observed that by 25 &amp;amp; 26 Vict,&lt;br /&gt;
c. 68. s. 1, Copyright in paintings, drawings, and&lt;br /&gt;
photographs is confined to British subjects or&lt;br /&gt;
authors resident in the dominions of the Crown,&lt;br /&gt;
and therefore in that case section i3 is not satisfied.&lt;br /&gt;
If, however, the section can be read distributively,&lt;br /&gt;
we think it is satisfied as regards books within the&lt;br /&gt;
meaning of 5 &amp;amp; 6 Vict. c. 45, and musical and&lt;br /&gt;
dramatic compositions. It should also be satisfied&lt;br /&gt;
by the Berne Convention if adopted by the United&lt;br /&gt;
States.&lt;br /&gt;
2. The date of first publication of a book as&lt;br /&gt;
recognised by the English courts is, in our opinion,&lt;br /&gt;
the date upon which the book is first offered to the&lt;br /&gt;
public generally. The court will not, as a rule,&lt;br /&gt;
consider fractions of a day, and we see no reason&lt;br /&gt;
why that rule should be departed from in ascer-&lt;br /&gt;
taining the date of first publication. We are unable&lt;br /&gt;
to offer any suggestion as to the manner in which&lt;br /&gt;
impartial evidence of the date of first publication&lt;br /&gt;
can be secured. The question is in each case one&lt;br /&gt;
of fact which must, if necessary, be established by&lt;br /&gt;
the evidence of the publisher or his agent.&lt;br /&gt;
3. We understand this question to refer to&lt;br /&gt;
obtaining American and not English Copyright,&lt;br /&gt;
and it therefore depends on the construction which&lt;br /&gt;
the American courts may place on the American&lt;br /&gt;
Act. In our opinion the publication referred to&lt;br /&gt;
in section 3 of the American Act is publication by&lt;br /&gt;
or with the consent of the person entitled to Copy-&lt;br /&gt;
right under section 1, and we do not think that an&lt;br /&gt;
English author would be prevented from obtaining&lt;br /&gt;
Copyright by a prior wrongful publication made&lt;br /&gt;
without his authority or consent. Whether publi-&lt;br /&gt;
cation by a person who had purchased advanced&lt;br /&gt;
sheets from the author would be wrongful must&lt;br /&gt;
depend upon the terms on which the sale was&lt;br /&gt;
made.&lt;br /&gt;
4. English authors will, in our opinion, be&lt;br /&gt;
entitled to American Copyright in alterations,&lt;br /&gt;
revisions, or additions to their books previously&lt;br /&gt;
published in the States, unless the additions form&lt;br /&gt;
part of a series or of a work published in parts in&lt;br /&gt;
course of publication at the time when the Act&lt;br /&gt;
takes effect. Where an author has already parted&lt;br /&gt;
with his English Copyright in such alterations or&lt;br /&gt;
additions, or in the books to which they relate, he&lt;br /&gt;
would not, in our opinion, 1*3 entitled to American&lt;br /&gt;
Copyright unless under some special agreement or&lt;br /&gt;
reservation in his favour.&lt;br /&gt;
5. Publication by an English dramatist in the&lt;br /&gt;
United States under the present Act would not,&lt;br /&gt;
in our opinion, interfere with performing rights&lt;br /&gt;
previously granted by him. The right of repre-&lt;br /&gt;
sentation in a dramatic work for which Copyright&lt;br /&gt;
has been obtained is expressly protected by sec-&lt;br /&gt;
tion 4966 of the revised American statutes, and&lt;br /&gt;
any performing rights granted by the author would&lt;br /&gt;
after publication take effect under that provision.&lt;br /&gt;
Hoiiace Dave v.&lt;br /&gt;
Lincoln&amp;#039;s Inn, J. Bolt.&lt;br /&gt;
3oth June 1891.&lt;br /&gt;
V.&lt;br /&gt;
Statement by Sib Michael Hicks-Beach.&lt;br /&gt;
The President of the Board of Trade recently&lt;br /&gt;
received, on the subject of the recent American&lt;br /&gt;
Copyright Act, a large and representative deputation&lt;br /&gt;
from the London Chamber of Commerce, and a&lt;br /&gt;
great number of Trade Societies. The Members&lt;br /&gt;
of Parliament present were Sir John Lubbock, Sir&lt;br /&gt;
Albert Rollit, and Mr. Broadhurst.&lt;br /&gt;
Sir John Lubbock, in introducing the depu-&lt;br /&gt;
tation, said that the matter upon which they came&lt;br /&gt;
before the President of the Board of Trade was&lt;br /&gt;
one as to which there was no difference of opinion&lt;br /&gt;
between capital and labour, between employers and&lt;br /&gt;
employed. It was not a matter which affected one&lt;br /&gt;
part of the country as against the interests of&lt;br /&gt;
another part. London and the provinces were all&lt;br /&gt;
alike interested in the subject. Whilst the depu-&lt;br /&gt;
tation were glad that English authors should&lt;br /&gt;
receive the just reward of their labours in America,&lt;br /&gt;
they thought that might be done without interfering&lt;br /&gt;
with other very considerable interests which were&lt;br /&gt;
affected. It was admitted that the American Copy-&lt;br /&gt;
right Law, as it now stood, would very much dis-&lt;br /&gt;
courage the production of books, photographs, and&lt;br /&gt;
works of that character in this country, and tend&lt;br /&gt;
to carry all that business into America. It was&lt;br /&gt;
quite necessary, while giving protection to English&lt;br /&gt;
authors, to do so without affecting other interests,&lt;br /&gt;
and a Bill had been drafted and carefully con-&lt;br /&gt;
sidered by the London Chamber of Commerce,&lt;br /&gt;
with the objects of which they hoped to have the&lt;br /&gt;
sympathy of the Government.&lt;br /&gt;
Mr. Clowes (Chairman of the Printing and&lt;br /&gt;
Allied Trades Association) said the American&lt;br /&gt;
Copyright Act granted Copyright on the condition&lt;br /&gt;
that a book was printed from type set up in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 91 (#495) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
America; consequently, all authors who thought&lt;br /&gt;
their books worth reading (and what author did&lt;br /&gt;
not ?) would desire to have them printed in&lt;br /&gt;
America, so as to receive Copyright there, with the&lt;br /&gt;
result that a large quantity of work which had&lt;br /&gt;
hitherto been done in England would in future be&lt;br /&gt;
done in America, and a large number of operatives&lt;br /&gt;
in this country would be thrown out of work. In&lt;br /&gt;
order to prevent that, it was proposed that a short&lt;br /&gt;
Bill should be passed, granting English Copyright&lt;br /&gt;
to all books printed within a country belonging to&lt;br /&gt;
the International Copyright Union. Such a&lt;br /&gt;
measure would not in any way injure the Americans,&lt;br /&gt;
it would to a very small extent affect authors, and&lt;br /&gt;
at the same time it would confer a great benefit&lt;br /&gt;
upon a large number of persons in this country.&lt;br /&gt;
They would hesitate to propose such a measure if&lt;br /&gt;
it would in any way increase the price of teoks;&lt;br /&gt;
but the cost of printing generally was higher in&lt;br /&gt;
America than in England, so that no advantage&lt;br /&gt;
would be gained by the community in England if&lt;br /&gt;
books were printed in America instead of in&lt;br /&gt;
England. Many trades were concerned in the&lt;br /&gt;
manufacture of a book, all of which woidd be&lt;br /&gt;
injured unless some such measure as that proposed&lt;br /&gt;
was passed. The trades principally concerned were&lt;br /&gt;
represented there that day both by employers and&lt;br /&gt;
employed, and would lay their views before Sir&lt;br /&gt;
Michael Hicks-Beach.&lt;br /&gt;
Representatives of various trades spoke.&lt;br /&gt;
Sir Michael Hicks-Beach, in reply, said:&mdash;■&lt;br /&gt;
Let me understand clearly what it is that you do&lt;br /&gt;
propose. I take it that ithis is the practical clause&lt;br /&gt;
of your Bill: &amp;quot;Any person shall be entitled by the&lt;br /&gt;
Copyright Act, 5th and 6th Victoria, cap. 45, to&lt;br /&gt;
Copyright in any book in the English language,&lt;br /&gt;
photograph, chromo, or lithograph, if it is first or&lt;br /&gt;
simultaneously published within the British do-&lt;br /&gt;
minions, and printed from type set within a country&lt;br /&gt;
belonging to the International Copyright Union,&lt;br /&gt;
or from plates made therefrom, or from negatives&lt;br /&gt;
or drawings on stone made therein, or from&lt;br /&gt;
transfers made therefrom, but not otherwise.&amp;quot;&lt;br /&gt;
Have you taken legal advice whether, supposing&lt;br /&gt;
that were law at the present moment, the American&lt;br /&gt;
citizens would be in the same position in England&lt;br /&gt;
as the subject of England is now in the United&lt;br /&gt;
States, because that seems to me a very important&lt;br /&gt;
question?&lt;br /&gt;
Sir A. Rollit.&mdash;The Council of the Chamber&lt;br /&gt;
of Commerce have not been advised on that point,&lt;br /&gt;
but it has teen assumed that the object of this Act&lt;br /&gt;
was so, and that it carried out anil placed the&lt;br /&gt;
British subject in that position.&lt;br /&gt;
Sir Michael Hicks-Beach.&mdash;You will observe&lt;br /&gt;
that it is not the same as the American Act. It&lt;br /&gt;
differs from it. in very many particulars, and that&lt;br /&gt;
is a point which anybody proposing to introduce&lt;br /&gt;
such a measure as this should advise himself upon.&lt;br /&gt;
Sir A. Rollit.&mdash;There is no intention to gain&lt;br /&gt;
an advantage: equality is equity.&lt;br /&gt;
Sir Michael Hicks-Beach.&mdash;You see the im-&lt;br /&gt;
mediate result would be, that we should lose for&lt;br /&gt;
our authors the advantage which the American Act&lt;br /&gt;
would give them. Then there is another question.&lt;br /&gt;
The American Act has a clause in it prohibiting&lt;br /&gt;
the importation into the United States of any book&lt;br /&gt;
or photograph, or plates, &amp;amp;c., with certain ex-&lt;br /&gt;
ceptions. Now, you have no proposal of that kind-&lt;br /&gt;
Do you intend it, or not? Because, if you do not&lt;br /&gt;
intend it, it seems to me that it would be not a&lt;br /&gt;
very difficult matter entirely to evade the provisions&lt;br /&gt;
of the Act, and that the reason for the insertion of&lt;br /&gt;
the clause in the American Act was that they were&lt;br /&gt;
quite aware of that fact, and advisedly put it in. I&lt;br /&gt;
thought it right to call your attention to these two&lt;br /&gt;
points, because they are both important. But&lt;br /&gt;
perhaps now I may make a few general observations&lt;br /&gt;
on what the deputation has said. I quite appre-&lt;br /&gt;
ciate the importance of this deputation, and the&lt;br /&gt;
varied interests that it represents; and the fact&lt;br /&gt;
also which has teen alluded to by more than one&lt;br /&gt;
speaker, that in those industries employers and&lt;br /&gt;
employed are in this matter of one mind. I do not&lt;br /&gt;
think that we ought to exaggerate the possible&lt;br /&gt;
operation of the American Act on the publishing&lt;br /&gt;
and printing business of this country. I believe&lt;br /&gt;
that that business may be said to be mainly a news-&lt;br /&gt;
paper and magazine business; and also there is,&lt;br /&gt;
of course, all the official and judicial printing, and&lt;br /&gt;
prospectuses and reports of companies, posters,&lt;br /&gt;
bills, and all kinds of circulars that come to us by&lt;br /&gt;
post, all those things, the great mass of printing&lt;br /&gt;
and publishing in this country, are absolutely&lt;br /&gt;
outside the operation of the American Copyright&lt;br /&gt;
Act. What is really in question is the printing&lt;br /&gt;
and publishing trade so far as books are printed.&lt;br /&gt;
I think that is so.&lt;br /&gt;
Mr. Drummond.&mdash;Yes, and nothing more.&lt;br /&gt;
Sir Michael Hicks-Beach.&mdash;I am advised that&lt;br /&gt;
that is not more than 5 per cent, of the printing&lt;br /&gt;
business. (No, no.) That is the estimate that&lt;br /&gt;
has teen given to me, and therefore I do not think&lt;br /&gt;
that we ought to look upon this question as it has&lt;br /&gt;
teen rather represented by people here, and cer-&lt;br /&gt;
tainly by people out of doors, as if the whole&lt;br /&gt;
papermaking industry would be ruined, by any&lt;br /&gt;
possibility, or the whole publishing trade. No&lt;br /&gt;
doubt those industries may be affected, but the&lt;br /&gt;
question is, How much will they be affected? You&lt;br /&gt;
here think that they will be very largely affected,&lt;br /&gt;
and other people have taken different views. One&lt;br /&gt;
or two statements have teen made to-day by&lt;br /&gt;
speakers who support the view that, they will be&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 92 (#496) #############################################&lt;br /&gt;
&lt;br /&gt;
92&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
largely affected. I think that something, at any&lt;br /&gt;
rate, of the suspension of business and the want&lt;br /&gt;
of employment should rather point to the fact that&lt;br /&gt;
people are hesitating what to do, l&amp;gt;eeausc they were&lt;br /&gt;
uncertain whether the American Act would be&lt;br /&gt;
applied to English authors or not; and now that&lt;br /&gt;
that point is settled we shall be better able to see,&lt;br /&gt;
after the lapse of a reasonable time, what the effect&lt;br /&gt;
of the American Act will be. I should 1&laquo; very&lt;br /&gt;
sorry to-day to express any definite opinion as&lt;br /&gt;
to what it may be necessary to do in this matter;&lt;br /&gt;
but this I must Bay, that I do not think that the&lt;br /&gt;
time has yet come for legislation. We do not&lt;br /&gt;
exactly see; we cannot tell what the effect of the&lt;br /&gt;
Act may be, much less can we tell in what precise&lt;br /&gt;
point it may pinch us, if it does pinch us at all; and&lt;br /&gt;
what would be the best, way to deal with this point.&lt;br /&gt;
I think I put two questions to-day which may give&lt;br /&gt;
cause for reflection as to the particular proposal&lt;br /&gt;
that you have made; and I must add that it does&lt;br /&gt;
raise principles of considerable importance; and&lt;br /&gt;
although I am far from saying that the Parliament&lt;br /&gt;
of this country might not be driven by a policy of&lt;br /&gt;
this kind on the part of foreign countries to do&lt;br /&gt;
something which may be in contravention of&lt;br /&gt;
economical principles which have been long held&lt;br /&gt;
here, yet I think it would be only at the very last&lt;br /&gt;
resort, and that we should see our way as to the&lt;br /&gt;
successful issue of any move in that direction&lt;br /&gt;
before we make up our minds to do it. I do not&lt;br /&gt;
know that I have anything to add beyond an&lt;br /&gt;
assurance that I will lay before my colleagues&lt;br /&gt;
what has passed to-day, anil the whole matter will&lt;br /&gt;
have our attention, and an)&amp;#039; information bv those&lt;br /&gt;
present or by any other persons connected with the&lt;br /&gt;
printing anil publishing trade which may show the&lt;br /&gt;
effect of the American Act upon that trade will&lt;br /&gt;
have our most careful consideration.&lt;br /&gt;
Sir John Lubbock having thanked the right&lt;br /&gt;
hon. gentleman, the deputation withdrew.&lt;br /&gt;
The Times, Thursday, July 16th, 1891.&lt;br /&gt;
VI.&lt;br /&gt;
Answer to Questions.&lt;br /&gt;
In answer to Mr. Julian Corbett&amp;#039;s two questions&lt;br /&gt;
in the June numl&amp;gt;er of the Author, I think that,&lt;br /&gt;
to secure American Copyright, there can be no&lt;br /&gt;
question that every book, even if containing only a&lt;br /&gt;
dramatic composition, must be printed from type&lt;br /&gt;
set within the States. This proviso will be rigidly&lt;br /&gt;
enforced by the American authorities, and clearly&lt;br /&gt;
a dramatic composition is a book within the meaning&lt;br /&gt;
of the Revised Statute. With regard to the second&lt;br /&gt;
question, the performing right of a copyright&lt;br /&gt;
dramatic composition is clearly protected. But&lt;br /&gt;
the common law of the United States, the require-&lt;br /&gt;
ments of the common law had, therefore, better be&lt;br /&gt;
still observed just as if the Act had not passed.&lt;br /&gt;
Dramatists would be acting very foolishly if they&lt;br /&gt;
neglected to secure the invaluable advantages&lt;br /&gt;
conferred upon them by American common law.&lt;br /&gt;
Statute law is not an unmixed blessing, and of this,&lt;br /&gt;
Title Sixty, Chapter Three, of the Revised Statutes&lt;br /&gt;
of the United States promises to prove both an&lt;br /&gt;
example and a warning.&lt;br /&gt;
X. Y. Z.&lt;br /&gt;
&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
New Grub Street.&lt;br /&gt;
&amp;quot;~\ /I &reg;* Andrew Lang, writing from Olympian&lt;br /&gt;
Yl Heights, is a peculiarly irritating person&lt;br /&gt;
to a poor devil like me, who happens&lt;br /&gt;
to be making a somewhat lengthy stay in a back&lt;br /&gt;
slum off New Grub Street. Mr. Lang does not&lt;br /&gt;
believe that there is such a place as New Grub&lt;br /&gt;
Street, which Mr. Gissing has drawn with so much&lt;br /&gt;
fidelity and power; and says that if there were such&lt;br /&gt;
a place, the inmates thereof should cultivate their&lt;br /&gt;
sense of humour and liveliness on a little bread&lt;br /&gt;
and less butter. Now, is it not a little too bad&lt;br /&gt;
of one who moves presumably in a world of&lt;br /&gt;
prosperous publishers, omnipotent editors (to most&lt;br /&gt;
of whose funerals I would cheerfully contribute),&lt;br /&gt;
and superior litterateurs&mdash;to express the opinion&lt;br /&gt;
that because he knows nothing of the world&lt;br /&gt;
which Mr. Gissing depicts, he is inclined to&lt;br /&gt;
think it does not exist? Does Mr. Lang know&lt;br /&gt;
anything, for instance, about the habits and&lt;br /&gt;
existence of the unattached journalist? This&lt;br /&gt;
unhappy being may be in possession of the&lt;br /&gt;
greatest sobriety, industry, and sense of humour.&lt;br /&gt;
He may also possess a fair amount of brains,&lt;br /&gt;
but, like a large number of his companions in&lt;br /&gt;
New Grub Street, he has not been lucky enough&lt;br /&gt;
to get on to the regular staff of a paper. The&lt;br /&gt;
excessive amount of nervous energy and physical&lt;br /&gt;
exertion that a man in this situation is compelled&lt;br /&gt;
to expend is out of all proportion to his gain, and&lt;br /&gt;
results in nine cases out of ten in drink, or a break&lt;br /&gt;
down in health. To earn, say, &pound;i or &pound;4 a week,&lt;br /&gt;
he must be ever on the alert to get hold of news,&lt;br /&gt;
race over London for copy to write up, attend a&lt;br /&gt;
day of functions without a chance of getting any&lt;br /&gt;
food, reach home dead weary, only to know that he&lt;br /&gt;
must write out his notes without delay. And all&lt;br /&gt;
with the pleasing consciousness that his day&amp;#039;s&lt;br /&gt;
earnings will amount to some 12s., nothing Wing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 93 (#497) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
93&lt;br /&gt;
allowed for shoe leather, ink, or paper. It&lt;br /&gt;
may be urged that this is an exceptional ease,&lt;br /&gt;
but it is nothing of the sort, and represents the&lt;br /&gt;
average unattached journalist, to say nothing of&lt;br /&gt;
the British Museum literary hack, whose unsuccess&lt;br /&gt;
is invariably and very unjustly attributed to&lt;br /&gt;
irregular habits or drink. In addition, what of&lt;br /&gt;
the horror of a slack season, when nothing is going&lt;br /&gt;
on except the unhappy journalist&amp;#039;s appetite?&lt;br /&gt;
What of the MSS. rejected, one after another,&lt;br /&gt;
liecause members of the staff of the paper have&lt;br /&gt;
forestalled outsiders? What of the unexpected&lt;br /&gt;
collapse of the &amp;quot;column,&amp;quot; which brings in the&lt;br /&gt;
modest sum of one guinea weekly? What of the&lt;br /&gt;
man who translates? But Mr. Lang bids us&lt;br /&gt;
cultivate our sense of humour. Well, we try to,&lt;br /&gt;
but we do not find that this materially aids us&lt;br /&gt;
in the payment of our washing bill. And as&lt;br /&gt;
to the lightheartedness of Miirger&amp;#039;s young men,&lt;br /&gt;
it is delightful; but as their poverty never seems&lt;br /&gt;
to have stood in the way of their having a&lt;br /&gt;
bottle of wine when they wanted it, and as they&lt;br /&gt;
give us no information as to how they eluded&lt;br /&gt;
their rent day, the ordinary householder who has to&lt;br /&gt;
pay up punctually finds it all entertaining, but&lt;br /&gt;
puzzling. If Mr. Lang would like some practical&lt;br /&gt;
acquaintance with the disagreeable side of ink-&lt;br /&gt;
spilling, perhaps he would change places with me&lt;br /&gt;
for a few days. I would not undertake to fill his&lt;br /&gt;
place, but I venture to think I should find the&lt;br /&gt;
steering of his ship less arduous and thankless than&lt;br /&gt;
that of mv own little bark.&amp;quot;&lt;br /&gt;
X.&lt;br /&gt;
II.&lt;br /&gt;
The Rev. William Shakspeare.&lt;br /&gt;
In last number of the Author, a contributor&lt;br /&gt;
speculates regretfully upon the very different world&lt;br /&gt;
which we might now enjoy, had Shakspeare&lt;br /&gt;
devoted his life to theology. For myself, I feel&lt;br /&gt;
thankful that he did not thus employ his genius.&lt;br /&gt;
As a professional theologian, several careers were&lt;br /&gt;
open to him, c.p.:&mdash;&lt;br /&gt;
1. To win orders in the Anglican Church,&lt;br /&gt;
publish a profound treatise upon theologv&lt;br /&gt;
&mdash;now read only by a few antiquaries, and&lt;br /&gt;
die Archbishop of Canterbury.&lt;br /&gt;
2. To migrate to the Continent, fall into the hands&lt;br /&gt;
of the Inquisition, and be now known, in&lt;br /&gt;
martyrology, as St. William.&lt;br /&gt;
3. To &amp;#039;vert to Rome, be elevated to the Chair of&lt;br /&gt;
St. Peter, and be known in history as Pope&lt;br /&gt;
Benvenuto the First.&lt;br /&gt;
4. To Iwcome a free-lance, and die an agnostic.&lt;br /&gt;
No mere man, even Shakspeare, was ever capable&lt;br /&gt;
of fully &amp;quot; revealing revelation,&amp;quot; or even of bringing&lt;br /&gt;
it permanently nearer to the masses of mankind,&lt;br /&gt;
and less so, if born in our land three centuries ago.&lt;br /&gt;
For one thing, no tongue has yet been evolved&lt;br /&gt;
upon our planet fit to express without ambiguity&lt;br /&gt;
the thoughts and precepts of the highest minds and&lt;br /&gt;
purest souls of the human race, and, still lacking&lt;br /&gt;
this, even Shakspeare cannot dispense with sectarian&lt;br /&gt;
commentators, to help to reveal his own natural&lt;br /&gt;
revelation.&lt;br /&gt;
I venture to affirm that had he essayed a still&lt;br /&gt;
higher plane of thought, his works would have been&lt;br /&gt;
even more unintelligible to the &amp;quot;common people.&amp;quot;&lt;br /&gt;
In the process, he might have revealed to us much&lt;br /&gt;
more of his own inner self than he has ever done;&lt;br /&gt;
but, failing the pre-existence of a language, ex&lt;br /&gt;
pressive enough for his genius, for the subject, and&lt;br /&gt;
for his lowest, disciples, Shakspeare might have&lt;br /&gt;
become an even wiser man, but we should&mdash;as a&lt;br /&gt;
race&mdash;be now the poorer.&lt;br /&gt;
Thank heaven, say I, that he did not become&lt;br /&gt;
a &amp;quot; priest&amp;quot;!&lt;br /&gt;
PlIINLAY Gl.EXELU.&lt;br /&gt;
I have been trying to imagine William&lt;br /&gt;
Shakespeare &amp;quot;leaving his mark as a professed&lt;br /&gt;
theologian&amp;quot; with something approaching a&lt;br /&gt;
shudder. To wish one &amp;quot; Born for the universe&amp;quot;&lt;br /&gt;
to &amp;quot; narrow his mind&amp;quot; &amp;quot;and to&amp;quot; churches &amp;quot; give&lt;br /&gt;
up what was meant for mankind,&amp;quot; perhaps even to&lt;br /&gt;
reach such supreme eminence as would entitle him&lt;br /&gt;
to declare authoritatively whether side means end,&lt;br /&gt;
and whether north is identical with west, and why&lt;br /&gt;
both are important, seems in an artistic sense little&lt;br /&gt;
less than profane.&lt;br /&gt;
What more than many things calls for reverence&lt;br /&gt;
in ShakesjH!ivre is his serene impartiality. He&lt;br /&gt;
presents us with every kind of human aspect, good&lt;br /&gt;
and bad, noble and degraded, intellectual and&lt;br /&gt;
spiritual, devout and doubting, chaste and licentious,&lt;br /&gt;
gentle and brutal, and he as often as not lets each&lt;br /&gt;
plead in its own justification. Moreover, he never,&lt;br /&gt;
in matters supernatural, takes what may lie called&lt;br /&gt;
a &amp;quot; side,&amp;quot; or treats them otherwise than as material&lt;br /&gt;
for art. So much so, indeed, that we find it&lt;br /&gt;
difficult, if not impossible, to find out what his&lt;br /&gt;
own religion, if any, was.&lt;br /&gt;
Could a clergyman even of the &amp;quot; noble Church of&lt;br /&gt;
England&amp;quot; consistently have done that?&lt;br /&gt;
What would poor Jack Falstaff be in the hands&lt;br /&gt;
of the Right Rev. W. Shakespeare, D.D., S.T.P.?&lt;br /&gt;
But without that portly knight where, in the name&lt;br /&gt;
of near three centuries of honest English laughter,&lt;br /&gt;
should tee be?&lt;br /&gt;
And would not that delightful little piece of&lt;br /&gt;
frailty and falsehood, Cressida, have become a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 94 (#498) #############################################&lt;br /&gt;
&lt;br /&gt;
94&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
penitent or an awful example, either of which&lt;br /&gt;
would hopelessly spoil her?&lt;br /&gt;
Furthermore, if this be not so, let it be other-&lt;br /&gt;
wise; that is, let the Rev. W. Shakespeare treat&lt;br /&gt;
things and persons Shakespearianly (pace the&lt;br /&gt;
dictionary), and how would the noble Church of&lt;br /&gt;
England treat him? It happens that there was&lt;br /&gt;
a great man, not quite contemporary with Shake-&lt;br /&gt;
speare, whose works we know Shakespeare to have&lt;br /&gt;
read and seemingly enjoyed, who was &amp;quot;directed to&lt;br /&gt;
the priestly office &amp;quot; in early life, and occupied it in&lt;br /&gt;
connexion, I think, with a parish called Meudon at&lt;br /&gt;
one time; but we do not recollect that his own or&lt;br /&gt;
any other Church appreciates that Vales as keenly&lt;br /&gt;
as we could wish.&lt;br /&gt;
While we are about it, we may as well wish that&lt;br /&gt;
one C. Marlowe, M.A., of Benet College, had taken&lt;br /&gt;
orders, and then we should have been spared the&lt;br /&gt;
distress of reading much of Hero and Leander, to&lt;br /&gt;
say nothing of the translations from Ovid (inter&lt;br /&gt;
respectabilcs hand nominandd), and how much&lt;br /&gt;
happier we should all be then!&lt;br /&gt;
Seriously, Shakespeare gave us the revelation lie&lt;br /&gt;
had to give of the lives and minds of men and&lt;br /&gt;
women, and there is none like it. The revelation&lt;br /&gt;
of what is above anil beyond men and women is&lt;br /&gt;
not given to any capacity of reason, however&lt;br /&gt;
godlike, and, personally, I am thankful to fall back&lt;br /&gt;
on the fact that Shakespeare was and did what we&lt;br /&gt;
know he did and was. He knew best. This with&lt;br /&gt;
all courtesy to the writer, and interest in the writing&lt;br /&gt;
of &amp;quot; If Shakespeare had lieen Priest.&amp;quot;&lt;br /&gt;
John Hill.&lt;br /&gt;
III.&lt;br /&gt;
Presentation Copies.&lt;br /&gt;
Regarding the presentation of copies of works to&lt;br /&gt;
newspapers, it has always appeared to me that it is the&lt;br /&gt;
object of newspapers to chronicle events, and their&lt;br /&gt;
duty to do so if they would not belie their name.&lt;br /&gt;
Though, to carry out this object, they go to vast&lt;br /&gt;
expense in the matters of special correspondents,&lt;br /&gt;
telegraphic messages, &amp;amp;c, yet, when it comes to&lt;br /&gt;
reporting on a book or a play or other show, they&lt;br /&gt;
expect to have the first given to them, and to re-&lt;br /&gt;
ceive free admission to the latter. Why should this&lt;br /&gt;
be? Is it not as much a part of their duty to&lt;br /&gt;
record the production of a book or a play, as a fire&lt;br /&gt;
or a divorce case? Certainly, to the latter they&lt;br /&gt;
have free access; but why should books and admis-&lt;br /&gt;
sions to plays and shows be given to them? It is&lt;br /&gt;
the duty of newspapers to gather news. Why,&lt;br /&gt;
then, should publishers and lessees of places of&lt;br /&gt;
amusement perform part of their duty for them?&lt;br /&gt;
It is certainly to their advantage to have the things&lt;br /&gt;
they bring out brought to the knowledge of the&lt;br /&gt;
public by means of notices in the press; but, if this&lt;br /&gt;
kind of publicity were as readily given to new in-&lt;br /&gt;
ventions, it would be regarded as giving them an&lt;br /&gt;
advertisement. Yet a new invention is as much an&lt;br /&gt;
event as a new literary work. Why should not&lt;br /&gt;
newspapers gather their own news, as much in the&lt;br /&gt;
literary sphere as in others? Why should not they&lt;br /&gt;
pay for the books they intend to review, and for&lt;br /&gt;
admission to the plays and shows they intend to&lt;br /&gt;
notice? Public announcement is usually given&lt;br /&gt;
previous to the production of plays &amp;amp;c, and some-&lt;br /&gt;
times of books, which is not the case with many&lt;br /&gt;
important events instantly reported in the news-&lt;br /&gt;
papers; and really it looks like begging a news-&lt;br /&gt;
paper to perform its duty, and rewarding it for&lt;br /&gt;
doing so, if books and free admissions are given to&lt;br /&gt;
it. It cannot be that the public convenience is&lt;br /&gt;
enhanced by books, &amp;amp;c. being given to newspaper&lt;br /&gt;
proprietors, and though it may be a convenience to&lt;br /&gt;
publishers and others to send them, it certainly is a&lt;br /&gt;
convenience to newspaper proprietors to receive&lt;br /&gt;
them, and for these particular things they should&lt;br /&gt;
be as desirous to pay as they are for other means of&lt;br /&gt;
obtaining information of public interest.&lt;br /&gt;
H. Haes.&lt;br /&gt;
[The answer to this note seems to be, that unless&lt;br /&gt;
the Editor were supplied with copies of new books&lt;br /&gt;
he and all authors would lie at the mercy of the&lt;br /&gt;
critic, who would go round the world of Letters&lt;br /&gt;
and the outer offices of publishers, begging and&lt;br /&gt;
extorting books on the promise of a favourable&lt;br /&gt;
review. This would be a tyranny unendurable.&lt;br /&gt;
It may be said that a gentleman could not do such&lt;br /&gt;
things. If the reviewer had to cadge about in&lt;br /&gt;
order to find his own copies for review, very few&lt;br /&gt;
gentlemen would be left in the profession. The&lt;br /&gt;
extortion of books under promise of a favourable&lt;br /&gt;
notice is sometimes done even now. Here followeth&lt;br /&gt;
fact. There was a man, about 20 years ago, a&lt;br /&gt;
clergyman and the lecturer for a well-known society,&lt;br /&gt;
who persuaded a certain geographer that he was a&lt;br /&gt;
great man in the London press, and actually got&lt;br /&gt;
from him a parcel of atlases, maps, and books on a&lt;br /&gt;
promise of favourable notices. He wrote no notices&lt;br /&gt;
and he sold the parcel for &pound;z5.&mdash;Editou.]&lt;br /&gt;
IV.&lt;br /&gt;
Payment on Publication.&lt;br /&gt;
&amp;quot;The artists who illustrate the authors&amp;#039; work in&lt;br /&gt;
magazines are treated with a fairness unknown&lt;br /&gt;
to the writers&mdash;probably because they are firm&lt;br /&gt;
enough to insist upon it. An article upon which&lt;br /&gt;
I had spent a fortnight&amp;#039;s work, and the material&lt;br /&gt;
for which cost money as well as time in the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 95 (#499) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
95&lt;br /&gt;
gathering was illustrated by an artist who is a&lt;br /&gt;
friend of mine, of about an equal standing in his&lt;br /&gt;
profession&mdash;perhaps not an exalted standing&mdash;with&lt;br /&gt;
my own in mine. The drawings were sub-&lt;br /&gt;
servient to the text, which, indeed, was quite com-&lt;br /&gt;
plete without them, and they cost the artist less&lt;br /&gt;
than a week&amp;#039;s work. The thing complete, text&lt;br /&gt;
and drawings, was offered to a magazine, the pro-&lt;br /&gt;
prietors of which expressed themselves willing to&lt;br /&gt;
pay &pound;3o for the illustrations and &pound;5 for the text&mdash;&lt;br /&gt;
about 7,000 words&mdash;each amount on their &amp;quot;usual&lt;br /&gt;
scale.&amp;quot; The article, therefore, will not appear in&lt;br /&gt;
that magazine. But my chief object in mentioning&lt;br /&gt;
the matter is to draw attention to another thing.&lt;br /&gt;
The proprietors of the magazine were kind enough&lt;br /&gt;
to warn me that while the drawings would be paid&lt;br /&gt;
for at once the text &amp;quot;as usual&amp;quot; would only be&lt;br /&gt;
imiil for on publication&mdash;if that were 10 years&lt;br /&gt;
hence. Of course I know that this is &amp;quot;usual,&amp;quot;&lt;br /&gt;
but why? If the artist is paid for his goods upon&lt;br /&gt;
delivery why should the author wait until it pleases&lt;br /&gt;
the purchaser to put his goods to use? If I buy&lt;br /&gt;
a hat the hatter will not wait for his money until&lt;br /&gt;
I choose to begin wearing my purchase. Imagine&lt;br /&gt;
these worthy gentlemen saying to a compositor,&lt;br /&gt;
&amp;quot;Yes, you have been all the week setting up this&lt;br /&gt;
article, but you must wait for your wages until we&lt;br /&gt;
publish it&mdash;in a year&amp;#039;s time or so.&amp;quot; The com-&lt;br /&gt;
positor&amp;#039;s union, of course, would never allow such&lt;br /&gt;
a &amp;quot; custom of the tra&amp;lt;le&amp;quot; to grow up. Can our&lt;br /&gt;
union do nothing to get rid of it?&amp;quot;&lt;br /&gt;
M.&lt;br /&gt;
V.&lt;br /&gt;
Insurance.&lt;br /&gt;
There is a statement in the Author, under the&lt;br /&gt;
head of &amp;quot;Warning,&amp;quot; to the effect that no fire&lt;br /&gt;
office will insure a MS. I insured the MS. of&lt;br /&gt;
&amp;quot;Rogers and His Contemporaries&amp;quot; in the Union&lt;br /&gt;
Office, paying 2s. bd. per cent, on the value, which&lt;br /&gt;
I fixed. The insurance covered the risk at my&lt;br /&gt;
own house, at the publishers, and at the printers.&lt;br /&gt;
P. W. Clatokn.&lt;br /&gt;
VI.&lt;br /&gt;
On Titles.&lt;br /&gt;
&amp;quot;I work for publishers. I have been swindled&lt;br /&gt;
by some and sweated by others. At the same time&lt;br /&gt;
the publisher has sometimes just cause for com-&lt;br /&gt;
plaint.&lt;br /&gt;
Here is an instance. Books for Christmas are by&lt;br /&gt;
some firms arranged and edited early in the year.&lt;br /&gt;
Considerable time, trouble, and money was spent on&lt;br /&gt;
our lwok with which I was concerned. Copies&mdash;&lt;br /&gt;
10,000 in numl)cr&mdash;were printed by May. The&lt;br /&gt;
travellers go out about June to sell the book, and&lt;br /&gt;
are aghast to find that another book with the same&lt;br /&gt;
title has just been published. In the last twelve&lt;br /&gt;
months I have known three cases like this.&amp;quot;&lt;br /&gt;
E.&lt;br /&gt;
[This is a mischance which has happened often&lt;br /&gt;
enough to authors. The best way out of it is to&lt;br /&gt;
liave a registry for titles. Another way is to lxi&lt;br /&gt;
very careful in the invention of a title.&mdash;Editor.]&lt;br /&gt;
&lt;br /&gt;
FROM GRUB STREET.&lt;br /&gt;
ONC E upon a time&mdash;and it may not Ik; quite a&lt;br /&gt;
past time&mdash;a frog when slated by some ill-&lt;br /&gt;
conditioned boys, exclaimed, in answer to&lt;br /&gt;
their plea, that they did it only &amp;quot;for fun,&amp;quot; that,&lt;br /&gt;
&amp;quot;if it was fun for them, it was death for him.&amp;quot;&lt;br /&gt;
And I trust that you will permit me to expand that&lt;br /&gt;
exclamation a little in answer to Mr. Lang&amp;#039;s jaunty&lt;br /&gt;
remark about its being &amp;quot; ouly a battle with snow-&lt;br /&gt;
balls at most; that the enemy should learn to keep&lt;br /&gt;
his temper; and that it does not signify.&amp;quot;&lt;br /&gt;
First, slates are not mere idle snowballs. They&lt;br /&gt;
kill. They make existence for those for whom it is&lt;br /&gt;
already sufficiently difficult, more difficult still, or&lt;br /&gt;
impossible. Secondly, slating in Grub Street is not&lt;br /&gt;
the unpaid frolic of boys. It is a handsomely paid&lt;br /&gt;
business. And frog-stoning is deliberately pre-&lt;br /&gt;
ferred to honester work, because it is paid better.&lt;br /&gt;
Thirdly, frogs do not lose their temper because slates&lt;br /&gt;
fly about, but because they hit. Even frogs think&lt;br /&gt;
they have a right to live, so long as they are not&lt;br /&gt;
positively noxious. And it seems to them that&lt;br /&gt;
insult is added to injury when it is pretended that&lt;br /&gt;
slates thrown for pay, and known to hit in vital&lt;br /&gt;
parts, are thrown only &amp;quot; for fun.&amp;quot;&lt;br /&gt;
That many frogs have objectionable ways, I&lt;br /&gt;
frankly admit, and doubtless I am myself of the&lt;br /&gt;
number. But though objectionable ways may&lt;br /&gt;
be corrected by responsible criticism, they arc not&lt;br /&gt;
to be corrected by that irresponsible indulgence of&lt;br /&gt;
personal likes and dislikes which is Grub Street&lt;br /&gt;
criticism, and the best-paid trade in the row&mdash;&lt;br /&gt;
unfortunately for&mdash;&lt;br /&gt;
A Frog.&lt;br /&gt;
&laquo;■&bull;■&diams;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
MR. Hall Caine, when he delivered his lectures&lt;br /&gt;
on the Isle of Man at the Royal Institution,&lt;br /&gt;
opened an unexpected mine, rich though&lt;br /&gt;
small. He has now put the lectures together and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#500) #############################################&lt;br /&gt;
&lt;br /&gt;
96&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
printed them as a book called &amp;quot;The Little Manx&lt;br /&gt;
Nation,&amp;quot; and a very interesting book it is. The&lt;br /&gt;
lx&amp;gt;ok is divided into three parts&mdash;the story of the&lt;br /&gt;
Manx Kings, the story of the Manx Bishops, and&lt;br /&gt;
the story of the Manx People. A better book in&lt;br /&gt;
a small compass we have seldom seen.&lt;br /&gt;
Mr. W. Morris Codes contributes an article on&lt;br /&gt;
&amp;quot;London and the Housing of the Working&lt;br /&gt;
Classes,&amp;quot; to the August number of Murrai/s&lt;br /&gt;
Magazine.&lt;br /&gt;
A serial story, &amp;quot; Miss Merewether&amp;#039;s Money,&amp;quot; by&lt;br /&gt;
Thomas Cobb, author of &amp;quot;On Trust,&amp;quot; &amp;amp;c., will&lt;br /&gt;
commence in the May number of Household&lt;br /&gt;
Words. Messrs. Ward, Lock, &amp;amp; Co. have in the&lt;br /&gt;
press a short story, &amp;quot;The House by the Common,&amp;quot;&lt;br /&gt;
by the same author.&lt;br /&gt;
The first volume of &amp;quot; The Works of Heinrich&lt;br /&gt;
Heine,&amp;quot; translated by Charles Godfrey Leland, has&lt;br /&gt;
been sent to this office by the publisher (Heine-&lt;br /&gt;
mann). Charles Leland has long been occupied&lt;br /&gt;
with this work. He began something like thirty&lt;br /&gt;
years ago making tentative translations of Heine,&lt;br /&gt;
who is at once the easiest and the most difficult of&lt;br /&gt;
all German writers to translate. The first volume&lt;br /&gt;
includes the &amp;quot;Florentine Nights,&amp;quot; the &amp;quot;Memoirs&lt;br /&gt;
of Herr von Sclmbelewopski, and &amp;quot;Shakespeare&amp;#039;s&lt;br /&gt;
Maidens and Women &amp;quot;&mdash;all prose works.&lt;br /&gt;
Mr. Edric Vredenburg&amp;#039;s story &amp;quot;The Haunted&lt;br /&gt;
House in Berkeley Square,&amp;quot; which recently appeared&lt;br /&gt;
as a serial in the Weekly Times and Echo, has&lt;br /&gt;
now been published in volume form by Messrs.&lt;br /&gt;
Trisctiler &amp;amp; Co.&lt;br /&gt;
Here is activity! By the same author, produced&lt;br /&gt;
in the same month, the following :&mdash;&lt;br /&gt;
A three-volume novel, viz., &amp;quot;Jardine&amp;#039;s Wife.&amp;quot;&lt;br /&gt;
(Trischler.)&lt;br /&gt;
A one-volume novel, viz., &amp;quot;Was He Justified?&amp;quot;&lt;br /&gt;
(Griffith, Farran, &amp;amp; Co.)&lt;br /&gt;
A book of travels, viz., &amp;quot;In the Land of the&lt;br /&gt;
Lion and the Sun.&amp;quot; (Ward and Lock.)&lt;br /&gt;
A short story, &amp;quot;The Pit Town Coronet.&amp;quot;&lt;br /&gt;
(Trischler.)&lt;br /&gt;
The author is Mr. C. J. Wills.&lt;br /&gt;
Mr. J. Stanley Little contributes an article&lt;br /&gt;
entitled, &amp;quot;Why Great Britain should buy out&lt;br /&gt;
Portugal in East Africa ?&amp;quot; to the current number of&lt;br /&gt;
Greater Britain.&lt;br /&gt;
We have received a copy of &amp;quot;The Devil and&lt;br /&gt;
the Doctor&amp;quot; from the author. It should have been&lt;br /&gt;
acknowledged last month, but, with certain other&lt;br /&gt;
books, was accidently passed over. Perhaps it is&lt;br /&gt;
not too late to say that this is a book to be read.&lt;br /&gt;
THE AUTHOR&amp;#039;S BOOKSTALL.&lt;br /&gt;
Books FOR SAr.E.&lt;br /&gt;
Poetical Sketches of Scarborough. Illustrated&lt;br /&gt;
by Engravings of Humorous Subjects. Coloured.&lt;br /&gt;
Original Boards. By J. Green and T. Rowlandson.&lt;br /&gt;
Second Edition. i8i3.&lt;br /&gt;
An Academy for Grown Horsemen, and the&lt;br /&gt;
Annals of Horsemanship. By Geoffrey Gambado.&lt;br /&gt;
Illustrated with cuts by Rowlandson, &amp;amp;c. Original&lt;br /&gt;
Boards. London, 1809.&lt;br /&gt;
Among the poetry of the year must be mentioned&lt;br /&gt;
William Sharp&amp;#039;s &amp;quot;Sospiri di Roma,&amp;quot; which was&lt;br /&gt;
received in time for notice last month, but was&lt;br /&gt;
unfortunately mislaid. Readers of poetry will&lt;br /&gt;
please make a note.&lt;br /&gt;
We have received and venture to recommend a&lt;br /&gt;
novel called &amp;quot;Elsn,&amp;quot; by E. McQueen Gray&lt;br /&gt;
(Methuen &amp;amp; Co.).&lt;br /&gt;
Books FOB Exchange.&lt;br /&gt;
Four French l&amp;gt;ooks in a good state of preser-&lt;br /&gt;
vation, with Rolande&amp;#039;s label on outside covers :&mdash;&lt;br /&gt;
Horizons Prochains; and, Horizons Celestes.&lt;br /&gt;
By&amp;#039;M. de Gasparin.&lt;br /&gt;
Souvenirs d&amp;#039;un Garibaldien. By Caraquel.&lt;br /&gt;
Garibaldi. By Dumas.&lt;br /&gt;
Wanted&mdash;Matthew Arnold&amp;#039;s &amp;quot;Discourses in&lt;br /&gt;
America &amp;quot;; or his &amp;quot; Dramatic and later Poems.&amp;quot;&lt;br /&gt;
London: Printed by Etbe and Spottiswoode, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/254/1891-08-01-The-Author-2-3.pdf</td><td>publications, The Author</td></tr><tr><td>255</td><td>https://historysoa.com/items/show/255</td><td>The Author, Vol. 02 Issue 04 (September 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+04+%28September+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 04 (September 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-09-01-The-Author-2-4</td><td></td><td></td><td></td><td></td><td>97&ndash;128</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-09-01&quot;&gt;1891-09-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>4</td><td></td><td></td><td>18910901</td><td>Zhc Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 4.]&lt;br /&gt;
SEPTEMBER 1, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
TAQE&lt;br /&gt;
International Copyright&mdash;&lt;br /&gt;
I. From the New York Critic 101&lt;br /&gt;
II. From Frank Leslie&amp;#039;s Paper 103&lt;br /&gt;
Association Littcrairo ct Artistique International!&amp;#039; 05&lt;br /&gt;
Conference of Journalists at Dublin .. .. 105&lt;br /&gt;
Au Old New Word. By Professor Skeat 106&lt;br /&gt;
The Authors&amp;#039; Club 107&lt;br /&gt;
Notes and News. By Walter Besant 07&lt;br /&gt;
On a New Novelist 112&lt;br /&gt;
A Day at Olyinpia 113&lt;br /&gt;
Some Early Experiences 116&lt;br /&gt;
PAOE&lt;br /&gt;
Enemies of Literature 19&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I. &amp;quot;O Word of Fear&amp;quot; 1:1&lt;br /&gt;
II. Foreign Reprints, ill&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 121&lt;br /&gt;
Women Booksellers 22&lt;br /&gt;
Some of the Indignities of Literature .. 123&lt;br /&gt;
Parisians and their Fiction 133&lt;br /&gt;
Night-Tempest 114&lt;br /&gt;
New Books and New Editions 124&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
PLIOCENE DEPOSITS OK BRITAIN, THE. By&lt;br /&gt;
Clf.mfst Rkid. F.L.S.. F.G.S. Five Plates (48 cuts), .&amp;lt;&raquo;. 6&amp;lt;f.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Whitaker, B.A. is.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
The Geilogy of. Bv W. WniTAKER. H A., F.R.S., F.G.S.,&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, 6*. Vol. II. APPENDICES. 8vo. Cloth, 5*.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens. is. iorf.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, 2&amp;lt;i. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, 3.*. gti.&lt;br /&gt;
DESCRIPl&amp;#039;IVE CATALOGUE OK MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day. Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. Sua w-Hei.likb. Commandant Royal&amp;#039;Militnry&lt;br /&gt;
School of Music. Illustrated by a scries of Twelve artistically&lt;br /&gt;
execulcd Plates in Heliogravure, and with numerous W(kxI&lt;br /&gt;
Emiravines. 21*.&lt;br /&gt;
&amp;quot;It affords information obtainable nowhere else, and it has been&lt;br /&gt;
put together with so much care and thoughtfulncss that Capt. Day&amp;#039;s&lt;br /&gt;
volume will lie indeed welcomed by nil who have to deal with the&lt;br /&gt;
wind instruments, nnd can lie accepted without question as the&lt;br /&gt;
standard authority.&amp;quot;&mdash;Musical Xews.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. It.&lt;br /&gt;
Scari.&amp;#039;Ill-Bibd, F.S.A. j&raquo;.&lt;br /&gt;
&amp;quot;The value of such a work as Mr. ScargillBird&amp;#039;s can scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash; Times.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the Stab1 Trials&lt;br /&gt;
Committee. Edited bv .Ions Macdoxell. M.A. 10*.&lt;br /&gt;
MANUAL OF BIRDS OF NEW ZEALAND. By&lt;br /&gt;
Walter L. Bcllee, C.M.G., Sc.D., F.R.S. Numerous Plates.&lt;br /&gt;
Rova] Hvo. 10*.&lt;br /&gt;
INDIGENOUS GRASSES OF NEW ZEALAND. By&lt;br /&gt;
Joinf Bi&amp;#039;CHANAN. Full-page Illustrations. Imp. 4to. Half&lt;br /&gt;
Morocco. 15*.&lt;br /&gt;
FOREST FLORA OK NEW ZEALAND. By T. Kibk,&lt;br /&gt;
F.L.S., late Chief Conservator of State Forests, N.Z., 4c.&lt;br /&gt;
Numerous Plates. Fcap. folio. Cloth. i2.&laquo;. id.&lt;br /&gt;
HANDBOOK OK NEW ZEALAND FISHES. By R.&lt;br /&gt;
A. Siirrrix. Demy Svo. Cloth, is.&lt;br /&gt;
ORANGE CULTURE IN NEW ZEALAND. By G. C.&lt;br /&gt;
At.UERTOjf. Demv 8vo. Cloth, is.&lt;br /&gt;
MANUAL OK NEW ZEALAND MOLLUSCA.&lt;br /&gt;
Prof. Hrnox. Royal 8vo. 3s.&lt;br /&gt;
NEW ZEALAND i)IPTERA, HYMENOPTKRA,&lt;br /&gt;
ORTHOPTERA. Bv Prof. HrTTON. Royal 8vo. is.&lt;br /&gt;
NEW ZEALAND COLKOPTEBA. Parts 1 to 4.&lt;br /&gt;
Captain T. Broix. Royal 8vo. is. 6d.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Rnval Svo. Cloth, is. M.&lt;br /&gt;
POLYNESIAN&amp;#039;MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACE.&lt;br /&gt;
By Sir George Grey. K.C.B. Illustrated. Royal svo. Cloth,&raquo;.&lt;br /&gt;
ANCIENT HISTORY OK THE MAORI. By John&lt;br /&gt;
White. Demy Svo. Half Morocco. 4 vols. ioj. per vol.&lt;br /&gt;
By&lt;br /&gt;
AND&lt;br /&gt;
By&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PUBLISHERS.&lt;br /&gt;
EYRE and SrOTTISWOODE, Her Hajesfy&amp;#039;s Printers, East Harding Slrcft, Londou, VA.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 98 (#502) #############################################&lt;br /&gt;
&lt;br /&gt;
98&lt;br /&gt;
AD VER TISEMENTS.&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887,)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
$3rtncq&amp;gt;aW;&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
PRICE LIST ON APPLICATION-TERMS MOVERA TE.&lt;br /&gt;
MISS H.. T7\ GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C, and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
&mdash; &mdash; -&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied -with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
FURTHER PARTICULARS OX APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES&lt;br /&gt;
13, Dorset Strkkt, Portman Square, W.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, Lombard Street, E.C.&lt;br /&gt;
Office No. 5(1 {close to Lift).&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
type-writer,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from Is. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of Charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C.&lt;br /&gt;
&mdash;&lt;br /&gt;
Authors&amp;#039; MSS. type-written from Is. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
&mdash; &mdash; &mdash;&lt;br /&gt;
Tho Department for Lady Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success which has attended it*&lt;br /&gt;
management. The Course includes Shorthand, Type-writing.&lt;br /&gt;
Book-keeping, and Commercial Correspondence, iind when Pupil;,&lt;br /&gt;
have acquired proficiency&mdash;&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
Particulars on application to &mdash;&lt;br /&gt;
MARY 33 .A. Y-&lt;br /&gt;
ICUE IFt S. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUOGATE HILL, E.C.&lt;br /&gt;
Author&amp;#039;s MSS. carefully copied from i*. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge.&lt;br /&gt;
References kindly permitted to many well-known&lt;br /&gt;
Authors and Publishers. Further particulars on&lt;br /&gt;
application.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSP00N,&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES.&lt;br /&gt;
4, SUN COURT, COBHHILL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
All applications relating to Advertisements&lt;br /&gt;
in this Journal should be addressed to the&lt;br /&gt;
Printers and Publishers,&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE,&lt;br /&gt;
East Harding Street, Fetter Lane,&lt;br /&gt;
London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 99 (#503) #############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
99&lt;br /&gt;
The Society of Authors (Incorporated).&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hox. THE LORD TENNYSON, D.C.L.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR EDWIN ARNOLD, K.C.I.E. I A. W. DUBOURG.&lt;br /&gt;
THE EARL OF PEMBROKE AND&lt;br /&gt;
ALFRED AUSTIN.&lt;br /&gt;
JOHN ERIC ERICHSEN, F.R.S.&lt;br /&gt;
MONTGOMERY.&lt;br /&gt;
A. W. &Agrave; BECKETT.&lt;br /&gt;
PROF. MICHAEL FOSTER, F.R.S. SIR FREDERICK POLLOCK, Bart.,&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
HERBERT GARDNER, M.P.&lt;br /&gt;
LL.D.&lt;br /&gt;
SIR HENRY BERGNE, K.C.M.G. RICHARD GARNETT, LL.D.&lt;br /&gt;
WALTER HERRIES POLLOCK.&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
EDMUND GOSSE.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
AUGUSTINE BIRRELL, M.P.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
GEORGE AUGUSTUS Sala.&lt;br /&gt;
R. D. BLACKMORE.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
W. BAPTISTE SCOONES.&lt;br /&gt;
Rev. PROF. BONNEY, F.R.S.&lt;br /&gt;
PROF. E. RAY LANKESTER, F.R.S. G. R. SIMs.&lt;br /&gt;
LORD BRABOURNE.&lt;br /&gt;
J. M. LELY.&lt;br /&gt;
J. J. STEVENSON.&lt;br /&gt;
JAMES BRYCE, M.P.&lt;br /&gt;
REV. W. J. LOFTIE, F.S.A.&lt;br /&gt;
JAS. SULLY.&lt;br /&gt;
P. W. CLAYDEN.&lt;br /&gt;
F. Max M&Uuml;LLER, LL.D.&lt;br /&gt;
WILLIAM Moy THOMAS.&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
GEORGE MEREDITH.&lt;br /&gt;
H. D. TRAILL, D.C.L.&lt;br /&gt;
W. MARTIN CONWAY.&lt;br /&gt;
HERMAN C. MERIVALE.&lt;br /&gt;
THE RIGHT HON. THE BARON HENRY&lt;br /&gt;
MARION CRAWFORD.&lt;br /&gt;
Rev. C. H. MIDDLETON-WAKE, F.L.S. DE WORMS, M.P., F.R.S.&lt;br /&gt;
OSWALD CRAWFURD, C.M.G.&lt;br /&gt;
J. C. PARKINSON.&lt;br /&gt;
EDMUND YATES.&lt;br /&gt;
THE EARL OF DESART.&lt;br /&gt;
Hon. Counsel-E. M. UNDERDOWN, Q.C.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman--- WALTER BESANT.&lt;br /&gt;
A. W. &Agrave; BECKETT.&lt;br /&gt;
EDMUND Gosse.&lt;br /&gt;
J. M. LELY.&lt;br /&gt;
| A. G. Ross.&lt;br /&gt;
W. MARTIN CONWAY.&lt;br /&gt;
H. RIDER HAGGARD. Sir FREDERICK POLLOCK. |&lt;br /&gt;
Solicitors&mdash; Messrs. FIELD, RoscoE, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary-S. SQUIRE SPRIGGE.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, PORTUGAL STREET, LINCOLN&amp;#039;s Inn FIELDS, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Members. .&lt;br /&gt;
3. The Grievances of Authors. (The Leadenhall Press.) 28. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By. W. MORRIS COLLES, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
95, Strand, W.C.) 38.&lt;br /&gt;
5. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE, Secretary to the&lt;br /&gt;
Society. 18.&lt;br /&gt;
6. The Cost of Production. In this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c., with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
28. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. LELY. Eyre and Spottiswoode.&lt;br /&gt;
18. 6d.&lt;br /&gt;
Other works bearing on the Literary Profession will follow.&lt;br /&gt;
VOL. II.&lt;br /&gt;
7. The 25. od Page,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 100 (#504) ############################################&lt;br /&gt;
&lt;br /&gt;
IOO&lt;br /&gt;
A I) VEli TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swim&amp;quot; is ii beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can l&amp;gt;e refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted. ,&lt;br /&gt;
There are yarions points to select from, broad. Minn, aiiil fine, eyery handwriting can be snited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post free, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not jxmetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Outer Wendkix Holmes has used one of Mubio, Todd, &amp;amp; Co.&amp;#039;s Gold Pens siuce 185;, and is using the same&lt;br /&gt;
one (his &amp;quot;old friend &amp;quot;) to-day.&lt;br /&gt;
.Sydney Guundy, Kho,., says (referring to the Fountain Pen) :&mdash;&amp;quot; ft is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Mobkrlt Bbll, Esq., Manager, The Times, says (referring to the Fountain feu) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddt, Ksq., (i-C, M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as fur as t can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
S3, CHEAPSIDE, X-03XT1D03V.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 101 (#505) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 4.] SEPTEMBER 1, 1891. [Price Sixpence.&lt;br /&gt;
For the Opinions c.vprcssed in papers that arc&lt;br /&gt;
signed the Authors alone arc responsible.&lt;br /&gt;
- +~&raquo;~*&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
I.&lt;br /&gt;
(From the New Vork &amp;quot;Critic.&amp;quot;)&lt;br /&gt;
Protection and Literature in France.&lt;br /&gt;
&amp;quot;A MOXG the measures of reprisal proposed in&lt;br /&gt;
f\ the Belgian Parliament last March,&amp;quot; savs&lt;br /&gt;
the Times, &amp;quot; when the new French protec-&lt;br /&gt;
tionism with its discriminations against Belgian&lt;br /&gt;
products was brought into the French Chamher,&lt;br /&gt;
was a withdrawal of the property rights accorded&lt;br /&gt;
French writers and artists. J11 fact, it was only a&lt;br /&gt;
little later that the treaty between France and Bel-&lt;br /&gt;
gium, negotiated in 1881, for the reciprocal guarantee&lt;br /&gt;
of literary and artistic rights, was denounced by the&lt;br /&gt;
latter country, and will consequently soon expire.&lt;br /&gt;
. . . . Just about that time Switzerland came&lt;br /&gt;
forward and gave notice of her desire to terminate&lt;br /&gt;
the corresponding treaty covering the rights of&lt;br /&gt;
authors and artists in existence with France since&lt;br /&gt;
1882 But it seems probable that the&lt;br /&gt;
rights of workers in French literature and art are&lt;br /&gt;
too securely guaranteed abroad to be imperilled&lt;br /&gt;
even by so exasperating a law as the Bill brought&lt;br /&gt;
in by M. Meline. Even in the case of Belgium&lt;br /&gt;
and Switzerland, something more than the termi-&lt;br /&gt;
nation of the existing treaties on the subject must&lt;br /&gt;
Ikj done before French authors and artists will&lt;br /&gt;
suffer. Belgium has had a law on her statute hooks&lt;br /&gt;
since 1886 relating to Copyright, in which the same&lt;br /&gt;
rights are accorded foreigners as those secured to&lt;br /&gt;
citizens. This law would have to be repealed or&lt;br /&gt;
amended in order to make the proposed reprisal of&lt;br /&gt;
Belgium effective. And in Switzerland there is a&lt;br /&gt;
Federal law dating from 1883, giving to foreign&lt;br /&gt;
authors the same rights as natives, provided the&lt;br /&gt;
country of the former has reciprocal legislation, as&lt;br /&gt;
France has.&lt;br /&gt;
&amp;quot;Moreover, both Belgium and Switzerland are&lt;br /&gt;
signers of the Berne Convention of 1886. The&lt;br /&gt;
second article of that agreement grants*to the&lt;br /&gt;
citizens of any signatory Power the l ight to dispose&lt;br /&gt;
of their literary and artistic productions in any&lt;br /&gt;
other, under the same legal protection as that&lt;br /&gt;
enjoyed by natives. True, Belgium and Switzer-&lt;br /&gt;
land might withdraw7 from the Berne Convention,&lt;br /&gt;
but they could not do it simply as concerns France;&lt;br /&gt;
they would have to do it absolutely, and become&lt;br /&gt;
outer barbarians to all the other signers. This is&lt;br /&gt;
a step which they would hesitate to take. Espe-&lt;br /&gt;
cially would Switzerland hesitate to take it, since&lt;br /&gt;
it would necessarily involve the loss to Berne of&lt;br /&gt;
the Bureau of the International Union, maintained&lt;br /&gt;
there at present by the signatory States at an&lt;br /&gt;
expense of $12,000 a year. Thus it would&lt;br /&gt;
appear that whatever reprisals in other forms&lt;br /&gt;
France may be subjected to on account of her rush&lt;br /&gt;
into MeKinleyism, the property rights of her&lt;br /&gt;
writers and artists are too thoroughly secured in&lt;br /&gt;
other countries to be easily forfeited.&amp;quot;&lt;br /&gt;
Penalties for Violation of the new Law.&lt;br /&gt;
The Secretary of the Treasury has prescribed&lt;br /&gt;
the following regulations :&mdash;&lt;br /&gt;
1. Copyrighted books and articles, the importa-&lt;br /&gt;
tion of which is prohibited by section 49,56,&lt;br /&gt;
Revised Statutes, as amended by section 3 of&lt;br /&gt;
said Act, shall not be admitted to entry. Such&lt;br /&gt;
books and articles, if imported with the previous&lt;br /&gt;
consent of the proprietor of the Copyright, shall&lt;br /&gt;
be seized by the collector of customs, who will&lt;br /&gt;
take the proper steps for the forfeiture of the goods&lt;br /&gt;
to the United States, under section 3o82, Revised&lt;br /&gt;
Statutes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 102 (#506) ############################################&lt;br /&gt;
&lt;br /&gt;
102&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
2. Copyrighted books mid articles imported&lt;br /&gt;
contrary to said prohibition, and without the&lt;br /&gt;
previous consent of the proprietor of the Copyright,&lt;br /&gt;
being primarily subject to forfeiture to the pro-&lt;br /&gt;
prietor of the Copyright, shall lie detained by the&lt;br /&gt;
collector, who shall forthwith notify such proprietor,&lt;br /&gt;
in order to ascertain whether or not he shall&lt;br /&gt;
institute, proceedings for the enforcement of his&lt;br /&gt;
right to the forfeiture. If the proprietor institutes&lt;br /&gt;
such proceedings and obtains a decree of forfeiture,&lt;br /&gt;
the goods shall be delivered to him on payment of&lt;br /&gt;
the expenses incurred in the detention and storage&lt;br /&gt;
and the duties accrued thereon. If such proprietor&lt;br /&gt;
shall fail to institute such proceedings within 60&lt;br /&gt;
days from date of notice, or shall declare in writing&lt;br /&gt;
that he abandons his right to the forfeiture, then&lt;br /&gt;
the collector shall proceed as in the case of articles&lt;br /&gt;
imported with the previous consent of the pro-&lt;br /&gt;
prietor.&lt;br /&gt;
3. Copyrighted articles, the importation of which&lt;br /&gt;
is not prohibited, but which, by virtue of section&lt;br /&gt;
4965, Revised Statutes, as amended by section 8&lt;br /&gt;
of said Act, are forfeited to tin; proprietor of&lt;br /&gt;
the Copyright when imported without his previous&lt;br /&gt;
consent, and are, moreover, subject to the forfeiture&lt;br /&gt;
of $1 or &sect;10 per copy, as the case may be, one-half&lt;br /&gt;
thereof to the said proprietor, and the other half to&lt;br /&gt;
the use of the United States, shall be taken posses-&lt;br /&gt;
sion of by the collector, who shall take the necessary&lt;br /&gt;
steps for securing to the United States half of the&lt;br /&gt;
sum so forfeited, and shall keep the goods in his&lt;br /&gt;
possession until a decree of forfeiture is obtained,&lt;br /&gt;
and the half of the sum so forfeited, as well as the&lt;br /&gt;
duties and charges accrued are paid; whereupon&lt;br /&gt;
he shall deliver the goods to the proprietor of the&lt;br /&gt;
Copyright. In case of failure to obtain a decree&lt;br /&gt;
of forfeiture the goods shall be admitted to entry.&lt;br /&gt;
The Importation of Books in foreign&lt;br /&gt;
Tongues.&lt;br /&gt;
There appears to be no room for doubt that the&lt;br /&gt;
new copyright law admits foreign books, of which&lt;br /&gt;
only the translations are copyrighted here; and&lt;br /&gt;
that it admits them duty-free. The free list of the&lt;br /&gt;
new tariff law includes (paragraph 5l2) works&lt;br /&gt;
20 years old), (paragraph 5i3) &amp;quot;books and&lt;br /&gt;
pamphlets printed exclusively in languages other&lt;br /&gt;
than English,&amp;quot; and l&amp;gt;ooks and music in raised print&lt;br /&gt;
for the blind, (paragraph 614) works intended for&lt;br /&gt;
use by the Government, and (paragraph 516) works&lt;br /&gt;
owned, and in actual use for more than one year,&lt;br /&gt;
by persons or families from foreign countries.&lt;br /&gt;
The copyright law says tlistinctly that, &amp;quot;in the&lt;br /&gt;
case of books in foreign languages, of which&lt;br /&gt;
only translations in English are copyrighted, the&lt;br /&gt;
prohibition of importation shall apply only to the&lt;br /&gt;
translations of the same, and the importation of&lt;br /&gt;
the books in the original language shall be per-&lt;br /&gt;
mitted.&amp;quot; An exception in this law suspends the&lt;br /&gt;
rule against importing copyrighted works not re-&lt;br /&gt;
printed in this country &amp;quot;in the cases specified in&lt;br /&gt;
paragraphs 5i2 to 516, inclusive,&amp;quot; as above.&lt;br /&gt;
The Librarian of Congress kept busy.&lt;br /&gt;
&amp;quot;Mr. Spofford, the Librarian of Congress, is&lt;br /&gt;
kept very busy these warm days,&amp;quot; says the Evening&lt;br /&gt;
Post, &amp;quot;answering the corres])ondence which pours&lt;br /&gt;
in upon him with every mail, most of it concerning&lt;br /&gt;
the interpretation of the new copyright law. A&lt;br /&gt;
surprisingly large number of persons manifest an&lt;br /&gt;
interest in the subject of the &amp;#039;catalogues of title-&lt;br /&gt;
entries&amp;#039; which the law requires the Librarian to&lt;br /&gt;
furnish to the Secretary of the Treasury, and the&lt;br /&gt;
Secretary to print, at intervals of not more than a&lt;br /&gt;
week, for distribution among the collectors of&lt;br /&gt;
customs and postmasters at offices receiving foreign&lt;br /&gt;
mails. These catalogues are designed, of course,&lt;br /&gt;
primarily to inform the officers mentioned what&lt;br /&gt;
publications are to lie excluded from entry; but&lt;br /&gt;
incidentally they are of value to American authors,&lt;br /&gt;
publishers, librarians, collectors, and persons other-&lt;br /&gt;
wise interested in literature. Hence the Govern-&lt;br /&gt;
ment proposes to accept subscriptions for them,&lt;br /&gt;
at the rate of $5 a year, a sum which is expected&lt;br /&gt;
nearly to cover the expense of getting them out.&lt;br /&gt;
&amp;quot;The impression has got abroad that Mr.&lt;br /&gt;
Spofford is designated to receive subscriptions, and&lt;br /&gt;
he is deluged with applications and inquiries in&lt;br /&gt;
consequence. To all he is obliged to send the&lt;br /&gt;
uniform answer that the subscribing must be done&lt;br /&gt;
through the collectors of customs, whose duty it&lt;br /&gt;
is to account for the money so received, and instruct&lt;br /&gt;
the Department how many copies will be necessary&lt;br /&gt;
each week to supply their local demands.&amp;quot;&lt;br /&gt;
&amp;quot;It is a curious thing,&amp;quot; observes the same&lt;br /&gt;
paper, &amp;quot;that so large a number of professional&lt;br /&gt;
writers, musicians, publishers, &amp;amp;c, who make it a&lt;br /&gt;
part of their regular business to take out Copy-&lt;br /&gt;
rights, should not feel enough interest in the&lt;br /&gt;
protection of their own property to examine the&lt;br /&gt;
statute and follow its language literally in furnishing&lt;br /&gt;
the Librarian of Congress with the data on which&lt;br /&gt;
they base their claims. Some of the provisions of&lt;br /&gt;
the new statute are too blind for even an accom-&lt;br /&gt;
plished lawyer to interpret with ease, but the par-&lt;br /&gt;
ticulars required by the Librarian can be ascertained&lt;br /&gt;
by any layman&amp;#039;s intelligent reading. A great many&lt;br /&gt;
applicants for Copyright&mdash;perhaps it would be not&lt;br /&gt;
too much to say the majority&mdash;make their appli-&lt;br /&gt;
cations in a way that would ascrilie to the Librarian&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 103 (#507) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
clairvoyant [xnvers, or an acquaintance with the&lt;br /&gt;
family history of persons ho has never heard of&lt;br /&gt;
before.&amp;quot;&lt;br /&gt;
In the Case of Residents who are not&lt;br /&gt;
Citizens.&lt;br /&gt;
&amp;quot;Doubt has arisen,&amp;quot; says the Tribune, &amp;quot;in&lt;br /&gt;
respect to the proper construction of section i3&lt;br /&gt;
of the Act, so far as it may affect foreign-born&lt;br /&gt;
residents of the United States who have not been&lt;br /&gt;
naturalized. That section provides that the Act&lt;br /&gt;
&amp;#039;shall only apply to a citizen or subject of a&lt;br /&gt;
foreign State or nation when such foreign State&lt;br /&gt;
or nation permits to citizens of the United States&lt;br /&gt;
of America the benefit of Copyright on substantially&lt;br /&gt;
the same basis as its own citizens; or when such&lt;br /&gt;
foreign State or nation is a party to an inter-&lt;br /&gt;
national agreement which provides for the reci-&lt;br /&gt;
procity in the granting of Copyright, by the terms&lt;br /&gt;
of which agreement the United States of America&lt;br /&gt;
may, at its pleasure, become a party to such agree-&lt;br /&gt;
ment.&amp;#039; The old law in relation to Copyright has&lt;br /&gt;
always been liberally construed for the benefit of&lt;br /&gt;
unnaturalized foreigners resident in the United&lt;br /&gt;
States, so that thousands of Copyrights have been&lt;br /&gt;
granted to citizens of France and subjects of Great&lt;br /&gt;
Britain, Germany, and other countries residing in&lt;br /&gt;
this country. Now, what shall be done if a subject&lt;br /&gt;
of Germany, Italy, or any other country not em-&lt;br /&gt;
braced in the President&amp;#039;s proclamation of July I,&lt;br /&gt;
who is a resident of the United States, shall apply&lt;br /&gt;
for Copyright under the new law?&amp;quot;&lt;br /&gt;
The ooPYRiGHTrNG of foreign Music.&lt;br /&gt;
&amp;quot;Mr. Spofford,&amp;quot; says the Post, &amp;quot;stands firmly&lt;br /&gt;
by his decision that foreign music may lx&amp;gt; copy-&lt;br /&gt;
righted without reprinting in this country. He&lt;br /&gt;
bases this view upon the fact that the new law&lt;br /&gt;
makes the distinction, in plain terms, lx&amp;#039;twoen&lt;br /&gt;
&amp;#039;a lxx&amp;gt;k, photograph, chromo, or lithograph,&amp;#039;&lt;br /&gt;
which it requires &amp;#039;shall be printed from type set&lt;br /&gt;
within the limits of the United States, or from&lt;br /&gt;
plates made therefrom,&amp;#039; and the general list.&lt;br /&gt;
, There will, doubtless, ta a contest over&lt;br /&gt;
this, as certain American music publishers insist&lt;br /&gt;
that the new law requires that foreign books shall&lt;br /&gt;
be reprinted here in order to obtain the benefits&lt;br /&gt;
of Copyright, and that a piece of sheet-music is,&lt;br /&gt;
for the intents of the law, to lx&amp;gt; regarderl as a book.&lt;br /&gt;
. . . The music publishers are evidently dis-&lt;br /&gt;
turbed by the prospect. If they cannot get a&lt;br /&gt;
decision in their favour they have little hope of&lt;br /&gt;
getting relief from Congress for a good while to&lt;br /&gt;
come. Moreover, by the argument they are making,&lt;br /&gt;
they obviously intend to put a broader construction&lt;br /&gt;
on the statute than could possibly have been in&lt;br /&gt;
anybody&amp;#039;s mind when the Bill was under discussion,&lt;br /&gt;
for they claim that tlx.&amp;#039; word &bull; type&amp;#039; should be&lt;br /&gt;
held to include &amp;#039;all punches and other devices&lt;br /&gt;
by which books, and all publications construed&lt;br /&gt;
to be books, are made.&amp;#039;&amp;quot;&lt;br /&gt;
II.&lt;br /&gt;
(From &amp;quot; Frank Leslie&amp;#039;s Paper.&amp;quot;)&lt;br /&gt;
The brilliant gathering of British writers on&lt;br /&gt;
Thursday night, July 16th, at the Hotel Metropole,&lt;br /&gt;
in London, under the auspices of the Society&lt;br /&gt;
of Authors, may Ira said to close the cam-&lt;br /&gt;
paign of International Copyright. The British&lt;br /&gt;
authors have now ratified, in a public and official&lt;br /&gt;
manner, and with a significant emphasis, tho&lt;br /&gt;
legislation of last winter, and that they have done&lt;br /&gt;
this lx-speaks at once their magnanimity and their&lt;br /&gt;
wisdom&mdash;magnanimity, lx&raquo;cause they undoubtedly&lt;br /&gt;
are hampered by some of the restrictions of the&lt;br /&gt;
Act as passed; wisdom, lx?cause in spite of these&lt;br /&gt;
limitations, and, from a purely literary standpoint,&lt;br /&gt;
these blemishes, the Act is a distinct step forward&lt;br /&gt;
in the march of ideas. The veteran Laureate of&lt;br /&gt;
England, and of the English speech, struck the&lt;br /&gt;
keynote and summed the whole matter up in his&lt;br /&gt;
concise despatch of greeting, wherein he said the&lt;br /&gt;
Society congratulated the United States &amp;quot;on their&lt;br /&gt;
great act of justice.&amp;quot;&lt;br /&gt;
It is as a &amp;quot;great act of justice&amp;quot; rather than as&lt;br /&gt;
legislation, which will immediately benefit the&lt;br /&gt;
pockets of authors and publishers, that the world&lt;br /&gt;
feels its chief interest in the present International&lt;br /&gt;
Copyright law. It was this consideration which&lt;br /&gt;
prompted Henry Cabot Lodge to say at the recent&lt;br /&gt;
Copyright dinner in this city, that perhaps the&lt;br /&gt;
Fifty-first Congress would ultimately lx&amp;gt; best re-&lt;br /&gt;
membered for the passage of this Act. Unregarded&lt;br /&gt;
as the reformers were for many years, and reckoned&lt;br /&gt;
of only small and incidental consequence, even at&lt;br /&gt;
the very last, possibly their &amp;quot;little Bill&amp;quot; may yet&lt;br /&gt;
reflect more lustre on the Fifty-first Congress than&lt;br /&gt;
some others which now appear to lxi its most&lt;br /&gt;
important legacies.&lt;br /&gt;
The friends of the measure fought their tattles&lt;br /&gt;
o&amp;#039;er again, and exchanged congratulations at&lt;br /&gt;
Thursday&amp;#039;s meeting in London, and the temptation&lt;br /&gt;
is great to do so on this side also, for when all is&lt;br /&gt;
said, scanty justice is done to that small and&lt;br /&gt;
devoted tand of men, armed with the irresistible&lt;br /&gt;
power of an idea, who besieged Congress for so&lt;br /&gt;
many years, until finally their tireless efforts&lt;br /&gt;
brought victory. Some of them are now receiving&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 104 (#508) ############################################&lt;br /&gt;
&lt;br /&gt;
104&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the formal recognition which their labours deserve.&lt;br /&gt;
If ever decorations were deserved, they are those&lt;br /&gt;
that are worn by the Copyright veterans, and that&lt;br /&gt;
eagle should be indeed a &amp;quot;proud bird of freedom&amp;quot;&lt;br /&gt;
who furnished the quill with which President&lt;br /&gt;
Harrison signed this &amp;quot;great act of justice&amp;quot;&mdash;this&lt;br /&gt;
literary magna chart a&mdash;and which he so grace-&lt;br /&gt;
fully presented afterward to the indefatigable&lt;br /&gt;
secretary of the Copyright League, Mr. Robert&lt;br /&gt;
Underwood Johnson. This particular pen was&lt;br /&gt;
mightier than many swords.&lt;br /&gt;
The world will not forget, however, the efforts&lt;br /&gt;
of several men whose names have not yet won these&lt;br /&gt;
formal honours. All the world of writers are&lt;br /&gt;
under a deep obligation to Dr. Edward Eggleston&lt;br /&gt;
for the patient and judicious campaigns, one after&lt;br /&gt;
another, which that eminent writer made from an&lt;br /&gt;
unselfish devotion to the interests of literature and&lt;br /&gt;
of his fellow-workers in that field. It was entirely&lt;br /&gt;
proper that, by an agreement among literary&lt;br /&gt;
workers, his latest novel, &amp;quot;The Faith Doctor,&amp;quot;&lt;br /&gt;
received the unique distinction of obtaining the&lt;br /&gt;
first Copyright under the new law. The name of&lt;br /&gt;
ex-Senator Chace is also indelibly linked with the&lt;br /&gt;
new epoch, as the law as it now stands on the&lt;br /&gt;
statute books was practically drafted by him, and&lt;br /&gt;
all the material amendments were submitted to him&lt;br /&gt;
and had his cordial approbation and support.&lt;br /&gt;
Without subtracting from the importance of the&lt;br /&gt;
work in the two halls of Congress done by Breck-&lt;br /&gt;
inridge, Adams, and Simonds in the House, and&lt;br /&gt;
by Senator Piatt, of Connecticut, in the Senate,&lt;br /&gt;
we still remember that it was &amp;quot;the Chace Bill&amp;quot;&lt;br /&gt;
which finally became the International Copyright&lt;br /&gt;
law. We have also to remember that but for the&lt;br /&gt;
earnest efforts of such men as R. R. Bowker, Dr.&lt;br /&gt;
Henry J. Van Dyck&mdash;who earned the sobriquet&lt;br /&gt;
of &amp;quot;chaplain&amp;quot; of the cause.&mdash;of Messrs. Lothrop,&lt;br /&gt;
Brauder Mathews, R. W. Gilder, Howard Crosby,&lt;br /&gt;
Henry Cabot Lodge, Charles Seribner, the Apple-&lt;br /&gt;
tons, and a host of other strong and devoted&lt;br /&gt;
advocates, the efforts of the &amp;quot;rush line&amp;quot; at&lt;br /&gt;
Washington would have been a failure.&lt;br /&gt;
What a mighty scrimmage that valiant &amp;quot;rush&lt;br /&gt;
line&amp;quot; had, and how gallantly they behaved them-&lt;br /&gt;
selves in it! The literary world has not yet done&lt;br /&gt;
talking about the bull-dog grip and the quick&lt;br /&gt;
adaptability to every emergency which were dis-&lt;br /&gt;
played by Senator Piatt, Representative Simonds,&lt;br /&gt;
and Secretary R. U. Johnson, the triumvirate! who&lt;br /&gt;
did the hand-to-hand fighting. A dozen times&lt;br /&gt;
when every danger seemed passed, a new crisis&lt;br /&gt;
suddenly stared them in the face, but their resources&lt;br /&gt;
were infinite, and, aided by Madam Fortune, who&lt;br /&gt;
always smiles upon such determined gallants, the&lt;br /&gt;
goal was finally reached and the battle won.&lt;br /&gt;
But aven after the President scratched his&lt;br /&gt;
approval with the eagle&amp;#039;s quill it was a question&lt;br /&gt;
whether the law would be practically operative.&lt;br /&gt;
Essentially it was reciprocal in its provisions, and&lt;br /&gt;
would have fallen a dead letter, therefore, but&lt;br /&gt;
for corresponding action on the part of foreign&lt;br /&gt;
governments. Would this be given? Certain&lt;br /&gt;
provisions in the law prejudiced it in the eyes of&lt;br /&gt;
foreigners, and it required some breadth of view on&lt;br /&gt;
their part to accept them. At this point the efforts&lt;br /&gt;
of true friends of the reform in France and England&lt;br /&gt;
were of much help. Men like Professor Bryce and&lt;br /&gt;
the Count de Keratry proved themselves valuable&lt;br /&gt;
allies, and their names should not be omitted in a&lt;br /&gt;
list of the heroes of the war. In good time the&lt;br /&gt;
necessary ratifications were made by England,&lt;br /&gt;
France, Belgium, and Switzerland, so that now in&lt;br /&gt;
five of the principal nations of Christendom Inter-&lt;br /&gt;
national Copyright is in practical operation.&lt;br /&gt;
It may now be a.sked, What are the fruits to&lt;br /&gt;
date? In reply to such an inquiry, which is a very&lt;br /&gt;
natural one, it must be said that thus far little&lt;br /&gt;
appears in the way of changes at the business end&lt;br /&gt;
of literature. Although several of the leading&lt;br /&gt;
publishers are in negotiation for foreign works, we&lt;br /&gt;
believe that only one of these transactions has been&lt;br /&gt;
concluded. We understand that the Cassells have&lt;br /&gt;
purchased tin; right to bring out an American&lt;br /&gt;
edition of Zola&amp;#039;s &amp;quot;La Guerre,&amp;quot; and this work will&lt;br /&gt;
be the first sold in our market under the new&lt;br /&gt;
regime. Recent interviews with a number of New&lt;br /&gt;
York publishers show that several important works&lt;br /&gt;
are soon to follow, among them a volume by Pro-&lt;br /&gt;
fessor Bryce. It will take some time, however,&lt;br /&gt;
before the law modifies to any obvious extent exist-&lt;br /&gt;
ing conditions, and, as we said at the start, the Act&lt;br /&gt;
is of consequence more because it inaugurates a&lt;br /&gt;
new era than because it involves any very dramatic&lt;br /&gt;
change in the publishing business. That these&lt;br /&gt;
changes will come in their proper time is now&lt;br /&gt;
generally believed by both authors, publishers, and&lt;br /&gt;
booksellers, but the habit of a trade is not often&lt;br /&gt;
revolutionised at a blow.&lt;br /&gt;
The official indorsement of the Act by the British&lt;br /&gt;
authors comes in the nick of time to place in the&lt;br /&gt;
right view the selfish opposition to the law de-&lt;br /&gt;
veloped by certain elements of the printing and&lt;br /&gt;
publishing trades in England. These interests&lt;br /&gt;
are bestirring themselves to arouse a sentiment of&lt;br /&gt;
hostility to the law, as they fear&mdash;with some reason-&lt;br /&gt;
that what is known as the &amp;quot;printing clause&amp;quot; in the&lt;br /&gt;
law will have the effect of transferring to New&lt;br /&gt;
York a considerable part of the mechanical work&lt;br /&gt;
in current, literature now done abroad. The friends&lt;br /&gt;
of the Chace Bill have always maintained that one&lt;br /&gt;
of its effects might be to make New York the&lt;br /&gt;
centre of the publishing trade of the world. The&lt;br /&gt;
anxiety of the craft in England would go to show&lt;br /&gt;
that this claim may have some solid basis. To&lt;br /&gt;
obstruct any such tendency, the English printers&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 105 (#509) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
are demanding of their Government that Parlia-&lt;br /&gt;
ment shall require that the printing of American&lt;br /&gt;
works having an English copyright shall be done in&lt;br /&gt;
tluvt country. Thus far, however, the Government&lt;br /&gt;
has turned the cold shoulder to these demands. Sir&lt;br /&gt;
Michael Hicks Beach, replying to a deputation who&lt;br /&gt;
had an interview with him a few days ago on this&lt;br /&gt;
subject, said he did not think that in the present state&lt;br /&gt;
of the case it would be necessary for the Government&lt;br /&gt;
to take any action; that the printing clause in the&lt;br /&gt;
Bill affected only 5 per cent, of printed matter,&lt;br /&gt;
and it was too early yet to see what its operation&lt;br /&gt;
would be, even within this narrow area. The em-&lt;br /&gt;
phatic ratification of the law by the authors, coming&lt;br /&gt;
on top of this snub from the Government, will&lt;br /&gt;
probably put a quietus on this movement, certainly&lt;br /&gt;
until the law has a fair chance to show its merits.&lt;br /&gt;
We may assume, therefore, that a new principle&lt;br /&gt;
has l&amp;gt;een established and a new epoch opened.&lt;br /&gt;
Intel-national property in literary ideas is recog-&lt;br /&gt;
nised and imbedded in the law of the land, and&lt;br /&gt;
America joins hands with the principal nations of&lt;br /&gt;
Christendom in securing to authors the full and&lt;br /&gt;
just reward of their labour.&lt;br /&gt;
Henry B. Elliot.&lt;br /&gt;
&lt;br /&gt;
ASSOCIATION LITT&Eacute;RAIRE ET ARTISTIQUE&lt;br /&gt;
INTERNATIONALE.&lt;br /&gt;
AGENERAL invitation has been extended&lt;br /&gt;
to the Members of this Society for the&lt;br /&gt;
Congress which meets at Neufch&acirc;tel on the&lt;br /&gt;
26th of September and continues its sittings to&lt;br /&gt;
the 3rd of October. It will be remembered that&lt;br /&gt;
the Association held a Congress at London two&lt;br /&gt;
years ago, which began by ignoring the existence of&lt;br /&gt;
this Society, and in consequence was not attended&lt;br /&gt;
by one single English man of letters. This&lt;br /&gt;
omission, there is reason to believe, was not&lt;br /&gt;
occidental but intentional, and suggested by&lt;br /&gt;
certain warm friends of the Society. It is not&lt;br /&gt;
probable that the omission will be repeated. As&lt;br /&gt;
regards the journey to the Congress of this year, a&lt;br /&gt;
reduction of 5o per cent, is made on the French&lt;br /&gt;
and Swiss lines for Members, and the daily expenses&lt;br /&gt;
at the hotels, the secretary informs inquirers, may&lt;br /&gt;
be set down at a maximum of 10 or 12 francs.&lt;br /&gt;
The following is the official programme of the&lt;br /&gt;
Congress :&mdash;&lt;br /&gt;
Programme des Travaux.&lt;br /&gt;
i&deg; Rapport sur les travaux de l&amp;#039;ann&eacute;e. Rap-&lt;br /&gt;
porteur: M. Jules Lennina.&lt;br /&gt;
2&deg; Etude sur le projet de loi anglais. Copyright.&lt;br /&gt;
Rapporteurs: MM. Henri Morel et Rothlisberger.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
3&deg; Etude sur la nouvelle loi Copyright, pro-&lt;br /&gt;
mulgu&eacute;e aux Etats-Unis. Rapporteurs: MM.&lt;br /&gt;
Darras et Maillard.&lt;br /&gt;
40 De la propri&eacute;t&eacute; artistique. Peinture et&lt;br /&gt;
sculpture. Ripporteur: M. Armand Dumaresq.&lt;br /&gt;
5&deg; De la propri&eacute;t&eacute; artistique. Musique. Rap-&lt;br /&gt;
porteur: M. Victor Souchon.&lt;br /&gt;
6&deg; De la propri&eacute;t&eacute; artistique en mati&egrave;re de&lt;br /&gt;
photographie. Rapporteur: M. Bulloz.&lt;br /&gt;
70 Essai de l&eacute;gislation en mati&egrave;re de contrat&lt;br /&gt;
d&amp;#039;&eacute;dition. Rapporteurs: MM. Ocainpo et Max&lt;br /&gt;
Nordau.&lt;br /&gt;
8&amp;quot; De l&amp;#039;&eacute;tat de la propri&eacute;t&eacute; intellectuelle dans&lt;br /&gt;
les pays qui n&amp;#039;ont pas adh&eacute;r&eacute; &agrave; la Convention de&lt;br /&gt;
Berne. Rapporteur: M. Fr&eacute;d&eacute;ric B&oelig;tzmann.&lt;br /&gt;
90 De la revision de la Convention de Berne.&lt;br /&gt;
De la Conf&eacute;rence diplomatique de 1892, &agrave; Paris.&lt;br /&gt;
Rapporteur: M. Eug&egrave;ne Pouillet.&lt;br /&gt;
R&eacute;union pr&eacute;paratoire, Samedi 26 Septembre, &agrave;&lt;br /&gt;
dix heures du matin, au Cercle du Mus&eacute;e.&lt;br /&gt;
La s&eacute;ance solennelle de r&eacute;ception des membres&lt;br /&gt;
du Congr&egrave;s aura lieu le Samedi 26 Septembre en&lt;br /&gt;
pr&eacute;sence des autorit&eacute;s, &agrave; la Salle &laquo;les Etats, au&lt;br /&gt;
ch&acirc;teau de Neuch&acirc;tel. Tenue de soir&eacute;e.&lt;br /&gt;
Le soir r&eacute;ception et concert, au Cercle du Mus&eacute;e.&lt;br /&gt;
Les s&eacute;ances pl&eacute;ni&egrave;res et les Commissions se&lt;br /&gt;
tiendront dans l&amp;#039;ancienne salle du Conseil d&amp;#039;Etat&lt;br /&gt;
et des annexes.&lt;br /&gt;
Dimanche 27 Septembre. Excursion sur le lac&lt;br /&gt;
de Neuch&acirc;tel, &agrave; l&amp;#039;&icirc;le Saint-Pierre.&lt;br /&gt;
Du Lundi 28 Septembre au Samedi 3 Octobre.&lt;br /&gt;
S&eacute;ances de travail.&lt;br /&gt;
Mardi. Banquet offert par la ville de Neuch&acirc;tel.&lt;br /&gt;
Jeudi. Excursion &agrave; la Chaux-de-Fonds et au&lt;br /&gt;
Saut-du-Doubs.&lt;br /&gt;
Samedi. S&eacute;ance de cl&ocirc;ture et banquet (l&amp;#039;adieu.&lt;br /&gt;
La langue officielle du Congr&egrave;s est la langue&lt;br /&gt;
fran&ccedil;aise: mais chacun a le droit de s&amp;#039;exprimer&lt;br /&gt;
dans sa langue nationale. Des programmes seront&lt;br /&gt;
imprim&eacute;s chaque jour et adress&eacute;s par la poste aux&lt;br /&gt;
congressistes, &agrave; la premi&egrave;re distribution.&lt;br /&gt;
THE DUBLIN CONFERENCE OF THE&lt;br /&gt;
INSTITUTE OF JOURNALISTS.&lt;br /&gt;
fl^HE Conference of Journalists in the Irish&lt;br /&gt;
I capital, which took place on August the 20th&lt;br /&gt;
and following days, proved to be one of the&lt;br /&gt;
most interesting meetings the Institute has ever&lt;br /&gt;
held. The Dublin Reception Committee had made&lt;br /&gt;
strenuous efforts to enhance the pleasure of their&lt;br /&gt;
visitors, and the military, civic, and learned autho-&lt;br /&gt;
rities seconded them so ably, that the whole time&lt;br /&gt;
of five days was fully filled with the most pleasur-&lt;br /&gt;
able incidents. On the day of arrival visits were&lt;br /&gt;
H&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 106 (#510) ############################################&lt;br /&gt;
&lt;br /&gt;
io6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
made to the historic and commercial monuments of&lt;br /&gt;
Dublin, and in the evening the Royal Hibernian&lt;br /&gt;
Academy gave a charming reception in their rooms,&lt;br /&gt;
which were hung with the work of the members&lt;br /&gt;
especially for the occasion. Many knotty points&lt;br /&gt;
of journalistic laws were acutely and thoroughly&lt;br /&gt;
discussed at the meetings held in the City Hall;&lt;br /&gt;
upon one or two points, especially upon the&lt;br /&gt;
Orphans&amp;#039; Fund question, ladies taking a noteworthy&lt;br /&gt;
part. Miss Drew&amp;#039;s sj&amp;gt;eech upon the system of&lt;br /&gt;
foster parents versus large orphanages, eliciting&lt;br /&gt;
much sympathy and applause. At the Annual&lt;br /&gt;
Dinner most of the principal dignities of Dublin&lt;br /&gt;
were present, the Lord Mayor being on Mr.&lt;br /&gt;
Gilzean Reid&amp;#039;s right, whilst upon his left-hand sat&lt;br /&gt;
the Lord Chancellor of Ireland. From Lord&lt;br /&gt;
Ashbourne&amp;#039;s lips fell one of the brightest and&lt;br /&gt;
wittiest speeches that it could fall to the lot of&lt;br /&gt;
journalists to listen to, and yet it embodied much&lt;br /&gt;
sound and useful advice as to the usage of the&lt;br /&gt;
mighty power of the Press. The Royal Dublin&lt;br /&gt;
Society met the members at their premises at&lt;br /&gt;
Ralls Bridge, and conducted them over the admir-&lt;br /&gt;
able premises which were prepared for the great&lt;br /&gt;
horse show. On the Saturday evening the Lord&lt;br /&gt;
Mayor gave a banquet to some 5oo guests in the&lt;br /&gt;
great circular hall of the Mansion House, which&lt;br /&gt;
was built to entertain George the Fourth, and a&lt;br /&gt;
most interesting sight was this crowded hall, when&lt;br /&gt;
the Lord Mayor from beneath the canopy, above&lt;br /&gt;
which in light blazed the Irish Harp and Shamrock,&lt;br /&gt;
gave most heartily the toast of &amp;quot; The Queen &amp;quot;; that&lt;br /&gt;
was received with ringing and renewed cheering.&lt;br /&gt;
On the evening before, this toast was accompanied by&lt;br /&gt;
the singing of the first two verses of the National&lt;br /&gt;
Anthem. &amp;#039; The Sunday was devoted by some of our&lt;br /&gt;
members to visits to the Cathedrals and Churches&lt;br /&gt;
of Dublin, and by others to short excursions to&lt;br /&gt;
such spots as Bray, and the Seven Churches of&lt;br /&gt;
Qlendalough. One of the most marked instances&lt;br /&gt;
of Irish hospitality to the United Journalists was&lt;br /&gt;
the invitation of a large body of them by Lord and&lt;br /&gt;
Lady Wolseley to lunch at Kihnainham Hospital.&lt;br /&gt;
Lady Wolseley afterwards receiving a still larger&lt;br /&gt;
number of the meml&amp;gt;ers at an &amp;quot; At Home,&amp;quot; giving&lt;br /&gt;
all an opportunity to inspect the Hospital grounds&lt;br /&gt;
and pictures under the guidance of Lord Wolseley.&lt;br /&gt;
This brought the Dublin proceedings to a close,&lt;br /&gt;
but Irishmen had not vet exhausted their generous,&lt;br /&gt;
cordial greeting to the &amp;quot;Strangers within their&lt;br /&gt;
gates,&amp;quot; for the great railway companies had&lt;br /&gt;
signified their wish that all members should visit&lt;br /&gt;
other parts of Ireland, and hail placed free passes&lt;br /&gt;
at their disposal to the Western Highlands and&lt;br /&gt;
to Belfast; and the Cork ami Bandon Railway also&lt;br /&gt;
threw open the Glengariff route to Killarney. The&lt;br /&gt;
Great Northern Railway even provided lunch at&lt;br /&gt;
the Giant&amp;#039;s Causeway. In short, all Ireland&lt;br /&gt;
welcomed the English, Scottish, anil Welsh press-&lt;br /&gt;
men with true Irish generosity and warmth,&lt;br /&gt;
hoping only in return for fair, generous descrip-&lt;br /&gt;
tion and criticism of Ireland and her people; and&lt;br /&gt;
most assuredly those who had the pleasure of being&lt;br /&gt;
at the Conference must leave Ireland with increased&lt;br /&gt;
knowledge of her country and her people, and with&lt;br /&gt;
hearty longings for the happiness of so warm-&lt;br /&gt;
hearted a people, and with pens steeped in friendship&lt;br /&gt;
towards their generous hosts.&lt;br /&gt;
James Baker. &diams;■&raquo;■&raquo;&lt;br /&gt;
AN OLD NEW WORD.&lt;br /&gt;
IREGRET to see that there has been some talk,&lt;br /&gt;
in late numbers of the Author, about &amp;quot;a&lt;br /&gt;
slating with slates.&amp;quot; It looks as if some&lt;br /&gt;
people actually suppose that &amp;quot;to slate &amp;quot; means &amp;quot; to&lt;br /&gt;
pelt with slates.&amp;quot; That is not it at all.&lt;br /&gt;
I cannot go into the whole matter, as I regret to&lt;br /&gt;
say that it involves delicate questions of vowel-&lt;br /&gt;
gradation, in which the general public cannot be&lt;br /&gt;
expected to take much interest. I will merely sav&lt;br /&gt;
that I &amp;quot;happen to know&amp;quot;; because, though the&lt;br /&gt;
verb is not in any Anglo-Saxon dictionary, it&lt;br /&gt;
happened to turn up in an Anglo-Saxon text which&lt;br /&gt;
it was my business to edit; and I can give chapter&lt;br /&gt;
anil verse for every statement I shall make.&lt;br /&gt;
The net result is just this : There was once a verb&lt;br /&gt;
to slitc (now obsolete), past tense slotc, past parti-&lt;br /&gt;
ciple stiffen. It now remains only in two deriva-&lt;br /&gt;
tives; one, is, to slit, and the other is to slait or&lt;br /&gt;
sleat (rhyming with great), or (phonetically) to&lt;br /&gt;
slate.&lt;br /&gt;
To slite meant to tear; to slit means much the&lt;br /&gt;
same. To slait was the causal verb, to cause to&lt;br /&gt;
tear. It is precisely parallel to bait, the causal of&lt;br /&gt;
bite. To bait a bull is to set on dogs to bile him.&lt;br /&gt;
The Anglo-Saxon text I spoke of talks of slatting&lt;br /&gt;
a bull, or setting on dogs to slite or rend him.&lt;br /&gt;
That&amp;#039;s just what it means, viz., to set on dogs to&lt;br /&gt;
harass, worry, and the like ; much the same as bait.&lt;br /&gt;
But to talk of slatting &amp;quot; with slates &amp;quot; is mere igno-&lt;br /&gt;
rance. Thev would be quite ineffectual as against&lt;br /&gt;
a bull.&lt;br /&gt;
Nevertheless, the word slate is ultimately from&lt;br /&gt;
the same root; but that is a lucre chance, and does&lt;br /&gt;
not justify the use of a slip-shod expression.&lt;br /&gt;
By all means let us use good old words, but let&lt;br /&gt;
us do it intelligently. There would be a mighty&lt;br /&gt;
fuss if we were to misuse a word of Greek origin;&lt;br /&gt;
but when it is only good English, why, then&mdash;&mdash;■&lt;br /&gt;
Walter W. Skeat.&lt;br /&gt;
■&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 107 (#511) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
AGREAT many letters have been received on&lt;br /&gt;
the subject of the proposed club. They&lt;br /&gt;
will all be placed in the hands of the com-&lt;br /&gt;
mittee, and will be duly considered by them. One&lt;br /&gt;
or two contributors are anxious that ladies should&lt;br /&gt;
be admitted. Well, it must be understood that the&lt;br /&gt;
Resolutions published in the last number of the&lt;br /&gt;
Author were preliminary and tentative onlv.&lt;br /&gt;
Meantime, two or three ladies, Meml&amp;gt;ers of the&lt;br /&gt;
Society, have written to ask for a reconsideration&lt;br /&gt;
of this point, but only two or three. Many more&lt;br /&gt;
have stated their inability to pay a five-guinea sub-&lt;br /&gt;
scription. Clearly, an ideal club of authors should&lt;br /&gt;
admit women as well as men. Literature is, above&lt;br /&gt;
all others, a profession open to both sexes. Yet&lt;br /&gt;
literary women are even more mercilessly sweated,&lt;br /&gt;
especially by religious societies, who pretend not to&lt;br /&gt;
know that this sweating was specially contemplated&lt;br /&gt;
in framing the Eighth Commandment; and the&lt;br /&gt;
number of ladies who live by their literary work,&lt;br /&gt;
and can afford even so reasonable a subscription as&lt;br /&gt;
five guineas, is very small.&lt;br /&gt;
A learned Professor, whose works are manv,&lt;br /&gt;
writes to invite a reconsideration of Clause VIII.&lt;br /&gt;
He says, &amp;quot; Instead of a ride that all members are&lt;br /&gt;
to give copies of their works, let it Ik: worded that&lt;br /&gt;
members be invited to give copies of their works.&amp;quot;&lt;br /&gt;
In any case the rule could not be retrospective, and&lt;br /&gt;
the ease might arise of a costly work with a limited&lt;br /&gt;
edition, the presentation of which would be onerous.&lt;br /&gt;
These notes are only meant to mark the tirst stage.&lt;br /&gt;
We are still in full vacation, and it is enough that&lt;br /&gt;
the Authors&amp;#039; Club is no longer a mere suggestion,&lt;br /&gt;
but has advanced to the stage of practical&lt;br /&gt;
consideration.&lt;br /&gt;
The American Club, it may be noted, is not an&lt;br /&gt;
Authors&amp;#039; Club, but an Authors Club.&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
LET the Author, though late, lay a wreath upon&lt;br /&gt;
the grave of James Russell Lowell, if only&lt;br /&gt;
as a personal friend of many of our Members,&lt;br /&gt;
and a strong well-wisher to the Society. As a&lt;br /&gt;
writer, he was the lineal descendant of the good&lt;br /&gt;
old English stock; he might have contributed a&lt;br /&gt;
paper for Addison&amp;#039;s Spectator, or, later on, he&lt;br /&gt;
might have added a chapter to Washington Irving&amp;#039;s&lt;br /&gt;
Sketch Booh. He had nothing in common with the&lt;br /&gt;
modern writers of his own country&mdash;Bret Harte,&lt;br /&gt;
Mark Twain, Howell, Stockton, and others who have&lt;br /&gt;
broken off with the old English traditions. Lowell&lt;br /&gt;
was an Englishman, who was lwrn, and mostly&lt;br /&gt;
lived, in America. Yet an Englishman who was&lt;br /&gt;
attached to republican principles, and never ceased&lt;br /&gt;
to see in his own country the beginnings of every&lt;br /&gt;
kind of greatness. It will be remembered that he&lt;br /&gt;
made a speech at one of our dinners, a speech&lt;br /&gt;
whose common sense, humour, and simple eloquence&lt;br /&gt;
deeply impressed themselves upon all who heard it.&lt;br /&gt;
It should be reprinted for our own keeping. He&lt;br /&gt;
came to that dinner from the couch where he had&lt;br /&gt;
been confined by gout; it was a greater effort than&lt;br /&gt;
most of the guests suspected for him to stand up at&lt;br /&gt;
all. Yet he came out of pure love for literature,&lt;br /&gt;
and liecause he wanted to encourage those who&lt;br /&gt;
follow literature to unite for their own advantage,&lt;br /&gt;
and to form a corporation for their own protection.&lt;br /&gt;
He could speak. That fact alone placed him&lt;br /&gt;
above the British author, of whom it may 1m&amp;gt; said,&lt;br /&gt;
as a general rule, that he cannot speak. There are&lt;br /&gt;
brilliant exceptions, but, as a rule, the English&lt;br /&gt;
author cannot speak. The fact is a difficulty&lt;br /&gt;
which constantly faces us when we meet. The&lt;br /&gt;
English author cannot speak. If he rises to pro-&lt;br /&gt;
pose a toast, he says what he has to say without&lt;br /&gt;
art, without preparation; he stammers, he boggles,&lt;br /&gt;
he hesitates. Nay, sometimes he refuses abso-&lt;br /&gt;
lutely to speak. For example: we were once&lt;br /&gt;
anxious that a certain well-known writer should&lt;br /&gt;
preside at a certain gathering. We represented to&lt;br /&gt;
him that it was his proper place, that he ought to&lt;br /&gt;
be in that chair; that he should claim the prece-&lt;br /&gt;
dency he had won. He refused; he said that he&lt;br /&gt;
could not speak. He came to the meeting, but he&lt;br /&gt;
sat down below with the rank and file. As for the&lt;br /&gt;
exceptions: Lord Lytton is a statesman, and there-&lt;br /&gt;
fore accustomed to speaking; Mr. James Bryce is&lt;br /&gt;
also a statesman; Professor Jebb is, or was, the.&lt;br /&gt;
Public Orator of Cambridge, and therefore always&lt;br /&gt;
speaking; Mr. Edmund Yates is well known as&lt;br /&gt;
one of the best after-dinner speakers that we have;&lt;br /&gt;
Mr. Hermann Merivale is an eloquent speaker;&lt;br /&gt;
Mr. George Augustus Sala is full of wit and anec-&lt;br /&gt;
dote; Professor Michael Foster s[&amp;gt;eaks genially&lt;br /&gt;
and cordially. There are, of course, many others,&lt;br /&gt;
but the broad fact remains&mdash;the English author&lt;br /&gt;
cannot speak. Why not? Simply because he will&lt;br /&gt;
not take the trouble to study the art of elocution,&lt;br /&gt;
and to practise a little. Authors are always getting&lt;br /&gt;
up subjects for their own purposes. Sometimes&lt;br /&gt;
they know a great deal more than the mass of&lt;br /&gt;
mankind. What an addition to their strength&lt;br /&gt;
and their influence it would 1k&amp;gt; if they could speak&lt;br /&gt;
upon their subjects as well as write aliout them!&lt;br /&gt;
All educated men&mdash;that is, all those who ought to&lt;br /&gt;
lead&mdash;should practise the art of speaking. Not to&lt;br /&gt;
ir 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#512) ############################################&lt;br /&gt;
&lt;br /&gt;
io8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
do so is to leave the leading of the people to the&lt;br /&gt;
uncultivated&mdash;the men who can speak, but do not&lt;br /&gt;
know&mdash;who mislead because they do not know.&lt;br /&gt;
Lord Cranbrook sends to the Times some grace-&lt;br /&gt;
ful lines written to him by Lowell, apropos of his&lt;br /&gt;
own lines:&lt;br /&gt;
Life is a leaf of paper white,&lt;br /&gt;
Whereon each one of us may write&lt;br /&gt;
His word or two&mdash;then conies the night.&lt;br /&gt;
They arc called &amp;quot; Cuivis cunque &amp;quot; :&mdash;&lt;br /&gt;
On earth Columbus wrote his name:&lt;br /&gt;
Montgolfier on the circling air:&lt;br /&gt;
Lesseps in water did the same:&lt;br /&gt;
Franklin traced his in living flame:&lt;br /&gt;
Newton on space&amp;#039;s desert bare.&lt;br /&gt;
Safe with the primal elements&lt;br /&gt;
Their signatures august remain:&lt;br /&gt;
While the fierce hurtle of events&lt;br /&gt;
Whirls us and our ephemeral tents&lt;br /&gt;
Beyond oblivion&amp;#039;s mere disdain.&lt;br /&gt;
Our names, as what we write are frail,&lt;br /&gt;
Time spunges out like hopeless scores,&lt;br /&gt;
Unless for mine it should prevail&lt;br /&gt;
To turn awhile the faltering scale&lt;br /&gt;
Of memory, thus to make it yours.&lt;br /&gt;
Qcivis.&lt;br /&gt;
Many notices, biographies, and appreciations&lt;br /&gt;
more or less critical have appeared on James&lt;br /&gt;
Russell Lowell since his death. That written by&lt;br /&gt;
Mr. Theodore Watts for the Athenaum of&lt;br /&gt;
August 22nd, stands out above all those that I have&lt;br /&gt;
seen. It is simply an excellent paper. It is&lt;br /&gt;
especially valuable for its analysis of the Puritan&lt;br /&gt;
element in the man, and of what that Puritan&lt;br /&gt;
element really means &mdash; the teaching of self-&lt;br /&gt;
restraint and self-governance as opposed to the&lt;br /&gt;
Pagan instinct of self-indulgence. It is a paper&lt;br /&gt;
filled with admiration of the man, yet capable of&lt;br /&gt;
acknowledging weak points in the poet. In spite&lt;br /&gt;
of the occasional ruggedness of his verse, the&lt;br /&gt;
world will continue to read Lowell when they&lt;br /&gt;
have quite forgotten poets of greater dexterity and&lt;br /&gt;
finer music, and this, for the sake of the things he&lt;br /&gt;
has to say.&lt;br /&gt;
Once more our old friend Bogey turns up. The&lt;br /&gt;
Spectatoi; in a little notice of &amp;quot;The Cost of Pro-&lt;br /&gt;
duction &amp;quot;&mdash;better late than never; it is just in time&lt;br /&gt;
for the third edition&mdash;reproduces this good old fraud&lt;br /&gt;
&amp;quot;If,&amp;quot; it says, &amp;quot; the author of a shilling shocker&lt;br /&gt;
receives &pound;o on a thousand copies, the publisher&lt;br /&gt;
receives a little more. Not more, it may lie&lt;br /&gt;
readily admitted, than is fair, considering the risk.&amp;quot;&lt;br /&gt;
What risk? My dear Spectator, you have been&lt;br /&gt;
told over and over again that there is very, very&lt;br /&gt;
seldom any risk, and that there need be none at all.&lt;br /&gt;
Again, suppose there was risk. What is the pub-&lt;br /&gt;
lisher&amp;#039;s risk compared witli the author&amp;#039;s? The&lt;br /&gt;
author risks his labour, risks months of hard work&lt;br /&gt;
and time. Is that a less or a greater risk than tin-&lt;br /&gt;
publisher&amp;#039;s &pound;100, which, mind, he docs not pay&lt;br /&gt;
until the returns of the book come in? Now, tin;&lt;br /&gt;
author does advance his risk beforehand. As we&lt;br /&gt;
have pointed out and proved over and over again,&lt;br /&gt;
the great mass of published books carry no risk.&lt;br /&gt;
But I suppose it is quite impossible to drown this&lt;br /&gt;
Bogey in the Bed Sea.&lt;br /&gt;
It was the Spectator which, after admitting a&lt;br /&gt;
letter by me, signed, on this very subject&mdash;a letter&lt;br /&gt;
in which I advanced the undeniable fact that&lt;br /&gt;
nowadays publishers take very, very few risks, and&lt;br /&gt;
that many publishers simply cannot afford to take&lt;br /&gt;
any&mdash;published a letter which stated that &amp;quot; the man&lt;br /&gt;
who says that publishers never take risks must be&lt;br /&gt;
insane.&amp;quot; The writer did not sign his name. But&lt;br /&gt;
observe: his letter conveyed a falsehood: he&lt;br /&gt;
meant people to believe that I had said that no&lt;br /&gt;
publishers ever take; any risks. It was not worth&lt;br /&gt;
while to complain or to explain. At the sauie time&lt;br /&gt;
two questions arise: (i) Howr far an editor is justi-&lt;br /&gt;
fied in allowing an anonymous writer to attack a&lt;br /&gt;
man who openly signs himself? and (2) How far&lt;br /&gt;
an editor is justified in inserting a letter which is&lt;br /&gt;
carefully worded so as to convey a falsehood? The&lt;br /&gt;
season is approaching when the lists of new books&lt;br /&gt;
will appear. We will then again proceed with&lt;br /&gt;
the analysis of the new books published, in order&lt;br /&gt;
to find out what is the proportion of books which&lt;br /&gt;
ma}&amp;#039; carry risk.&lt;br /&gt;
Meantime, here is a very good illustration of what&lt;br /&gt;
they sometimes call risk. A correspondent writes&lt;br /&gt;
to us: &amp;quot;Among publishers who do sometimes&lt;br /&gt;
take risks, you must include Mr. A. B. The&lt;br /&gt;
book called , recently published, was&lt;br /&gt;
actually bought by him at a good price. He gave&lt;br /&gt;
&pound;&mdash; for it. Yet it was the work of a perfectly&lt;br /&gt;
unknown writer. If this was not risk, what is?&amp;quot;&lt;br /&gt;
Very good. Let us see. The publisher bought&lt;br /&gt;
the book for a certain sum. He then ran it&lt;br /&gt;
through his magazine. The sum given for the&lt;br /&gt;
book was about half that which he would have had&lt;br /&gt;
to pay at the current, rate of payment per page.&lt;br /&gt;
The other half, which he saved, paid for the&lt;br /&gt;
printing, paper, and binding of the book. Thus,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 109 (#513) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
you see, lie brought out the book for nothing, and&lt;br /&gt;
got all the credit of a publisher who dares to take&lt;br /&gt;
a new writer in hand and to give him a start. It&lt;br /&gt;
was good business all round: very good for the&lt;br /&gt;
new writer, who got a capital start, for which he&lt;br /&gt;
must thank the publisher; and since, if he turns&lt;br /&gt;
out well, he will be under an endless debt of&lt;br /&gt;
gratitude to that publisher, it will prove very good&lt;br /&gt;
business for him as well. But, you s&amp;lt;&laquo;, it is not&lt;br /&gt;
taking a risk.&lt;br /&gt;
I wonder if English as well as French hooks are&lt;br /&gt;
going to be put up for auction in New York.&lt;br /&gt;
Zola&amp;#039;s last work is reported to have l)cen offered&lt;br /&gt;
in this way and to have been knocked down&lt;br /&gt;
for &pound;2,000, or &pound;400. This is not much, as it&lt;br /&gt;
includes the right of selling it in French as well&lt;br /&gt;
lus in English. If the practice is to lie extended&lt;br /&gt;
to English books, there will be, I fear, considerable&lt;br /&gt;
bumbling and considerable shamefaeedness, because&lt;br /&gt;
there arc writers who wrap up the question of&lt;br /&gt;
dollars in mystery which magnifies.&lt;br /&gt;
Certain Americans are said, by the Critic of&lt;br /&gt;
New York, to be patriotically indignant because&lt;br /&gt;
Lord Tennyson has been invited to write an ode&lt;br /&gt;
for the opening of the Chicago Exhibition. The&lt;br /&gt;
President of the World&amp;#039;s Congress Auxiliary thus&lt;br /&gt;
explains the invitation: &amp;quot;I thought it was not&lt;br /&gt;
improper to make some allusion to his long and&lt;br /&gt;
splendid career of half a century as Wordsworth&amp;#039;s&lt;br /&gt;
successor in the office of Poet Laureate of England,&lt;br /&gt;
and I added the hope that it might please him to&lt;br /&gt;
send a song to be sung at the opening of the great&lt;br /&gt;
Exposition. This, to my mind, was certainly a&lt;br /&gt;
becoming courtesy. It by no means excludes from&lt;br /&gt;
the list any other poet of the world. It always&lt;br /&gt;
has been and still is the intention to extend a&lt;br /&gt;
similar invitation to other adepts in the divine art&lt;br /&gt;
of poesy.&amp;quot; At the same time, one would have&lt;br /&gt;
thought that the Americans were prepared to ac-&lt;br /&gt;
knowledge that the greatest living figure in English&lt;br /&gt;
poetry is Lord Tennyson.&lt;br /&gt;
The Spectator, I read somewhere, thinks that a&lt;br /&gt;
great proportion of the upper and middle classes&lt;br /&gt;
of England never buy a book from one year&amp;#039;s&lt;br /&gt;
end to another. I do not remember the paper&lt;br /&gt;
saying this. If it did say so&mdash;if it does think so&mdash;&lt;br /&gt;
it is quite wrong, as readers of the Author will&lt;br /&gt;
understand. The investigation which we recently&lt;br /&gt;
conducted into the extent of the home lxjok trade&lt;br /&gt;
proved conclusively that the upper and middle&lt;br /&gt;
class buv books very largely. There are, of course.&lt;br /&gt;
many houses where the head of the family never&lt;br /&gt;
reads a book, but even there his wife, his&lt;br /&gt;
daughters, his sons read and buy. For whom are&lt;br /&gt;
the six-shilling books published? For the poor?&lt;br /&gt;
For the lower middle class? And when we read&lt;br /&gt;
of 10,000, 20,000, copies of a six-shilling liook&lt;br /&gt;
being sold, who, pray, are the buyers? The lower&lt;br /&gt;
middle class? Look again at the lwokstall&mdash;say,&lt;br /&gt;
at the Great Western&mdash;a line which seems to l&amp;gt;c.&lt;br /&gt;
used by the upper class more than any other. All&lt;br /&gt;
day long the books are being taken by passengers.&lt;br /&gt;
Look at Stoneham&amp;#039;s place in the Poultry, in the&lt;br /&gt;
City, or at Glaishers in the Strand. All day&lt;br /&gt;
long the passers by are dropping in for books.&lt;br /&gt;
Not the poor passers by, if you please, but&lt;br /&gt;
the better sort. The truth is, that people are&lt;br /&gt;
enabled to read a great deal more than they would&lt;br /&gt;
otherwise afford to do, by the existence of the cir-&lt;br /&gt;
culating library; they do not, certainly, buy as&lt;br /&gt;
much as they should, but Ihey buy a great deal,&lt;br /&gt;
and they are learning to buy more. The opinion&lt;br /&gt;
that middle-class people never buy books is one of&lt;br /&gt;
the numerous conventional opinions which arc a&lt;br /&gt;
kind of stock-in-trade of journalists who are too&lt;br /&gt;
lazy or are unable to examine for themselves. The&lt;br /&gt;
notion that every book involves an awfid risk to&lt;br /&gt;
publish is another. The Spectator certainly&lt;br /&gt;
believes that as an article of Christian faith. I&lt;br /&gt;
wish someone would make a little collection of&lt;br /&gt;
stock conventional opinions.&lt;br /&gt;
Mr. H. Schiitz Wilson reminds lovers of&lt;br /&gt;
Germany and German poets that on .September&lt;br /&gt;
the 21st, the centenary of the birth of the patriot&lt;br /&gt;
poet Theodor Korner is to be celebrated. Here&lt;br /&gt;
is an excellent opportunity for a paper on the&lt;br /&gt;
young soldier who died fighting in the liefreiungs&lt;br /&gt;
Krieg. Such a life as that of Korner, with such&lt;br /&gt;
a death after such achievements, needs to be told&lt;br /&gt;
for every generation.&lt;br /&gt;
Especially does his verse need to be re-translated,&lt;br /&gt;
or in some way brought ljefore the world at a time&lt;br /&gt;
when people are asking why German is so little&lt;br /&gt;
read. The fact is certain: German liooks are not&lt;br /&gt;
asked for in libraries so much as they were 20&lt;br /&gt;
years ago, although German is taught in schools&lt;br /&gt;
more extensively and more thoroughly than at that&lt;br /&gt;
time. There are several reasons for this falling off.&lt;br /&gt;
One is a prevalent belief that when one has read&lt;br /&gt;
half-a-dozen great German writers, there remain&lt;br /&gt;
no more worth reading. I refer to belles lettres,&lt;br /&gt;
because German is indispensable to scientific men&lt;br /&gt;
and scholars. Next, German historians mav be&lt;br /&gt;
valuable, but they are certainly heavy to read.&lt;br /&gt;
Thirdly, the reviews which try to follow modern&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 110 (#514) ############################################&lt;br /&gt;
&lt;br /&gt;
I IO&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
German literature do not, somehow, succeed in&lt;br /&gt;
attracting people to read the books. Perhaps, if&lt;br /&gt;
some of them were to adopt the plan of recom-&lt;br /&gt;
mending special books withan account of them, the&lt;br /&gt;
reader might be stimulated to order them. Lastly,&lt;br /&gt;
our own literature, with American literature and&lt;br /&gt;
French literature, is so rich that it takes all our&lt;br /&gt;
&bull;time to read even the most remarkable books.&lt;br /&gt;
The administration of the Free Libraries in&lt;br /&gt;
Paris recently made the deplorable discovery that&lt;br /&gt;
their readers prefer novels to any other branch of&lt;br /&gt;
literature. They thereupon instructed the librarians&lt;br /&gt;
to coax, guide, lead, and persuade the people&lt;br /&gt;
into more serious reading. The librarians obeyed&lt;br /&gt;
and exhorted. All the people walked out. The&lt;br /&gt;
librarians desisted. All the people came back.&lt;br /&gt;
They are now again diligently engaged in read-&lt;br /&gt;
ing nothing but novels. Humanity is the same&lt;br /&gt;
everywhere&mdash;both otheial humanity and natural&lt;br /&gt;
humanity. Official humanity laments the tendency&lt;br /&gt;
to read novels, because oflieial humanity cannot&lt;br /&gt;
understand that the average man reads for amuse-&lt;br /&gt;
ment, and that when he lias done his day&amp;#039;s work&lt;br /&gt;
he does not want to work any longer at&lt;br /&gt;
anything. Also official humanity has never&lt;br /&gt;
arrived at the least conception of the fact that&lt;br /&gt;
fiction is the greatest of all the forces now in&lt;br /&gt;
existence for refinement of manners and for edu-&lt;br /&gt;
cation in ideas. Official humanity never gets&lt;br /&gt;
beyond the copybook maxims. Natural humanity,&lt;br /&gt;
no doubt, learns these and straightway forgets&lt;br /&gt;
them. The copybook view of a public library is&lt;br /&gt;
of a place where the eager youth, longing for art&lt;br /&gt;
and letters and learning for their own sakes, sits&lt;br /&gt;
every evening&mdash;or, as the schoolboy hath it, swots&lt;br /&gt;
every evening after a hard 12 hours&amp;#039; day. The&lt;br /&gt;
simple and unconventional truth is that the&lt;br /&gt;
average man finds here only a place of amusement&lt;br /&gt;
which has the advantage of being warm, quiet,&lt;br /&gt;
light, and costing nothing.&lt;br /&gt;
The Victorian Exhibition is to have a portrait&lt;br /&gt;
gallery of 400 distinguished persons, belonging to&lt;br /&gt;
the present reign, now deceased. Four hundred is a&lt;br /&gt;
considerable number. Probably the whole of the&lt;br /&gt;
period covered by Gibbon&amp;#039;s &amp;quot; Decline and Fall &amp;quot; does&lt;br /&gt;
not contain many more, yet here we have 400, all&lt;br /&gt;
adorning a period of one short half-century, so that we&lt;br /&gt;
ought to be a proud and happy nation indeed. Nay,&lt;br /&gt;
since none of the living are included, and there&lt;br /&gt;
must be a great many more than 400 capable of&lt;br /&gt;
calling themselves illustrious, the Victorian age is,&lt;br /&gt;
indeed, in advance of all preceding ages put together.&lt;br /&gt;
The Victorian literature shows, among the dead:&lt;br /&gt;
Browning, Landor, Tom Moore, Southev, Words-&lt;br /&gt;
worth, Carlyle, Dickens, Thackeray, Charles Reade,&lt;br /&gt;
Wilkie Collins, George Eliot, Charlotte Bronte,&lt;br /&gt;
Rogers, Grote, Hallam, Mill, Lightfoot, Trench,&lt;br /&gt;
Stanley, Wilberforce, Liddon, Keble, Newman,&lt;br /&gt;
Arnold, Darwin, Faraday, Herschel, Lyell, Mur-&lt;br /&gt;
ehison, Fox Talbot, J. R. Green, Mark Pattison,&lt;br /&gt;
Mrs. Gaskell, Edward Fitzgerald, Lord Strangford,&lt;br /&gt;
Edward Palmer, not to speak of a mighty host of&lt;br /&gt;
men of every science and art who have by their&lt;br /&gt;
books adorned this great and wonderful Victorian&lt;br /&gt;
age. It is, of course, absurd to confine the word&lt;br /&gt;
literature any longer to poetry, fiction, and essays;&lt;br /&gt;
it now includes every kind of book on every kind&lt;br /&gt;
of subject &mdash; scientific, technical, educational&mdash;I&lt;br /&gt;
think one would only except BraiLshaw, the Army&lt;br /&gt;
and Navy lists, the Law lists, the Oxford and&lt;br /&gt;
Cambridge Calendar, Crockford&amp;#039;s Clerical Dire torv,&lt;br /&gt;
and the Report of the S.P.C.K. This splendid&lt;br /&gt;
growth of science and of letters&mdash;the true glory of&lt;br /&gt;
the Victorian period&mdash;will, one hopes, be adequately&lt;br /&gt;
illustrated bv the portrait gallery. One also hopes&lt;br /&gt;
that no one will ask the very awkward question of&lt;br /&gt;
how the Court has been advised to recognize and&lt;br /&gt;
to honour the men by whom the time and the reign&lt;br /&gt;
have been made famous.&lt;br /&gt;
The fashion of advertising publishers&amp;#039; lists at the&lt;br /&gt;
end of books seems falling into disuse. This is a&lt;br /&gt;
pity for one reason: namely, that the lists a few&lt;br /&gt;
years later afford such excellent food for reflection.&lt;br /&gt;
Here, for instance, is a book issued in the year&lt;br /&gt;
188-3 by a publisher who at that time produced&lt;br /&gt;
much, in quantity at least. At the end is his&lt;br /&gt;
current list of works. It contains 40 new three-&lt;br /&gt;
volume novels. Many of these books are by writers&lt;br /&gt;
then, and now, more or less known, who have&lt;br /&gt;
continued to write novels, and, therefore, it is pre-&lt;br /&gt;
sumed have found their practice of the art remune-&lt;br /&gt;
rative, or at least pleasant. Out of the 40 which&lt;br /&gt;
were all apparently published in the years 18S2&lt;br /&gt;
and |883, there are one or two which had then&lt;br /&gt;
advanced to a second edition. But not one of the&lt;br /&gt;
whole 40 has ever made the least impression 011 the&lt;br /&gt;
mind of the public. Every one of them is stone&lt;br /&gt;
dead. So that of 40 average novels not one has&lt;br /&gt;
managed to live in memory or on the bookshelves&lt;br /&gt;
for eight years. I do not put this forward as a&lt;br /&gt;
proof that they were all bad. Many novels, of&lt;br /&gt;
good workmanship are written with no other object&lt;br /&gt;
than to amuse for the moment. It is, however,&lt;br /&gt;
pleasing to read some of the extracts from friendly&lt;br /&gt;
reviewers on these immortal works : &mdash; &amp;quot; Fresh,&lt;br /&gt;
free, powerful &amp;quot;; &amp;quot;The work of a master-hand&amp;quot;;&lt;br /&gt;
&amp;quot;A romance of the most fascinating description &amp;quot;;&lt;br /&gt;
&amp;quot;Will be received with delight by all classes&amp;quot;:&lt;br /&gt;
these praises seem, after this short lapse of time,&lt;br /&gt;
somewhat extravagant. They are better, however,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 111 (#515) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
111&lt;br /&gt;
than the work of the scarifier. The authors should&lt;br /&gt;
at least be thankful that their critics were easily&lt;br /&gt;
pleased.&lt;br /&gt;
The French &amp;quot; Syndicat pour la protect ion de la&lt;br /&gt;
proprietd litteraire et artistique &amp;quot; has presented a&lt;br /&gt;
gold medal to Senator Piatt for the part which he&lt;br /&gt;
has taken &amp;quot;in the triumph of a just cause.&amp;quot;&lt;br /&gt;
Certain American publishers have presented a&lt;br /&gt;
loving cup to Mr. Robert Underwood Johnson for&lt;br /&gt;
his exertions in the cause of International Copy-&lt;br /&gt;
right, and the French Government has conferred&lt;br /&gt;
upon Messrs. Johnson, Putnam, Adams, and&lt;br /&gt;
Simonds the Grand Cross of the Legion of Honour.&lt;br /&gt;
What have we done? What had our Government&lt;br /&gt;
done? Nothing. Yet the benefit conferred upon&lt;br /&gt;
us by this Act are a thousand times greater than&lt;br /&gt;
those conferred upon the French. It is useless, I&lt;br /&gt;
suppose, to think that any English Government&lt;br /&gt;
will ever act, under any circumstances, as if&lt;br /&gt;
Literature and Art were things of any value or&lt;br /&gt;
importance. No other country so deeply indebted&lt;br /&gt;
to four foreigners as we are to the four gentlemen&lt;br /&gt;
who have received the Grand Cross of the Legion of&lt;br /&gt;
Honour would neglect them; no other country&lt;br /&gt;
could afford to be so boorish; in every other&lt;br /&gt;
country thev would at least l&amp;gt;e offered something&lt;br /&gt;
equivalent to our knighthood of the Bath. Such&lt;br /&gt;
an act of courtesy, such a sense of gratitude, we&lt;br /&gt;
may expect in vain. It is not, however, too late&lt;br /&gt;
for ourselves to do something. Let us do it, and&lt;br /&gt;
that at once. The time approaches when we shall&lt;br /&gt;
be all back in our places; let the first step taken&lt;br /&gt;
by the Society after the vacation be one of simple&lt;br /&gt;
justice and acknowledgment of gratitude.&lt;br /&gt;
The Folk Lore Congress of October promises to&lt;br /&gt;
be the most literary event of the year. Mr. Andrew&lt;br /&gt;
Lang, the President, will open it with an address.&lt;br /&gt;
Mr. Sidney Hart land is tin; Chairman of the Folk-&lt;br /&gt;
tale Section; Professor John Rhys, of the Mytho-&lt;br /&gt;
logical Section; Sir Frederick Pollock, of the&lt;br /&gt;
Institutions Section. At the meeting of the Mytho-&lt;br /&gt;
logical Section there will be a representation of an&lt;br /&gt;
old English mumming play, with children&amp;#039;s games,&lt;br /&gt;
sword dances, savage music, and folk songs. The&lt;br /&gt;
savage music ought to prove very attractive. I&lt;br /&gt;
hope the Society is increasing in numbers and&lt;br /&gt;
support. No transactions of any society are half&lt;br /&gt;
so interesting as those of the Folk Lore. The&lt;br /&gt;
wonder is that they keep up and show no abate-&lt;br /&gt;
ment in material or in interest. But the Society&lt;br /&gt;
deals with an inexhaustible mass of subjects. Con-&lt;br /&gt;
sider, for instance, how one single fact, the existence&lt;br /&gt;
of the king of the Arician Grove, has been shown, in&lt;br /&gt;
&amp;quot;The Golden Bough,&amp;quot; to require two great volumes&lt;br /&gt;
full of illustrations, explanations, and history.&lt;br /&gt;
This wonderful work, as interesting as any novel,&lt;br /&gt;
should have been kept for the Folk Lore Congress.&lt;br /&gt;
A general invitation to the Members of our&lt;br /&gt;
Society has been received from the Council of the&lt;br /&gt;
German Authors&amp;#039; Society&mdash;iDeutscher Schriftsteller-&lt;br /&gt;
Verband. The Association holds a Congress at&lt;br /&gt;
Berlin on September 12th, i3th, and 14th. The&lt;br /&gt;
programme is a business-like document. The&lt;br /&gt;
members will be chiefly occupied with various&lt;br /&gt;
changes in their statutes. With them we are not&lt;br /&gt;
greatly concerned. Two or three proposal*, how-&lt;br /&gt;
ever, are interesting:&mdash;&lt;br /&gt;
That the Council shall every year offer a prize&lt;br /&gt;
for an original novel and one for a drama.&lt;br /&gt;
That strenuous efforts shall be made to receive&lt;br /&gt;
the recognition of the State.&lt;br /&gt;
That all German writers of eminence shall be&lt;br /&gt;
urged to join the Society.&lt;br /&gt;
I do not think that any prize which the Society&lt;br /&gt;
could offer would do much to advance the cause of&lt;br /&gt;
dramatic or fictional art. We cannot imagine a&lt;br /&gt;
good writer competing for a prize unless it was&lt;br /&gt;
a prize in four figures. And there seems to us&lt;br /&gt;
something ridiculous in the &amp;quot;crowning &amp;quot; of a work&lt;br /&gt;
by a writer of established reputation. But I have&lt;br /&gt;
sometimes thought that a gold medal bestowed,&lt;br /&gt;
not every year, but whenever a really good first&lt;br /&gt;
work by a young writer appeared&mdash;which is not&lt;br /&gt;
every year&mdash;might do something in smoothing the&lt;br /&gt;
way for that young writer&amp;#039;s future success.&lt;br /&gt;
The German Society has local centres and local&lt;br /&gt;
committees. Some time ago we asked for and&lt;br /&gt;
received the names of Members willing to act as&lt;br /&gt;
honorary secretaries in their own centres. We&lt;br /&gt;
shall probably ask for their services this Autumn.&lt;br /&gt;
Will any others willing to help us, should the&lt;br /&gt;
occasion arise, send up their names?&lt;br /&gt;
The Germans will vary their dry business with a&lt;br /&gt;
little festivity. On Sunday they propose to have a&lt;br /&gt;
dinner and a ball; on Monday they will meet at the&lt;br /&gt;
opera; on Tuesday they will go for an excursion.&lt;br /&gt;
If we have a Congress, which has been some time&lt;br /&gt;
suggested, let us have these good things as well.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 112 (#516) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
ON A NEW NOVELIST.&lt;br /&gt;
UNTIL Mr. Edmund Gosse&amp;#039;s delightful intro-&lt;br /&gt;
duction to &amp;quot;The Footsteps of Fate,&amp;quot; of&lt;br /&gt;
Louis Couperus on the, Dutch Sensitivists,&lt;br /&gt;
with other ignorant people I had l&amp;gt;een under the&lt;br /&gt;
impression that Holland possessed a language that&lt;br /&gt;
was inarticulate, and that the Dutch had found Art&lt;br /&gt;
their only medium of expression. Their grait&lt;br /&gt;
traditions of painting, like those of the Flemish,&lt;br /&gt;
have eclipsed any claims they may have had to a&lt;br /&gt;
literature.. While the names of the Maris Brothers,&lt;br /&gt;
Josef Israels, and others are known throughout&lt;br /&gt;
Europe, the young men of whom Mr. Gosse writes&lt;br /&gt;
so pleasantly (and, alas, so briefly) are almost&lt;br /&gt;
unknown in England, except to those enviable&lt;br /&gt;
persons who can master the northern languages of&lt;br /&gt;
Europe. Apparently, we have been wronging the&lt;br /&gt;
Dutch in denying them the parts of speech. They&lt;br /&gt;
have been having literary revolutions and aesthetic&lt;br /&gt;
movement*!, and slashing reviews like any other&lt;br /&gt;
Christian nation. It will, doubtless, shock many&lt;br /&gt;
respectable English critics when they learn that&lt;br /&gt;
much of this morbid, unwholesome, intellectual&lt;br /&gt;
activity is due to a deal of &amp;quot;poisoned honey&amp;quot;&lt;br /&gt;
stolen from England! Our authors it seems can&lt;br /&gt;
corrupt another nation no less than the insidious&lt;br /&gt;
writers of another land are able to do.&lt;br /&gt;
Now our insular appreciations have been roused&lt;br /&gt;
by the appearance of two novels in English by a&lt;br /&gt;
Dutch writer, Maarten Maartens: &amp;quot; The Sin of Joost&lt;br /&gt;
Avelingh,&amp;quot; and &amp;quot;An Old Maid&amp;#039;s Love.&amp;quot; They are&lt;br /&gt;
two novels which promise to place their author in&lt;br /&gt;
the first rank of English novelists now living. I&lt;br /&gt;
say English, for these are riot translations from the&lt;br /&gt;
Dutch as some reviewers had supposed, but were&lt;br /&gt;
written in English&mdash;in a style which some of our&lt;br /&gt;
native writers would do well to emulate. Though&lt;br /&gt;
it is not given to everyone to form a style so&lt;br /&gt;
exquisite as that of Maarten Maartens; who,&lt;br /&gt;
furthermore, is endowed with that rare faculty of&lt;br /&gt;
writing with felicity in a foreign language&mdash;in a&lt;br /&gt;
manner, that is to say, that will deceive a foreigner.&lt;br /&gt;
Raging Anglo-Saxons may not find in his books a&lt;br /&gt;
phrase or idiom not to be found in Beowulf, but&lt;br /&gt;
for reasonable Englishmen the language is as pure&lt;br /&gt;
as Buskin&amp;#039;s, as English as Thackeray&amp;#039;s, as facile as&lt;br /&gt;
Fronde&amp;#039;s.&lt;br /&gt;
In &amp;quot; The Sin of Joost Avelingh &amp;#039;&amp;#039; the author has,&lt;br /&gt;
consciously or unconsciously, proposed a conun-&lt;br /&gt;
drum. It is a story of moral murder, but as to&lt;br /&gt;
whether Joost was guilty or not, psychologists and&lt;br /&gt;
theologians might argue till Doomsday. To avoid&lt;br /&gt;
all sensation, this author deliberately gives the ma])&lt;br /&gt;
of the plot in a prologue, and the story is simply a&lt;br /&gt;
study and development of character. In absolute&lt;br /&gt;
narrative power it is deficient, as in the pictures of&lt;br /&gt;
the author&amp;#039;s great compatriots we do not look for&lt;br /&gt;
a story, but for the purely pictorial&mdash;characteri-&lt;br /&gt;
sation, light and shadow, or the incidents of daily&lt;br /&gt;
life around us. Mutual antipathy like that of&lt;br /&gt;
Baron van Trotsem and Joost Avelingh, where&lt;br /&gt;
one&amp;#039;s sympathies are enlisted for the antipathy of&lt;br /&gt;
each for the other though a common combination&lt;br /&gt;
in life has not often been treated of in fiction.&lt;br /&gt;
The Baron is not a brute, but a charming old-&lt;br /&gt;
fashioned Dutch landowner given to drinking and&lt;br /&gt;
swearing a little too hard, perhaps. Yet his&lt;br /&gt;
temperament is entirely opposed to that of his&lt;br /&gt;
nephew Joost, of whom he is the guardian, that&lt;br /&gt;
their dislike of each other is conceivable and&lt;br /&gt;
natural. For the murder of his uncle, Joost would&lt;br /&gt;
have had every excuse. He had refinement, edu-&lt;br /&gt;
cation, and something of the idealist, things which&lt;br /&gt;
the Baron considered vices. The misunder-&lt;br /&gt;
standings of uncle and nephew are told with&lt;br /&gt;
consummate skill, always bringing out some new&lt;br /&gt;
trait or idiosyncrasy. Bound the dignified and&lt;br /&gt;
gracious character of Joost Avelingh, the minor&lt;br /&gt;
characters group themselves naturally from the&lt;br /&gt;
members of the Hessel family to the untidy black-&lt;br /&gt;
guard, Van Asvcld. While the book throughout is&lt;br /&gt;
a perfect picture of contemporary life and landscape&lt;br /&gt;
in Holland, it would be mere cavilling to quarrel&lt;br /&gt;
with the author about the public confession of&lt;br /&gt;
Joost, but he seems to hold some theories on the&lt;br /&gt;
ethics of murder which he has not elaborated suffi-&lt;br /&gt;
ciently to be entirely convincing in either of his&lt;br /&gt;
stories.&lt;br /&gt;
In &amp;quot;An Old Maid&amp;#039;s Love&amp;quot; we are asked to&lt;br /&gt;
believe that a respectable and upright, country&lt;br /&gt;
Dutch lady does not hesitate to murder a French&lt;br /&gt;
woman with whom her adopted nephew is carrying&lt;br /&gt;
on a flirtation. Until the attempted murder we&lt;br /&gt;
are not given to understand that any immoral&lt;br /&gt;
intercourse has taken place between them. Yet,&lt;br /&gt;
where is the book in which we could not find&lt;br /&gt;
something to alter or elaborate? Not even that&lt;br /&gt;
great trilogy of Shakspeare, Bradshaw, and the&lt;br /&gt;
Bible would answer the question.&lt;br /&gt;
&amp;quot;An Old Maid&amp;#039;s Love,&amp;quot; if not so strong a storv&lt;br /&gt;
as &amp;quot;Joost Avelingh,&amp;quot; shows the great gifts of&lt;br /&gt;
Maarten Maartens to a better advantage. The&lt;br /&gt;
characterisation is even more varied, while the&lt;br /&gt;
humour, which he has to a high degree, is more&lt;br /&gt;
frequent. By a sentence, a speech, or an incident,&lt;br /&gt;
the author gives us all the individualities of half-a-&lt;br /&gt;
dozen people. We know Mynheer Van Donselaar&lt;br /&gt;
and Jakob te Bekel directly they are introduced to&lt;br /&gt;
us&mdash;a dangerous quality in real life, but in art and&lt;br /&gt;
fiction an indispensable one. The author does not&lt;br /&gt;
indulge in stale analysis, nor does he come forward&lt;br /&gt;
as a kind of chorus to help on the story, or give a&lt;br /&gt;
lift to characters who cannot explain themselves.&lt;br /&gt;
There is no tedious word-painting, so dear to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 113 (#517) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
&amp;quot;3&lt;br /&gt;
second-rate story-teller. Mr. Maarteiis is a master&lt;br /&gt;
of descriptive writing; but he is always restrained,&lt;br /&gt;
and never takes up the camel&amp;#039;s-hair brush in mistake&lt;br /&gt;
for the grey goose quill. In brief, let those who still&lt;br /&gt;
doubt his place among English novelists purchase&lt;br /&gt;
and read &amp;quot;The Sin of Joost Avelingh&amp;quot; and &amp;quot;An&lt;br /&gt;
Old Maid&amp;#039;s Love.&amp;quot; They will at least make the&lt;br /&gt;
acquaintance of some of the most delightful people&lt;br /&gt;
in the most reputable Dutch society. The Widow&lt;br /&gt;
liarsselius has never been excelled even by&lt;br /&gt;
Dickens, while Mynheer Van Donselaar is the&lt;br /&gt;
most diverting paterfamilias I ever met. The&lt;br /&gt;
British matron will find heaps of things in common&lt;br /&gt;
with Mevrouw van Hessel, a lady who does not&lt;br /&gt;
think braces lit subjects for conversation, or fit&lt;br /&gt;
objects for presentation. Those who, like Arnout&lt;br /&gt;
Oostrum, prefer even lighter company, will meet&lt;br /&gt;
that dangerous enchantress, Dorine de Mongelas,&lt;br /&gt;
whose charms melted even the cynical Calvinist&lt;br /&gt;
pastor, Jakob te Bekel. Like all live people,&lt;br /&gt;
Dorine is just a little unreal. If ever I meet her&lt;br /&gt;
again, I must ask her whether she really thought&lt;br /&gt;
the proprietor of the hotel at Lugano believed that&lt;br /&gt;
Arnout was her brother. If so, she was not so&lt;br /&gt;
bad as Miss Varelkamp believed her to be. I&lt;br /&gt;
shall never forgive the author for having killed&lt;br /&gt;
the Widow Barsselius. I should like still to have&lt;br /&gt;
thought of her, quarrelling with Adelaida Vonk,&lt;br /&gt;
disinheriting Arnout, or altering her will every three&lt;br /&gt;
or four months, scolding Sussana, and lecturing&lt;br /&gt;
Dorothy Donselaar.&lt;br /&gt;
C. P.&lt;br /&gt;
&lt;br /&gt;
A DAY AT OLYMPIA.&lt;br /&gt;
MAY had just set in. The brushwood of the&lt;br /&gt;
Peloponnesus wore its softest vesture:&lt;br /&gt;
each fertile valley exhaled the fresh odours&lt;br /&gt;
of early Spring. As I drove out of Pyrgos in the&lt;br /&gt;
early sunshine, I saw around me a region richer&lt;br /&gt;
and more beautiful than any I had hitherto explored&lt;br /&gt;
in Greece. The road to Olympia at first extended&lt;br /&gt;
itself across a plain festooned with tender garlands&lt;br /&gt;
of the vine, where the carefully cultivated fields&lt;br /&gt;
imparted now an unwonted air of civilisation to this&lt;br /&gt;
visually wild and barren country, which here never-&lt;br /&gt;
theless might rival with its vegetation an Italian&lt;br /&gt;
landscape in the marshes or by the fat city of&lt;br /&gt;
Bologna. Then, winding over the hills it passed&lt;br /&gt;
through several hamlets, that clung to the heights&lt;br /&gt;
like eagle&amp;#039;s nests, and breathed beyond reach of&lt;br /&gt;
malaria from the valleys, the fresh cool breath of&lt;br /&gt;
the sea. We rested the horses awhile at a wayside&lt;br /&gt;
inn, where some dozen dark-haired brown-featured&lt;br /&gt;
peasant* were eating lentil soup and dry bread, for&lt;br /&gt;
it was the Thursday Wore the Greek Easter.&lt;br /&gt;
A fierce light darted from their black eyes, as they&lt;br /&gt;
conversed jauntily among themselves. Caricatures&lt;br /&gt;
of the reigning family and M. Tricoupis pasted on&lt;br /&gt;
the walls proclaimed the political sympathies of&lt;br /&gt;
the usual customers. These pictures very much&lt;br /&gt;
resembled in their style of draughtsmanship I lie&lt;br /&gt;
cartoons of United Ireland, and gave another&lt;br /&gt;
proof of the curious likeness I had discovered in&lt;br /&gt;
many ways between the people of the Morea and&lt;br /&gt;
my unconquerable fellow-countrymen of Erin.&lt;br /&gt;
I had by this time penetrated far into the region&lt;br /&gt;
of blue mountains, through which the road some-&lt;br /&gt;
times climbed tortuously, and sometimes flew&lt;br /&gt;
straight as an arrow along low-lying level meadows&lt;br /&gt;
radiant with wild flowers in the sunlight, and shrill&lt;br /&gt;
with the voices of secret fertilizing streams. Thus,&lt;br /&gt;
having driven in all about 12 miles, I at length&lt;br /&gt;
reached the plain of Olympia bounded on the&lt;br /&gt;
south by the famous river Alpheios, and on the&lt;br /&gt;
west by its tributary the Kladeos, and enclosed by&lt;br /&gt;
chains of wooded hills which guard from its sight&lt;br /&gt;
the modern dwellings of men.&lt;br /&gt;
The first impression on the beholder of this&lt;br /&gt;
revered site, where our civilization may be said to&lt;br /&gt;
have parsed the golden days of its youth, is an&lt;br /&gt;
impression of sublimity, desolation, and repose.&lt;br /&gt;
For fifteen centuries these grand ruins lay buried in&lt;br /&gt;
the earth, and are now, thanks to the scholarly disin-&lt;br /&gt;
terestedness of the great German nation, exhumed&lt;br /&gt;
to bask once more beneath that same sun, whose&lt;br /&gt;
white brilliance in the beginning inspired the happy&lt;br /&gt;
genius of their architects. Not a voice, not a sound&lt;br /&gt;
disturbs their monumental stillness, save perchance&lt;br /&gt;
the hum of a solitary bee, as it wanders among the&lt;br /&gt;
briars and poppies that grow out from the clefts of&lt;br /&gt;
ancient wall or pavement. Verily here, more than&lt;br /&gt;
anywhere on earth, a resurrection of old Greek life&lt;br /&gt;
has been accomplished&mdash;life public and patriotic,&lt;br /&gt;
not private and domestic, as Roman life is revealed&lt;br /&gt;
to us at Pompeii. For here, as through the rest of&lt;br /&gt;
the land, there remains no trace of any private&lt;br /&gt;
dwelling of the Hellenic age. Thus, it seems that&lt;br /&gt;
the Greek must have been content with a fragile,&lt;br /&gt;
temporary house, passing most of his time in the&lt;br /&gt;
sunlight, or among those beautiful public edifices,&lt;br /&gt;
upon which he chiefly prided himself. In truth,&lt;br /&gt;
he knew of no existence apart from that of the.&lt;br /&gt;
State. At Olympia then, in this secluded vale the&lt;br /&gt;
Hellenic States assembled every four years for the&lt;br /&gt;
celebration of those sacred games, which compelled&lt;br /&gt;
their divers peoples to cease from all strife, and&lt;br /&gt;
united them in one grand body politic, the Greek&lt;br /&gt;
Race. Here, therefore, we are brought into the&lt;br /&gt;
dead presence of a civilisation, whose incomiKirable&lt;br /&gt;
beautv has imralyzed all subsequent rivalry in the&lt;br /&gt;
realization of the beautiful in life or art. And the&lt;br /&gt;
incomparable beauty in Greek art still lives. It has&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 114 (#518) ############################################&lt;br /&gt;
&lt;br /&gt;
I [4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
re-arisen here with the Hermes of Praxiteles, which&lt;br /&gt;
stands in the museum hard by, rescued from the&lt;br /&gt;
long night of centuries. You see it, and are at&lt;br /&gt;
once convinced that it is the greatest statue in the&lt;br /&gt;
world, so perfect its type, so faultless its execution.&lt;br /&gt;
For like all works of the highest class, such as the&lt;br /&gt;
Laocoon, the ceiling of the Nistine Chapel, the&lt;br /&gt;
Virgin among the Rocks, its superb qualities at&lt;br /&gt;
once strike the eve, and ever increase in excellence&lt;br /&gt;
with prolonged attention. In order to experience&lt;br /&gt;
these sensations, the original must, of course, be&lt;br /&gt;
examined. No cast of this great statue throughout&lt;br /&gt;
Europe adequately reproduces the marvellous&lt;br /&gt;
modelling of the chest and body, which fashioned&lt;br /&gt;
in marble, delicate as alabaster, seem to throb with&lt;br /&gt;
the life of eternal youth. All the intense vitality&lt;br /&gt;
of Michael Angclo&amp;#039;s figure of Night pulsates&lt;br /&gt;
in the triumphant execution that has here lent&lt;br /&gt;
substantial being to an ideal type of beauty,&lt;br /&gt;
loftier, more perfect, than any portrayed in extant&lt;br /&gt;
representatives of the human form.&lt;br /&gt;
Beautiful, indeed, is this fleet messenger of&lt;br /&gt;
Olympos &mdash; fresh as a white sunbeam in the&lt;br /&gt;
morning, piercing the green and sombre shade of&lt;br /&gt;
the olives, in the philosophic groves of Hellas.&lt;br /&gt;
There is a subtle charm in a youth&amp;#039;s protection of&lt;br /&gt;
a child, a charm born of the ethereal purity and&lt;br /&gt;
idealism which gleam through the clean gold light&lt;br /&gt;
of fairyland. The old Greeks knew this sentiment&lt;br /&gt;
by their delicate instinct, that fathomed the philo-&lt;br /&gt;
sophy of the l&amp;gt;eautiful to its secret depths. Thus&lt;br /&gt;
it is that their most exquisite artist, in his delinea-&lt;br /&gt;
tion of Hermes with that half affectionate, half&lt;br /&gt;
amused smile, as of an elder brother, upon the&lt;br /&gt;
confiding childish Dionvsos, has recorded but one&lt;br /&gt;
instance of the poetic feeling of his luminous&lt;br /&gt;
When lH&amp;#039;holding this treasure, preserved for us&lt;br /&gt;
from the fairest days of Greece, it is impossible not&lt;br /&gt;
to think of the Apollo of Belvedere, which espe-&lt;br /&gt;
cially, in the masterful beauty of workmanship on&lt;br /&gt;
the torso, approaches nearer to this Hermes, than&lt;br /&gt;
any other statue I have ever seen. The arrival of&lt;br /&gt;
the Elgin marbles in our midst with their reve-&lt;br /&gt;
lation of austere idealism and stern execution, led&lt;br /&gt;
archa&amp;#039;ologists to look somewhat contemptuously&lt;br /&gt;
upon the Vatican masterpiece, and to censure&lt;br /&gt;
Winckelmann for his sublime eulogy of its perfec-&lt;br /&gt;
tions. But the discovery of this incomparable&lt;br /&gt;
work bv Praxiteles has proved how inspired was&lt;br /&gt;
the sentiment of the supremely beautiful manifested&lt;br /&gt;
bv that great Father of Archaeology, whose mag-&lt;br /&gt;
nificent imagery and glowing eloquence, arc a&lt;br /&gt;
continual welcome relief to the student, from the&lt;br /&gt;
colourless and prosaic diction of his learned&lt;br /&gt;
successors.&lt;br /&gt;
As I stood in the lonesome plain I pictured to&lt;br /&gt;
myself what that noble spirit Mould see, if he were&lt;br /&gt;
to wander through the ruins of Olympia. We&lt;br /&gt;
read in those volumes of vast information and&lt;br /&gt;
erudition, published by the German Government,&lt;br /&gt;
what modern archaeologists have seen. But Winckel-&lt;br /&gt;
mann would have discovered meanings loftier and&lt;br /&gt;
truer in the fittest sense. With prophetic insight&lt;br /&gt;
into the genius of antiquity he would have read&lt;br /&gt;
the dead features of each monument here, laid&lt;br /&gt;
bare of its shroud of clay ; and his wistful gaze&lt;br /&gt;
would have charmed them to answer his soul.&lt;br /&gt;
From their silent voices would he not have learned&lt;br /&gt;
a mystical tale of this fair deail region? And&lt;br /&gt;
then, breaking into periods of sublime impassioned&lt;br /&gt;
poetry, he would have told of glorious sights, as&lt;br /&gt;
one who himself had witnessed them, and had risen&lt;br /&gt;
from the grave to tell. What a description his might&lt;br /&gt;
have been of the famous Temple of Zeus, that lies&lt;br /&gt;
shivered by a mighty earthquake 011 the pavement&lt;br /&gt;
of the Altis, like a huge vase fallen from its&lt;br /&gt;
pedestal. What interest would he not have given&lt;br /&gt;
to this shrine of the wondrous chryselephantine&lt;br /&gt;
Zeus by Pheidias, about which he has written so&lt;br /&gt;
luminously in his monumental History of Ancient&lt;br /&gt;
Art? How he would have descanted on those&lt;br /&gt;
grand pedimental groups by Alcamenes and&lt;br /&gt;
Paionios, whose sculptures massed in bold outline&lt;br /&gt;
and splendid proportion lent majesty to the archi-&lt;br /&gt;
tecture, as a diadem heightens the dignity of a&lt;br /&gt;
king! What a fascination he would have found&lt;br /&gt;
in the stones of the old Heraion that guarded for&lt;br /&gt;
our delight the Hermes of Praxiteles! How subtle&lt;br /&gt;
woidd have been his appreciation of the colossal&lt;br /&gt;
&amp;quot;Victory &amp;quot; that alights on the earth with such swift&lt;br /&gt;
aerial grace! Then standing in the partially exca-&lt;br /&gt;
vated Stadion, what would have been his emotion,&lt;br /&gt;
as he thought of the beautiful contests that inspired&lt;br /&gt;
the matchless art of Greece!&lt;br /&gt;
These were some of my reflections, as I wandered&lt;br /&gt;
a livelong day among the ruins of a region where&lt;br /&gt;
beings once assembled, and sights were witnessed,&lt;br /&gt;
the fairest our aged world has ever known. The&lt;br /&gt;
genius of the place stirred strange sensations of&lt;br /&gt;
contentment within my heart, such as I have never&lt;br /&gt;
felt in other lands and scenes. For here were&lt;br /&gt;
enacted those deeds that lent soul to my ideal of&lt;br /&gt;
plastic perfection. For this reason, other centres&lt;br /&gt;
of art outside of Greece shine in my imagination&lt;br /&gt;
with a paler interest; nor indeed am I very curious&lt;br /&gt;
to travel more, knowing that I can never discover a&lt;br /&gt;
spot with memories of human beauty so sympathetic,&lt;br /&gt;
and so sublime. And what made the old Greek&lt;br /&gt;
civilisation the most beautiful of all civilisations?&lt;br /&gt;
Was it not their profound love of nature which&lt;br /&gt;
they shrank from distorting, with a sort of religious&lt;br /&gt;
awe? Were not all their works designed in obedi-&lt;br /&gt;
ence to the lessons learned of her? Look at the&lt;br /&gt;
Parthenon of Athens. Does it not rise from the&lt;br /&gt;
living rock as a thing of nature itself? hook at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 115 (#519) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the people&amp;#039;s garments. Are they not absolutely&lt;br /&gt;
subordinate to the natural human form, and thereby&lt;br /&gt;
most lit, most rational? Whereas the costume of&lt;br /&gt;
after ages and modern times, in that it is a dis-&lt;br /&gt;
tortion of nature, is barbarous ami abominable,&lt;br /&gt;
and every whit as grotesque an that of the&lt;br /&gt;
commonest savages who wear rings in their noses,&lt;br /&gt;
and pad their persons in order to create odious,&lt;br /&gt;
lM&amp;#039;cause artificial, excrescences.&lt;br /&gt;
None of the ruins around awake more regretful&lt;br /&gt;
interest than those of the Palaistra, an army of&lt;br /&gt;
pale Ionian columns standing in pathetic stateliness,&lt;br /&gt;
like ghosts of the glorious athletes, who once&lt;br /&gt;
frequented these halls, and with their fair civilisation&lt;br /&gt;
have passed for ever from the world. Here,&lt;br /&gt;
leaning against one of the columns, which doubt-&lt;br /&gt;
less of yore gave support to many a tired youth&lt;br /&gt;
after the toils of the contest, I gazed long and&lt;br /&gt;
earnestly upon the fallen majesty of Olympia. The&lt;br /&gt;
wrath of the white sun which at mid-day had lit&lt;br /&gt;
up the broken architecture like blocks of crystal,&lt;br /&gt;
gradually grew pacified, and over the western hills&lt;br /&gt;
and distant sea the saffron light of a Greek evening&lt;br /&gt;
borne on the fluttering wings of a cool breeze,&lt;br /&gt;
gilded the desolate plain. The genius of the place&lt;br /&gt;
stirred within my soul a host of images,and strange&lt;br /&gt;
emotions of joy and [Miin strove for mastery in my&lt;br /&gt;
heart. I thought of the high deeds that graced these&lt;br /&gt;
sacred precincts, and of the many beautiful beings&lt;br /&gt;
who flourished here awhile and faded&mdash;exquisite&lt;br /&gt;
blossoms that bloomed and fell. I thought of&lt;br /&gt;
each bright fascinating scene here long ago, which&lt;br /&gt;
thrilled with its poetry the beholder for one rare&lt;br /&gt;
moment, and then passed away into the inexorable&lt;br /&gt;
gulf of time, never, never to return. And bitterly&lt;br /&gt;
I thought of this cruel Time, the destroyer of all&lt;br /&gt;
our sweetest impressions on earth.&lt;br /&gt;
Thus haunted with visions of the glorious&lt;br /&gt;
pictures these silent plains had witnessed in the&lt;br /&gt;
past, my mind brooded on the antique life of this&lt;br /&gt;
revered centre of Hellenism, where grew and&lt;br /&gt;
developed that incomparable natural beamy I lane&lt;br /&gt;
ever desired to behold&mdash;in vain. And, as the&lt;br /&gt;
moving shadows, amid fitful gusts of the night,&lt;br /&gt;
spread their dark wings, like angels of death,&lt;br /&gt;
over the valley, forel&amp;gt;odings of ghostly visitations&lt;br /&gt;
filled my imagination, and 1 felt as if transported&lt;br /&gt;
to the golden age of Greece. I gazed at the scene&lt;br /&gt;
before me in wistful contemplation, until gradually&lt;br /&gt;
growing in harmony with its sublime associations,&lt;br /&gt;
I seemed to see the ruins transformed, and the&lt;br /&gt;
glory of Olympia re-arise from the dust of the years.&lt;br /&gt;
Then stood the Temple of Zeus and the Heraion&lt;br /&gt;
once more in antique majesty, and the portico of&lt;br /&gt;
the echo resounded with the footfall of fluttering&lt;br /&gt;
crowds. Impatiently their faces turned towards&lt;br /&gt;
the Sladion, while the variegated and gold-&lt;br /&gt;
embroidered draperies throbbed in the waning&lt;br /&gt;
light like the diamond embers of a log-lire beneath&lt;br /&gt;
the dogs. A joyful shout arose, and from the&lt;br /&gt;
tunnel of the Stadion came forth the competitors&lt;br /&gt;
at the boys&amp;#039; Pentathlon, whose voices, as thev&lt;br /&gt;
talked together, rang like the chiming of silver&lt;br /&gt;
bells. Anon a great concourse of spectators&lt;br /&gt;
appeared overhead, which, opening in twain, made&lt;br /&gt;
way for the youthful victor. He advanced&lt;br /&gt;
dreamily, as one not realising the splendour of his&lt;br /&gt;
achievement which Pindar should immortalise in&lt;br /&gt;
an ode, and slowly descended to the Altis, where,&lt;br /&gt;
when he paused and looked at his garland, I saw&lt;br /&gt;
in him a model of the Praxitelcan Hermes. Then&lt;br /&gt;
white-robed choristers, and youths with festooned&lt;br /&gt;
flutes, and hoary priests formed themselves in&lt;br /&gt;
procession before him, and chanting oriental&lt;br /&gt;
melody they led him towards the Temple of Zeus.&lt;br /&gt;
And as the victor passed the statue of Victory,&lt;br /&gt;
raising the wreath of bay leaves from his golden&lt;br /&gt;
hair, he laid it at her feet, and so passed onward&lt;br /&gt;
to the temple amid the chorus of quivering basses&lt;br /&gt;
and sweet-voiced boys.&lt;br /&gt;
Next, I was surrounded in the Palaistra by&lt;br /&gt;
athletes, who practised for the contest of the&lt;br /&gt;
coming day. Presently one of them came&lt;br /&gt;
and leant against a pillar near to where I was&lt;br /&gt;
standing. Wearily, with the distant gaze of a&lt;br /&gt;
figure in a sepulchral relief, he lookeil towards the&lt;br /&gt;
temple that sheltered the victor, and as he laid his&lt;br /&gt;
cheek upon the cool marble, his features glowed&lt;br /&gt;
with pale transparency, like the cameo of a god. I&lt;br /&gt;
watched him and knew the sorrow that lav on his&lt;br /&gt;
heart. I read in those sad features the soaring&lt;br /&gt;
ambition of youth, that builds for itself a palace in&lt;br /&gt;
a world of phantasm, and is ever thwarted, and&lt;br /&gt;
vexed, and harassed in the life men call realitv.&lt;br /&gt;
I saw how that one passion had mastered him and&lt;br /&gt;
withered all faculty for pleasure; how the sight of&lt;br /&gt;
this lieautiful ceremony caused him only a keener&lt;br /&gt;
pain. And sorrowful at the thought that so bright&lt;br /&gt;
a season as boyhood should thus be changed to&lt;br /&gt;
bitterness and gloom, I looked with pity upon this&lt;br /&gt;
youthful toiler, and sighed because of the lot of&lt;br /&gt;
them that nourish the sublime aspirations of life.&lt;br /&gt;
A rough hand on my shoulder shattered this fair&lt;br /&gt;
picture of Olympia.&lt;br /&gt;
Then I understood I must have slumbered after&lt;br /&gt;
the heat and fatigue of exploring the ruins, when I&lt;br /&gt;
saw beside me my guide, who announced that the&lt;br /&gt;
sun had already set and that now the vallev, as if&lt;br /&gt;
to defend itself from the encroachments of modern&lt;br /&gt;
man, exhaled a cold and pestilential dew. With&lt;br /&gt;
a last regretful look I returned to my carriage, and&lt;br /&gt;
was borne away swiftly through the gathering&lt;br /&gt;
shades of night. And as I watched the purple&lt;br /&gt;
silhouette of the hills against the yellow sky, and&lt;br /&gt;
breathed the damp air of twilight, I drew my cloak&lt;br /&gt;
closer around me with a chill sense of loneliness,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 116 (#520) ############################################&lt;br /&gt;
&lt;br /&gt;
ii6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
for I knew that the man who yearns for the ideal&lt;br /&gt;
of other ages, while lie still walks among his con-&lt;br /&gt;
temporaries, yet breathes a rarer atmosphere, and&lt;br /&gt;
dwells in a far-off world.&lt;br /&gt;
Edward Maktyn.&lt;br /&gt;
SOME EARLY EXPERIENCES.&lt;br /&gt;
MY passage into the world of literature was&lt;br /&gt;
made through the gateway afforded by the&lt;br /&gt;
&amp;quot;system of prize competitions&mdash;a humble&lt;br /&gt;
enough entrance in very truth, but one which lias&lt;br /&gt;
undoubtedly been the means of bringing to the&lt;br /&gt;
front several very good men of letters, whose talents&lt;br /&gt;
might otherwise have been lost to humanity.&lt;br /&gt;
My feelings, on seeing my first essay in print,&lt;br /&gt;
can be better imagined than described. To those&lt;br /&gt;
of mv readers who have gone through that ex-&lt;br /&gt;
perience, it were useless to waste words in the&lt;br /&gt;
telling of so familiar a story. Needless to say, I&lt;br /&gt;
passed through all the phases of thought usual on&lt;br /&gt;
such an occasion, from the hilarious exultation of&lt;br /&gt;
the first sight right down to the dee]) disgust and&lt;br /&gt;
awful despair felt when, in a more critical moment,&lt;br /&gt;
my work appeared sadly incomplete and unsatis-&lt;br /&gt;
factory.&lt;br /&gt;
Nevertheless, my ambition had now been fired,&lt;br /&gt;
and, come failure or success, I speedily found&lt;br /&gt;
myself launched upon the stormy seas of life in the&lt;br /&gt;
vessel of literary endeavour, struggling for some&lt;br /&gt;
foothold whereon I might take my stand with&lt;br /&gt;
others around me wTho were winning fame and&lt;br /&gt;
fortune by their daring exploits. The only special&lt;br /&gt;
qualification which I possessed for the work set.&lt;br /&gt;
before me was some slight ability in the art of&lt;br /&gt;
composition, coupled perhaps with a fair share of&lt;br /&gt;
common sense.&lt;br /&gt;
When I set out on my literary career, some two&lt;br /&gt;
years ago, I fortunately (lid not do as many others&lt;br /&gt;
before me had done, give up the employment&lt;br /&gt;
which had hitherto been my principal means of&lt;br /&gt;
subsistence, and expect that, by writing an article&lt;br /&gt;
about once a week, the remuneration received&lt;br /&gt;
would at once render me perfectly independent of&lt;br /&gt;
any other support; on the contrary, I knew a little,&lt;br /&gt;
to begin with, about the great difficulties which&lt;br /&gt;
had to be contended with, and the very slight&lt;br /&gt;
acknowledgment which seems the usual remuneration&lt;br /&gt;
for the work of unknown authors. Consequently,&lt;br /&gt;
I very wisely decided to retain my ordinary occu-&lt;br /&gt;
pation, and, for a while at least, to spend only mv&lt;br /&gt;
leisure time in the new pursuit which I had&lt;br /&gt;
taken up.&lt;br /&gt;
One other thing I feel it my duty to mention&lt;br /&gt;
before proceeding further: From the very begin-&lt;br /&gt;
ning of mv acquaintanceship with &amp;quot; the black art,&amp;quot;&lt;br /&gt;
I determined that, amateur though I was in otic&lt;br /&gt;
sense, I should never pay for the insertion of my&lt;br /&gt;
contributions in any magazine, but would demand&lt;br /&gt;
to be remunerated for my work in every possible&lt;br /&gt;
instance. The adoption of this policy may be&lt;br /&gt;
somewhat unusual, and it will probably be thought&lt;br /&gt;
by some that such a course of action as I had&lt;br /&gt;
decided on was essentially grasping, and, therefore,&lt;br /&gt;
extremely foolish for a mere tyro to take. I feel&lt;br /&gt;
sure, however, that this resolution is one which&lt;br /&gt;
should be taken by every literary aspirant to-day;&lt;br /&gt;
and I trust to be able to prove in this paper the&lt;br /&gt;
wisdom of mv decision, and the justice of the&lt;br /&gt;
principle upon which it is based.&lt;br /&gt;
During the first six months, I wrote about a&lt;br /&gt;
dozen articles and short stories, and sent them on&lt;br /&gt;
the rounds. I met with better success than I&lt;br /&gt;
expected; for, by the end of the time .specified,&lt;br /&gt;
seven of my contributions had been accepted,&lt;br /&gt;
published, and paid for. Six of these were ac-&lt;br /&gt;
cepted by the first editors to whom they were&lt;br /&gt;
submitted; the seventh was only out twice; but&lt;br /&gt;
the rest of my dozen were not so eagerly snapped&lt;br /&gt;
up, some of them being on my hands still.&lt;br /&gt;
The next 12 months I did very badly indeed, as&lt;br /&gt;
my leisure time was very fully occupied with other&lt;br /&gt;
matters than the pursuit of my literary inclinations.&lt;br /&gt;
I certainly wrote some eight or nine papers on&lt;br /&gt;
various social and political topics, but only three&lt;br /&gt;
were destined to secure editorial approbation that&lt;br /&gt;
year. The others were declined in various fashions;&lt;br /&gt;
sometimes being returned without comment of any&lt;br /&gt;
kind, sometimes with a curt note, &amp;quot;Declined with&lt;br /&gt;
thanks,&amp;quot; written or printed on an accompanying&lt;br /&gt;
slip; and now and again with a letter or memo-&lt;br /&gt;
randum containing either a short criticism, a word&lt;br /&gt;
of praise, or a half promise for future offers of&lt;br /&gt;
work.&lt;br /&gt;
In October 1890 I received a circular letter pur-&lt;br /&gt;
porting to lie from the sub-editor of a periodical&lt;br /&gt;
which I will call the Literary Mantrap. The receipt&lt;br /&gt;
of this communication was my first direct contact&lt;br /&gt;
with advertising publishers. I had heard a little&lt;br /&gt;
about them and their curious methods before, but&lt;br /&gt;
I now had the pleasure of a more intimate acquaint-&lt;br /&gt;
ance. The letter before me announced that this&lt;br /&gt;
Review had been established with a view to&lt;br /&gt;
obviating the difficulty experienced by unknown&lt;br /&gt;
writers in obtaining publicity for their literary&lt;br /&gt;
efforts, and proceeded to further explain the reason&lt;br /&gt;
for its existence as follows: &amp;quot;It is common know-&lt;br /&gt;
ledge that much undeveloped talent exists anioug&lt;br /&gt;
the English-speaking Dices&mdash;young writers of&lt;br /&gt;
talent, and possibly genius, do not find the ordinary&lt;br /&gt;
and more noted periodicals hospitable to them at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 117 (#521) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
li7&lt;br /&gt;
the commencement of their career, and the best&lt;br /&gt;
publishing firms arc extremely shy in entertaining&lt;br /&gt;
proposals emanating from new comers. Hence the&lt;br /&gt;
urgent necessity for the establishing of a Review&mdash;&lt;br /&gt;
for the purpose of bringing to public notice the&lt;br /&gt;
productions of unknown writers&mdash;conducted upon&lt;br /&gt;
the only honest and possible basis, viz., co-opera-&lt;br /&gt;
tion.&amp;quot; The &amp;quot;co-operation&amp;quot; referred to is then&lt;br /&gt;
unblushingly described in manner following, that is&lt;br /&gt;
to say: &amp;quot;All authors whose contributions are accepted&lt;br /&gt;
for publication are, therefore, required to pay a sum,&lt;br /&gt;
]&amp;gt;ro rata to the amount of matter inserted, to cover&lt;br /&gt;
the cost of printing, paper, editorial revision, &amp;amp;c.&lt;br /&gt;
As a set-off against this charge, 5o per cant, will be&lt;br /&gt;
allowed on all copies of the Review sold by the&lt;br /&gt;
respective authors, i.e., for every 5o copies sold&lt;br /&gt;
through his agency, 25s. goes to the author.&amp;quot; Now,&lt;br /&gt;
prettily worded though this communication was,&lt;br /&gt;
and notwithstanding the fact that it contained&lt;br /&gt;
much of consolation, and smacked of hope for those&lt;br /&gt;
whose talents were yet unappreciated by the reading&lt;br /&gt;
public, I considered its propositions &amp;quot;a bit thick,&amp;quot;&lt;br /&gt;
ami, consequently, declined to be made &amp;quot; fish&amp;quot; for&lt;br /&gt;
this &amp;quot;net.&amp;quot; Had the hook not been so plainly&lt;br /&gt;
visible, and the bait been less clumsily arranged, I&lt;br /&gt;
might have very speedily been properly dressed for&lt;br /&gt;
the carving-knife of the literary chef who headed&lt;br /&gt;
the establishment. As matters stood, I was not&lt;br /&gt;
&amp;quot;having any.&amp;quot;&lt;br /&gt;
In December of the same year, a popular weekly&lt;br /&gt;
journal, belonging to what good churchmen call&lt;br /&gt;
&amp;quot;The Down-Grade School,&amp;quot; and which I shall&lt;br /&gt;
name, the Religious Republic, attracted mv&lt;br /&gt;
attention as a likely medium for the publication of&lt;br /&gt;
some of my work. This paper had a sub-title,&lt;br /&gt;
which intimated that it existed for the advance-&lt;br /&gt;
ment of various Christian virtues; so I thought I&lt;br /&gt;
would be all right in the hands of its editor. I&lt;br /&gt;
sent him a short paper without any accompanying&lt;br /&gt;
note, as I did not deem such necessary in this ciisc.&lt;br /&gt;
On looking through the Christmas number of the&lt;br /&gt;
journal-a fortnight later, I found that my essay&lt;br /&gt;
had been utilised as an editorial, and without any&lt;br /&gt;
indication as to its authorship. I made no com-&lt;br /&gt;
plaint on that score at the time, but simply wrote&lt;br /&gt;
stating that 1 was glad to note the acceptance and&lt;br /&gt;
publication of my contribution, and requesting the&lt;br /&gt;
editor to inform me, when he sent me a remittance&lt;br /&gt;
in payment, whether he considered another article&lt;br /&gt;
which I named would be suitable for his columns,&lt;br /&gt;
and if I might submit it for his perusal. I waited&lt;br /&gt;
for a month, but, as no reply or even remittance&lt;br /&gt;
arrived, I wrote again&mdash;this time in terms less&lt;br /&gt;
likely to be misunderstood. Within four days,&lt;br /&gt;
what I considered a very curious reply from the&lt;br /&gt;
editor came to hand. After remarking on the fact&lt;br /&gt;
that I had sent my contribution without indicating&lt;br /&gt;
that I expected remuneration for it, and stating&lt;br /&gt;
that it had, along with hundreds of other communi-&lt;br /&gt;
cations, passed under editorial notice, and been&lt;br /&gt;
approved and printed accordingly, this worthy&lt;br /&gt;
gentleman summed up the case in the following&lt;br /&gt;
terms: &amp;quot;It appears that you immediately wrote&lt;br /&gt;
asking for remuneration, and as to sending other&lt;br /&gt;
contributions. This was regarded as very unusual&lt;br /&gt;
(!), and so your letters were laid aside. My&lt;br /&gt;
personal attention being called to the matter, I&lt;br /&gt;
now wish to say that our rule lias always been to&lt;br /&gt;
pay for matter when payment is arranged for&lt;br /&gt;
previously. When articles are sent without any&lt;br /&gt;
pre-armngement or stipulation, they are used or&lt;br /&gt;
rejected without any regard to remuneration what-&lt;br /&gt;
ever. Most persons who are strangers are willing&lt;br /&gt;
to serve an apprenticeship to our paper before they&lt;br /&gt;
expect remuneration, &amp;amp;c., &amp;amp;c. Trusting that this&lt;br /&gt;
explanation may prove satisfactory, I am, yours&lt;br /&gt;
truly, the Editor.&amp;quot;&lt;br /&gt;
On perusing this hitter, I found two alternative&lt;br /&gt;
courses open to me: either to quietly submit to&lt;br /&gt;
the editor&amp;#039;s decision and thus forego the just&lt;br /&gt;
principle which I had determined should guide me&lt;br /&gt;
in these matters, or to fight the battle out at all&lt;br /&gt;
costs. The adoption of the first course seemed the&lt;br /&gt;
best policy to pursue, as the letter lwfore me&lt;br /&gt;
suggested that if I was willing to work for nothing&lt;br /&gt;
for a short period, arrangements for remuneration&lt;br /&gt;
for future contributions could then be made; but&lt;br /&gt;
I felt that to do this would be to do not only&lt;br /&gt;
myself, but my fellow-craftsmen an injustice, and&lt;br /&gt;
I therefore resolved to throw over policy for&lt;br /&gt;
principle. In my letter in reply, I argued that the&lt;br /&gt;
fact of my not specially indicating that payment&lt;br /&gt;
was expected when sending my MS. did not alter&lt;br /&gt;
the reasonableness or legality of my claim, and&lt;br /&gt;
pointed out that such a specific statement was not&lt;br /&gt;
necessary, as unless it was announced to contri-&lt;br /&gt;
butors that remuneration was not given, a reason-&lt;br /&gt;
able amount was always payable, and was naturally&lt;br /&gt;
expected. I submitted that if it was not intended&lt;br /&gt;
to pay me for my article, it was the editor&amp;#039;s duty to&lt;br /&gt;
inform me |of that fact before such article was&lt;br /&gt;
published; thus giving me an opportunity to&lt;br /&gt;
withdraw it if I thought proper. As matters stood,&lt;br /&gt;
I held that if an article was worth publishing in a&lt;br /&gt;
journal like the Religious Republic, it was also worth&lt;br /&gt;
paying for. I pointed out that the allegation that&lt;br /&gt;
I immediately wrote for remuneration was untrue,&lt;br /&gt;
and that when my article was published I knew&lt;br /&gt;
nothing of the &amp;quot;rules &amp;quot; which guided the editor in&lt;br /&gt;
literary matters, and consequently could not be&lt;br /&gt;
expected to concur in or agree yvith them so far as&lt;br /&gt;
they related to my contribution. In conclusion, I&lt;br /&gt;
asked that the matter might be reconsidered in all&lt;br /&gt;
its bearings.&lt;br /&gt;
I waited for over a fortnight, but no reply came&lt;br /&gt;
to hand. As my claim was evidently being treated&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 118 (#522) ############################################&lt;br /&gt;
&lt;br /&gt;
118&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
with contempt, I then gave the editor notice that,&lt;br /&gt;
unless it was paid within a week, I would proceed&lt;br /&gt;
to extremities. I told him that I was determined&lt;br /&gt;
to light this question if necessary, not because of&lt;br /&gt;
the small amount at stake, but on account of the&lt;br /&gt;
principle involved. I intimated that I had con-&lt;br /&gt;
sulted legal authority, and was advised that be wan&lt;br /&gt;
clearly liable to pay me at the current rate for the&lt;br /&gt;
article which he had utilised, and that his dealing&lt;br /&gt;
with it as owner, without previously informing me&lt;br /&gt;
that he did not intend to pay for it, legailv im-&lt;br /&gt;
plied a promise on his part to pay me its market&lt;br /&gt;
value. I hoped, therefore, that he would settle my&lt;br /&gt;
claim immediately, in order to avoid the disagree-&lt;br /&gt;
able publicity and other unpleasant consequences&lt;br /&gt;
which would inevitably ensue on my taking legal&lt;br /&gt;
proceedings.&lt;br /&gt;
Within the time mentioned the editorial answer&lt;br /&gt;
came to hand, and with it the amount of my claim.&lt;br /&gt;
The editor had evidently found himself in a bad&lt;br /&gt;
place, and his last letter was, from first to last,&lt;br /&gt;
a miserable attempt to extricate himself from his&lt;br /&gt;
difficulties with some show of dignity. He said he&lt;br /&gt;
was not in the. least disturbed by mv threats, and&lt;br /&gt;
thought it would do him good to appear in court&lt;br /&gt;
and say a few words about men like myself who&lt;br /&gt;
wished to secure a hearing before the public, and&lt;br /&gt;
then demanded pay for the insertion of their&lt;br /&gt;
articles! He would like to expose such men to&lt;br /&gt;
the public! However, he had no time for this&lt;br /&gt;
unlovely sort of business, and therefore sent the&lt;br /&gt;
amount asked for in settlement. He intimated&lt;br /&gt;
that the amount sent wa-s more than the article&lt;br /&gt;
was worth, &amp;quot;but,&amp;quot; he went on, &amp;quot;I suppose you&lt;br /&gt;
are hard up and I am sending you this as a matter&lt;br /&gt;
of charity.&amp;quot; (How truly Christ-like !) He con-&lt;br /&gt;
tinued, &amp;quot;Now a word of candid advice. I have&lt;br /&gt;
been connected with the Press for over 3o years,&lt;br /&gt;
and have never had dealing before with such a&lt;br /&gt;
bore. Had you treated the matter in the right&lt;br /&gt;
spirit you might have secured permanent work on&lt;br /&gt;
the lieligioxts Republic at a reasonable remune-&lt;br /&gt;
ration, but (mark how calmly, how deliberately&lt;br /&gt;
the man lies) I am not in the habit&mdash;nor is any&lt;br /&gt;
editor &mdash; of paying contributors for articles until&lt;br /&gt;
they have won their spurs, unless some prior&lt;br /&gt;
arrangement is made. Then follows this charming&lt;br /&gt;
piece of hypocrisy: &amp;quot;I am taking up considerable&lt;br /&gt;
space in the hope that it may do you some good.&lt;br /&gt;
You have some ability, but your love of money&lt;br /&gt;
is the root of your evil.&amp;quot; In conclusion, the editor&lt;br /&gt;
makes another attempt to justify himself, and,&lt;br /&gt;
at the same time, to insult me, and once more&lt;br /&gt;
ho fails ignoniiniously: &amp;quot;I hope you will not&lt;br /&gt;
consider my sending you the money is the result&lt;br /&gt;
of your threats. I simply have a contempt for&lt;br /&gt;
your plea on legal grounds, but I am tired of&lt;br /&gt;
getting letters from you, and suppose you are&lt;br /&gt;
actually in need or you would not take the course&lt;br /&gt;
vou are taking.&amp;quot;&lt;br /&gt;
I have taken the trouble to record the last&lt;br /&gt;
experience very fully, because I now know it to&lt;br /&gt;
be typical of many more. Since the time when&lt;br /&gt;
the case described came before me I have often&lt;br /&gt;
had occasion to remember that publishing is a&lt;br /&gt;
business which is conducted for the sake of prolit&lt;br /&gt;
alone, and that in the pursuit of it men&amp;#039;s con-&lt;br /&gt;
sciences are apt to become very elastic indeed.&lt;br /&gt;
Many a time have I been very forcibly reminded&lt;br /&gt;
that with many publishers the virtues of philan-&lt;br /&gt;
thropy, justice, and even common honesty arc&lt;br /&gt;
practically unknown. I have had dealings with&lt;br /&gt;
several men&mdash;editors as well as publishers&mdash;whose&lt;br /&gt;
ideas of right and wrong had become so hopelessly&lt;br /&gt;
confused that they would actually steal your goods,&lt;br /&gt;
and believe in their inmost hearts that by so doing&lt;br /&gt;
they had done you a great favour. Others, not&lt;br /&gt;
so well versed in the tricks of their trade, satisfy&lt;br /&gt;
their consciences by paying merely a nominal&lt;br /&gt;
acknowledgment for your good services. For some&lt;br /&gt;
time I worked for a magazine which paid me at&lt;br /&gt;
the rate of io#. for articles of from 1,000 to&lt;br /&gt;
l,5oo words. As a proof that they were worth&lt;br /&gt;
much more a reviewer once said of one of them&lt;br /&gt;
that my four columns had arrested his attention&lt;br /&gt;
in a way which even the elaborate criticism of&lt;br /&gt;
a very popular writer had failed to do, while other&lt;br /&gt;
papers would copy or take extracts from my articles&lt;br /&gt;
as they appeared. It is scarcely necessary to say&lt;br /&gt;
that in due time I &amp;quot;struck&amp;quot; for a higher rate of&lt;br /&gt;
remuneration, and, as my reasonable demand was&lt;br /&gt;
refused, I declined to work any longer on the old&lt;br /&gt;
terms.&lt;br /&gt;
I was very much shocked and surprised once at&lt;br /&gt;
the way in which the prize competitions of a&lt;br /&gt;
&amp;quot;Labour &amp;quot; paper were carried on. I hail written&lt;br /&gt;
for information as to whether I might send a cer-&lt;br /&gt;
tain article for the editorial consideration, and also&lt;br /&gt;
as to the remuneration offered for such work. The&lt;br /&gt;
reply I received was to the effect that they did not&lt;br /&gt;
&amp;quot;order&amp;quot; contributions in advance, but I was at&lt;br /&gt;
liberty to start a competition. I found that this&lt;br /&gt;
really meant that my article would be published&lt;br /&gt;
along with many others on the same subject, but&lt;br /&gt;
that only one would be paid for. Of course I&lt;br /&gt;
could not, with a good conscience, work under any&lt;br /&gt;
such conditions, and I therefore declined the offer&lt;br /&gt;
with thanks. In my reply I endeavoured to point&lt;br /&gt;
out to the editor the iniquity of the system which&lt;br /&gt;
he had adopted, and illustrated my argument a.s&lt;br /&gt;
follows: &amp;quot;If I was successful in the competition&lt;br /&gt;
which vou propose, I should feel that I had&lt;br /&gt;
deprived others of their righteous reward; if I was&lt;br /&gt;
defeated, I would know that I had been robbed of&lt;br /&gt;
the fruits of my toil. In conclusion, allow me to&lt;br /&gt;
express my surprise that you&mdash;of all men most&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 119 (#523) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
119&lt;br /&gt;
enthusiastic in the cause of labour, in endeavouring&lt;br /&gt;
to gain for the workers &amp;#039;a fair dav&amp;#039;s wage for a fail-&lt;br /&gt;
day&amp;#039;s work &amp;#039;&mdash;should stoop to such a method of&lt;br /&gt;
filling the pages of your paper.&amp;quot; Unfortunately,&lt;br /&gt;
this direct appeal failed to awaken the editorial&lt;br /&gt;
conscience, and only served to harden his heart.&lt;br /&gt;
He even went so far as to denounce my strictures&lt;br /&gt;
as unjust! I never doubted the honesty of his&lt;br /&gt;
intentions, but&amp;quot; evil is wrought by want of thought&lt;br /&gt;
as well as want of heart.&amp;quot; I still maintain that&lt;br /&gt;
competitions in literature, conducted in the fashion&lt;br /&gt;
referred to, are a direct encouragement of literary&lt;br /&gt;
&amp;quot;blacklegs,&amp;quot; who arc willing to work for nothing,&lt;br /&gt;
and thus take away the bond fide workers&amp;#039;&lt;br /&gt;
livelihood.&lt;br /&gt;
I have yet another instance in proof of the theory&lt;br /&gt;
that editors and publishers are specially subject&lt;br /&gt;
to jH&amp;#039;culiar temptations, which need all a man&amp;#039;s&lt;br /&gt;
respectability and honesty of purpose to overthrow.&lt;br /&gt;
In March of this year I received a note from the&lt;br /&gt;
editor of one of the minor monthly reviews, which&lt;br /&gt;
was attracting the attention of the reading public&lt;br /&gt;
at the time, explaining the terms on which he&lt;br /&gt;
accepted contributions. He intimated that all his&lt;br /&gt;
contributors had agreed to allow their fees to stand&lt;br /&gt;
over until profits began to be realised, and that, if I&lt;br /&gt;
agreed to these terms, he would insert such of my&lt;br /&gt;
contributions as he found suitable for the magazine.&lt;br /&gt;
In reply, I stated my acceptance of the terms men-&lt;br /&gt;
tioned, subject to a satisfactory answer being given&lt;br /&gt;
to the following queries, which, considering the&lt;br /&gt;
vague nature of the proposil, I thought it neces-&lt;br /&gt;
sary to make: &amp;quot;What is the amount which you&lt;br /&gt;
propose to put to the credit of your contributors in&lt;br /&gt;
return for each of their contributions; that is to&lt;br /&gt;
say, what sum will represent the &amp;#039;fee&amp;#039; to which&lt;br /&gt;
you refer, when the magazine begins to pay? Will&lt;br /&gt;
the contributors be paid for their articles in&lt;br /&gt;
the order of publication? How long do you&lt;br /&gt;
think it will be before any profits are realised?&amp;quot;&lt;br /&gt;
The only answer I ever received to these questions&lt;br /&gt;
was of a very significant character: my MS. was&lt;br /&gt;
sent lmck, apparently unread, and without a word&lt;br /&gt;
of comment, by return of post.&lt;br /&gt;
I am, however, very glad to be able to sav, also&lt;br /&gt;
from experience, that all editors are not like those&lt;br /&gt;
whose treatment of their contributors I have just&lt;br /&gt;
deseriU&amp;#039;d. I have treasured up in my memory a&lt;br /&gt;
few instances of most kindly actions on the part of&lt;br /&gt;
editors towards me in my struggle for recognition&lt;br /&gt;
by the reading public. In one case, on the sus-&lt;br /&gt;
pension of a weekly magazine to which I had been&lt;br /&gt;
contributing, the publishers refused to pay the&lt;br /&gt;
contributors a farthing for their work; but the&lt;br /&gt;
editor took up their cause, and, after a great deal&lt;br /&gt;
of trouble, necessitating the employment of a&lt;br /&gt;
solicitor, succeeded in wresting from these sharks&lt;br /&gt;
a portion of their ill-gotten gains, with which he&lt;br /&gt;
settled the righteous claims of those whose labours&lt;br /&gt;
had created the wealth in the first instance.&lt;br /&gt;
Many, too, are the eases in which editors,&lt;br /&gt;
being unable to accept my work, have returned it&lt;br /&gt;
to me as soon as possible, together with a letter&lt;br /&gt;
containing a few words of encouragement, a kindly-&lt;br /&gt;
expressed criticism, or a useful suggestion for&lt;br /&gt;
improvement. Here, for instance, is a letter which&lt;br /&gt;
I received some three or four months ago from&lt;br /&gt;
Mr. Arthur Stannard, who conducts &amp;quot; John Strange&lt;br /&gt;
Winter&amp;#039;s&amp;quot; correspondence in connexion with her&lt;br /&gt;
new venture :&mdash;&amp;quot; The editor has carefully read your&lt;br /&gt;
article, and much regrets that she cannot make use&lt;br /&gt;
of it in Golden Gates. She would like to do&lt;br /&gt;
so (if only because of the beautiful manuscript),&lt;br /&gt;
but the subject is not treated in a way that appeals&lt;br /&gt;
to her sympathies, and it may cause undesirable&lt;br /&gt;
controversy if she puts it in.&amp;quot; This sympathetic&lt;br /&gt;
and kindly treatment has several advantages; it&lt;br /&gt;
quite takes the sting out of the editorial rejection,&lt;br /&gt;
costs nothing, and helps to maintain that feeling of&lt;br /&gt;
interdependence and mutual good will iK&amp;#039;tween&lt;br /&gt;
author and editor which is so essential a feature&lt;br /&gt;
of good magazine work.&lt;br /&gt;
In conclusion, let me say that I trust this faithful&lt;br /&gt;
record of my adventures &amp;quot;on the troubled sea&lt;br /&gt;
of letters&amp;quot; will not lie without its effect. If the&lt;br /&gt;
literary aspirant who reads it is made to think twice&lt;br /&gt;
before launching out on a similar errand; if those&lt;br /&gt;
already embarked will take to heart the hints which&lt;br /&gt;
it contains, and determine to adopt a similar course&lt;br /&gt;
to that which I have pursued; and if I have suc-&lt;br /&gt;
ceeded in pointing out to editors and publishers the&lt;br /&gt;
dangers which beset them on every hand, and they&lt;br /&gt;
resolve to be more rigid in their attitude towards&lt;br /&gt;
amateurs, and more tolerant, more charitable, more&lt;br /&gt;
just towards the true worker, this which I have&lt;br /&gt;
written will not have been written in vain.&lt;br /&gt;
C. E. M.&lt;br /&gt;
&lt;br /&gt;
ENEMIES OP LITERATURE.&lt;br /&gt;
WHO are the enemies of Literature &amp;#039;i Time,&lt;br /&gt;
fire, indifference, ignorance, bigotry, and&lt;br /&gt;
such notorieties as the Caliph Omar, the&lt;br /&gt;
handmaid of John Stuart Mill and of Mr. War-&lt;br /&gt;
burton. The late Mr. Matthew Arnold woidd&lt;br /&gt;
have added Puritanism, Lord Grimthorpe would&lt;br /&gt;
add Popery, and Freethinkers, religion of all&lt;br /&gt;
kinds; while the talented and popular novelist&lt;br /&gt;
Ouida would unhesitatingly write the &amp;quot;Society of&lt;br /&gt;
Authors.&amp;quot; Then; are, of course, Optimists who&lt;br /&gt;
believe tbit the Literary millennium has begun at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 120 (#524) ############################################&lt;br /&gt;
&lt;br /&gt;
120&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
last&mdash;that Puritan orgies in the Bodleian&mdash;mobs&lt;br /&gt;
destroying ducal libraries, Popes burning the&lt;br /&gt;
classics, and reforming Monarchs dispersing&lt;br /&gt;
monastic collections are things of the past.&lt;br /&gt;
Puritanism will, perhaps, exercise the principle of&lt;br /&gt;
selection when it next gets into the Bodleian.&lt;br /&gt;
The people, already prepared by Mr. William Morris,&lt;br /&gt;
when it attacks Althorpe, will only convert it into a&lt;br /&gt;
free lending library or a committee room for the&lt;br /&gt;
Fabian Society, while its quondam owner will supply,&lt;br /&gt;
free of charge, a catalogue. The Pope, instead of&lt;br /&gt;
sending a Jesuit mission to England &amp;quot; to consign to&lt;br /&gt;
the flames all works of heresy,&amp;quot; will giye his emis-&lt;br /&gt;
saries full power to purchase the minute books of&lt;br /&gt;
the Church Association and the works of General&lt;br /&gt;
Booth. He will then be elected an honorary&lt;br /&gt;
member of the S.P.C.K. for his services to our&lt;br /&gt;
national religious literature. Authors and pub-&lt;br /&gt;
lishers will never quarrel about prolits, the former&lt;br /&gt;
will write for nothing and the latter will publish&lt;br /&gt;
for love. Filthy lucre shall no longer stain these&lt;br /&gt;
ancient and honourable professions. It will be&lt;br /&gt;
a question not of half profits but half expenses;&lt;br /&gt;
while Ouida, if she is still spared to us, will supply&lt;br /&gt;
gratis, serial and short stories to all the magazines,&lt;br /&gt;
including the Author. Drowsy governments, who&lt;br /&gt;
arc already awakening to a literary sense, will levy&lt;br /&gt;
a tax on ink to support the profession of letters.&lt;br /&gt;
Those who are murmuring the words of Shelley&lt;br /&gt;
(if they have the time) will murmur still&mdash;■&lt;br /&gt;
&amp;quot;The world&amp;#039;s great age begins anew.&amp;quot;&lt;br /&gt;
Society, of course, must lead the way instead&lt;br /&gt;
of playing baccarat. It will try to answer papers&lt;br /&gt;
on Bowdler&amp;#039;s Shakspere, and on Marlowe, set by&lt;br /&gt;
extended University lecturers.&lt;br /&gt;
All this is, of course, only a hasty peep into the&lt;br /&gt;
future, the pleasant side of the picture, for I confess&lt;br /&gt;
to taking a more gloomy view. I also take the&lt;br /&gt;
vulgar view of literature. I think an author or&lt;br /&gt;
poet has as much right to put a price on his work&lt;br /&gt;
as a painter does on his picture, a lawyer on his&lt;br /&gt;
opinion, a doctor on his diagnosis. Literature is&lt;br /&gt;
a market where bad things and good things are&lt;br /&gt;
sold. There are pickpockets and pirates walking&lt;br /&gt;
round like any other market, and critics are&lt;br /&gt;
strolling in the bazaar. Some are grave, full of&lt;br /&gt;
good advice (a thing we all dislike), others arc gay&lt;br /&gt;
and flippant (we like them, however wrong they&lt;br /&gt;
may be). Then there are those conceited fops&lt;br /&gt;
who go about talking a jargon no man can under-&lt;br /&gt;
stand; they deal in catchwords, and their pens are&lt;br /&gt;
made of slate pencil. Their affected phraseology,&lt;br /&gt;
hybrid epithets, and ridiculous mannerism is mis-&lt;br /&gt;
taken for style, their vulgar personalities for&lt;br /&gt;
scholarly invective. They admire nothing and&lt;br /&gt;
none, and can abuse their friends with little&lt;br /&gt;
compunction, thanking God they arc not as other&lt;br /&gt;
men, Logrollers.&lt;br /&gt;
These are some of the enemies of literature;&lt;br /&gt;
the bastard offspring of Gifford and Christopher&lt;br /&gt;
North. Budding genius, especially when it lakes&lt;br /&gt;
to authorship, is not to be encouraged, and no&lt;br /&gt;
one should l&amp;gt;e scared into admiration of a writer,&lt;br /&gt;
because two or three centuries have praised him;&lt;br /&gt;
but personal abuse of the dead or living, interlarded&lt;br /&gt;
with literary shibboleths, is not criticism, and&lt;br /&gt;
merely degrades a public palate that even relishes&lt;br /&gt;
the aroma of Mr. Pater&amp;#039;s delightful essays. I&lt;br /&gt;
believe that this writer reminds us how short our&lt;br /&gt;
time for intellectual excitement is. Then why should&lt;br /&gt;
we waste this short time in finding out only what&lt;br /&gt;
is indifferent or bad? And the critics of whom I&lt;br /&gt;
speak should remember that it is as ea&laquo;y to be&lt;br /&gt;
funnv over Professor Buskin as over the Bible, and&lt;br /&gt;
that the humour is not of a very fine order in&lt;br /&gt;
consequence.&lt;br /&gt;
A certain section of English people go into a&lt;br /&gt;
far extreme by a kind of stupid conservatism in&lt;br /&gt;
taste. They believe that English literature began&lt;br /&gt;
with Spenser, and ended with Byron ; that Shakes-&lt;br /&gt;
peare never wrote a bad play; that Maeauluy was&lt;br /&gt;
the only English critic by virtue of his judicial&lt;br /&gt;
summing-up of the English language. They will&lt;br /&gt;
give nothing for an idea that was not stale when&lt;br /&gt;
Charles Land) wa.s in his cradle. They read&lt;br /&gt;
nothing more modern than &amp;quot;The Excursion,&amp;quot; and&lt;br /&gt;
try to end all discussions by saying that Pope was&lt;br /&gt;
a greater poet than Shelley. No less dangerous,&lt;br /&gt;
and more numerous, are those who hanker after&lt;br /&gt;
annotated Miltons, and read Shakespeare only&lt;br /&gt;
through the medium of a text-book. They are&lt;br /&gt;
anxious that everyone should go through a &amp;quot; course&lt;br /&gt;
of the Poets,&amp;quot; asking and answering questions on&lt;br /&gt;
Robert Browning, and reducing our writers to&lt;br /&gt;
schoolroom classics. Not content with making&lt;br /&gt;
boys hate Chaucer as much as Csesar, they want to&lt;br /&gt;
spoil Lord Tennyson for them too. Shakespeare&lt;br /&gt;
has been ruined long ago by the Clarendon Press&lt;br /&gt;
Series, and our modern poets, too, must be sacrificed&lt;br /&gt;
to the pedagogic fetish. Mr. Kipling will live to&lt;br /&gt;
see the day when Civil Service candidates may be&lt;br /&gt;
asked to analyse Mrs. Hunksbee&amp;#039;s character, and&lt;br /&gt;
an Extension lecture on the Ethics of Plain Tales as&lt;br /&gt;
applied to the Russian question in India. Tom&lt;br /&gt;
Moore burning the autobiography of Lord Byron&lt;br /&gt;
is a less melancholy event than a number of half-&lt;br /&gt;
educated graduates turning English literature into&lt;br /&gt;
a round game of conundrums.&lt;br /&gt;
In Constantinople, the dogs who scavenge the&lt;br /&gt;
streets become such a nuisance that occasional&lt;br /&gt;
holocausts of those well-intentioned animals are&lt;br /&gt;
necessary. In England the so-called Purity&lt;br /&gt;
societies, who institute proceedings against the&lt;br /&gt;
vendors of Zola are no less harmful. Like the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 121 (#525) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
121&lt;br /&gt;
niun with the muek rake, they draw attention to&lt;br /&gt;
an evil formerly unapparcnt, and literature ia&lt;br /&gt;
practically chained by a false morality, the relic&lt;br /&gt;
of that old Puritanism that purged the Bodleian in&lt;br /&gt;
the 17th Century. The enemy of literature is with&lt;br /&gt;
us always, be he Puritan or Prig.&lt;br /&gt;
&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;O Word of Feab.&amp;quot;&lt;br /&gt;
TN last month&amp;#039;s Author it is noted that a letter&lt;br /&gt;
I from the Secretary of the Society may cause an&lt;br /&gt;
unwilling editor or proprietor to discharge his&lt;br /&gt;
liabilities. In my ca.se even so slight a measure was&lt;br /&gt;
unnecessary, and the mere mention of the name of&lt;br /&gt;
the Society was sufficient. I had three short stories&lt;br /&gt;
accepted by a certain weekly journal, but when I&lt;br /&gt;
suggested remuneration, my letters remained un-&lt;br /&gt;
answered. Finally, I wrote saying that unless I&lt;br /&gt;
received a prompt and satisfactory reply I should&lt;br /&gt;
place the matter in the hands of the Society of&lt;br /&gt;
Authors. It was, clearly, a word to the wise.&lt;br /&gt;
Almost by return of post came a cheque which&mdash;&lt;br /&gt;
had the Society been non-existent&mdash;would have&lt;br /&gt;
been signed somewhere in the Greek Calends.&lt;br /&gt;
Ignotus.&lt;br /&gt;
II.&lt;br /&gt;
Foreign Reprints.&lt;br /&gt;
It may interest our fellow Meml&amp;gt;ers of the&lt;br /&gt;
Society of Authors to learn that the Excise is&lt;br /&gt;
awakening to their interests. On arriving on the&lt;br /&gt;
Cornish coast last week in a small schooner from&lt;br /&gt;
the coast of Spain, the excise officer specially&lt;br /&gt;
inquired after, and searched for, foreign reprints&lt;br /&gt;
of Copyright works. I have reached this country&lt;br /&gt;
by most possible routes, and never before had such&lt;br /&gt;
an examination made. Naturally, therefore, I&lt;br /&gt;
was much gratified, and in reply to inquiries&lt;br /&gt;
I learned that particular directions had been&lt;br /&gt;
recently issued to the officers with regard to such&lt;br /&gt;
works. This is the practical and tangible proof of&lt;br /&gt;
the attention being directed to Copyright since the&lt;br /&gt;
Society of Authors took the matter up with spirit.&lt;br /&gt;
W. Anderson Smith.&lt;br /&gt;
■&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&lt;br /&gt;
MR. Lewis Morris writes to the Times&lt;br /&gt;
as follows :&mdash;&lt;br /&gt;
Tlie paragraph which you copy from the&lt;br /&gt;
Athcnmtm with reference to my ]&amp;gt;oem &amp;quot;A Vision&lt;br /&gt;
of Saints&amp;quot; is only partially correct. The idea of&lt;br /&gt;
doing for the Christian legends and records what&lt;br /&gt;
had been done so often for the mythology of&lt;br /&gt;
ancient Greece occurred to me very soon after the&lt;br /&gt;
publication of the &amp;quot;Epic of Hades,&amp;quot; when the&lt;br /&gt;
legend of St. Christopher appeared in Fraser&amp;#039;s&lt;br /&gt;
Magazine, about 10 years ago, and the other&lt;br /&gt;
stories composing the &amp;quot;Vision of Saints&amp;quot; were&lt;br /&gt;
written subsequently. Last summer, after the&lt;br /&gt;
book was finished, Cardinal Manning most kindly&lt;br /&gt;
suggested that I should write such a book, and I&lt;br /&gt;
was happy to be able to inform him that I had&lt;br /&gt;
already done so.&lt;br /&gt;
The death of Miss Jessie Fothergill is a distinct&lt;br /&gt;
loss to modern literature. Her best novel, &amp;quot;The&lt;br /&gt;
First Violin,&amp;quot; was very good indeed, without having&lt;br /&gt;
any pretensions to first-rate work. She belonged&lt;br /&gt;
to a small class, which seems to be growing, but&lt;br /&gt;
not very rapidly, of those whose work is natural,&lt;br /&gt;
wholesome, and pure, without being strong. It is&lt;br /&gt;
like a school of painters who have at least learned&lt;br /&gt;
to avoid convention, and who try to paint what they&lt;br /&gt;
see, and have acquired a creditable amount of&lt;br /&gt;
dexterity. The Victorian age has, for the first&lt;br /&gt;
time in literature, produced such a school of&lt;br /&gt;
novelists. No one perhaps would read their works&lt;br /&gt;
twice; there is nothing to carry away; there is no&lt;br /&gt;
character to live in the memory; there are no&lt;br /&gt;
wise or witty things to quote; one is never moved&lt;br /&gt;
to tears or laughter; yet their novels are readable,&lt;br /&gt;
interesting, and cleverly constructed. To such a&lt;br /&gt;
school belonged Miss Jessie Fothergill.&lt;br /&gt;
Miss Robina Hardy, a well-known writer of&lt;br /&gt;
stories connected with Scottish life, is dead.&lt;br /&gt;
Miss Mary E. Wilkins&amp;#039;s &amp;quot;New England Nun&amp;quot;&lt;br /&gt;
appears in a second English edition. It is pub-&lt;br /&gt;
lished by Osgood, Mcllvaine, &amp;amp; Co. Very few&lt;br /&gt;
writers have so rapidly stepped to the front as Miss&lt;br /&gt;
Mary Wilkins. Her stories have the great charm of&lt;br /&gt;
sincerity; they are true pictures; they are pathetic&lt;br /&gt;
in their fidelity; and they represent a set of people&lt;br /&gt;
who are not in the least like any we know. It&lt;br /&gt;
remains to lie seen whether she will keep up to&lt;br /&gt;
her present level, and whether she is capable of a&lt;br /&gt;
stronger flight.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 122 (#526) ############################################&lt;br /&gt;
&lt;br /&gt;
I 22&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Messrs. Hutchinson are about to issue Vols. II.&lt;br /&gt;
and III. of &amp;quot;Poets and Poetry of the Century.&amp;quot;&lt;br /&gt;
Among the contributors of critical articles are&lt;br /&gt;
Mr. Austin Dobson, the Hon. Roden Noel, Mr.&lt;br /&gt;
Buxtou Forman, Dr. Garnett, and Mr. Mackenzie&lt;br /&gt;
Bell.&lt;br /&gt;
The Society has sent round for signature a&lt;br /&gt;
Petition to the First Lord of the Admiralty for a&lt;br /&gt;
pension for the widow and the children of James&lt;br /&gt;
Runciman, one of its Members. The Petition was&lt;br /&gt;
suggested by Mr. Ruuciman&amp;#039;s friend, Mr. W. E.&lt;br /&gt;
Henley, editor of the National Observer.&lt;br /&gt;
It is stated that Dr. Ullathorne, late Roman&lt;br /&gt;
Catholic Bishop of Birmingham, has left behind him&lt;br /&gt;
an autobiography. Dr. Ullathorne was chaplain to&lt;br /&gt;
the convict establishment of Sydney during the last&lt;br /&gt;
years of that horrible institution. This should make&lt;br /&gt;
his reminiscences more interesting than those of&lt;br /&gt;
most Catholic priests.&lt;br /&gt;
Everybody ought to read Mr. Howells&amp;#039; little 1kx&amp;gt;1c&lt;br /&gt;
called &amp;quot; Criticism and Fiction &amp;quot;; first, because it. is&lt;br /&gt;
a very clever book, and, secondly, because it illus-&lt;br /&gt;
trates the real weakness in American literature.&lt;br /&gt;
This is shown in the fact that a man of Mr. Howells&amp;#039;&lt;br /&gt;
ability cannot write about literature without con-&lt;br /&gt;
tinually measuring himself and comparing his&lt;br /&gt;
stature with that of our English masters, and&lt;br /&gt;
mis-stating the inches of the latter so as to&lt;br /&gt;
bring himself the nearer. Thackeray&amp;#039;s six feet, for&lt;br /&gt;
instance, must be brought down to five feet five to&lt;br /&gt;
get anywhere near the stature of Howells.&lt;br /&gt;
Mr. Stanley Little contributes an article entitled,&lt;br /&gt;
&amp;quot;The Future of Landscape Art,&amp;quot; to the August&lt;br /&gt;
number of the Nineteenth Century.&lt;br /&gt;
Mr. Arthur Dillon will publish a book of verse&lt;br /&gt;
shortly, which will contain his drama in blank&lt;br /&gt;
verse: &amp;quot;King Cophetua and the Beggar Maiden.&amp;quot;&lt;br /&gt;
Mr. Rennell Rodd has two volumes in the press,&lt;br /&gt;
&amp;quot;The Customs and Lore of Modern Greece,&amp;quot; and a&lt;br /&gt;
volume of poems ul&amp;gt;out Greece, entitled &amp;quot;The Violet&lt;br /&gt;
Crown.&amp;quot; Mr. David Stott is the publisher.&lt;br /&gt;
Mrs. A. Phillips, author of &amp;quot;Benedicta,&amp;quot; &amp;quot; Man&lt;br /&gt;
Proposes,&amp;quot; Ac, will produce early in October a&lt;br /&gt;
romance called &amp;quot;A Rude Awakening.&amp;quot; The&lt;br /&gt;
publishers are Trischler and Co. It is significant&lt;br /&gt;
of recent controversy that the motto chosen for&lt;br /&gt;
the title page is from the verses of Mr. T. L. Harris,&lt;br /&gt;
the poet and &amp;quot;prophet,&amp;quot; with whom Laurence&lt;br /&gt;
Oliphaut&amp;#039;s life was so closely connected.&lt;br /&gt;
All seeming goods that end in self are base:&lt;br /&gt;
Stay thou, O man : then meet God face to face.&lt;br /&gt;
Two men were discussing a book that had just&lt;br /&gt;
been handed to them by the newsboy. First Man:&lt;br /&gt;
&amp;quot;That&amp;#039;s a great l&amp;gt;ook, sir, a masterpiece of&lt;br /&gt;
work.&amp;quot; Second Man: &amp;quot; I wonder how it is&lt;br /&gt;
selling.&amp;quot; First man: &amp;quot;Selling? I never saw&lt;br /&gt;
anything like it. You see I am the publisher, and&lt;br /&gt;
ought to know.&amp;quot; Second Man: &amp;quot;Your informa-&lt;br /&gt;
tion delights me. I am the author.&amp;quot; First Man&lt;br /&gt;
(with fallen countenance): &amp;quot;Well, that is, it hasn&amp;#039;t&lt;br /&gt;
had much of a side yet, hut I think it will have.&lt;br /&gt;
A great deal of risk, you know, getting out this&lt;br /&gt;
sort of book.&amp;quot;&lt;br /&gt;
■+&bull;*&bull;■*&lt;br /&gt;
WOMEN BOOKSELLERS.&lt;br /&gt;
IN New York City there are at least two women&lt;br /&gt;
who deal in second-hand books. They are itin-&lt;br /&gt;
&bull; erants&mdash;peddlers, if you like&mdash;but dealers in&lt;br /&gt;
second-hand books, nevertheless, shrewd and enter-&lt;br /&gt;
prising, with a scent for rarities and bargains as&lt;br /&gt;
keen as that of a Stevens, Philes, Sabin, or any&lt;br /&gt;
modern book-hunter regularly established in&lt;br /&gt;
business.&lt;br /&gt;
They are characters, too, each in her own way.&lt;br /&gt;
The older one&mdash;and the senior in the business, if&lt;br /&gt;
we are not mistaken&mdash;is a typical bookworm, tall,&lt;br /&gt;
spare of build, with a piercing, nervous eye. The&lt;br /&gt;
other is short, stout, and phlegmatic in everything&lt;br /&gt;
excepting the striking of a bargain. Both have&lt;br /&gt;
their headquarters in some second-hand bookstore;&lt;br /&gt;
that is, a place where letters may be addressed to&lt;br /&gt;
them, and where, they leave an occasional parcel;&lt;br /&gt;
but their business is done &amp;quot;out of hand,&amp;quot; if we may-&lt;br /&gt;
use the expression in this connexion. Making&lt;br /&gt;
specialties of certain lines, they keep track of what&lt;br /&gt;
their customers want, and supply them as they pick&lt;br /&gt;
14) bargains and desired volumes. This necessi-&lt;br /&gt;
tates their being on the wing nearly all the time,&lt;br /&gt;
so that they would have very little use for a shop&lt;br /&gt;
of their own. Both realize, a handsome income.&lt;br /&gt;
Then there is another woman who figures as the&lt;br /&gt;
&amp;quot;company&amp;quot; of an anything but insignificant&lt;br /&gt;
second-hand book business in New York, but who&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 123 (#527) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
123&lt;br /&gt;
is really the mainspring of the establishment, if&lt;br /&gt;
buying ami selling the stock, and looking after the&lt;br /&gt;
finances single-handed, may be considered doing&lt;br /&gt;
the business. She has an unerring eye for a mre&lt;br /&gt;
book, and most decidedly &amp;quot; knows beans when the&lt;br /&gt;
bag is opened.&amp;quot; There is still another woman in&lt;br /&gt;
New York City who is making an experiment in&lt;br /&gt;
dealing in old art works. Thus far her efforts&lt;br /&gt;
have met with encouragement if not success; but&lt;br /&gt;
as she is only a beginner we will not yet count her&lt;br /&gt;
as belonging to the ranks.&lt;br /&gt;
In addition to the above, we are safe in saying&lt;br /&gt;
that there are over a dozen women in the United&lt;br /&gt;
States who, while not dealers exclusively in second-&lt;br /&gt;
hand books, deal more or less in them in connexion&lt;br /&gt;
with the book and stationery stores, of which they&lt;br /&gt;
are the sole proprietors.&lt;br /&gt;
We do not feel justified in giving the names of&lt;br /&gt;
the women alluded to, because we have misgivings&lt;br /&gt;
as to how they might take to notoriety thrust upon&lt;br /&gt;
tlieui in this manner. All of them, while eschew-&lt;br /&gt;
ing consideration for themselves on account of their&lt;br /&gt;
sex, are extremely modest, but women nevertheless.&lt;br /&gt;
And women&mdash;well, they sometimes will be women,&lt;br /&gt;
and no one can foresee where it will break out.&lt;br /&gt;
American Paper.&lt;br /&gt;
&bull;&lt;br /&gt;
SOME OP THE INDIGNITIES OF&lt;br /&gt;
LITERATURE.&lt;br /&gt;
IT is observable that in all these points we are&lt;br /&gt;
becoming a little more candid, and in this&lt;br /&gt;
respect our country is beginning to take the&lt;br /&gt;
lead. Our leading journals, for instance, are learn-&lt;br /&gt;
ing to criticise frankly the works of their own contri-&lt;br /&gt;
butors, a thing formerly unknown in America, as&lt;br /&gt;
it still seems to be in Europe. This helps greatly&lt;br /&gt;
to keep up the dignity of the literary profession,&lt;br /&gt;
though not always the felicity of the individual&lt;br /&gt;
author. The greatest indignity which he and his&lt;br /&gt;
vocation have now to suffer, lies in the constant&lt;br /&gt;
assumption, even by otherwise well-informed&lt;br /&gt;
people, that it is a profession of tricks and adver-&lt;br /&gt;
tising devices, and that the main object of the&lt;br /&gt;
author is not to do good work, but to keep himself&lt;br /&gt;
as much as possible l&amp;gt;efore the public. The&lt;br /&gt;
author receives, not merely an annoyance, but a&lt;br /&gt;
distinct indignity when it is assumed by enter-&lt;br /&gt;
prising publishers that he is willing to pay money&lt;br /&gt;
to have his picture appear in their forthcoming&lt;br /&gt;
work; to buy a l&amp;gt;ook he does not want, liecause&lt;br /&gt;
his name occurs in it; to supply a new biography&lt;br /&gt;
of himself for each new cyclopaxlia, as if the old&lt;br /&gt;
facts were not sufficient, and the public wished&lt;br /&gt;
him this time to select a new birthday and birth-&lt;br /&gt;
place for this publication only; to furnish particulars&lt;br /&gt;
as to his height, weight, and the colour of his&lt;br /&gt;
hair, with the same particulars as to his wife,&lt;br /&gt;
children, and grandparents. These discourtesies&lt;br /&gt;
would not be so bad, were they not based obviously&lt;br /&gt;
on the assumption that all these requests are a&lt;br /&gt;
favour to the author himself, and the carrying&lt;br /&gt;
out of his most cherished desire. It is hard&lt;br /&gt;
enough to keep one&amp;#039;s privacy, amid the publicity of&lt;br /&gt;
our modern life; but it is still harder to have&lt;br /&gt;
all preference for privacy dismissed as a base&lt;br /&gt;
hyprocrisy. It may happen at last that as some one&lt;br /&gt;
felicitously defined &amp;quot;society people&amp;quot; as including&lt;br /&gt;
only those whose names one never sees in the&lt;br /&gt;
&amp;quot;society columns,&amp;quot; so we may at some future day.&lt;br /&gt;
limit the department of celebrated authors to those&lt;br /&gt;
of whose personality we know almost as little as if&lt;br /&gt;
they had written the Letters of Junius.&lt;br /&gt;
New York Independent.&lt;br /&gt;
&lt;br /&gt;
PARISIANS AND THEIR FICTION.&lt;br /&gt;
PARISIANS&mdash;if we are to judge from some&lt;br /&gt;
statistics published&mdash;do not take so kindly at&lt;br /&gt;
present to fiction in book form. Formerly the&lt;br /&gt;
yellow-covered novel, which costs usually about half-&lt;br /&gt;
a-erown, or a little more when just issued, was to l&amp;gt;e&lt;br /&gt;
seen on every table, and in the hands of numerous&lt;br /&gt;
travellers by boat, rail, or car. There is now, how-&lt;br /&gt;
ever, a crisis threatened in the lx&amp;gt;ok trade, and novels&lt;br /&gt;
are at a considerable discount. It is estimated that&lt;br /&gt;
there are from fifteen to twenty popular authors,&lt;br /&gt;
whose books fulfil the requirements of the pub-&lt;br /&gt;
lishers. To attain this end, at least 3o,ooo copies&lt;br /&gt;
of a work must be sold. Zola and a few others&lt;br /&gt;
reach this point easily, but it has happened lately&lt;br /&gt;
that one of the most celebrated of the latter-day&lt;br /&gt;
fictionists had the misfortune to find that 40,000&lt;br /&gt;
copies of his last production were returned to the&lt;br /&gt;
publishers by the Maison Hachette, which has&lt;br /&gt;
the monopoly of railway bookstalls. It is stated,&lt;br /&gt;
furthermore, that one publisher in Paris has on&lt;br /&gt;
hand three millions of volumes which he cannot&lt;br /&gt;
sell. The fact is, that the authors themselves are&lt;br /&gt;
to blame partly for this threatened crisis in the&lt;br /&gt;
book trade by allowing their works to appear in&lt;br /&gt;
serial form in newspapers and reviews before linal&lt;br /&gt;
publication. People read feuilletons as eagerly as&lt;br /&gt;
ever in France, and, what is more they cut them&lt;br /&gt;
out and sew them together, so as to avoid having to&lt;br /&gt;
buy the stories eventually in book form.&lt;br /&gt;
Pall Mall Gazette.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 124 (#528) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
NIGHT-TEMPEST.&lt;br /&gt;
Wild night of mists and driving flakes of foam!&lt;br /&gt;
The south-west Tyrant of the Deep unbound&lt;br /&gt;
Rendcth thy breast; with grim discordant sound&lt;br /&gt;
Piles up the mountainous waters, till thy home&lt;br /&gt;
(Sands, rocks, and caverns where I love to roam)&lt;br /&gt;
Seems held by demon voices, which resound&lt;br /&gt;
From crag to crag, from cliff to cliff, and bound&lt;br /&gt;
Afar once more across the waste of foam.&lt;br /&gt;
Storm-ruled and cruel is thy voice, O Night;&lt;br /&gt;
The breakers boom on yonder sea-girt rock&lt;br /&gt;
And dark thy mantle hides the sight of Death:&lt;br /&gt;
From thy black depths, O Night, the tempest&amp;#039;s&lt;br /&gt;
breath&lt;br /&gt;
Bears wail of souls and one long quivering shock:&lt;br /&gt;
And onlv thou hast seen, O cruel Night!&lt;br /&gt;
* JO&lt;br /&gt;
Thomas Folliott.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Brook, A. The Creed of the Christian Church.&lt;br /&gt;
Mowbray. 2S.&lt;br /&gt;
Canning, A. S. G. Thoughts on Religious History.&lt;br /&gt;
Eden, Remington, &amp;amp; Co. 5s.&lt;br /&gt;
Dix, M. The Authority of the Church. W. Gardner.&lt;br /&gt;
2.V. 6(/.&lt;br /&gt;
Hamilton, Kkv. W. F. Words of Peace, Sermons,&lt;br /&gt;
edited by Kcv. J. A. Alloway, 8vo. \V. H. Allen&lt;br /&gt;
&amp;amp; Co. 7&raquo;. 6d.&lt;br /&gt;
Nye, G. H. F. The Story of the Church of England.&lt;br /&gt;
Illustrated. Fifth Edition. Griffith, Farran. Cloth,&lt;br /&gt;
is.&lt;br /&gt;
Owen, J. W. Common Salvation of Our Lord. I&amp;#039;etherick.&lt;br /&gt;
5s.&lt;br /&gt;
Singer, Rev. S. The Authorized Daily Prayer Hook of&lt;br /&gt;
the United Hebrew Congregations of the British&lt;br /&gt;
Empire. With a new Translation by the. Published&lt;br /&gt;
under the Sanction of the Chief Kubhi. Second&lt;br /&gt;
Edition, carefully revised. Wertheimer Lea, Circus&lt;br /&gt;
dace, London Wall.&lt;br /&gt;
Soden, J. J. Six Sermons on the Apostles&amp;#039; Creed.&lt;br /&gt;
Skeffington. is. 6rf.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Baigent, F. J. The Crondal Records : a Collection of&lt;br /&gt;
Records and Documents relating to the Hundred and&lt;br /&gt;
Manor of Crondal, in the county of Southampton.&lt;br /&gt;
Part [., Historical and Manorial. Simpkin, Stationers&amp;#039;&lt;br /&gt;
Hall Court.&lt;br /&gt;
Brett (Robert) of Stoke Newington, his Life and&lt;br /&gt;
Work. By T. W. Belcher. Cheaper Edition, Cr. 8vo.&lt;br /&gt;
3.&laquo;. 6//., cloth.&lt;br /&gt;
Home, David Milne. Biographical Sketch, by his&lt;br /&gt;
Daughter, G. M. H. Cr. 8vo. 3s. 6d., cloth.&lt;br /&gt;
Johnson, Samuel. Lives of the English Poets (Waller,&lt;br /&gt;
Milton, and Cowley). Caswell&amp;#039;s National Librarv.&lt;br /&gt;
Cloth, 6d.&lt;br /&gt;
Leadman, A. D. H. Prcclia Ehoracensia: Battles fought&lt;br /&gt;
in Yorkshire treated historically and topographically.&lt;br /&gt;
Bradbury and Agnew.&lt;br /&gt;
MunCkbb, Franz. Richard Wagner: a Sketch of his&lt;br /&gt;
Life and Works. Translated from the German by&lt;br /&gt;
D. Landman, revised by the Author. Illustrations by&lt;br /&gt;
Heinrich Nisle. Williams and Norgate. 14, Henrietta&lt;br /&gt;
Street, Covent Garden. 2.1.&lt;br /&gt;
Newman, Cardinal. Historical Sketches. New Edition.&lt;br /&gt;
3 vols. Longmans. 3s. 6d. a vol.&lt;br /&gt;
Ooilvie, William. Birthright in Land. With Biographical&lt;br /&gt;
Notes by D. C. Macdonald. Kegan Paul.&lt;br /&gt;
Saint Amand, J. D. Marie Louise and the Invasion&lt;br /&gt;
of 1814. Translated by Thomas Serjeant Perry.&lt;br /&gt;
Hutchinson and Co., 2S, Paternoster Square. 5s.&lt;br /&gt;
Seaforth A. Nelson. The last Great Naval War: An&lt;br /&gt;
Historical Retrospect. Cassell. 2*.&lt;br /&gt;
Wagner, R. A Sketch of his Life and Works. By F.&lt;br /&gt;
Muncker. Translated by 1). Landman. Williams&lt;br /&gt;
and Norgate. 2s.&lt;br /&gt;
Educational.&lt;br /&gt;
Baumann, Otto. French Sentences and Syntax. Fourth&lt;br /&gt;
Edition. Crosby Lockwood.&lt;br /&gt;
Bert, Paul. First Year of Scientific Knowledge. Trans-&lt;br /&gt;
lated by .Tosephina Clayton (Mine. Paul Bert). Tenth&lt;br /&gt;
Edition. Relfe, Charterhouse Buildings.&lt;br /&gt;
C&amp;#039;attanes, G. Italian Header. Nutt. 3s.&lt;br /&gt;
Chamiiers, G. F. Pictorial Astronomy for General&lt;br /&gt;
Readers. Whittakcr. 4s.&lt;br /&gt;
Ciiisholm, G. G., and Liebmann, Prof. Longmans&amp;#039;&lt;br /&gt;
School Geography for South Africa. Longmans.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Flugel, Dr. Felix. A Universal English-German and&lt;br /&gt;
German-English Dictionary. Vol. I. Part 9. Asher,&lt;br /&gt;
Bedford Street, W.C. Paper covers, 3s.&lt;br /&gt;
Hartley, C. S. Natural Elocution. Pitman, Paternoster&lt;br /&gt;
Row. Paper covers, 6d.&lt;br /&gt;
Hewitt, W. Elementary Science Lessons. Standard III.&lt;br /&gt;
Longmans, is. bd.&lt;br /&gt;
Mill, John Stuart. A System of Logic and Principles&lt;br /&gt;
of Political Economy. People&amp;#039;s Edition. Longmans.&lt;br /&gt;
3s. 6&amp;lt;i. each.&lt;br /&gt;
Report of a Visit to several Continental and&lt;br /&gt;
English Technical Schools. By a Deputation&lt;br /&gt;
from the Manchester Technical School in June and&lt;br /&gt;
July, 1891, with Plans. Hey wood, Paternoster&lt;br /&gt;
Buildings. Paper covers, is.&lt;br /&gt;
Sidowick, Henry. The Elements of Politics. Mac-&lt;br /&gt;
millan. 14s.&lt;br /&gt;
M Waterdale.&amp;quot; Fresh Light on the Dynamic Action and&lt;br /&gt;
Ponderosity of Matter. Chapman and Hall.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 125 (#529) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
General Literature.&lt;br /&gt;
Adams, P. Strong as Death, liemingtou. is.&lt;br /&gt;
Ainsworth, W. H. Windsor Castle. Pocket vols.&lt;br /&gt;
Koutledge. is. 6d.&lt;br /&gt;
Andukws, William. Old Church Lore. Simpkin. 6s.&lt;br /&gt;
Berlyn, Mrs. Alfred (Vera). Vera in Poppy-Land.&lt;br /&gt;
Illustrated by W. W. liussell. Jarrold, Paternoster&lt;br /&gt;
Buildings, is. 6d.&lt;br /&gt;
Bigelow, J. Principles of Strategy, &amp;amp;c. Folio. Unwin.&lt;br /&gt;
in.&lt;br /&gt;
Boldrewood, R. A Sydney Side Saxon. Crown 8vo.&lt;br /&gt;
Macmillau. 3s. 6d.&lt;br /&gt;
Booth, B. Prom Ocean to Ocean, &amp;amp;c. 8vo. Salvation&lt;br /&gt;
Army. 3s. 6d.&lt;br /&gt;
Broughton, K. Alas: a Novel. Bentley. 6s.&lt;br /&gt;
Campbell, Sir Gilbert. A Fair Freelance: a Story.&lt;br /&gt;
Koutledge.&lt;br /&gt;
Campbell, J. G. Waifs and Strays of Celtic Tradition.&lt;br /&gt;
Nutt. ios. 6d.&lt;br /&gt;
Carr, Mr. Comyns. Buried in the Breakers, or Paul&lt;br /&gt;
Crew&amp;#039;s Story. Stott, Oxford Street. Paper covers,&lt;br /&gt;
is.&lt;br /&gt;
The Confessions of Vivian Carhuthers: A Tale of&lt;br /&gt;
Hypnotism. Sutton Drowley, Ludgate Hill. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Cook, W. The Horse: its Keep, &amp;amp;c. Crown 8vo.&lt;br /&gt;
Simpkin. is. 6d.&lt;br /&gt;
Cotes, V. C. Two Girls in a Burge. Crown 8vo. Chatto&lt;br /&gt;
and Windus. 3s. 6d.&lt;br /&gt;
Crawford, F. M. The Witch of Prague. 3 vols. Mac-&lt;br /&gt;
millau. 3is. M.&lt;br /&gt;
Cunningham, W., D.I). The Path towards Knowledge:&lt;br /&gt;
Discourses on some Difficulties of the Day. Methuen&lt;br /&gt;
and Co., 18, Bury Street, W.C.&lt;br /&gt;
Dickens, C. Bleak House. Pictorial Edition. Chapman&lt;br /&gt;
and Hall. 3s. 6rf.&lt;br /&gt;
Great Expectations, &amp;amp;c. Chapman and Hall. Ss.&lt;br /&gt;
Doudnev, S. Voices in the Starlight. M. Ward. 3s.&lt;br /&gt;
Downey, E. Captain Lanagan&amp;#039;s Log. Ward and Downev.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Farmer, L. Chronicles of Cardewe Manor. Hutchinson,&lt;br /&gt;
is. 6d.&lt;br /&gt;
Fenn, G. M. Princess Fedor&amp;#039;s Pledge. Hutchinson,&lt;br /&gt;
is. 61/.&lt;br /&gt;
Eli&amp;#039;s Children: the Chronicles of an Unhappy&lt;br /&gt;
Family. Fourth Edition. (Methuen&amp;#039;s Novel Series.)&lt;br /&gt;
Methuen and Co. 3s. 6d.&lt;br /&gt;
Gould, Nat. Double Event. Koutledge. is.&lt;br /&gt;
Graham, S. The Sancliffe Mystery, is.&lt;br /&gt;
Green, E. E. A Holiday in a Manor House. Biggs&lt;br /&gt;
and Co. is. 6d.&lt;br /&gt;
Grey, E. Dr. Sinclair&amp;#039;s Sister. 3 vols. Bemington. 18s.&lt;br /&gt;
Hankinson&amp;#039;s New Descriptive Guide to Bournemouth&lt;br /&gt;
and District. (Special Edition for visit of British&lt;br /&gt;
Medical Association.) Edited by (&amp;#039;live Holland, F.S.A.&lt;br /&gt;
Bournemouth, T. J. Hankinson.&amp;quot; Bound. is.&lt;br /&gt;
Hudson, W. C. The Man with a Thumb. Cassell and Co.&lt;br /&gt;
is.&lt;br /&gt;
Hunuerford, Mus. April&amp;#039;s Lady. F. V. White, is. 6d.&lt;br /&gt;
Jackson, H. K. Stories of Sentiment. E. Stock, is. 6d.&lt;br /&gt;
James, M. H. Bogie Tales of East Anglia. Pawsey and&lt;br /&gt;
Hayes, Ancient House, Ipswich. Paper covers, is.&lt;br /&gt;
Kerr, W. A. Biding for Ladies. Bell. is.&lt;br /&gt;
Kipling, B. Life&amp;#039;s Handicap. Macmillan. 6s.&lt;br /&gt;
Le Ci.erc, M. E. Mistress Beatrice Cope. Hurst and&lt;br /&gt;
Blackett. 3s. 6d.&lt;br /&gt;
Lewin, Walter. Citizenship and its Responsibilities.&lt;br /&gt;
Bertram Dobell, Charing Cross Road, W.C. Paper&lt;br /&gt;
covers, 6d.&lt;br /&gt;
Linton, E. Lynn. An Octave of Friends. Ward and&lt;br /&gt;
Downey. 6s.&lt;br /&gt;
Lyall, Edna. Derrick Vaughau, Novelist. (Methuen&amp;#039;s&lt;br /&gt;
Novel Scries.) 3oth Thousand. Methuen and Co.&lt;br /&gt;
3s. hi.&lt;br /&gt;
Lynch, A. Modern Authors: a Review and a Forecast.&lt;br /&gt;
Ward and Downey.&lt;br /&gt;
Macleod, Norman, D.I)., Works by. The Old Lieutenant&lt;br /&gt;
and his Son&mdash;The Starling&mdash;Reminiscences of a High-&lt;br /&gt;
land Parish&mdash;Character Sketches &mdash;Eastward. Burnet,&lt;br /&gt;
Henrietta Street, Strand.&lt;br /&gt;
Meredith, L. A. Last Series of Bush Friends in Tas-&lt;br /&gt;
mania. Folio. Macmillan. Sis. hi.&lt;br /&gt;
Meredyth, Francis, M.A., &amp;amp;c. &amp;quot;In Base Durance &amp;quot;:&lt;br /&gt;
Reminiscences of a Prison Chaplain, interspersed with&lt;br /&gt;
Episodes. Simpkin, Marshal).&lt;br /&gt;
Molesworth, Mus. The Red Grange. Methuen. ios. 6d.&lt;br /&gt;
Moore, A. W. Folk-lore of the Isle of Man. Nutt.&lt;br /&gt;
is. bd.&lt;br /&gt;
Morris, C. Summer in Kieff. Ward ami Downey,&lt;br /&gt;
ios. 6d.&lt;br /&gt;
Ml-I RUE ad, A. J. My Sister Ruth. R.T.S. is.&lt;br /&gt;
MuRPHY, G. R. The Blakely Tragedy: a Realistic Novel.&lt;br /&gt;
Sutton Drowley. Paper covers, is.&lt;br /&gt;
Murray, J. C. Introduction to Ethics. A. Gardner.&lt;br /&gt;
6s. hi.&lt;br /&gt;
Mcrsell, A. The Climber and the Staff. Longlev.&lt;br /&gt;
14. bd.&lt;br /&gt;
Pain, B. In a Canadian Canoe. Henry, is. 6d.&lt;br /&gt;
Park, A. Sheltered from the Storm, &amp;amp;e. Marshall Bros,&lt;br /&gt;
zs.&lt;br /&gt;
Pollock, W. H., and Ross, A. G. Between the Lines:&lt;br /&gt;
a Story. Methuen. Paper covers, i&raquo;.&lt;br /&gt;
Potter, Thomas. Concrete: its I&amp;#039;se in Building. Vol. 1.&lt;br /&gt;
New edition, entirely re-written. Illustrated, llavp-&lt;br /&gt;
shire Observer Company, Winchester.&lt;br /&gt;
Power, T. B. I go in for Black and White. R.T.S.&lt;br /&gt;
zs.&lt;br /&gt;
Power, J. A. W. Licensed Victuallers&amp;#039;, &amp;amp;c. Manual.&lt;br /&gt;
Webster and Cable, is. 6d.&lt;br /&gt;
&amp;quot;A. Ranker.&amp;quot; Life in the Royal Navy. With illus-&lt;br /&gt;
trations. Chamberlain, Lake Road, Landport, Ports-&lt;br /&gt;
mouth. Paper covers, is.&lt;br /&gt;
The Registers of the Wallon or Strangers&amp;#039; Church&lt;br /&gt;
in Canterbury. Edited by Robert Hovenden, F.S.A.,&lt;br /&gt;
l&amp;#039;art I. Volume V. of the publications of the&lt;br /&gt;
Huguenot Society of London. Printed for the Society&lt;br /&gt;
by C. T. King, Lymington.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 126 (#530) ############################################&lt;br /&gt;
&lt;br /&gt;
1 26&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Rhys, K. Greut Cockney Tragedy. Unwiu. 2s.&lt;br /&gt;
Kouhk, J. J. Story of the Filibusters. Unwin. 5*.&lt;br /&gt;
Ross, I?&amp;#039;. Yorkshire Family Romance. Simpkin. 6s.&lt;br /&gt;
Rowlands, John. Ellen Done; or, The Bride of the&lt;br /&gt;
Ranks of the Dee: a Drama and Soiifrs. Published&lt;br /&gt;
by the Author at Swansea. Paper covers, is. 6&amp;lt;f.&lt;br /&gt;
Saunders, T. Bailky. The Schopenhauer Series. Trans-&lt;br /&gt;
lations from Schopenhauer&amp;#039;s Parerga and Paralipomena.&lt;br /&gt;
Complete in 5 vols., consisting of Religion, a Dialogue,&lt;br /&gt;
and other Essays; The Art of Literature, and second&lt;br /&gt;
editions of The Wisdom of Life, Counsels, and Maxims,&lt;br /&gt;
Studies in Pessimism. Swan Sonnensehein. zs. id.&lt;br /&gt;
a vol.&lt;br /&gt;
Sergeant, A. Caspar Brooke&amp;#039;s Daughter. 3 vols. Hurst&lt;br /&gt;
and Blacken. 3 is. 6d.&lt;br /&gt;
Smart, H. Thrice past the Post. F. V. White, is. 6rf.&lt;br /&gt;
Smedley, Frank E. Frank Fairlegh. With 30 illus-&lt;br /&gt;
trations by George Cruikshank. George Routledge.&lt;br /&gt;
is.&lt;br /&gt;
Snuffling, E. R. How to organise a Cruise in the Broads.&lt;br /&gt;
Jarrold. u, 6d.&lt;br /&gt;
Stk.vf.ns, Thomas. Through Russia on a Mustang.&lt;br /&gt;
Illustrated. Cassell. 7s. 6&amp;lt;/.&lt;br /&gt;
Tacitus. Annals. Books I. and II. A Translation by&lt;br /&gt;
W. F. Masom. Clive. &raquo;&raquo;. 6d.&lt;br /&gt;
TlRKBUCK, W. Dorrie. Crown 8vo. Longmans. 6.&laquo;.&lt;br /&gt;
Tomlin, E. L. Gleanings. Longmans. 4s. 6d.&lt;br /&gt;
Tonklli, P. Retribution: a Corsiean Vendetta Story.&lt;br /&gt;
Crown 8vo. Dean. 6s.&lt;br /&gt;
Tregear, Edward. The Maori-Polynesian Comparative&lt;br /&gt;
Dictionary. E. A. Petherick, Paternoster Row.&lt;br /&gt;
Cloth, 11s. j half calf, 3os.&lt;br /&gt;
Wai.ford, L. B. Mischief of Monica. 3 vols. Longmans.&lt;br /&gt;
25s. id.&lt;br /&gt;
Walkf.k, F. A. Money. Macmillan. 8s. id.&lt;br /&gt;
&mdash;&mdash; The Wages Question. Macmillan. 8s. id.&lt;br /&gt;
Warden, F. A Wilful Ward. nmo. F. V. White.&lt;br /&gt;
as. 6d.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Dickinson, E. Poums. Ss.&lt;br /&gt;
Hopps, J. P. Pilgrim Songs, with other Poems. Williams&lt;br /&gt;
and Norgate. 3s.&lt;br /&gt;
Mosdell, J. The Village of Mortimer, and other Poems.&lt;br /&gt;
Reading Observer Printing Works.&lt;br /&gt;
Scott, Sir Walter. The Vision of Don Roderick and&lt;br /&gt;
The Field of Waterloo. (Companion Poets Series.)&lt;br /&gt;
Edited by Henry Morley, LL.D. George Routledge.&lt;br /&gt;
The Works of Shakspere. Vol. V. of the Mignon&lt;br /&gt;
Edition. Edited by Charles Knight. Illustrations by&lt;br /&gt;
Sir John Gilbert, R.A. Routledge. zs. id.&lt;br /&gt;
Sharp, Amy. Victorian Poets. Methuen. zs. 6d.&lt;br /&gt;
Tennyson, F. Daphne, and other Poems. Macmillan.&lt;br /&gt;
7s. 6d.&lt;br /&gt;
Tolstoy, Count Lyof. The Fruits of Enlightenment: a&lt;br /&gt;
Comedy in Four Acts. Translated from the Russian&lt;br /&gt;
by E. J. Dillon, Ph.D., with Portrait of the Author,&lt;br /&gt;
and an Introductien by Arthur W. Pinero. Heine-&lt;br /&gt;
mann. 5s.&lt;br /&gt;
Watson, William. Wordsworth&amp;#039;s Grave, anil other&lt;br /&gt;
Poems. (Cameo Series.) and Edition. Fisher I&amp;#039;nwin.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Law.&lt;br /&gt;
Herbert, T. A. History of the Law of Prescription in&lt;br /&gt;
England. 8vo. 10s., cloth.&lt;br /&gt;
The Revised Reports: a Republication of such Cases in&lt;br /&gt;
the English Courts of Common I&amp;lt;aw and Equity from&lt;br /&gt;
1785 as are still of Practical Utility. Edited by Sir&lt;br /&gt;
F. Pollock, LL.D., assisted by R. Campbell, of Lin-&lt;br /&gt;
coln&amp;#039;s Inn, nnd O. A. Saunders, of the Inner Temple.&lt;br /&gt;
Vol.1. 1785-1790. Sweet and Maxwell.&lt;br /&gt;
Statutory Trust Investment Guide. Introduction by&lt;br /&gt;
K. Marrack. Compiled by F. C. Mathieson and Sons.&lt;br /&gt;
11 mo. 4 &laquo; . cloth.&lt;br /&gt;
Science.&lt;br /&gt;
Atkinson, Philip, A.M., Ph.D. The Elements of Dynamic&lt;br /&gt;
Electricity and Magnetism. Crosby Loekwood.&lt;br /&gt;
Campbell, H. Differences in the Nervous Organization&lt;br /&gt;
of Man anil Woman. Lewis. i5.&laquo;.&lt;br /&gt;
Courmki.lk, Dr. F. de. Hypnotism. Translated by L.&lt;br /&gt;
Knsor. Routledge. 3s. 6d.&lt;br /&gt;
Everett, J. D. Illustrations of the C. G. S. System of&lt;br /&gt;
Units. Macmillan. 5s.&lt;br /&gt;
Harnvck, A. Study of Elements of the Differential and&lt;br /&gt;
Integral Calculus. Williams and Norgate. lav. 6&amp;lt;i.&lt;br /&gt;
Marine Boilers. A Treatise on the Causes, &amp;amp;c. of their&lt;br /&gt;
Priming. Simpkin. zs. id.&lt;br /&gt;
Sisley, R. Epidemic Influenza, &amp;amp;c. Longmans. 7s. id.&lt;br /&gt;
Skelton, H. J. Economics of Iron and Steel. Biggs. 5s.&lt;br /&gt;
Parliamentary Papers,&lt;br /&gt;
The Customs: 35th Report of the Commissioners for the&lt;br /&gt;
year ended 3ist March 1891, z\d. Report of the&lt;br /&gt;
President of Queen&amp;#039;s College, Cork, for the Academic&lt;br /&gt;
Session, 1890-91, \\d. Comparative Statement of&lt;br /&gt;
Pauperism for May last, i\d. Return as to the&lt;br /&gt;
Middlesex Registrars&amp;#039;Fees during 1890, \d. Copy of&lt;br /&gt;
Board of Inland Revenue Order relating to Excise&lt;br /&gt;
Licenses for Premises not used exclusively for the Sale&lt;br /&gt;
of Intoxicating Liquors, \d. Return as to the Bank-&lt;br /&gt;
ruptcy Estates Treasury Account, \d. Accounts under&lt;br /&gt;
the Dogs Regulation (Ireland) Act, 1865, id. Return&lt;br /&gt;
as to the Commutation of Permanent Charges, ^d.&lt;br /&gt;
Army Medical Department: Report for the year 1889,&lt;br /&gt;
Vol. XXXI., 5s. Report of the Commissioner of&lt;br /&gt;
Police of the Metropolis for 1890, id. Return as to&lt;br /&gt;
Local Taxation License Duties and Penalties, i\d.&lt;br /&gt;
Statement as to Military Savings Banks, $d. Quarterly&lt;br /&gt;
Return of Births, Marriages, and Deaths, printed by&lt;br /&gt;
authority of the Registrar-General, yd. Correspond-&lt;br /&gt;
ence respecting Anti-Foreign Riots in China, 41/.&lt;br /&gt;
Eighth Report by the Board of Trade under sec. 131&lt;br /&gt;
of the Bankruptcy Act, 1883, 6i/. Return as to&lt;br /&gt;
Evictions in Ireland during the second quarter of 1891,&lt;br /&gt;
i.jiA Return of Proceedings under the Irish Land&lt;br /&gt;
Commission during June last, id. The Newfoundland&lt;br /&gt;
French Treaties Act, 1891, 11/. General Report to the&lt;br /&gt;
Board of Trade upon Railway Accidents in the United&lt;br /&gt;
Kingdom during 1890, 3d. Further Papers on the sub-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 127 (#531) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
127&lt;br /&gt;
jcct of Sunday Labour in the Colonies, 2d. Report on the&lt;br /&gt;
Locust Campaign of 1890 in Cyprus, z\d. Correspond-&lt;br /&gt;
ence on the case of the ex-Sultan Abdullah of Perak, yd.&lt;br /&gt;
The Kew Gardens Bulletin of Miscellaneous Information&lt;br /&gt;
for August, 2d. Declaration between the British and&lt;br /&gt;
French Governments as to the disposal of the proceeds&lt;br /&gt;
of wrecks on their respective coasts, jd. Public&lt;br /&gt;
Records in Ireland: The Twenty-third Report of the&lt;br /&gt;
Deputy Keeper. Alexander, Thorn, and Co., Dublin,&lt;br /&gt;
I*, id. Public Records: The Fifty-second Annual&lt;br /&gt;
Report of the Deputy Keeper, is. l^d. Queen&amp;#039;s&lt;br /&gt;
College, Belfast: The Report of the President for the&lt;br /&gt;
Session 1890-91. Alexander, Thorn, and Co., Dublin,&lt;br /&gt;
id. Papers relating to the New Russian Tariff, 2d.&lt;br /&gt;
16th Annual Report of the Public Works Loan Board,&lt;br /&gt;
1890-91, 1 id. 59th Report from the Commissioners&lt;br /&gt;
of Public Works in Ireland, 1890-91, is. 6d. Standing&lt;br /&gt;
Orders of the House of Lords relative to Private Rills&lt;br /&gt;
and Bills for confirming Provisional Orders or Certi-&lt;br /&gt;
ficates, with instructions as to taxation of costs, and&lt;br /&gt;
schedule of fees, io\d. Bankruptcy Estates Account,&lt;br /&gt;
\d. Return as to Trustees Savings&amp;#039; Banks Invest-&lt;br /&gt;
ments, l\d. 46th Annual Report of the Commis-&lt;br /&gt;
sioners of Charitable Donations and Bequests in&lt;br /&gt;
Ireland, 2d. Return as to arrivals of Alien Immi-&lt;br /&gt;
grants during July, Id. Correspondence relating to&lt;br /&gt;
Great Britain and Portugal in East Africa, 1.1. 3d.&lt;br /&gt;
Return as to Railway Servants&amp;#039; Hours of Labour, iorf.&lt;br /&gt;
Report from the Joint Select Committee of the House&lt;br /&gt;
of Lords and the House of Commons on the Railway&lt;br /&gt;
Rates and Charges Provisional Order Bills, with the&lt;br /&gt;
proceedings of the Committee, b\d. Special Report&lt;br /&gt;
from the Select Committee on the London Water&lt;br /&gt;
Commission Bill, with the proceedings of the Com-&lt;br /&gt;
mittee, Minutes of Evidence, Appendix, and Index, 4s.&lt;br /&gt;
Foreign Office, Annual Series: Reports for 1890 on&lt;br /&gt;
the Trade of Nagasaki (Japan), id.; and on the&lt;br /&gt;
trade of Bulgaria, 3d. Report and Special Report&lt;br /&gt;
from the Select Committee on Statute Law Revision&lt;br /&gt;
Bill (H.L.), id. Annual Accounts of the Chamberlain&lt;br /&gt;
of the City of London, id. Life Assurance Com-&lt;br /&gt;
panies, 3s. id. Irish Land Commission: Return&lt;br /&gt;
according to provinces and counties of Judicial Rents,&lt;br /&gt;
yd. First and Second Reports of the Committee&lt;br /&gt;
appointed by the Lord Lieutenant of Ireland on&lt;br /&gt;
Lunacy Administration (Ireland), gd. Annual Report&lt;br /&gt;
of the IiOcal Government Hoard for Ireland, 23. 2d.&lt;br /&gt;
13th Report of the General Prisons Board, Ireland,&lt;br /&gt;
1890-91, 8rf. 29th Report of the Inspector of Re-&lt;br /&gt;
formatory and Industrial Schools of Ireland, 4j&amp;lt;/.&lt;br /&gt;
Return as to Naval Courts-Martial and Summary&lt;br /&gt;
Punishments on Seamen during 1890, 2d. Returns&lt;br /&gt;
relating to the London County Council, 2d. Accounts&lt;br /&gt;
relating to the Imperial Defence Act, 1888, \d. Report&lt;br /&gt;
from the Select Committee of the Lords on the&lt;br /&gt;
Children&amp;#039;s Life Insurance Bill, with proceedings of the&lt;br /&gt;
Committee, and Minutes of Evidence, 4|rf. General&lt;br /&gt;
Reports for 1890 on Education in the Southern (i jrf.)&lt;br /&gt;
and Western (irf.) Divisions of Scotland. Report of&lt;br /&gt;
the Inspectors of Irish Fisheries on the Sea and Inland&lt;br /&gt;
Fisheries of Ireland for 1890, it. yd. Return as to&lt;br /&gt;
Soldiers and Sailors in Civil Employment, \d. Foreign&lt;br /&gt;
Office, Annual Series: Reports on the trade of&lt;br /&gt;
Erzeroum, 1889-90 (Turkey), l\d.\ of the Consular&lt;br /&gt;
District of Gothenburg, 1890 (Sweden), 2d.; on the&lt;br /&gt;
Foreign Trade of the Argentine Republic for the first&lt;br /&gt;
quarter of 1891, \d.; on the Trade of Great Britain with&lt;br /&gt;
Turkey, 1887-90, \d. Reports from Her Majesty&amp;#039;s&lt;br /&gt;
Representatives in Brazil concerning the condition of&lt;br /&gt;
British Immigrants, %\d. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 128 (#532) ############################################&lt;br /&gt;
&lt;br /&gt;
128&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
CONDITIONS OP MEMBERSHIP. WARNINGS.&lt;br /&gt;
The Subscription is One Guinea annually,&lt;br /&gt;
payable on the ist of January of each year.&lt;br /&gt;
The sum of Ten Guineas for life membership&lt;br /&gt;
entitles the subscriber to full meml&amp;gt;ership of the&lt;br /&gt;
Society.&lt;br /&gt;
Authors of published works alone are eligible for&lt;br /&gt;
membership.&lt;br /&gt;
Those who desire to assist the Society but are&lt;br /&gt;
not authors can be admitted as Associates, on the&lt;br /&gt;
same subscription, but can have no voice in the&lt;br /&gt;
government of the Society.&lt;br /&gt;
Cheques and Postal Orders should be crossed&lt;br /&gt;
&amp;quot;The Imperial Bank, Limited, Westminster&lt;br /&gt;
Branch.&amp;quot;&lt;br /&gt;
Those who wish to be proposed as Members may&lt;br /&gt;
send their names at any time to the Secretary at&lt;br /&gt;
the Society&amp;#039;s Offices, when they will receive a form&lt;br /&gt;
for the enumeration of their works. Subscriptions&lt;br /&gt;
entered after the ist of October will cover the next&lt;br /&gt;
year.&lt;br /&gt;
The Secretary may be personally consulted&lt;br /&gt;
between the hours of i p.m. and 5, except on&lt;br /&gt;
Saturdays. It is preferable that an appointment&lt;br /&gt;
should lie made by letter.&lt;br /&gt;
The Author, the Organ of the Society, can be&lt;br /&gt;
procured through all newsagents, or from the&lt;br /&gt;
publishers, Messrs. Eyre and Spottiswoode, East&lt;br /&gt;
Harding Street, Fetter Lane.&lt;br /&gt;
A copy will be sent free to any Member of the&lt;br /&gt;
Society for one twelvemonth, dating from May&lt;br /&gt;
1889. It is hoped, however, that most Members&lt;br /&gt;
will subscribe to the paper. The yearly subscrip-&lt;br /&gt;
tion is 6s. 6d., including postage, which may lie sent&lt;br /&gt;
to the Secretary, 4, Portugal Street, W.C.&lt;br /&gt;
With regard to the reading of MSS. for young&lt;br /&gt;
writers, the fee for this service is One Guinea.&lt;br /&gt;
MSS. will be read and reported upon for others&lt;br /&gt;
t han Members, but Members cannot have their works&lt;br /&gt;
read for nothing.&lt;br /&gt;
In all eases where an opinion is desired upon a&lt;br /&gt;
manuscript, the author should send with it a table&lt;br /&gt;
of contents. A type-written scenario is also of&lt;br /&gt;
very great assistance.&lt;br /&gt;
It must lie understood that such a reader&amp;#039;s report,&lt;br /&gt;
however favourable, does not necessarily assist the&lt;br /&gt;
author towards publication.&lt;br /&gt;
Headers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended In-&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without consultation with the Society, or,&lt;br /&gt;
at least, ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any offer of money for MSS.,&lt;br /&gt;
without previously taking advice of the&lt;br /&gt;
Society.&lt;br /&gt;
(6.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(7.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(8.) Never sign away American or foreign&lt;br /&gt;
rights. Keep them. Refuse to sign an&lt;br /&gt;
agreement containing a clause which&lt;br /&gt;
reserves them for the publisher. If the&lt;br /&gt;
publisher insists, take away the MS. and&lt;br /&gt;
offer it to another.&lt;br /&gt;
(9.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
London: Printed hy Kyuk and SrorriswoODK, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/255/1891-09-01-The-Author-2-4.pdf</td><td>publications, The Author</td></tr><tr><td>256</td><td>https://historysoa.com/items/show/256</td><td>The Author, Vol. 02 Issue 05 (October 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+05+%28October+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 05 (October 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-10-01-The-Author-2-5</td><td></td><td></td><td></td><td></td><td>129&ndash;160</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-10-01&quot;&gt;1891-10-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>5</td><td></td><td></td><td>18911001</td><td>The Author.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT..&lt;br /&gt;
-&lt;br /&gt;
--- -&lt;br /&gt;
Vol. II.&mdash;No. 5.]&lt;br /&gt;
- - -&lt;br /&gt;
OCTOBER 1, 1891.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
-&lt;br /&gt;
-&lt;br /&gt;
-&lt;br /&gt;
--&lt;br /&gt;
:::&lt;br /&gt;
::::&lt;br /&gt;
:::&lt;br /&gt;
::&amp;#039;:&lt;br /&gt;
:::&lt;br /&gt;
PAGE&lt;br /&gt;
. 119&lt;br /&gt;
.. 149&lt;br /&gt;
:::&lt;br /&gt;
1&lt;br /&gt;
Notices&lt;br /&gt;
The Authors&amp;#039; Club.. .&lt;br /&gt;
A Ladies&amp;#039; Club .. .&lt;br /&gt;
To an Author who complained of Neglect..&lt;br /&gt;
My Brother Charles. An Extract&lt;br /&gt;
Pegasus in Harness .. ..&lt;br /&gt;
&ldquo;Authors&amp;#039; Complaints and Publishers&amp;#039; Profits&lt;br /&gt;
Popular Platitudinous Philosophy&lt;br /&gt;
Notes and News ..&lt;br /&gt;
Lists and Risks&lt;br /&gt;
From America&lt;br /&gt;
Reviewers and Reviews ..&lt;br /&gt;
Magazines and Contributions ...&lt;br /&gt;
Commission Books&lt;br /&gt;
138&lt;br /&gt;
::::::::::::::&lt;br /&gt;
--- --&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGE 1&lt;br /&gt;
.. 133&lt;br /&gt;
An Instructive Case&lt;br /&gt;
.. 134 The Marlowe Memorial&lt;br /&gt;
&ldquo;Good Work, Sure Pay&amp;quot;&lt;br /&gt;
.. 135 Correspondence-&lt;br /&gt;
.. 135&lt;br /&gt;
I. The Statute of Limitations ..&lt;br /&gt;
II. Fiction and Reality&lt;br /&gt;
1 38&lt;br /&gt;
II. Slating .. .. ..&lt;br /&gt;
IV. Words and Bricks&lt;br /&gt;
140&lt;br /&gt;
V. A Provident Society.&lt;br /&gt;
VI. An Honourable Action&lt;br /&gt;
146&lt;br /&gt;
VII. Reviews and Reviewers&lt;br /&gt;
147 Pages Cut or Uncut&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head &amp;quot;&lt;br /&gt;
.. 148 New Books .. .. ..&lt;br /&gt;
::::::::::::::&lt;br /&gt;
::::::::::::::&lt;br /&gt;
151&lt;br /&gt;
150&lt;br /&gt;
152&lt;br /&gt;
152&lt;br /&gt;
152&lt;br /&gt;
:::::::&lt;br /&gt;
145&lt;br /&gt;
:::::::&lt;br /&gt;
:::::::::::&lt;br /&gt;
::::::::::&lt;br /&gt;
::::::::::&lt;br /&gt;
:::::::::::&lt;br /&gt;
::::::::::&lt;br /&gt;
152&lt;br /&gt;
152&lt;br /&gt;
153&lt;br /&gt;
153&lt;br /&gt;
148&lt;br /&gt;
&amp;lt;&lt;br /&gt;
&amp;lt;&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By | STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
CLEMENT RBID, F.L.S., F.G.S. Five Plates (48 cuts), gs. 6d.&lt;br /&gt;
1831&ndash;40. Published under the direction of the State Trials&lt;br /&gt;
Committee. Edited by JOIN MACDONELL, M.A. 108.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
| MANUAL OF BIRDS OF NEW ZEALAND). By&lt;br /&gt;
Geology of. By WILLIAM WHITAKER, B.A. 18.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
WALTER L. BULLER, C.M.G., Sc.D)., F.R.S. Numerous Plates.&lt;br /&gt;
Royal 8vo. 108.&lt;br /&gt;
The Ge Jogy of. By W. WAITAKER, B.A., F.R.S., F.G.S..&lt;br /&gt;
INDIGENOUS GRASSES OF NEW ZEALAND. By&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, 68. Vol. II. APPENDICES. 8vo. Cloth, 58.&lt;br /&gt;
JOHN BUCHANAN. Full-page Illustrations. Imp. 4to. Half&lt;br /&gt;
Morocco, 158.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew FOREST FLORA OF NEW ZEALAND. By T. KIRK,&lt;br /&gt;
Gardens. 28. iod.&lt;br /&gt;
F.L.S., late Chief Conservator of State Forests, N.Z., &amp;amp;c.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, 2d. Appendices, 2d. Numerous Plates. Fcap. folio. Cloth, 128. 6d.&lt;br /&gt;
each. Annual Subscription, including postage, 38. 9d.&lt;br /&gt;
HANDBOOK OF NEW ZEALAND FISHES. By R.&lt;br /&gt;
A. SHERRIN, Demy 8vo. Cloth, 28.&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU.&lt;br /&gt;
ORANGE CULTURE IN NEW ZEALAND. By G. C.&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. DAY, Oxfordshire Light Infantry, under&lt;br /&gt;
ALDERTON. Demy 8vo. Cloth, 28.&lt;br /&gt;
the orders of Col. SHAW-HELLIER, Commandant Royal Military&lt;br /&gt;
MANUAL OF NEW ZEALAND MOLLUSCA. By&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artistically Prof. HUTTON. Royal 8vo. 38.&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood NEW ZEALAND DIPTERA, HYMENOPTERA, AND&lt;br /&gt;
Engravings. 218.&lt;br /&gt;
ORTHOPTERA. By Prof. HUTTON. Royal 8vo. 28.&lt;br /&gt;
&amp;quot; It affords information obtainable nowhere else, and it has been&lt;br /&gt;
NEW ZEALAND COLEOPTERA. Parts 1 to 4. By&lt;br /&gt;
put together with so much care and thoughtfulness that Capt. Day&amp;#039;s&lt;br /&gt;
volume will be indeed welcomed by all who have to deal with the&lt;br /&gt;
Captain T. Broux. Royal 8vo. 78. 6d.&lt;br /&gt;
wind instruments, and can be accepted without question as the THE LITERATURE RELATING TO NEW ZEALAND,&lt;br /&gt;
standard authority.&rdquo;-Musical Neus.&lt;br /&gt;
A Bibliography. Royal 8vo. Cloth, 28. 6d.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACE.&lt;br /&gt;
SCARGILL-BIRD, F.S.A. 78.&lt;br /&gt;
By Sir GEORGE GREY, K.C.B. Illustrated. Koyal 8vo. Cloth. 5:&lt;br /&gt;
&laquo; The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely be ANCIENT HISTORY OF THE MAORI. By Jorche&lt;br /&gt;
over-rated.&amp;quot;-Times.&lt;br /&gt;
WHITE. Demy 8vo. Half Morocco. 4 vols. 1os. per vol. home&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, 20. f fraud&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Second&lt;br /&gt;
Every Assistance given to Correspondents ; and Books not kept in stock obtained without delay. Remittance&lt;br /&gt;
accompany Order.&lt;br /&gt;
Parliament.&lt;br /&gt;
GOVERNMENT AND GENERAL PUBLISHERS. con&lt;br /&gt;
ERS. containing the&lt;br /&gt;
EYRE and SPOTTISWOODE, Her Majesty&amp;#039;s Printers, East Harding Street, Lond.&lt;br /&gt;
I 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 130 (#534) ############################################&lt;br /&gt;
&lt;br /&gt;
i3o&lt;br /&gt;
AD VER TISEMENTS.&lt;br /&gt;
Messrs. METHTTEN&amp;#039;S NEW BOOKS.&lt;br /&gt;
By W. E. NORMS.&lt;br /&gt;
JACK&amp;#039;S FATHER. By W. E. Norris, Author of&lt;br /&gt;
&amp;quot;Matrimony,&amp;quot; 4c. Crown 8vo. 3*. bd.&lt;br /&gt;
By M. BETHAM EDWARDS.&lt;br /&gt;
DISARMED. By M. Bktham Edwards, Author of&lt;br /&gt;
&amp;quot;Kittv,&amp;quot; Ac. Crown 8vo. 3*. bd.&lt;br /&gt;
By EDNA LYALL.&lt;br /&gt;
DERRICK VAUGHAN, NOVELIST. By Edna Lyaix,&lt;br /&gt;
Author of &amp;quot;Donovan.&amp;quot; New and Cheaper Edition. Paper&lt;br /&gt;
cover, 15.; limp cloth, 1 *. bd. Thirtv-lirst Thousand.&lt;br /&gt;
By S. BARING GOULD.&lt;br /&gt;
ARMINELL: A Social Romance. By S. Baking Gould,&lt;br /&gt;
Author of &amp;quot;Mehalah.&amp;quot; Ac. Third and Cheaper Edition. Paper&lt;br /&gt;
lioards, 2s.; limp cloth, 3s. bd.&lt;br /&gt;
By WALTER H. POLLOCK and A. G. ROSS.&lt;br /&gt;
BETWEEN THE LINES. By Walter H. Pollock and&lt;br /&gt;
A. G. Ross. Post 8vo. it.&lt;br /&gt;
By E. McCtUEEN GRAY.&lt;br /&gt;
ELSA:ANovcl. By E. McQueen Gray. Crown 8 vo. 6&laquo;.&lt;br /&gt;
By W. CLARK RUSSELL.&lt;br /&gt;
THE LIFE OF ADMIRAL LORD COLLINGWOOD.&lt;br /&gt;
By W. Clark Russell, Author of &amp;quot;The Wreck of the&lt;br /&gt;
&amp;#039;Grosvenor.&amp;#039;&amp;quot; &amp;quot;With Illustrationshv F. Brangwyn. 8vo. i$s.&lt;br /&gt;
By HANNAH LYNCH.&lt;br /&gt;
GEORGE MEREDITH: A Study. By Hannah Lynch.&lt;br /&gt;
With Portrait. Crown 8vo. $s. A limited LarRe-Paper&lt;br /&gt;
Edition, 2 it.&lt;br /&gt;
By R. PRYCE.&lt;br /&gt;
THE QUIET MRS. FLEMING. By Richard Pryce.&lt;br /&gt;
Crown 8vo. 38. bd. [ Ready.&lt;br /&gt;
By J. B. BURNE, M.A.&lt;br /&gt;
PARSON AND PEASANT: Chapters of their Natural&lt;br /&gt;
History. By J. B. Buene, M.A., Rector of Wasing. Crown&lt;br /&gt;
8vo. &amp;lt;*&bull; [Ready.&lt;br /&gt;
By E. LYNN LINTON.&lt;br /&gt;
THE TRUE HISTORY OF JOSHUA DAVIDSON,&lt;br /&gt;
Christian and Communist. By E. Lynn Linton. Tenth and&lt;br /&gt;
Chea|icr Edition. Post 8vo. is. [Ready.&lt;br /&gt;
Works by S. BARING GOULD,&lt;br /&gt;
Author of&amp;quot; Mehalah,&amp;quot; Sec.&lt;br /&gt;
OLD COUNTRY LIFE. By S. Baring Gould. With&lt;br /&gt;
Sixty-seven Illustrations by W. Parkinson, F. D. Bedford,&lt;br /&gt;
and F. Masey. Large Crown 8vo, cloth super extra, top edge&lt;br /&gt;
(tilt, 10*. 6d. Third Edition.&lt;br /&gt;
&amp;quot;Old Country Life, as healthy wholesome reading, full of&lt;br /&gt;
breezy life and movement, full of quaint stories vigorously told,&lt;br /&gt;
will not be excelled by aiiy book to be published throughout tho&lt;br /&gt;
year. Sound, heartv, and English to the core.&amp;quot;&mdash; If &amp;#039;arid.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
By S. Baring Gould. Fihst Series. Demy 8vo. iu, bd.&lt;br /&gt;
Second Edition.&lt;br /&gt;
&amp;quot;A collection of exciting and entertaining chapters. The whole&lt;br /&gt;
volume is delightful reading.&amp;quot;&mdash; Timet.&lt;br /&gt;
SECOND SERIES.&lt;br /&gt;
HISTORIC ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
Second Serieb. By S. Baring Gould, Author of &amp;quot;Mehalah.&amp;quot;&lt;br /&gt;
Demy 8vo. lew. bd. [Ready.&lt;br /&gt;
&amp;quot;A fascinating book.&amp;quot;&mdash;Leeds Mercury.&lt;br /&gt;
b&lt;br /&gt;
ver&lt;br /&gt;
SONGS OF THE WEST: Traditional Ballads and Songs&lt;br /&gt;
of the West of England, with their Traditional Melodies.&lt;br /&gt;
Collected by 8. Baring Gould, M.A., and H. Fleetwood&lt;br /&gt;
Sitefpard, M.A. Arranged for Voice and Piano. In 4 Parts&lt;br /&gt;
(conlaiuinic a$ Songs each), it. each nett. Part I., Third&lt;br /&gt;
If jUition. Part II., Second Edition. Part III., n ady. Part IV.&lt;br /&gt;
. &amp;#039;-dy. s&laquo;.&lt;br /&gt;
llo\Vo\er-ich and varied collection of humour, pathos, grace, and&lt;br /&gt;
author \0^y- &amp;quot;~Sat&amp;quot;rday Review.&lt;br /&gt;
RE ODDITIES AND STRANGE EVENTS.&lt;br /&gt;
■no Gould. New and Cheaper Edition. Crown 8vo.&lt;br /&gt;
[Aoro Ready.&lt;br /&gt;
METHUEFS NOVEL SERIES.&lt;br /&gt;
Three Shillings and Sixpence.&lt;br /&gt;
Messrs. METHUEN will issue from time to time a Series&lt;br /&gt;
of copyright Novels, by well-known Authors, handsomely&lt;br /&gt;
bound, at the above popular price. The first volumes (now-&lt;br /&gt;
ready) are:&lt;br /&gt;
1. THE PLAN OF CAMPAIGN. By F. Mabel&lt;br /&gt;
Robinson.&lt;br /&gt;
1. JACQUETTA. By S. Baring Gould.&lt;br /&gt;
3. MY LAND OF BEULAH. By Mrs. Lkith Adams.&lt;br /&gt;
4. ELI&amp;#039;S CHILDREN. By G. Manville Fenn.&lt;br /&gt;
5. ARMINELL: A Social Romance. By S. Baking&lt;br /&gt;
Gould.&lt;br /&gt;
6. DERRICK VAUGHAN, NOVELIST. By Edna&lt;br /&gt;
Lyall.&lt;br /&gt;
With portrait of Author.&lt;br /&gt;
7. DISENCHANTMENT. ByF. Mabel Robinson.&lt;br /&gt;
8. DISARMED. By M. Bktham Edwards.&lt;br /&gt;
9. JACK&amp;#039;S FATHER. By W. E. Norms.&lt;br /&gt;
Other Volumes will be announced in due course.&lt;br /&gt;
(Sitglisfc ftaiurs of Religion.&lt;br /&gt;
Edited by A. M. M. STEDMAN, M.A.&lt;br /&gt;
Crown 8vo. 2s. 6d.&lt;br /&gt;
A series of short biographies, free from party bias, of the&lt;br /&gt;
most prominent lenders of religious life and thought in this&lt;br /&gt;
and the last century.&lt;br /&gt;
CARDINAL NEWMAN. if. //. Button. [Ready.&lt;br /&gt;
JOHN WESLEY. J. H. Overton. [Heady.&lt;br /&gt;
UNIVERSITY EXTENSION SERIES,&lt;br /&gt;
Crown 8vo. 2s. 6d.&lt;br /&gt;
Under the above title Messrs. Methuen have commenced&lt;br /&gt;
the publication of a series of books on historical, literary,&lt;br /&gt;
and economic subjects, suitable for extension students and&lt;br /&gt;
home-reading circles.&lt;br /&gt;
THE INDUSTRIAL HISTORY OF ENGLAND. By&lt;br /&gt;
H. DE B. Gibbins, M.A., late Scholarof Wadham College, Oion&amp;#039;.,&lt;br /&gt;
Cobden Prizeman. With Maps and Plans. [Ready.&lt;br /&gt;
A HISTORY OF ENGLISH POLITICAL ECONOMY.&lt;br /&gt;
By L. L. Price, M.A., Fellow of Oriel College, Oxon., Extension&lt;br /&gt;
Lecturer in Political Economy. | Ready.&lt;br /&gt;
VICTORIAN POETS. By A. Sharp. [Head,/.&lt;br /&gt;
PROBLEMS OF POVERTY: An Inquiry into the&lt;br /&gt;
Industrial Conditions of the Poor. By J. A. Hobson, M.A . late&lt;br /&gt;
Scholar of Lincoln College,Oxon., U. E. Lecturer iu Economies.&lt;br /&gt;
[Ready.&lt;br /&gt;
THE FRENCH REVOLUTION. By J. E. Symes, M.A.,&lt;br /&gt;
Principal of University College, Nottingham. [Nearly Ready.&lt;br /&gt;
SOCIAL QUESTIONS OF TO-DAY.&lt;br /&gt;
A series of volumes upon the most important topics of&lt;br /&gt;
social, economic, and industrial interest&mdash;written by the&lt;br /&gt;
highest authorities on the various subjects. The first two&lt;br /&gt;
volumes will be&mdash;&lt;br /&gt;
TRADES UNIONISM&mdash;New and Old. By G. Howell,&lt;br /&gt;
M.P. [Ready.&lt;br /&gt;
THE CO-OPERATIVE MOVEMENT TO-DAY. By&lt;br /&gt;
G. J. Holyoakk. Crown 8vo. M. id. [Ready.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
London&lt;br /&gt;
THUEN &amp;amp; Co., 18, Bury Street, W.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 131 (#535) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Cl)f ^orietg of gutftors (fiiworporatrt)-&lt;br /&gt;
The&lt;br /&gt;
Sir Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Robert Rateman.&lt;br /&gt;
Sir Henry Bkronk, K.C.M.G.&lt;br /&gt;
Walter Hesant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
K. 1). Blackmore.&lt;br /&gt;
Ret. Prof. Bonnet, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. YV. Clayden.&lt;br /&gt;
Kdward Clodd.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawfurd, C.M.G.&lt;br /&gt;
The Earl of Dksart.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
A. W. Dubouro.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.D.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Prof. E. Ray Lankester, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of Pembroke and&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
The Right Hon. the Baron Henry&lt;br /&gt;
de Worms, M.P., F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
Edmund Gosse. J. M. Lely.&lt;br /&gt;
H. Rider Haggard. Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Memliers.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4 Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glnisher.&lt;br /&gt;
q5, Strand, W.C.) is.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society. I*-&lt;br /&gt;
6. The Cost Of Production. In this work sj&amp;gt;eciuiens are given of the most important forms of type,&lt;br /&gt;
size of page, Ac., with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
2s. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods of Publication. By S. Squibb Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have l&amp;gt;een made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Eeform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Npottiswoode&lt;br /&gt;
1 *. 6d.&lt;br /&gt;
Other work* bearing on the TAteranj Profession will follow,&lt;br /&gt;
vol. n. I 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 132 (#536) ############################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The 11 Swan&amp;quot; is a beautiful Gold Ppn joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are yarions points to select from, broad, medium, and flue, every handwriting can he suited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post free, is only 10s, 6d.&lt;br /&gt;
&lt;br /&gt;
The. Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; ;Co.&amp;#039;s [famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot;Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One Will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Oliver Wkndell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grundy, Esq., says (referring to the Fountain Pen) :&mdash;&amp;quot;It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Mobkrly Bell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
11 H-c-a^E-&amp;gt;-iJI 11 ■&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
&copy;3, CHBAPSIDE, LONDON.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 133 (#537) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 5.] OCTOBER 1, 1891. [Pbice Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that are&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
NOTICES.&lt;br /&gt;
MEMBERS and others who wish their MSS.&lt;br /&gt;
read are requested not to send them to&lt;br /&gt;
the Office without previously communi-&lt;br /&gt;
cating with the Secretary. So large a number of&lt;br /&gt;
MSS. are sometimes sent in, that it is impossible to&lt;br /&gt;
guarantee that the Society&amp;#039;s Readers will furnish&lt;br /&gt;
rejwrts by any fixed date. The utmost practicable&lt;br /&gt;
despatch is aimed at, and MSS. are read in the&lt;br /&gt;
order in which they are received. It must also be&lt;br /&gt;
distinctly understood that the Society does not,&lt;br /&gt;
under any circumstances, undertake the publication&lt;br /&gt;
of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
In the Author for June 1890, and in &amp;quot;Methods&lt;br /&gt;
of Publication,&amp;quot; a brief statement is laid down for&lt;br /&gt;
the guidance of authors in their agreements on the&lt;br /&gt;
meaning of the different royalties proposed from&lt;br /&gt;
time to time&mdash;what is given to either side by those&lt;br /&gt;
royalties.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
The Honorary Secretary of the Syndicate Depart-&lt;br /&gt;
ment will be glad to know the titles and lengths of&lt;br /&gt;
any stories written, or to be written, by Members&lt;br /&gt;
available for serial publication. Application is&lt;br /&gt;
constantly made to the Department for stories of&lt;br /&gt;
all descriptions which are ready. There is a great&lt;br /&gt;
demand tor &amp;quot;second rights&amp;quot; for newspaper use,&lt;br /&gt;
and Members will greatly oblige by forwarding the&lt;br /&gt;
names of tales already published, of which they are&lt;br /&gt;
willing to sell the serial use. MSS. should, how-&lt;br /&gt;
ever, in no case be forwarded to the Office without&lt;br /&gt;
previous communication with the Honorary Secre-&lt;br /&gt;
tary of the Syndicate Department.&lt;br /&gt;
&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
MR. Oswald Crawfurd, C.M.G., has accepted&lt;br /&gt;
the post of chairman of committee of the&lt;br /&gt;
proposed club. The form of approval sent&lt;br /&gt;
round with the last number of the Author has&lt;br /&gt;
resulted in a very good numl&amp;gt;er of names&mdash;quite&lt;br /&gt;
as many as were expected, considering the holiday&lt;br /&gt;
time. The same form is again enclosed. Readers&lt;br /&gt;
are earnestly begged to consider the Resolutions&lt;br /&gt;
published in the August number of the Author.&lt;br /&gt;
They are not final; they are tentative only, and&lt;br /&gt;
are subject to reconsideration. They contem-&lt;br /&gt;
plate a club of men only, because so many ladies&lt;br /&gt;
pointed out that they could not possibly pay so&lt;br /&gt;
large a subscription. Now, with a subscription&lt;br /&gt;
lower than five guineas it is perfectly impossible to&lt;br /&gt;
think of running a high-class club. That amount&lt;br /&gt;
will do no more than provide a moderate sized&lt;br /&gt;
house and a respectable service. It is in contempla-&lt;br /&gt;
tion to give the club a social character on the lines&lt;br /&gt;
already followed by some of the newer clubs. It is&lt;br /&gt;
intended to make it a comfortable house; a house&lt;br /&gt;
of rest, and a house of recreation. The word&lt;br /&gt;
Author is taken to include that large and impor-&lt;br /&gt;
tant branch of literature called journalism. But it&lt;br /&gt;
must not be taken to include only those persons who&lt;br /&gt;
follow the profession of letters. Then; are authors&lt;br /&gt;
most eligible for the club among all professions&lt;br /&gt;
under the sun. Literature is catholic. The club&lt;br /&gt;
should include all kinds of humanity which possess&lt;br /&gt;
the requisites of culture and of literary ambition&lt;br /&gt;
and experience.&lt;br /&gt;
&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 134 (#538) ############################################&lt;br /&gt;
&lt;br /&gt;
&amp;#039;34&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
A LADIES&amp;#039; CLUE.&lt;br /&gt;
APRELIMINARY meeting has been held at&lt;br /&gt;
the Society&amp;#039;s office of ladies engaged in lite-&lt;br /&gt;
rature and journalism anxious to found a club&lt;br /&gt;
themselves. The chair was taken by Mrs. Stannard&lt;br /&gt;
(John Strange Winter). The meeting was nume-&lt;br /&gt;
rously attended. It is understood that a resolution&lt;br /&gt;
was unanimously passed iu favour of such a club. &mdash; &bull;&lt;br /&gt;
TO AN AUTHOR WHO COMPLAINED OP&lt;br /&gt;
NECJLECT AND DEPRECIATION.&lt;br /&gt;
Friend, l&amp;gt;c not fretful if the voice of fame,&lt;br /&gt;
Along the narrow ways of hurrying men&lt;br /&gt;
Where unto echo echo shouts again,&lt;br /&gt;
Be all day long not noisy with your name.&lt;br /&gt;
When dumb the noon-day din of praise and&lt;br /&gt;
blame,&lt;br /&gt;
And heavenly constellations hush the ken,&lt;br /&gt;
If yours be light celestial, you will then&lt;br /&gt;
Shine like a star, eternally the same.&lt;br /&gt;
Nor in your upward journeying stoop to con&lt;br /&gt;
The straining petulance of tethered spite,&lt;br /&gt;
That still hath railed whenever Genius shone:&lt;br /&gt;
As, when dogs bay the moon in midmost night,&lt;br /&gt;
The moon nor looks nor listens, but sails on,&lt;br /&gt;
Slowly ascending her predestined height.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
MY BROTHER CHARLES: An Extract.&lt;br /&gt;
&bull; &bull;&bull;&bull;&bull;&bull;&lt;br /&gt;
After these melancholy events, nothing remained&lt;br /&gt;
but for the company to break up, and for every&lt;br /&gt;
member of it to go his own way. I took a tender&lt;br /&gt;
farewell of Dollie, with great sorrow on both sides,&lt;br /&gt;
many promises of constancy, and some tears. But&lt;br /&gt;
I felt sure&mdash;I had a presentiment&mdash;that I should&lt;br /&gt;
never see her more. The dear girl proposed to&lt;br /&gt;
return for the moment to her &amp;quot; Pop,&amp;quot; who conducted&lt;br /&gt;
a store at Syracuse, 111., and was a strict church&lt;br /&gt;
meml&amp;gt;er. She thought tliat by burying in oblivion,&lt;br /&gt;
or carefully editing, the history of the last three&lt;br /&gt;
months, and by pretending that she had another en-&lt;br /&gt;
gagement as a schoohnarm, she might get some&lt;br /&gt;
dollars oiit of the old man, with the help of which&lt;br /&gt;
she could try the stage again with better luck. Cer-&lt;br /&gt;
tainly, one who has once l&amp;gt;eeii on the boards returns&lt;br /&gt;
to them quite naturally, and can never again do&lt;br /&gt;
anything else. My presentiment proved true, that&lt;br /&gt;
is to sav, I have only seen her once since. I was&lt;br /&gt;
tramping through the city of Detroit, when I saw a&lt;br /&gt;
name&mdash;her name&mdash;on a poster with a picture. I&lt;br /&gt;
went to the gallery in my rags. I saw her dressed&lt;br /&gt;
in tights dancing a breakdown, singing saucy songs,&lt;br /&gt;
looking so happy and lively, that it made me sick&lt;br /&gt;
and ill just to think of her happiness and mr&lt;br /&gt;
rags. And all through one thing. I suppose she&lt;br /&gt;
had got the dollars out of her &amp;quot; Pop,&amp;quot; and so got&lt;br /&gt;
back to the boards with l&amp;gt;etter luck. Well, when I&lt;br /&gt;
had taken her ticket and seen her off, I made the&lt;br /&gt;
melancholy discovery that I was left absolutely&lt;br /&gt;
penniless&mdash;stone broke. I returned to the hotel and&lt;br /&gt;
spent the rest of that day and most of the night in&lt;br /&gt;
trying to find a way out of the mess. What I wanted&lt;br /&gt;
was money to carry me on to New York, and to&lt;br /&gt;
keep me going there until 1 should find another&lt;br /&gt;
engagement. When I fell asleep, I had fully&lt;br /&gt;
resolved what to do. I do not defend the plan&lt;br /&gt;
which I finally adopted. I am aware that it mav lie&lt;br /&gt;
attacked, especially if a harsh and one-sided view&lt;br /&gt;
is adopted; but I do declare that it was forced&lt;br /&gt;
upon me, and that I fully intended, but for the&lt;br /&gt;
accursed accidents which followed, to repay all&lt;br /&gt;
the money I should make by my false pretences.&lt;br /&gt;
I daresay I shall not l&amp;gt;e believed, but that was my&lt;br /&gt;
honest intention.&lt;br /&gt;
I was then six and twenty years of age, an&lt;br /&gt;
Englishman by birth, and, as you have guessed,&lt;br /&gt;
an actor&mdash;not as yet a very successful actor&mdash;by&lt;br /&gt;
profession. I still think that if I had had the luck&lt;br /&gt;
to light upon a really new part, and to make it my&lt;br /&gt;
own, I had the touch and go, light comedy style,&lt;br /&gt;
and might have made a reputation&mdash;ah ! equal to&lt;br /&gt;
any. I&amp;#039;ve seen Charles Wyudham, and it is absurd&lt;br /&gt;
to suppose that I could not . . . But it is too late.&lt;br /&gt;
And all through the most extraordinary mis-&lt;br /&gt;
fortune that ever befell any man. There I was, an&lt;br /&gt;
honourable, scrupulous young man&mdash;I repeat, that&lt;br /&gt;
I intended to pay back the money&mdash;and I was&lt;br /&gt;
wrecked, ruined by one&mdash;just one&mdash;accident, which&lt;br /&gt;
nobody could have foreseen. At the same time,&lt;br /&gt;
I admit that I ought to have got away at once&lt;br /&gt;
without an hour&amp;#039;s delay. I might have guessed;&lt;br /&gt;
and here I am, all in consequence of that accident,&lt;br /&gt;
tramp, gaolbird, swindler, thief, and can&amp;#039;t raise&lt;br /&gt;
myself again as long as I live. Sometimes when I&lt;br /&gt;
think of that accident I feel as if the top of my&lt;br /&gt;
head was being lifted off.&lt;br /&gt;
In the morning, my plan fully formed, I dressed&lt;br /&gt;
myself as carefully as my slender wardrobe would&lt;br /&gt;
allow, and after breakfast sallied out, thankful&lt;br /&gt;
that it did not occur to the clerk as I passed him&lt;br /&gt;
in the hall, to remind me of the hotel bill. The&lt;br /&gt;
place was Philadelphia, which is full of rich people,&lt;br /&gt;
and has some liu-niry people. I had procured&lt;br /&gt;
from the directory certain names and addresses&lt;br /&gt;
which I thought would be useful. There was a&lt;br /&gt;
great Shakespearean scholar; there was a rich&mdash;ft&lt;br /&gt;
very rich&mdash;editor; there was a poet of eminence;&lt;br /&gt;
there were three or four clergymen; there W&laquo;*&lt;br /&gt;
others&mdash;scholars and authors. I called upon all of&lt;br /&gt;
them. The Shakespearean scholar lent me $icc; the&lt;br /&gt;
rich editor, $125; the poet, $zo; the others, from &sect;to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 135 (#539) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
135&lt;br /&gt;
to $20 each. I went l&amp;gt;ack to my hotel that morning&lt;br /&gt;
richer than when I left it by about S3oo&mdash;say, &pound;60&lt;br /&gt;
in English money. This was very good business,&lt;br /&gt;
so good that I ought to have cleared out at once&lt;br /&gt;
without the least delay. I ought to have suspected&lt;br /&gt;
that something was going to happen after such&lt;br /&gt;
wonderful luck. For I had no dilliculty whatever&lt;br /&gt;
with my little plan. It came off without a hitch.&lt;br /&gt;
Such a plan generally does. It must be simple;&lt;br /&gt;
it must be well and naturally told; there must be&lt;br /&gt;
no hint or suggestion that the story could be&lt;br /&gt;
suspected or disbelieved. What I did was this: I&lt;br /&gt;
sent in my card, &amp;quot; Mr. Wilford Amhurst, Dramatic&lt;br /&gt;
Authors&amp;#039; Club, London.&amp;quot; I was taken to see my man&lt;br /&gt;
&mdash;it was the Shakespearean scholar&mdash;in his study.&lt;br /&gt;
Now I certainly looked very English, and I believe&lt;br /&gt;
I had at that time an honest face and a frank&lt;br /&gt;
manner. After all these prisons, and ups and&lt;br /&gt;
downs, my face may be English still, but it is no&lt;br /&gt;
longer honest, nor is my manner frank. I began&lt;br /&gt;
by apologizing for intruding. I ventured to do so&lt;br /&gt;
on account of his well known sympathy with letters.&lt;br /&gt;
Then I paused a moment. He 1 rowed his head in&lt;br /&gt;
silence. I went on to say that the name on my&lt;br /&gt;
card, Wilford Amhurst,&amp;quot; was not my real but&lt;br /&gt;
my stage name, that I was really Wilford Ingledew,&lt;br /&gt;
and that I was the youngest brother of Charles&lt;br /&gt;
Ingledew, the well known novelist. The scholar&lt;br /&gt;
started and looked suspicions. &amp;quot;Charles Ingle-&lt;br /&gt;
dew,&amp;quot; he said, &amp;quot; must be a good deal older than&lt;br /&gt;
yourself.&amp;quot; &amp;quot;Not so very much,&amp;quot; I replied, putting&lt;br /&gt;
something on my own age and taking something&lt;br /&gt;
from his. &amp;quot;I am 36 and he is 46.&amp;quot; He asked&lt;br /&gt;
me, still in a doubtful kind of way, but open to&lt;br /&gt;
conviction, to tell him a little more about myself.&lt;br /&gt;
I said that I was at Rugby and afterwards at&lt;br /&gt;
Pembroke, Cambridge, where I did not stay to&lt;br /&gt;
take a degree, but left at the end of my second vear.&lt;br /&gt;
It was rather a lucky guess about Pembroke, because&lt;br /&gt;
I had once stayed with a man who was stage-struck,&lt;br /&gt;
and I knew something about the College, a nil so&lt;br /&gt;
did lie. He asked me if I had written anything.&lt;br /&gt;
I gave him a long list of plays and poems, none of&lt;br /&gt;
which I had with me. He then asked me if I had&lt;br /&gt;
any letter or anything from my brother which&lt;br /&gt;
would go to prove my statement. I pulled&lt;br /&gt;
out of my pocket-lxx&amp;gt;k a letter written on some&lt;br /&gt;
English note paper&mdash;fortunately rather soiled and&lt;br /&gt;
dirty, which helped ine. It began &amp;quot;My dear&lt;br /&gt;
Wilford.&amp;quot; It lamented my bad luck, gently&lt;br /&gt;
intimated that extravagance was partly the cause&lt;br /&gt;
of it, and exhorted me to return to England,&lt;br /&gt;
where, he said, he had little doubt that with my&lt;br /&gt;
undoubted talent I should certainly succeed. He&lt;br /&gt;
ended it with two or three purely family matters&mdash;&lt;br /&gt;
a reference to my mother&amp;#039;s health, and&amp;#039; another to&lt;br /&gt;
a married sister who had recently been happily&lt;br /&gt;
confined of twins, and he remained, hoping to&lt;br /&gt;
sec me at home before long, my affectionate brother&lt;br /&gt;
Charles Ingledew. I had written the letter myself&lt;br /&gt;
that morning. As for the signature, I copied it&lt;br /&gt;
from a magazine. &amp;quot;This,&amp;quot; said my scholar, &amp;quot;is&lt;br /&gt;
certainly Charles Ingledew&amp;#039;s signature. I suppose&lt;br /&gt;
there is no doubt that you are the person you repre-&lt;br /&gt;
sent yourself to be; and, in that case, what do you&lt;br /&gt;
want of me?&amp;quot; &amp;quot;Well, I am absolutely j&amp;gt;enniless.&lt;br /&gt;
That is my case. I cannot beg or steal. I want to&lt;br /&gt;
borrow. Only I want to borrow so that my brother&lt;br /&gt;
should not know. He would l&amp;gt;c disgusted if he&lt;br /&gt;
knew anything about it. He is always pitching&lt;br /&gt;
into me about extravagance. Will you, on my&lt;br /&gt;
word of honour only, lend me a hundred dollars?&lt;br /&gt;
I am going back to London, and I shall send you&lt;br /&gt;
the money as soon as I possibly can. If I don&amp;#039;t&lt;br /&gt;
get it by my own work, I shall have to borrow it of&lt;br /&gt;
Charles.&amp;quot; Without a word he opened a drawer&lt;br /&gt;
and took out notes to that amount. &amp;quot;There,&amp;quot; he&lt;br /&gt;
said, &amp;quot;take these for your brother&amp;#039;s sake.&amp;quot;&lt;br /&gt;
I wrung his hand, and I went away without&lt;br /&gt;
another word. That was the best thing to do.&lt;br /&gt;
Gratitude, chokes you see. You press the hand of&lt;br /&gt;
your benefactor and yon go, with bowed shoulders,&lt;br /&gt;
opening and closing the door with just a little&lt;br /&gt;
demonstration and without noise.&lt;br /&gt;
In all the other cases I was equally successful.&lt;br /&gt;
Not a doubt was raised. Only I asked less of the&lt;br /&gt;
clergymen, and wanted nothing more than to pay&lt;br /&gt;
my hotel bill and to get on to New York, where I&lt;br /&gt;
hail friends.&lt;br /&gt;
Now, I .say again, had I possessed any sense at all,&lt;br /&gt;
I ought to have been so astonished at my wonderful&lt;br /&gt;
good luck that I should have made tracks at once. I&lt;br /&gt;
should have gone on by the first train to New York.&lt;br /&gt;
I should have made any further question, discussion,&lt;br /&gt;
or difficulties impossible. I ought to have known&lt;br /&gt;
that such ease in getting would have been followed&lt;br /&gt;
by tremendous difficulty in keeping. It is always&lt;br /&gt;
the way. The easier you get, the quicker you lose.&lt;br /&gt;
Well, I had impressed upon every one the&lt;br /&gt;
necessity of keeping my secret. They had all&lt;br /&gt;
promised, and to this day I cannot tell who, if&lt;br /&gt;
any, did betray me. I incline on the whole to&lt;br /&gt;
the belief that the old scoundrel, villain, rogue who&lt;br /&gt;
but there, you shall see.&lt;br /&gt;
I dined pleasantly and had a small bottle of&lt;br /&gt;
Burgundy&mdash;fancy a stone-broke player drinking&lt;br /&gt;
Burgundy in Philadelphia! and I really felt quite&lt;br /&gt;
happv, comfortable, and free from anxiety. As for&lt;br /&gt;
baing found out, or anything, that did not enter into&lt;br /&gt;
my imagination. After dinner I strolled into the&lt;br /&gt;
saloon and s it d jwn with a cigar looking on at the&lt;br /&gt;
p.;ople.&lt;br /&gt;
They came and went in twos an J threes; they&lt;br /&gt;
sat down and talked or they stood at the bar and&lt;br /&gt;
drank. I watched and listened, sitting lazily in a&lt;br /&gt;
corner under a gas light.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#540) ############################################&lt;br /&gt;
&lt;br /&gt;
136&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Presently two men came in, ami one had un&lt;br /&gt;
evening paper. He began to run his eve down the&lt;br /&gt;
columns, telling the news as he went on. One&lt;br /&gt;
thing after the other lie noted. Then he came to u&lt;br /&gt;
paragraph which he rend out at length. &amp;quot;There&lt;br /&gt;
is staying at the Lone Star Hotel a young English-&lt;br /&gt;
man who is at once actor, poet, and dramatist.&lt;br /&gt;
His theatrical name is Wilt&amp;#039;ord Amhurst. His&lt;br /&gt;
real name is Wilford Ingledew, and he is the&lt;br /&gt;
youngest brother of diaries Ingledew, the English&lt;br /&gt;
novelist. He has called upon one of the most&lt;br /&gt;
prominent citizens and revealed his name. He is&lt;br /&gt;
said to be a handsome Englishman of a thoroughly&lt;br /&gt;
Britannic aspect, looking younger than he is&mdash;&lt;br /&gt;
probably from wearing neither beard nor moustache.&lt;br /&gt;
He is ten years younger than his brother, who is&lt;br /&gt;
now forty-six, and he greatly resembles him in face&lt;br /&gt;
and stature. He has been a member of a travelling&lt;br /&gt;
variety company which has not been eminently&lt;br /&gt;
successful.&amp;quot; You sec that nothing here was said&lt;br /&gt;
about begging and borrowing. Yet I felt uneasy.&lt;br /&gt;
He read this out, and said, &amp;quot;Why, I remember&lt;br /&gt;
Wilford Amhurst in the piece&mdash;what was it&mdash;the&lt;br /&gt;
Criterion comedy piece. And ...&amp;quot; His&lt;br /&gt;
voice stopped short, for he recognised me.&lt;br /&gt;
Even then there was still time. I should have&lt;br /&gt;
left the saloon immediately and taken the night&lt;br /&gt;
train. Fool! double&mdash;treble Fool!&lt;br /&gt;
The man advanced to me. &amp;quot;Mr. Wilford&lt;br /&gt;
Ingledew,&amp;quot; he said, &amp;quot; I have the pleasure of wish-&lt;br /&gt;
ing you well. Your brother&amp;#039;s works are so well&lt;br /&gt;
known to me that I feel as if-no introduction was&lt;br /&gt;
necessary to&amp;quot;&lt;br /&gt;
This beautiful and trustful beginning was com-&lt;br /&gt;
pletely spoiled, however, by a third person. He&lt;br /&gt;
was, to look at, a Brute&mdash;a Brute and a Beast.&lt;br /&gt;
He was clad in a filthy greasy gaberdine&mdash;the poor&lt;br /&gt;
despised Jew in the middle ages always wore a&lt;br /&gt;
gaberdine, therefore I use that word to describe the&lt;br /&gt;
ragged old thing that hung on his shoulders. He&lt;br /&gt;
was a man of short grey hair and long grey bristles&lt;br /&gt;
&mdash;the former on his head, the latter on his chin.&lt;br /&gt;
He had a swollen and pimply face, a swollen red&lt;br /&gt;
nose, and blue lips. He looked as if he was half&lt;br /&gt;
drunk. I never knew him afterwards or saw him&lt;br /&gt;
but what he looked half drunk. He had been&lt;br /&gt;
standing by, apparently taking no heed of what&lt;br /&gt;
was said. Now he came lurching forward.&lt;br /&gt;
&amp;quot;Wilford Ingledew? I believe it is. Good&lt;br /&gt;
Lord! Here&amp;#039;s a chance! Wilford&mdash;Wilford, I&lt;br /&gt;
say. Wilford Ingledew&mdash;Ingledew&mdash;don&amp;#039;t you&lt;br /&gt;
know me? Look at me, man. Don&amp;#039;t you know&lt;br /&gt;
me now &amp;#039;i Your eldest brother&mdash;Jack Ingledew&mdash;&lt;br /&gt;
I am. Jack Ingledew. Him that went away&lt;br /&gt;
3o years ago and never went home again. Boys,&amp;quot;&lt;br /&gt;
&mdash;he turned to some loafing blackguards behind&lt;br /&gt;
him,&mdash;&amp;quot; you all know Jack Ingledew&mdash;old Jack.&amp;quot;&lt;br /&gt;
They murmured with ono consent that they all&lt;br /&gt;
knew Jack&mdash;old Jack. &amp;quot;Old Jack&mdash;that you&lt;br /&gt;
thought dead&mdash;eh &amp;#039;&amp;lt; long since dead. And to think&lt;br /&gt;
that we meet here after all these years. It makes&lt;br /&gt;
me thirsty. Brother&mdash;brother Wilford&mdash;a little&lt;br /&gt;
baby three years old when I went away&mdash;shake&lt;br /&gt;
hands&mdash;shake hands with your eldest brother&mdash;&lt;br /&gt;
long parted&mdash;grief as is felt&mdash;happy to part&mdash;&lt;br /&gt;
happy to meet again. Joy demands a drink. We&lt;br /&gt;
must celebrate this happy occasion with a drink.&lt;br /&gt;
Come.&amp;quot;&lt;br /&gt;
This was the terrible accident. This was the&lt;br /&gt;
cause of all the trouble. Through the accursed&lt;br /&gt;
mischance of that eldest brother&mdash;if he was an&lt;br /&gt;
eldest brother&mdash;Lord knows !&mdash;turning up at that&lt;br /&gt;
juncture.&lt;br /&gt;
The man who had first spotted ine stepped aside,&lt;br /&gt;
leaving me to the Beast of the Greasy Gaberdine.&lt;br /&gt;
What I ought to have done is perfectly plain&lt;br /&gt;
and simple. 1 did not do it. In fact, I gave him&lt;br /&gt;
a drink. I ought, of course, to have refused any&lt;br /&gt;
knowledge of the Beast. I ought to have said that&lt;br /&gt;
there was no John Ingledew&mdash;was there, in fact?&lt;br /&gt;
Was this man really Charles Ingledew&amp;#039;s elder&lt;br /&gt;
brother? I don&amp;#039;t know. I never could find out.&lt;br /&gt;
But the knowledge of my own guilt made me weak.&lt;br /&gt;
I accepted his filthy hand. I gave him another&lt;br /&gt;
drink. I owned up to the eldest brother; I was&lt;br /&gt;
civil to him. I pointed out that I could not very&lt;br /&gt;
well remember a man whom I had not seen for so&lt;br /&gt;
long. He then asked certain questions which I&lt;br /&gt;
answered as well as I could. I incline to the belief&lt;br /&gt;
that he was what he pretended, because at one point&lt;br /&gt;
he stopped and looked suspicious. Then he caught&lt;br /&gt;
me by the waistcoat button and he whispered,&lt;br /&gt;
&amp;quot;Brother, Brother Wilford! They&amp;#039;ve telegraphed&lt;br /&gt;
across to know if Charles Ingledew has got a&lt;br /&gt;
brother Wilford.&amp;quot;&lt;br /&gt;
I started, I turned pale.&lt;br /&gt;
&amp;quot;Brother&mdash;you&amp;#039;d better bolt. I knew you were&lt;br /&gt;
a bunco-steerer at the go off. Now, you go in and&lt;br /&gt;
make up your grip&mdash;quick. Else, to-morrow, you&amp;#039;ll&lt;br /&gt;
be laid by the heels. I&amp;#039;ll wait here for you&mdash;I&amp;#039;ll&lt;br /&gt;
see you through. You rely on me.&amp;quot;&lt;br /&gt;
I was so knocked over with the thought of the&lt;br /&gt;
telegraph that I curdled and curled up. I did what&lt;br /&gt;
he told me. My grip took no time, because it was&lt;br /&gt;
reduced to an empty box. I told him so.&lt;br /&gt;
&amp;quot;Then,&amp;quot; he said, &amp;quot;we&amp;#039;ll leave it behind. Now,&lt;br /&gt;
let&amp;#039;s have one more drink and than catch a train.&lt;br /&gt;
I&amp;#039;ll see you through. Your eldest brother John&mdash;&bull;&lt;br /&gt;
old Jack&mdash;he&amp;#039;ll stand by the family.&amp;quot; Yet he had&lt;br /&gt;
just before called me a bunco-steerer. But I was&lt;br /&gt;
in such a fright about the telegraph that I hardly&lt;br /&gt;
knew what he said, and I walked along beside hi in&lt;br /&gt;
in a dream.&lt;br /&gt;
&amp;quot;We&amp;#039;ll take tickets to New York and we&amp;#039;ll get&lt;br /&gt;
out at a station I know,&amp;quot; he said, &amp;quot; That will pre-&lt;br /&gt;
vent your being nabbed as soon as you get out of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 137 (#541) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
i37&lt;br /&gt;
the train. You&amp;#039;ll have just to lie quiet for a day&lt;br /&gt;
or two, and then you can go on.&amp;quot;&lt;br /&gt;
I thought that the first thing I would do was to&lt;br /&gt;
get rid of him. That proved, as you will see, not&lt;br /&gt;
quite so easy. We took a night train; it left&lt;br /&gt;
Philadelphia at eleven. We sat down together&mdash;this&lt;br /&gt;
evil-smelling l&amp;gt;east ami myself. He talked fami-&lt;br /&gt;
liarly to the eonduetor&mdash;told him that I was his&lt;br /&gt;
younger brother, and he grinned; said that younger&lt;br /&gt;
brothers ought to look after the seniors, and that 1&lt;br /&gt;
was a model younger brother. He said many&lt;br /&gt;
more fncetious and pleasant things. You can&lt;br /&gt;
suppose that I greatly enjoyed his society and his&lt;br /&gt;
conversation.&lt;br /&gt;
In aliout two hours or so we stopped at some&lt;br /&gt;
small station. &amp;quot;Now,&amp;quot; he whispered, &amp;quot;let&amp;#039;s get&lt;br /&gt;
down. I know where you can find a place to hide&lt;br /&gt;
in for a bit&mdash;a snug quiet place, where the drink&lt;br /&gt;
is good. Come along.&amp;quot;&lt;br /&gt;
We got down just as the train began to move&lt;br /&gt;
on again. The night wits pitch dark; the petro-&lt;br /&gt;
leum lamps of the station were extinguished&lt;br /&gt;
directly after the train went on.&lt;br /&gt;
&amp;quot;This way,&amp;quot; the man took my arm and led&lt;br /&gt;
me along in the darkness. I knew not what&lt;br /&gt;
direction we took nor how long we walked. It&lt;br /&gt;
seemed to me a walk of hours. Presently we&lt;br /&gt;
stopped at a house in the midst, as it seemed, of a&lt;br /&gt;
wood, where lights were shown in the windows.&lt;br /&gt;
My man blew a whistle, and the door was thrown&lt;br /&gt;
open. &amp;quot;Walk in, brother Wilford,&amp;quot; he said,&lt;br /&gt;
grinning, &amp;quot; Here you will l&amp;gt;c real welcome. Such&lt;br /&gt;
a chance as this has never come to you before.&amp;quot;&lt;br /&gt;
Within, the place proved to be a kind of log&lt;br /&gt;
house. It consisted of one large room with a stove.&lt;br /&gt;
Along the walls were lynches, and on these benches&lt;br /&gt;
were mattresses, on some of which men were&lt;br /&gt;
sleeping. I saw that four were asleep; two more&lt;br /&gt;
were playing cards at a table; there was a lire&lt;br /&gt;
burning; anil there was the usual detestable smell&lt;br /&gt;
of jx&amp;#039;troleum from the lamp. And I discovered at&lt;br /&gt;
once that I was fallen among a den of thieves and&lt;br /&gt;
rogues.&lt;br /&gt;
&amp;quot;Gentlemen,&amp;quot; said my eldest brother, &amp;quot;I have&lt;br /&gt;
brought you my brother&mdash;my younger brother&lt;br /&gt;
Wilford&mdash;Wilford Ingledew. He is in a little&lt;br /&gt;
trouble just now, on account of certain alleged&lt;br /&gt;
false pretences&mdash;people will say anything&mdash;we have&lt;br /&gt;
all suffered from calumny&mdash;I&amp;#039;ve asked him here to&lt;br /&gt;
share our hospitality for a bit. A clever fellow, I&lt;br /&gt;
think, you will find my younger brother Wilford.&amp;quot;&lt;br /&gt;
The two men who were playing looked up&lt;br /&gt;
anxiously. Then they threw down their cards,&lt;br /&gt;
and stood up, feeling at their belts, and I began to&lt;br /&gt;
perspire at the nose. &amp;quot;What does he know,&lt;br /&gt;
Jack?&amp;quot;&lt;br /&gt;
&amp;quot;Nothing. Leave that to me. Now, brother&lt;br /&gt;
as we are all friends here and brothers, let us l&amp;gt;cgin&lt;br /&gt;
VOL. II.&lt;br /&gt;
by sharing. What did you make by the job?&lt;br /&gt;
Come&mdash;don&amp;#039;t look scared&mdash;you can&amp;#039;t get out of&lt;br /&gt;
this if you try&mdash;by . . .&amp;quot; He lugged out a re-&lt;br /&gt;
volver. &amp;quot;So begin. Clear your pockets. You&amp;#039;ve&lt;br /&gt;
got to do what you&amp;#039;re told. You&amp;#039;ve got to&mdash;or&mdash;&amp;quot;&lt;br /&gt;
he fingered the pistol. I had to turn every pocket&lt;br /&gt;
out, and to show it empty. I had to take off my&lt;br /&gt;
boots and coat and waistcoat to show that nothing&lt;br /&gt;
was concealed. The whole now lay upon the&lt;br /&gt;
table&mdash;three hundred dollars and more.&lt;br /&gt;
&amp;quot;There are seven of us,&amp;quot; said old Jatk. &amp;quot;You&lt;br /&gt;
make eight. Every man&amp;#039;s share is $40, odd. As for&lt;br /&gt;
your share, we&amp;#039;ll keep it for you. Oh! You shall&lt;br /&gt;
not lose it. You are among men of honour. And&lt;br /&gt;
now, brother, if you like to lie down and go to&lt;br /&gt;
sleep, you can. If you like a drink, say so. If&lt;br /&gt;
you like to cut in with the cards, say so. We&amp;#039;re&lt;br /&gt;
all friends here and all brothers. Them as&lt;br /&gt;
are not brothers we make dead uns, which&lt;br /&gt;
saves trouble.&amp;quot; I stayed in that den for three&lt;br /&gt;
weeks. I was never left alone. I was given&lt;br /&gt;
to understand by old Jack and one or other&lt;br /&gt;
of them that if I chose to throw in my lot&lt;br /&gt;
with these miscreants I should be received as one&lt;br /&gt;
of the gang. If not, I should not be allowed to&lt;br /&gt;
escape, and in fact . . . you may guess.&lt;br /&gt;
In a month&amp;#039;s time, I was dressed like a gentle-&lt;br /&gt;
man: I was an English nobleman, and I was&lt;br /&gt;
living at a high-class New York hotel. I had a&lt;br /&gt;
pocket-full of money, and I was working for a big&lt;br /&gt;
thing.&lt;br /&gt;
You see what I am now&mdash;a broken-down tramp,&lt;br /&gt;
in rags and penniless. The gang is dispersed; we&lt;br /&gt;
have all had sentences to work out. As for old&lt;br /&gt;
Jack&mdash;my eldest brother&mdash;I don&amp;#039;t know what has&lt;br /&gt;
become of him, but I should like to murder him.&lt;br /&gt;
If I were to meet him on a lonely road I believe I&lt;br /&gt;
should murder him. And the moral of my story, I&lt;br /&gt;
often think, is that when you have made a lucky&lt;br /&gt;
hit you must get away as quick as you cati before&lt;br /&gt;
some cussed accident sets things agee. Now, if I&lt;br /&gt;
had gone straight away that very moment&mdash;think&lt;br /&gt;
&mdash;I should now&mdash;who knows ?&mdash;be managing a&lt;br /&gt;
London theatre. I might have married Dollie.&lt;br /&gt;
Oh! it makes me mad only to think of it. Because&lt;br /&gt;
I stayed I had to run awny at night and fell into a&lt;br /&gt;
gang of rogues, and was compelled to l&amp;gt;ccome their&lt;br /&gt;
confederate and got into prison and . . . there&lt;br /&gt;
. you see.&lt;br /&gt;
It&amp;#039;s all very well to say that I shouldn&amp;#039;t have&lt;br /&gt;
pretended to be the brother of an English writer.&lt;br /&gt;
I was stone-broke and I had to get some money&lt;br /&gt;
somehow, and I meant to give that money back.&lt;br /&gt;
The devil of it was that I stayed and went into&lt;br /&gt;
that bar. I stayed. That way the lmd luck&lt;br /&gt;
came in.&lt;br /&gt;
&diams;&bull;&bull;■&raquo;&lt;br /&gt;
K&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 138 (#542) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PEGASUS IN HARNESS.&lt;br /&gt;
Put Pegasus in hnrness&lt;br /&gt;
And tench him how to trot;&lt;br /&gt;
Take him to the market&lt;br /&gt;
With his wares piping hot,&lt;br /&gt;
All fresh anil glowing&lt;br /&gt;
From his owner&amp;#039;s mind,&lt;br /&gt;
Three a penny, four a penny,&lt;br /&gt;
Best of their kind.&lt;br /&gt;
Lord! here&amp;#039;s a bother,&lt;br /&gt;
The creature wants to fly!&lt;br /&gt;
Quiet, there, my beauty,&lt;br /&gt;
We&amp;#039;ll loose you by-and-bye!&lt;br /&gt;
Come now, it&amp;#039;s useless,&lt;br /&gt;
Customers don&amp;#039;t soar;&lt;br /&gt;
It won&amp;#039;t pay, alack, to scorn&lt;br /&gt;
Their muddy floor.&lt;br /&gt;
Why, what a blessing&lt;br /&gt;
The harness was so strong:&lt;br /&gt;
What a task &amp;#039;tis to get&lt;br /&gt;
The chafing steed along!&lt;br /&gt;
Fold your wings, do, now!&lt;br /&gt;
Keep them for the sky;&lt;br /&gt;
Men pay to touch their feathers, not&lt;br /&gt;
To see them fly.&lt;br /&gt;
Pegasus, when night comes&lt;br /&gt;
We&amp;#039;ll fly up to the stars,&lt;br /&gt;
We&amp;#039;ll soar above Venus,&lt;br /&gt;
And we&amp;#039;ll mount beyond Mars;&lt;br /&gt;
Earth lies a ball lx&raquo;neath&mdash;&lt;br /&gt;
Alx&amp;gt;ve, still there&amp;#039;s blue&mdash;&lt;br /&gt;
By day we must earn our bread;&lt;br /&gt;
At night we&amp;#039;ll be true.&lt;br /&gt;
There&mdash;we endeavour,&lt;br /&gt;
Here&mdash;we must win;&lt;br /&gt;
There&mdash;lift up our hands,&lt;br /&gt;
Here&mdash;stoop for a pin;&lt;br /&gt;
Turn every penny&lt;br /&gt;
Another to gain:&lt;br /&gt;
Heaven bids&mdash;struggle!&lt;br /&gt;
Earth bids&mdash;uttain!&lt;br /&gt;
But oh ! when night comes&lt;br /&gt;
To the earth-wearied man,&lt;br /&gt;
To one master he&amp;#039;s true,&lt;br /&gt;
And he sleeps while he can&mdash;&lt;br /&gt;
Swoop ! and a rushing,&lt;br /&gt;
The great steed has gone:&lt;br /&gt;
The Boundless receives him,&lt;br /&gt;
His master sleeps on.&lt;br /&gt;
I&amp;#039;mph! what&amp;#039;s to do now?&lt;br /&gt;
There&amp;#039;s the bread winner&amp;#039;s flown.&lt;br /&gt;
Why&mdash;fetch up a mule, man,&lt;br /&gt;
Put the gold trappings on;&lt;br /&gt;
He&amp;#039;ll give time to see them;&lt;br /&gt;
He&amp;#039;s safe, sure, and slow,&lt;br /&gt;
If you speak still of &amp;quot; Pegasus&amp;quot;&lt;br /&gt;
Xobody &amp;#039;11 know.&lt;br /&gt;
Sidney Caxton.&lt;br /&gt;
&diams;*&bull;&bull;&diams;&lt;br /&gt;
&amp;quot;AUTHORS&amp;#039; COMPLAINTS AND&lt;br /&gt;
PUBLISHERS&amp;#039; PROFITS.&amp;quot;&lt;br /&gt;
IHAVE read with much interest Mr. George&lt;br /&gt;
Putnam&amp;#039;s paper on this subject in the Forum&lt;br /&gt;
of September, the more so because I have lnul&lt;br /&gt;
from time to time several conversations with the&lt;br /&gt;
writer on the points raised in his paper, and I&lt;br /&gt;
always found him willing to meet me half way on&lt;br /&gt;
all essential points, and, to the best of my recollec-&lt;br /&gt;
tion, perfectly ready to admit the useful functions&lt;br /&gt;
of our Society, and the reasonableness of its aims.&lt;br /&gt;
So much, indeed, he admits in this article when he&lt;br /&gt;
says&mdash;the italics are my own&mdash;&amp;quot;Whatever shape&lt;br /&gt;
the compensation of the author may take (excepting&lt;br /&gt;
only that of a purchase outright of his copyright)&lt;br /&gt;
he is of course entitled to precise information us to&lt;br /&gt;
the publishing statistics of his boohs.&amp;quot;&lt;br /&gt;
Exactly. This concession covers nearly the&lt;br /&gt;
whole ground. The chief grievance of the author&lt;br /&gt;
is that he has been, and still is, called upon to&lt;br /&gt;
surrender his property on terms the half of which&lt;br /&gt;
are carefully concealed from him; tliat he is offered&lt;br /&gt;
this and that without being informed what the&lt;br /&gt;
arrangement gives to the other side. Let us know&lt;br /&gt;
what the other side receives for himself as well&lt;br /&gt;
as what he ijices the author. Then we shall&lt;br /&gt;
understand what we are about. Now, the most&lt;br /&gt;
important part of the work of the Society has been&lt;br /&gt;
the publication&mdash;approximately only, for nothing is&lt;br /&gt;
more elastic than a printer&amp;#039;s bill&mdash;of the actual cost&lt;br /&gt;
of production. With this in our hands, we have a&lt;br /&gt;
very simple sum in arithmetic:&mdash;(i) The actual&lt;br /&gt;
cost of production. (2) The royalty paid to the&lt;br /&gt;
author. (3) The trade price of the book. The&lt;br /&gt;
publisher&amp;#039;s profit can be easily calculated. Now,&lt;br /&gt;
Mr. Putnam in this article talks round and round&lt;br /&gt;
the subject, but does not touch the real point at&lt;br /&gt;
issue. For instance, he carefully enumerates the&lt;br /&gt;
various methods of dealing with authors; he points&lt;br /&gt;
out the increased cost of printing, and binding, and&lt;br /&gt;
distribution; but he evades the main points, viz.,&lt;br /&gt;
the actual profit made by the publishers on the&lt;br /&gt;
various methods described and the proportion&lt;br /&gt;
which, in his opinion, should be taken by the&lt;br /&gt;
publisher.&lt;br /&gt;
He complained that I consider only tin? question of&lt;br /&gt;
books with a side of 10,000. I suppose he alludes to&lt;br /&gt;
Mr. Sprigge&amp;#039;s book&mdash;the &amp;quot; Methods of Publication&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 139 (#543) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
*39&lt;br /&gt;
&mdash;and to the &amp;quot;Cost of Production.&amp;quot; But in those&lt;br /&gt;
books, the sale of 1,000 copies, and even less, is&lt;br /&gt;
carefully considered, as well as the sale of 10,000.&lt;br /&gt;
He says in one place (p. 74.) that I am &amp;quot; inclined&lt;br /&gt;
to contend that there are, as a matter of fact, no&lt;br /&gt;
such things as publishing losses,&amp;quot; and that I &amp;quot;claim&lt;br /&gt;
that the publishers rarely take any risk in publish-&lt;br /&gt;
ing, as they make a practice of putting their money&lt;br /&gt;
only into books that an- sure to pay.&amp;quot; On p. 7a he&lt;br /&gt;
says, &amp;quot;It is the contention of the English Society&lt;br /&gt;
of Authors that the publisher who understands his&lt;br /&gt;
business must take, ami, as a matter of fact, does&lt;br /&gt;
take, no risk in his undertakings.&amp;quot; Now, there is&lt;br /&gt;
a difference between &amp;quot;rarely&amp;quot; and &amp;quot;never&amp;quot;&mdash;a&lt;br /&gt;
very great difference. What I have said, over and&lt;br /&gt;
over again&mdash;what I am prepared to prove, by&lt;br /&gt;
hundreds of cast&amp;#039;s and agreements brought to our&lt;br /&gt;
office&mdash;by verbal information from persons who&lt;br /&gt;
have been employed in publishers&amp;#039; offices&mdash;and&lt;br /&gt;
by examination of advertised publishers&amp;#039; lists, is&lt;br /&gt;
this. There has grown up of late years a custom&lt;br /&gt;
of making authors pay whenever there is any real&lt;br /&gt;
risk. It is very seldom that publishers take any&lt;br /&gt;
risk. I might go further and say that there are&lt;br /&gt;
some houses which never will take any risk at all.&lt;br /&gt;
Bv this I mean the simple meaning that the words&lt;br /&gt;
convev. In other words, it is very seldom that a&lt;br /&gt;
publisher will produce a l&raquo;ook unless he sees his&lt;br /&gt;
way to the sale of at least as many copies as will&lt;br /&gt;
pay the cost of production, with something for his&lt;br /&gt;
services or the interest of his money.&lt;br /&gt;
Over and over again has this proposition been&lt;br /&gt;
stated. Nothing in the world could be more true&mdash;&lt;br /&gt;
nothing more reasonable and probable. Over and&lt;br /&gt;
over again interested or malicious persons have dis-&lt;br /&gt;
torted the statement into quite a different one, and&lt;br /&gt;
have virtuously argued themselves black in the face&lt;br /&gt;
on the assumption that 1 have said that there are&lt;br /&gt;
no risks in publishing.&lt;br /&gt;
There may be plenty of risk in publishing.&lt;br /&gt;
You may produce a lwok on a subject which no&lt;br /&gt;
one wants; you may produce a bad book on any&lt;br /&gt;
subject; vou may produce tot) large an edition of a&lt;br /&gt;
l)ook; vou may spend more money in advertising a&lt;br /&gt;
book than the l&amp;gt;ook will bear; you may bring out&lt;br /&gt;
a book at a wrong time; many tilings of the kind&lt;br /&gt;
may happen. But a skilled&mdash;or a well advised&lt;br /&gt;
publisher&mdash;in this great world of English readers&mdash;&lt;br /&gt;
with this immense market before him&mdash;with all&lt;br /&gt;
the various branches of letters&mdash;with all the&lt;br /&gt;
different audiences&mdash;with all the favourite leaders&lt;br /&gt;
and authorities in all these branches&mdash;need never, I&lt;br /&gt;
maintain, unless he pleases, run any risk at all.&lt;br /&gt;
And he very seldom does.&lt;br /&gt;
He may, it is true, l&amp;gt;c disappointed in the ulti-&lt;br /&gt;
mate proceeds. But that is not risk. My con-&lt;br /&gt;
tention is that he need never publish a book unless&lt;br /&gt;
he knows that the minimum of the sales will cover&lt;br /&gt;
his expenditure and something over. And I do&lt;br /&gt;
not for a moment agree with Mr. Putnam that a&lt;br /&gt;
man would be valuable to a publishing firm who&lt;br /&gt;
would keep them from losses, because an educated&lt;br /&gt;
man, brought up in the business, will easily, and&lt;br /&gt;
does easily, learn for himself. Of course, I am not&lt;br /&gt;
speaking of American risks,of which I know nothing.&lt;br /&gt;
I agree with Mr. Putnam&mdash;and he with me&mdash;in&lt;br /&gt;
so many points that I should like him to agree with&lt;br /&gt;
ine in all. For instance, he is perfectly right when&lt;br /&gt;
he says that authors cannot expect compensation&mdash;&lt;br /&gt;
he means pay&mdash;for work which proves to have no&lt;br /&gt;
marketable value. An author can only be paid out&lt;br /&gt;
of the proceeds of his book. But that must be a&lt;br /&gt;
very poor publisher who cannot tell beforehand&lt;br /&gt;
whether a book has a marketable value or not. One&lt;br /&gt;
publisher&mdash;de mes amis&mdash;has an eagle eye for the&lt;br /&gt;
detection of marketable value in novels He never&lt;br /&gt;
fails&mdash;at least, I think not&mdash;I hope not&mdash;in this in-&lt;br /&gt;
stinct of his. He produces works by unknown&lt;br /&gt;
writers, and they Income known and popular. He&lt;br /&gt;
knows. With this and other examples before me,&lt;br /&gt;
when a publisher writes complaining that he has lost&lt;br /&gt;
by this book and by that book, I am inclined to say,&lt;br /&gt;
&amp;quot;Friend, if that is true, you do not know your own&lt;br /&gt;
business.&amp;quot; But he never shows his books, remein-&lt;br /&gt;
l&amp;gt;er. Mr. Putman makes a great ileal about the&lt;br /&gt;
&amp;quot;generosity&amp;quot; of certain publishers. First of all,&lt;br /&gt;
we do not want generosity. We do not want to&lt;br /&gt;
keep up the old notion which caused a publisher&lt;br /&gt;
to be considered as a (generally) malevolent old&lt;br /&gt;
man (but sometimes benevolent), who sat upon a bag&lt;br /&gt;
of gold&mdash;an enormous bag of untold gold&mdash;and dealt&lt;br /&gt;
out capricious gifts, varying according to his&lt;br /&gt;
temper. Nor do we want the other notion which&lt;br /&gt;
made of the publisher the guardian angel of letters,&lt;br /&gt;
thinking only how he could advance the holy&lt;br /&gt;
cause of literature, and careless whether he ruined&lt;br /&gt;
himself or not. Nor do we want the old sorry&lt;br /&gt;
spectacle of the writing-man who goes humbly, hat&lt;br /&gt;
in hand, body bent, voice hushed, to the man who&lt;br /&gt;
pays, ami takes with tears of gratitude whatever he&lt;br /&gt;
may offer or may chuck. What we now say is&lt;br /&gt;
this, &amp;quot;What do you mean by your 4 generosity&amp;#039;?&lt;br /&gt;
Hang your generosity! Keep it for the charity&lt;br /&gt;
sermon. Give us plain and simple justice. You have&lt;br /&gt;
graciously heretofore given this and tossed that;&lt;br /&gt;
what have you kept for yourself? Show us your&lt;br /&gt;
accounts before you talk of generosity.&amp;quot;&lt;br /&gt;
Then; are one or two other points in which Mr.&lt;br /&gt;
Putnam unfortunately fails to understand the&lt;br /&gt;
position. Thus, he girds at Canon Farrar, saying&lt;br /&gt;
that he appealed to the public for sympathy, because&lt;br /&gt;
his publishers had made more money than himself&lt;br /&gt;
when he had signed a contract to do and work for&lt;br /&gt;
so much. Canon Farrar did nothing of the kind.&lt;br /&gt;
The grievance in his case was this: He did agree&lt;br /&gt;
to do a certain piece of work for a certain sum of&lt;br /&gt;
K S&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 140 (#544) ############################################&lt;br /&gt;
&lt;br /&gt;
140&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
money. The work proved enormously successful.&lt;br /&gt;
He had no claim for anything more, and never set&lt;br /&gt;
up any claim. But when the firm in question&lt;br /&gt;
invited him to do another work, they did not let&lt;br /&gt;
him understand how successful his first work had&lt;br /&gt;
been. They said nothing about the proportion&lt;br /&gt;
of profit they had made for themselves; they&lt;br /&gt;
said nothing about what they knew they should&lt;br /&gt;
make on the next work. This, no doubt,&lt;br /&gt;
was what is called business. But the English&lt;br /&gt;
publisher has always endeavoured to make the&lt;br /&gt;
English author believe that he is his friend. My&lt;br /&gt;
own contention in that matter is that Farrar should&lt;br /&gt;
not have signed that second agreement until the&lt;br /&gt;
firm had shown him by their books what it had&lt;br /&gt;
made out of the first. The same remark applies to&lt;br /&gt;
all cases of so-called &amp;quot;generosity.&amp;quot; Let the&lt;br /&gt;
accounts be produced. Then we shall see. We&lt;br /&gt;
do not wish to rob the publisher by accepting his&lt;br /&gt;
&amp;quot;generosity.&amp;quot; We, do not wish him to rob us&lt;br /&gt;
under the name of &amp;quot;generosity.&amp;quot; I pass over all&lt;br /&gt;
Mr. Putnam&amp;#039;s remarks on American publishing for&lt;br /&gt;
obvious reasons. I think, for the same reasons, he&lt;br /&gt;
should not have entered the lists al&amp;gt;out English&lt;br /&gt;
publishing. And I also wish very much that he&lt;br /&gt;
had read what has l&amp;gt;een said and printed by my&lt;br /&gt;
friends on the subject before committing himself to&lt;br /&gt;
statements and charges which cannot be sustained.&lt;br /&gt;
He says that we have made &amp;quot;sweeping charges&amp;quot;&lt;br /&gt;
against publishers as a class. We have done no-&lt;br /&gt;
thing of the kind. We have proved &amp;quot; up to the&lt;br /&gt;
hilt,&amp;quot; as the Spectator allowed, that fraudulent&lt;br /&gt;
practices exist, and are, indeed, rife. The fact that&lt;br /&gt;
many of us are on friendly terms with publishers is&lt;br /&gt;
quite enough to disprove the assertion of &amp;quot; sweeping&lt;br /&gt;
charges.&amp;quot; It is also a fact that many of the prac-&lt;br /&gt;
tices which we have proved to exist are now carried&lt;br /&gt;
on in a much more secret and guarded fashion than&lt;br /&gt;
prevailed four or five years ago. Meantime, I&lt;br /&gt;
commend to Mr. Putnam the consideration of our&lt;br /&gt;
great principle that in all business relations, part-&lt;br /&gt;
nerships, joint adventures, and enterprises, it is&lt;br /&gt;
right, just, and proper that the two parties should&lt;br /&gt;
each and severally have a full knowledge of what&lt;br /&gt;
the agreements give to either side. That once&lt;br /&gt;
conceded, the rest, viz., an equitable understanding&lt;br /&gt;
that shall safeguard both parties may be arrived at.&lt;br /&gt;
Such an understanding is very much to be desired&lt;br /&gt;
in the interests of publishers as well as of authors,&lt;br /&gt;
and, indeed, cannot but Ixj desired by every honour-&lt;br /&gt;
able publisher as well as by any honourable and&lt;br /&gt;
self-respecting author.&lt;br /&gt;
Walter Bksant.&lt;br /&gt;
POPULAR PLATITUDINOUS PHILOSOPHY.&lt;br /&gt;
1. The publisher risks dire poverty who pays a&lt;br /&gt;
new author anything.&lt;br /&gt;
2. Publishing is the most precarious form of&lt;br /&gt;
&amp;quot;plunging.&amp;quot;&lt;br /&gt;
3. Every author should rest content with the&lt;br /&gt;
honour of appearing in print.&lt;br /&gt;
4. An artist should be above alimony: Art is&lt;br /&gt;
degraded by any money.&lt;br /&gt;
5. Publishing is a matter of favouritism, by&lt;br /&gt;
which paper-makers, printers, lxx&amp;gt;kbinders, and&lt;br /&gt;
booksellers all conspire against unknown genius&lt;br /&gt;
6. Artists should Ik; angels&mdash;all soul: eating is&lt;br /&gt;
merely animal, and therefore inartistically vulgar.&lt;br /&gt;
7. The general public is divisible into those who&lt;br /&gt;
buy books but do not read them, those who read&lt;br /&gt;
but do not buy, and those who neither buy nor&lt;br /&gt;
read.&lt;br /&gt;
8. What we manufacture we should be jmid for;&lt;br /&gt;
but what other people make they should give us for&lt;br /&gt;
nothing.&lt;br /&gt;
9. All best work is borrowed, and therefore&lt;br /&gt;
belongs to someone else.&lt;br /&gt;
1 o. The alphabet is public property, and whoso&lt;br /&gt;
disarranges it into Iwoks only disturbs what belongs&lt;br /&gt;
to everybody.&lt;br /&gt;
11. Everything that was best contrived to live in&lt;br /&gt;
the past.&lt;br /&gt;
12. In the multitude of conventionalisms is to be&lt;br /&gt;
found the highest wisdom.&lt;br /&gt;
13. A publisher is a philanthropist who scorns&lt;br /&gt;
coarse commerce.&lt;br /&gt;
14. What is conscience in ourselves is only&lt;br /&gt;
conceit in the other man.&lt;br /&gt;
15. Civility is what the other people owe us.&lt;br /&gt;
16. There is no fine art in fiction; it is just as&lt;br /&gt;
easy as lying.&lt;br /&gt;
Phinlay Olknelo.&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
fl^HE Spectator devotes an article to some&lt;br /&gt;
I remarks made by me in another place on the&lt;br /&gt;
distribution of national honours, orders anil&lt;br /&gt;
titles. The editor, it appears, does not agree with&lt;br /&gt;
these remarks. Now there is one thing for which&lt;br /&gt;
I especially respect the Spectator. It always&lt;br /&gt;
seeks to represent the views which it attacks,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 141 (#545) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
141&lt;br /&gt;
honourably and fuirly. This conceded, let me&lt;br /&gt;
state my case again. The State confides to the&lt;br /&gt;
Sovereign the task of recognising distinction and&lt;br /&gt;
good service l&amp;gt;y the grant of certain orders and&lt;br /&gt;
titles. The Spectator says that these decorations&lt;br /&gt;
are part of the wages of the State for servants of&lt;br /&gt;
the State. My position entirely. But I maintain&lt;br /&gt;
that everything &mdash; every kind of service &mdash; that&lt;br /&gt;
advances the happiness, the safety, the welfare,&lt;br /&gt;
the moral and intellectual level of mankind, is a&lt;br /&gt;
distinct service to the State, and should be recog-&lt;br /&gt;
nised as such. The Spectator would narrow the&lt;br /&gt;
service of the State, apparently, to service paid for&lt;br /&gt;
by the State. The writer says that decorations and&lt;br /&gt;
titles are &amp;quot;part of the wages of the State, outward&lt;br /&gt;
and visible signs of good conduct.&amp;quot; In that case&lt;br /&gt;
why were Bass, Allsopp, and Guinness raised to&lt;br /&gt;
the peerage? Why, again, is a plain country&lt;br /&gt;
gentleman made a baronet? Why is the warden&lt;br /&gt;
of a city company made a knight? That defini-&lt;br /&gt;
tion clearly will not serve. There is, in fact, no&lt;br /&gt;
rule whatever, no principle recognised in the dis-&lt;br /&gt;
tribution of honours. Somebody advises the&lt;br /&gt;
Queen. Is it the Prime Minister? I do not&lt;br /&gt;
know. Whoever it is, he makes no reservation&lt;br /&gt;
whatever about paid servants of the State. None&lt;br /&gt;
whatever. He says that a soldier or a sailor, a&lt;br /&gt;
lawyer, a politician, a rich man, if he is rich&lt;br /&gt;
enough, a man in the Treasury, or the Foreign&lt;br /&gt;
Office, or the Diplomatic Service, may look forward&lt;br /&gt;
to receiving some kind of distinction. No one, he&lt;br /&gt;
says, however distinguished in medicine, architec-&lt;br /&gt;
ture, painting, literature, music, acting, sculpture,&lt;br /&gt;
science, or teaching, must ever expect a peerage.&lt;br /&gt;
If a physician were to discover a certain way of&lt;br /&gt;
curing gout or rheumatism and abolishing that&lt;br /&gt;
agony for ever, he would have no more than a&lt;br /&gt;
baronetcy. If a man brews enough beer, of course,&lt;br /&gt;
he shall lie raised to the Upper House, and sit&lt;br /&gt;
apart&mdash;he and his&mdash;for ever, but not if he writes&lt;br /&gt;
the most splendid play ever produced. In some&lt;br /&gt;
of these branches they from time to time offer a&lt;br /&gt;
very distinguished man&mdash;say a Huxley&mdash;the saine&lt;br /&gt;
distinction&mdash;the smallest of all&mdash;that they give the&lt;br /&gt;
mayor of a country town. Now, for all these&lt;br /&gt;
branches&mdash;for every noble calling&mdash;I claim the&lt;br /&gt;
right of national recognition, in whatever way&lt;br /&gt;
tin? nation can or does exercise that recognition.&lt;br /&gt;
Especially I claim it for literature, because of all&lt;br /&gt;
noble callings it is the one which has lieen the&lt;br /&gt;
least recognised.&lt;br /&gt;
Observe that I do not ask, as the Spectator&lt;br /&gt;
mistakenly asserts, that great authors should&lt;br /&gt;
receive the honour of Knight Bachelor. The&lt;br /&gt;
Spectator, you see, cannot conceive it possible&lt;br /&gt;
that any great author in his wildest ambitions&lt;br /&gt;
should look beyond a knighthood. I want a very&lt;br /&gt;
great deal more for them. I want ■whatever&lt;br /&gt;
honours the State has to bestow&mdash;the very highest.&lt;br /&gt;
The Spectator mentions the peerage of the&lt;br /&gt;
Laureate. I wonder if the Sjwctator rememliers&lt;br /&gt;
that at the time when Lord Tennyson received an&lt;br /&gt;
honour which recognised the very point I insist&lt;br /&gt;
upon, some of the papers tried to make out that&lt;br /&gt;
it was conferred upon him because he was of good&lt;br /&gt;
birth. Others said that poets ought not to want&lt;br /&gt;
peerages&mdash;the Spectator to-day says as much.&lt;br /&gt;
The answer is clear; great poets do not want&lt;br /&gt;
peerages; they confer services upon the State&lt;br /&gt;
which cannot be measured; but, in whatever way&lt;br /&gt;
the State chooses to recognise great services, it is&lt;br /&gt;
bound in that way to recognise a great poet. It&lt;br /&gt;
is no honour to Tennyson that he is a peer; it is&lt;br /&gt;
the acknowledgment of his vast services to the&lt;br /&gt;
State in the way open to a grateful nation. Such&lt;br /&gt;
acknowledgments are due to literature as much as&lt;br /&gt;
to any other profession. Not that writers will do&lt;br /&gt;
better work, but that the world will liegin to think&lt;br /&gt;
more highly of its writers and will begin to value&lt;br /&gt;
their work more and will lie influenced more readily&lt;br /&gt;
by them when it sees that they are recognised&lt;br /&gt;
by the State. Now, here is a case in point. In&lt;br /&gt;
the year 1887, when the nation rejoiced over an&lt;br /&gt;
event of a most remarkable kind, cards of admission&lt;br /&gt;
were sent to the most distinguished persons in the&lt;br /&gt;
country for the great ceremony in Westminster&lt;br /&gt;
Abliey. There were present men of every calling;&lt;br /&gt;
it was a national representative gathering. For&lt;br /&gt;
most of those who were present, the card was not&lt;br /&gt;
so much an honour as a thing due to their position.&lt;br /&gt;
Very well. Not one single man or woman of&lt;br /&gt;
letters was invited as such. The whole of litera-&lt;br /&gt;
ture was absolutely ignored and contemptuously&lt;br /&gt;
passed over. Would that insult have been possible&lt;br /&gt;
had men of letters lieen regarded, like soldiers, as&lt;br /&gt;
servants of the State, and, like soldiers, to lie&lt;br /&gt;
recognized in the distribution of honours?&lt;br /&gt;
The Spectator sup]Kises the Prime Minister&lt;br /&gt;
worried between the rival claims of half-a-dozen&lt;br /&gt;
poets; well, why not? There is nothing so very&lt;br /&gt;
absurd about that. I suppose he is now worried&lt;br /&gt;
lietween the rival claims of Mr. Facing-both-Ways,&lt;br /&gt;
politician, and Mr. Creeping Backstairs, professional&lt;br /&gt;
Worm, both of whom ardently desire to be&lt;br /&gt;
knighted. Then we are told dogmatically, &amp;quot;We&lt;br /&gt;
have no business whatever to give titles and deco-&lt;br /&gt;
rations to literary men. They are far lictter&lt;br /&gt;
without them.&amp;quot; Does this mean that they write&lt;br /&gt;
lietter without them? If so, one might just as&lt;br /&gt;
well say that they have no business with new coats&lt;br /&gt;
&mdash;&amp;quot; they are far better without them.&amp;quot; Or does&lt;br /&gt;
it mean that they will feel better in their insides&lt;br /&gt;
without titles and decorations? There is, in&lt;br /&gt;
fact, absolutely nothing that can be said against&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 142 (#546) ############################################&lt;br /&gt;
&lt;br /&gt;
142&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
granting titles to one class any more than to any&lt;br /&gt;
other class j the arguments of the Spectator apply-&lt;br /&gt;
just as well to engineers as to poets. Do Millais&lt;br /&gt;
and Leighton paint worse since they had titles?&lt;br /&gt;
Can anyone in his senses believe that either Lecky&lt;br /&gt;
or Meredith would write worse if he were made a&lt;br /&gt;
Peer? Does anyone believe that Lord Lytton is a&lt;br /&gt;
worse ambassador because he is a poet? Lastly,&lt;br /&gt;
the Spectator asks what Browning would have done&lt;br /&gt;
as an ambassador? Of one thing I am quite&lt;br /&gt;
certain: If he was in other respects fitted for the&lt;br /&gt;
post of ambassador, his poetry would have l&amp;gt;een no&lt;br /&gt;
disqualification.&lt;br /&gt;
The Victorian reign will be glorified in after&lt;br /&gt;
ages mainly for three splendours. First, the&lt;br /&gt;
enormous and unparalleled increase of the English-&lt;br /&gt;
speaking race; so that they began with thirty&lt;br /&gt;
millions, and, after fifty years, have grown to a&lt;br /&gt;
hundred millions. Second, the wonderful ad-&lt;br /&gt;
vancement of science, by means of which almost&lt;br /&gt;
the elementary conditions of life have been revo-&lt;br /&gt;
lutionized. Thirdly, the magnificence of the&lt;br /&gt;
Victorian literature. When the future historian&lt;br /&gt;
dwells upon these illustrations of the period, he&lt;br /&gt;
will go on to remark that all of them flourished&lt;br /&gt;
under the absolute neglect and contempt of the&lt;br /&gt;
English Court and the English Government. The&lt;br /&gt;
colonies owed nothing, except snubs, to the Colonial&lt;br /&gt;
Office. No Government has ever attempted to&lt;br /&gt;
organise, to control, to assist, to direct, or to advise&lt;br /&gt;
emigration. The Government, without making an&lt;br /&gt;
effort to divert the stream, allowed the half of the&lt;br /&gt;
Irish ]&amp;gt;eople to go over bodily to the United States,&lt;br /&gt;
and to lend their invaluable legs and arms to the&lt;br /&gt;
material progress of that Republic. Until the&lt;br /&gt;
latter years of the reign, no colonist, however&lt;br /&gt;
great his services, was recognised even by the&lt;br /&gt;
insignificant distinction of a Knight Bachelor. As&lt;br /&gt;
for science, there have never been, since the world&lt;br /&gt;
began, such giants as those of our century. Have&lt;br /&gt;
any of these men of science been raised to the&lt;br /&gt;
House of Lords? Not one. Has there ever been&lt;br /&gt;
any national recognition of the best of them?&lt;br /&gt;
Perhaps it may be replied that a knighthood was&lt;br /&gt;
offered to one. A knighthood? In literature it&lt;br /&gt;
is an age which has produced two or three; English&lt;br /&gt;
writers of the first rank&mdash;the very first rank; it&lt;br /&gt;
has also produced a great number of writers whose&lt;br /&gt;
work is good, lasting, most useful, ami helpful,&lt;br /&gt;
beyond anything of the sort ever seen lx&amp;gt;fore in any&lt;br /&gt;
generation. Have these men received any national&lt;br /&gt;
honours or recognition? None whatever. The&lt;br /&gt;
House of Commons grants a little sum of &pound;400 a&lt;br /&gt;
year for distinguished service in literature, and the&lt;br /&gt;
First Lord of the Treasury refuses to use it for&lt;br /&gt;
that purpose&mdash;gives it to widows of officers&lt;br /&gt;
instead. One simple distinction, or recognition,&lt;br /&gt;
is the command to dine with the Sovereign. Do&lt;br /&gt;
these men ever receive such a command. Never.&lt;br /&gt;
My &amp;quot; grievance,&amp;quot; as the Spectator calls it, is, in&lt;br /&gt;
short, that national distinctions, which should&lt;br /&gt;
belong to every intellectual calling, are limited to&lt;br /&gt;
one or two, and are even bestowed without reference&lt;br /&gt;
to distinction at all.&lt;br /&gt;
I have received a paper&mdash;Hearth and Home&mdash;&lt;br /&gt;
which contains an account of a little discussion&lt;br /&gt;
between three persons&mdash;a Member of Parliament, a&lt;br /&gt;
&amp;quot;Labour Leader,&amp;quot; and a lady journalist. The dis-&lt;br /&gt;
cussion turned on the influence of a certain novel&lt;br /&gt;
on certain changes in opinion and reforms in&lt;br /&gt;
action. The Member of Parliament and the Labour&lt;br /&gt;
Leader maintained that the novel had nothing to do&lt;br /&gt;
with any reform. The lady said that, the novel had&lt;br /&gt;
everything to do with it. It was clear, from the&lt;br /&gt;
remarks of the other two, that they were totally&lt;br /&gt;
ignorant of the force of sentiment, or the power of&lt;br /&gt;
the artist to create, arouse, and direct public&lt;br /&gt;
opinion. They could not understand that senti-&lt;br /&gt;
ment, of which they doubtless supposed themselves&lt;br /&gt;
to have none, could possibly have anything to do&lt;br /&gt;
with practical things. That is to say, they knew&lt;br /&gt;
nothing of the history of popular opinion on popular&lt;br /&gt;
movements, and nothing whatever of the part&lt;br /&gt;
played by the poet, the dramatist, and the novelist.&lt;br /&gt;
This is very interesting. The same men who, after&lt;br /&gt;
reading &amp;quot; Uncle Tom&amp;#039;s Cabin,&amp;quot; would be maddened&lt;br /&gt;
by the cruelty and the wickedness of slavery, and&lt;br /&gt;
if the opportunity arose, would be spurred to action&lt;br /&gt;
by that madness, stoutly maintain that sentiment&lt;br /&gt;
plays no part in affairs; and that poet, artist, actor,&lt;br /&gt;
and novelist can effect nothing. On the same day,&lt;br /&gt;
as an illustration of the supposed powerlessness of&lt;br /&gt;
sentiment, all the world reads that Mr. Hall Caine&lt;br /&gt;
is going to Russia to study the question of the Jews&lt;br /&gt;
with a view, if he sees his way, to write a novel about&lt;br /&gt;
it. The English Jews who have proposed this task to&lt;br /&gt;
him are wiser, you see, than the Member of Parlia-&lt;br /&gt;
ment and the Labour Leader. The genius of the&lt;br /&gt;
novelist, who concentrates the attention and the&lt;br /&gt;
interest on a single group of the wretched, starving&lt;br /&gt;
fugitives&mdash;perhaps on a single figure&mdash;will do more&lt;br /&gt;
to bring home to our understanding the true,&lt;br /&gt;
nature of their sufferings than a thousand telegrams&lt;br /&gt;
and as many leading articles.&lt;br /&gt;
The story which is going about the papers con-&lt;br /&gt;
cerning French publishers is simply incredible. It&lt;br /&gt;
is said that the enormous editions of novels adver-&lt;br /&gt;
tised on the covers of the books are to a great&lt;br /&gt;
extent fictitious, and that those magnificent figures&lt;br /&gt;
&mdash;200th edition&mdash;5ooth edition, which fill the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 143 (#547) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
*43&lt;br /&gt;
breast of the British publisher&mdash;and, to a humbler&lt;br /&gt;
extent, the British author&mdash;with envy, are simply&lt;br /&gt;
trade lies. It is further stated that French authors&lt;br /&gt;
have been receiving royalties on the fictitious&lt;br /&gt;
numbers&mdash;in other words&mdash;that the publishers have&lt;br /&gt;
been paying for thousands of books which have&lt;br /&gt;
never been sold: in other words again that they&lt;br /&gt;
are possessed of secret mines of gold. It is again&lt;br /&gt;
stated that they have actually printed, though they&lt;br /&gt;
have not sold, the numbers they advertise, and that&lt;br /&gt;
their warehouses are bulging and bursting from top&lt;br /&gt;
to bottom with unsold novels. Lastly, it is stated&lt;br /&gt;
that certain firms are on the verge of bankruptcy&lt;br /&gt;
in consequence of this practice. We are not sur-&lt;br /&gt;
prised. There is, however, a way of explaining the&lt;br /&gt;
story. The trick of advertising edition after edition&lt;br /&gt;
of a book is not unknown in this country. The&lt;br /&gt;
edition may be as small as you please&mdash;a single&lt;br /&gt;
copy, perhaps&mdash;or fifty copies. It is a dirty trick;&lt;br /&gt;
a fraudulent trick; it assures the public that the&lt;br /&gt;
book is so much in demand that all these editions&lt;br /&gt;
have been taken up; the public believes that a&lt;br /&gt;
genuine edition is meant and is deceived ; the state-&lt;br /&gt;
ment was issued with intent to deceive; it is therefore&lt;br /&gt;
fraudulent. The trick is brother or sister of that&lt;br /&gt;
other trick by which a publisher buys a whole&lt;br /&gt;
edition of the author without stating the number&lt;br /&gt;
and trades on the omission. Henceforth I shall&lt;br /&gt;
accept the French novel in its 5ooth edition as&lt;br /&gt;
having probably circulated to the extent of a thou-&lt;br /&gt;
sand. Let us cease therefore to wish we had been&lt;br /&gt;
born in a country so eager to possess new literature.&lt;br /&gt;
The circular of a Society called the &amp;quot; British and&lt;br /&gt;
Foreign Association&amp;quot; lies before me. It has about&lt;br /&gt;
90 &amp;quot; Honorary Meml&amp;gt;ers,&amp;quot; among whom are several&lt;br /&gt;
very good names indeed. It lias a President, a&lt;br /&gt;
Chief Secretary, General Councillors, and Repre-&lt;br /&gt;
sentative Councillors. Its prospectus states that it&lt;br /&gt;
has 4,000 members. Its objects are three-fold:&lt;br /&gt;
(l) To promote fraternity among the nations.&lt;br /&gt;
Very good indeed. (2) To encourage literary&lt;br /&gt;
talent among the members by means of a monthly&lt;br /&gt;
magazine. Hum! By means of a monthly maga-&lt;br /&gt;
zine? But surely there are already dozens of&lt;br /&gt;
monthly magazines which do that very same thing.&lt;br /&gt;
And (3) to aid in popularising the works of the&lt;br /&gt;
members. Surely that is done already by the&lt;br /&gt;
reviews, and by the recommendation of readers one&lt;br /&gt;
to the other. What other method has this&lt;br /&gt;
Association?&lt;br /&gt;
Turning to the &amp;quot;advantages of membership,&amp;quot;&lt;br /&gt;
we find that the first advantage is social. Wrecked&lt;br /&gt;
on a desert island, you find the other inhabitants&lt;br /&gt;
also members&mdash;and there you are. The next&lt;br /&gt;
advantage is that you can find persons with whom&lt;br /&gt;
you will correspond&mdash;&amp;quot; exchange ideas &amp;quot;&mdash;says the&lt;br /&gt;
prospectus. This opens up a new, broad, and&lt;br /&gt;
hitherto unworked field of misery. Fancy belonging&lt;br /&gt;
to a Society which will provide an endless supply&lt;br /&gt;
of unknown correspondents anxious to exchange&lt;br /&gt;
ideas!&lt;br /&gt;
A third advantage is found in &amp;quot;the Literary&lt;br /&gt;
Branch.&amp;quot; This means the monthly magazine of&lt;br /&gt;
which I have never yet seen a copy. If there are&lt;br /&gt;
4,000 members all wanting to get their con-&lt;br /&gt;
tributions in, where is the advantage? If the&lt;br /&gt;
magazine is not known to the world, what is the&lt;br /&gt;
good of appearing in it? If the contributions&lt;br /&gt;
are worthy of publication, there are dozens of&lt;br /&gt;
magazines which will gladly pay for them.&lt;br /&gt;
Fourthly, there is a &amp;quot;Tutorial&amp;quot; department.&lt;br /&gt;
This seems to be a bid at a tutorial agency. Do&lt;br /&gt;
many of the 4,000 members join in the hope of&lt;br /&gt;
getting a tutorship?&lt;br /&gt;
Fifthly, there is the &amp;quot;Hotel Tariff.&amp;quot; Members&lt;br /&gt;
get a reduction at certain hotels&mdash;it is not stated&lt;br /&gt;
which these are, or where they are, or why they&lt;br /&gt;
make a reduction.&lt;br /&gt;
Sixthly, the &amp;quot;Commercial&amp;quot; side. Valuable&lt;br /&gt;
business connexions are said to have been formed&lt;br /&gt;
by correspondence between members. This seems&lt;br /&gt;
quite a new departure for a Literary, Peaceful,&lt;br /&gt;
Popular Association.&lt;br /&gt;
Here you have the Association&mdash;its objects and&lt;br /&gt;
advantages&mdash;all drawn up by its own officers; the&lt;br /&gt;
annual subscription is only half-a-guinea. What is&lt;br /&gt;
that in return for the chance of getting into the&lt;br /&gt;
magazine, and &amp;quot;exchanging ideas&amp;quot; with all kinds&lt;br /&gt;
of wonderful people, and opening valuable business&lt;br /&gt;
connexions, and getting tutorships? Meantime,&lt;br /&gt;
one would like to know on what representations&lt;br /&gt;
the 90 Honorary Members gave permission for&lt;br /&gt;
their names to appear? We will inquire further&lt;br /&gt;
into this very interesting &amp;quot;British and Foreign&lt;br /&gt;
Association.&amp;quot;&lt;br /&gt;
The competitive columns of certain popular&lt;br /&gt;
papers are producing very dangerous consequences&lt;br /&gt;
in inducing young winners of prizes to l&amp;gt;elieve&lt;br /&gt;
themselves born for literary fame. I fear that&lt;br /&gt;
these lines will not fall into the hands of any&lt;br /&gt;
such, but if they do, let me most earnestly implore,&lt;br /&gt;
them not to attempt Editor or Publisher with&lt;br /&gt;
original work without taking advice ns to the&lt;br /&gt;
quality of their work, either of the Society or of&lt;br /&gt;
some competent friend. We have been richly&lt;br /&gt;
blessed, as they used to say, in our efforts at&lt;br /&gt;
dissuasion. We have succeeded in leading out of&lt;br /&gt;
the stony fields of unsuccessful Literature many&lt;br /&gt;
who are now grazing sweetly in pastures of Clerk-&lt;br /&gt;
land or Trade-land. Sometimes those who are thus&lt;br /&gt;
turned aside kick and are restive. Then they&lt;br /&gt;
answer the advertising publisher&amp;#039;s letter that he&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 144 (#548) ############################################&lt;br /&gt;
&lt;br /&gt;
144&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
will moot all demands up to 5,ooo copies for &pound;60,&lt;br /&gt;
and proceed to learn the rest of the lesson which&lt;br /&gt;
never fails to follow. After that they go hack&lt;br /&gt;
into Clerk*land meekly, if somewhat bruised and&lt;br /&gt;
battered.&lt;br /&gt;
Some months ago I wrote a little paper called &amp;quot;A&lt;br /&gt;
School for Novelists,&amp;quot; in which I pointed out how,&lt;br /&gt;
given the natural aptitude to begin with, the&lt;br /&gt;
aspirant in Romance might rind his way greatly&lt;br /&gt;
smoothed, and might be saved from many dis-&lt;br /&gt;
appointments and humiliations, by learning the&lt;br /&gt;
technique of the Art. There was the usual and&lt;br /&gt;
expected kind of comment. Everybody who saw&lt;br /&gt;
his way to a clever thing ignored my saving clause&lt;br /&gt;
concerning the natural aptitude, and extended the&lt;br /&gt;
finger of scorn at the man who could lie such a&lt;br /&gt;
fool as to suppose that novelists can be made by&lt;br /&gt;
schools and lectures. But the project still remains&lt;br /&gt;
even when the clever things have all been said at&lt;br /&gt;
the cost of truth, and by the suppression of the most&lt;br /&gt;
important part of my contention. We shall see a&lt;br /&gt;
School of Fiction yet. If I had the time I would&lt;br /&gt;
start one myself, and I believe that I should do&lt;br /&gt;
very well with it, both for myself and for my&lt;br /&gt;
pupils. I now learn that there has been founded,&lt;br /&gt;
or will soon be founded, a College for Journalists&lt;br /&gt;
in the United States, out of which should come&lt;br /&gt;
many good things, and especially that regard&lt;br /&gt;
for truth which is surely the one thing most&lt;br /&gt;
wanted in American Journalism. And I am re-&lt;br /&gt;
minded that there has existed for some years a&lt;br /&gt;
School of Journalism in this London Town. The&lt;br /&gt;
school gives lectures and instruction in all the various&lt;br /&gt;
duties of a journalist: among them, on paragraphs,&lt;br /&gt;
reviewing, special and war correspondence, art and&lt;br /&gt;
dramatic criticism, leaders, editing, sub-editing, &amp;amp;c.&lt;br /&gt;
In other words, the school undertakes to turn out&lt;br /&gt;
a practical journalist in 12 months. It is directed&lt;br /&gt;
by Mr. David Anderson, himself a well-known&lt;br /&gt;
leader writer on the best London Papers.&lt;br /&gt;
Now, here comes in the reservation. The School&lt;br /&gt;
of Journalism can no more make a journalist, than&lt;br /&gt;
a School of Fiction could make a novelist; but it&lt;br /&gt;
can prepare the way for one who has the natural&lt;br /&gt;
aptitude. Many of those who pass through the&lt;br /&gt;
course may fail afterwards in their profession; but&lt;br /&gt;
that failure ought not to bring discredit, on the&lt;br /&gt;
school, so long as some can be found who attribute&lt;br /&gt;
their success mainly or in part to the work of the&lt;br /&gt;
school. For my own part, I welcome such schools&lt;br /&gt;
as additional proof, for the eyes of the world, that&lt;br /&gt;
Literature is a profession, and one with many&lt;br /&gt;
branches, of which journalism is one.&lt;br /&gt;
Certain not unfriendly critics have questioned the&lt;br /&gt;
use of my suggestion that authors should practise&lt;br /&gt;
the art of public speaking. &amp;quot;Why,&amp;quot; asks one,&lt;br /&gt;
&amp;quot;should authors make public speeches at all?&amp;quot;&lt;br /&gt;
Because they are sometimes very much wanted to&lt;br /&gt;
do so in the interests of their own calling. Because&lt;br /&gt;
they often know a great deal on special subjects on&lt;br /&gt;
which their spoken judgment might be very useful&lt;br /&gt;
indeed. Because authorship belongs to every pro-&lt;br /&gt;
fession and (idling under the sun, and he who&lt;br /&gt;
would teach or guide the world should lie able to&lt;br /&gt;
do so by word of mouth as well as by pen. Cer-&lt;br /&gt;
tainly there are men, as this critic points out, who&lt;br /&gt;
could never become orators. Thackeray was one;&lt;br /&gt;
Anthony Trollope was another; John Stuart Mill&lt;br /&gt;
was a very ineffective, unattractive speaker. Yet,&lt;br /&gt;
had one of those three studied and practised the.&lt;br /&gt;
art, he might at least have been able to say the&lt;br /&gt;
thing he wautcnl to say effectively and convincingly.&lt;br /&gt;
The last named might certainly have increased his&lt;br /&gt;
influence and power enormously. He did his best&lt;br /&gt;
and the House emptied the moment he rose.&lt;br /&gt;
Their desk, my critic goes on to say, is their&lt;br /&gt;
proper place. If so, John Morley had lietter go&lt;br /&gt;
liack te his desk; Mr. Arthur Balfour also, the&lt;br /&gt;
author of one admirable book at least, had better&lt;br /&gt;
go back to his; Mr. Gladstone to his; all the&lt;br /&gt;
Divines and Theologians must go back to their&lt;br /&gt;
desks. In fact, everylnxly who writes books must&lt;br /&gt;
be forbidden to do anything else. Docs not this&lt;br /&gt;
seem a little absurd? Behind the notion, you see, is&lt;br /&gt;
concealed some of the old contempt of the literary&lt;br /&gt;
man. He is still, as of old, held te be useless except&lt;br /&gt;
with a pen in his hand, and not of much use then.&lt;br /&gt;
I find a very apt illustration of my remarks con-&lt;br /&gt;
cerning authors and oratory in a certain ceremony&lt;br /&gt;
which took place at Canterbury the other day.&lt;br /&gt;
The address of the occasion, which is given l&amp;gt;elow,&lt;br /&gt;
was delivered by Mr. Henry Irving. Now, there&lt;br /&gt;
is no iM&amp;#039;tter speaker than Mr. Irving &mdash; &amp;#039;tis his&lt;br /&gt;
vocation. Also, the address was everything that&lt;br /&gt;
could lie desired. But I should have preferred&lt;br /&gt;
seeing a poet&mdash;a dramatic poet&mdash;or a leading man&lt;br /&gt;
of letters at least, deliver that address. And I take&lt;br /&gt;
it that the reason why Mr. Henry Irving was&lt;br /&gt;
invited to perform the task was the difficulty of&lt;br /&gt;
finding an English author of eminence who can&lt;br /&gt;
speak. It was not altogether because Mr. Lowell&lt;br /&gt;
was an American that he was invited to deliver the&lt;br /&gt;
address on the unveiling of Fielding&amp;#039;s bust.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 145 (#549) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
J45&lt;br /&gt;
Vague reports are flying about concerning a&lt;br /&gt;
monster pet ition about to be drawn up and presented&lt;br /&gt;
to the Archbishop of Canterbury. It will be signed&lt;br /&gt;
by millions, and it will bo a request that prayers&lt;br /&gt;
should l&amp;gt;e put up in all the churches, and con-&lt;br /&gt;
tinued for twelve months, that the heart of the&lt;br /&gt;
young journalist may be inclined unto verifying his&lt;br /&gt;
references, and that the heart of the editor may be&lt;br /&gt;
inclined unto visiting the neglectful with stripes.&lt;br /&gt;
My sympathy is entirely with that petition. I find,&lt;br /&gt;
for instance, that at least a dozen paragraphs have&lt;br /&gt;
appeared stating (i) that I myself have by myself&lt;br /&gt;
decided against admitting ladies to the Authors&amp;#039;&lt;br /&gt;
Club: (2) that my reason is that they write for&lt;br /&gt;
religious periodicals, and therefore they cannot pay&lt;br /&gt;
the five-guinea subscription. These statements are&lt;br /&gt;
entirely false. &amp;quot;What happened was this. At the&lt;br /&gt;
preliminary meeting of the Temporary Committee,&lt;br /&gt;
July 23rd, a set of tentative Resolutions were&lt;br /&gt;
drawn up and passed. These Resolutions con-&lt;br /&gt;
templated a club of men only. One of the chief&lt;br /&gt;
reasons for such a conclusion was the fact that&lt;br /&gt;
so many ladies had written to say that they could&lt;br /&gt;
not jwssibly pay a subscription of five guineas.&lt;br /&gt;
Therefore, the Committee, and not I myself, passed&lt;br /&gt;
Resolutions contemplating a club for men only.&lt;br /&gt;
They inserted these Resolutions in the Author,&lt;br /&gt;
and asked for opinions. Moreover, in the Sep-&lt;br /&gt;
tember number of the Author I expressly called&lt;br /&gt;
attention to these facts, so that it is pure invention&lt;br /&gt;
to say that I have excluded ladies. Another&lt;br /&gt;
ingenious inventor of copy has added that the reason&lt;br /&gt;
why ladies cannot afford five guineas is that they&lt;br /&gt;
work for religious periodicals. Another want of&lt;br /&gt;
verification! What I said was this: &amp;quot;An ideal&lt;br /&gt;
club of authors should admit women as well as men.&lt;br /&gt;
Literature is, above all others, a profession open to&lt;br /&gt;
both sexes. Yet literary women are even more&lt;br /&gt;
mercilessly sweated than men, especially by religious&lt;br /&gt;
societies, who pretend not to know that sweating&lt;br /&gt;
was specially contemplated in the framing of the&lt;br /&gt;
Eighth Commandment; and the number of ladies&lt;br /&gt;
who live by their literary work, and can afford even&lt;br /&gt;
so reasonable a subscription as five guineas is very&lt;br /&gt;
small.&amp;quot; It is, indeed, very small indeed. Some&lt;br /&gt;
day I hope to show what the sweating of women in&lt;br /&gt;
literature really means. In the case of one religious&lt;br /&gt;
society I have already done something in tliat&lt;br /&gt;
direction.&lt;br /&gt;
Walter Besant. &diams;■&raquo;■&diams;&lt;br /&gt;
LISTS AND RISES.&lt;br /&gt;
f |^HE long lists of announcements of new books&lt;br /&gt;
I show no falling off in numbers, at least.&lt;br /&gt;
Modern English literature appears to flourish&lt;br /&gt;
in every branch. Those who think that nobody buys&lt;br /&gt;
books may look at these lists and ask themselves for&lt;br /&gt;
whom the new books are all printed and published?&lt;br /&gt;
To lie on the shelves? To l&amp;gt;e given away? For the&lt;br /&gt;
pride of the publisher? Nay, but to be sold. There&lt;br /&gt;
is, again, we are expected to believe, an enormous risk&lt;br /&gt;
in bringing out every one of these books. The very&lt;br /&gt;
length of the lists shows the absurdity of the risk&lt;br /&gt;
bogey. Looking through the lists one sees a book&lt;br /&gt;
here and a l&amp;gt;ook there whose success seems doubt-&lt;br /&gt;
ful&mdash;new poems, but these are always paid for by the&lt;br /&gt;
author; novels by unknown hands, which are also&lt;br /&gt;
paitl for by the author, unless they are so striking as&lt;br /&gt;
to leave no doubt in the mind of the reader; books&lt;br /&gt;
of essays, by unknown writers; biographies of&lt;br /&gt;
unknown persons, and so forth, of which all that&lt;br /&gt;
one can say is that if a publisher were to bring&lt;br /&gt;
them out at his own risk he would l&amp;gt;e a very&lt;br /&gt;
sanguine person and a very bad man of business.&lt;br /&gt;
But the chief lesson to be learned by this enormous&lt;br /&gt;
output is the enormous market. We who live in&lt;br /&gt;
London are too apt to fall into the error of judging&lt;br /&gt;
everything by a London standard; more than that,&lt;br /&gt;
by the standard of a small piece of London. For&lt;br /&gt;
instance, in Club land nolxxly buys Ixwks, news-&lt;br /&gt;
papers, or magazines; but in the suburbs there are&lt;br /&gt;
hundreds&mdash;thousands of houses&mdash;who buy both&lt;br /&gt;
books and magazines, while in the country houses&lt;br /&gt;
and country towns, though the circulating library&lt;br /&gt;
goes for much it is not everything, and there are&lt;br /&gt;
India and the Colonies. The inquiry which we con-&lt;br /&gt;
ducted some months ago gave us some insight into&lt;br /&gt;
the vastness of the book market. The autumn lists&lt;br /&gt;
enlarge that view. To take nine publishers only out&lt;br /&gt;
of the daily increasing number of firms, we find the&lt;br /&gt;
following numbers of new lxx&amp;gt;ks announced re-&lt;br /&gt;
spectively :&mdash;82, 57, 57, 5i, 43, 37, 36, 35, and 34,&lt;br /&gt;
or an average of 43&amp;#039; 2 among the nine. Probably&lt;br /&gt;
there are a thousand in all for the autumn output.&lt;br /&gt;
This represents at an average of &pound;100 a-piece, an&lt;br /&gt;
outlay, or an investment, of &pound;ioo,coo, and, of&lt;br /&gt;
course, this is only a part of the whole year&amp;#039;s&lt;br /&gt;
enterprise. It is a large sum of money. Would it&lt;br /&gt;
be embarked year after year&mdash;would new firms,&lt;br /&gt;
some of them without any capital at all&mdash;come into&lt;br /&gt;
the business if it were full of risks? Of course not.&lt;br /&gt;
For my part I have never been able to understand&lt;br /&gt;
why some publishers&mdash;not all&mdash;affect to be engaged&lt;br /&gt;
in a kind of gambling business. It is not reputable&lt;br /&gt;
to them as business men; it is not in the least&lt;br /&gt;
true; and it damages literature by making authors&lt;br /&gt;
believe that everything is a toss up. &amp;quot;Rider&lt;br /&gt;
Haggard has succeeded,&amp;quot; says some lunatic, who&lt;br /&gt;
thinks he can write, &amp;quot;Why shouldn&amp;#039;t I get a&lt;br /&gt;
chance as well as he?&amp;quot; Literally, this notion is&lt;br /&gt;
widespread. A great many people write to the&lt;br /&gt;
Society in this sense and under this idea. And they&lt;br /&gt;
are greatly helped by the absurd way in which some&lt;br /&gt;
publishers wish risk to be considered as the first&lt;br /&gt;
element in their work. You can hardly read a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 146 (#550) ############################################&lt;br /&gt;
&lt;br /&gt;
146&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
leading article on the subject which does not start&lt;br /&gt;
with the assumption that publishing is pure gamb-&lt;br /&gt;
ling&mdash;speculation&mdash;a toss up. The bogey springs&lt;br /&gt;
up like a jack-in-the-box in all kinds of unexpected&lt;br /&gt;
places. The other day I bought Mr. Andrew&lt;br /&gt;
Lang&amp;#039;s &amp;quot;Hypnerotomachia,&amp;quot; in a second-hand&lt;br /&gt;
bookseller&amp;#039;s, and carried it home. It is prefaced&lt;br /&gt;
by an introduction which is both attractive and&lt;br /&gt;
instructive. In the middle of it occurs this&lt;br /&gt;
remarkable passage, &amp;quot;and there is risk in pub-&lt;br /&gt;
lishing, though a hundred Mr. Besants say there&lt;br /&gt;
is not.&amp;quot; Where are these hundred? I only know&lt;br /&gt;
one person of that name who has written upon the&lt;br /&gt;
subject, and he most certainly has never said any-&lt;br /&gt;
thing so foolish. There is risk, and plenty, as I&lt;br /&gt;
have said elsewhere and everywhere, in publishing.&lt;br /&gt;
But then publishers of the present day very seldom&lt;br /&gt;
take any. If anybody takes upon himself to deny&lt;br /&gt;
this statement he must do so only after he has care-&lt;br /&gt;
fully examined publishers&amp;#039; books, with the aid of&lt;br /&gt;
an accountant, if he is not skilled in accounts. If&lt;br /&gt;
anyone will produce such proofs I am ready to&lt;br /&gt;
modifv my statement. For my own part, I have&lt;br /&gt;
been enabled to see, what nobodv else in the&lt;br /&gt;
world has seen, except our secretaries, a very&lt;br /&gt;
large and perfectly unique collection of pub-&lt;br /&gt;
lishers&amp;#039; agreements and publishers&amp;#039; accounts, to&lt;br /&gt;
which we have added a mass of information on&lt;br /&gt;
the cost of production never l&amp;gt;efore possessed by&lt;br /&gt;
anyone. And with this knowledge in my hands,&lt;br /&gt;
I lx)ldly say that very few publishers ever take any&lt;br /&gt;
risk in the production of new liooks. As to new&lt;br /&gt;
magazines and such ventures I sav nothing, of&lt;br /&gt;
course. I take only new books written by living&lt;br /&gt;
authors. Meantime, this absurd sentence stands in&lt;br /&gt;
the middle of Mr. Lang&amp;#039;s Introduct ion to a mediaeval&lt;br /&gt;
book like a bit of modern common earthenware&lt;br /&gt;
on a shelf filled with Murano glass. The effect is&lt;br /&gt;
very striking. There will not, I suppose, be&lt;br /&gt;
another edition of the liook for a hundred years to&lt;br /&gt;
come, and many a pleasant little controversy will&lt;br /&gt;
arise when we are all forgotten as to this wonderful&lt;br /&gt;
glimpse of a hundred all clamouring like one man,&lt;br /&gt;
that there was no risk in publishing.&mdash;What hun-&lt;br /&gt;
dred? Who were they? Where did they clamour?&lt;br /&gt;
Why, in the nineteenth century it was notorious that&lt;br /&gt;
every publisher quickly went to immortal smash,&lt;br /&gt;
and the Court of Bankruptcy was filled with&lt;br /&gt;
unhappy publishers who had failed, and on days&lt;br /&gt;
&amp;quot;out,&amp;quot; the streets were crammed with publishers&lt;br /&gt;
dressed in the livery of their Union!&lt;br /&gt;
W. B.&lt;br /&gt;
FROM AMERICA.&lt;br /&gt;
WE are certainly not going to interfere&lt;br /&gt;
between American authors and American&lt;br /&gt;
publishers. But the following seems to&lt;br /&gt;
show that all is not complete happiness across the&lt;br /&gt;
ocean. It is taken from the New York Critic:&mdash;&lt;br /&gt;
&amp;quot;A publishing-house of old and high standing&lt;br /&gt;
bought a MS. of 3o,ooo words at an agreed price,&lt;br /&gt;
plus a share on sales. A year elapsed and then the&lt;br /&gt;
author was asked if he would extend it to 60,000&lt;br /&gt;
words, which he did, without asking that the&lt;br /&gt;
original price should be doubled, but he drew&lt;br /&gt;
the balance, which was not to have been paid until&lt;br /&gt;
publication. At the end of 18 months it was&lt;br /&gt;
found that the lxx&amp;gt;k could not l&amp;gt;e issued until&lt;br /&gt;
two years had elapsed since the original sale.&lt;br /&gt;
There was no stipulation as to date of publication.&lt;br /&gt;
At this stage the author sent in proposals to the&lt;br /&gt;
publisher asking that, in consideration of the&lt;br /&gt;
unreasonable delay of two years, and also of his&lt;br /&gt;
complacency in doubling the work at their sugges-&lt;br /&gt;
tion, they should make a further payment, either&lt;br /&gt;
in full purchase of author&amp;#039;s interest, or as an&lt;br /&gt;
advance. No sort of complaint had been made&lt;br /&gt;
against the MS. from first to last. To this the&lt;br /&gt;
representative of the firm replied with a flat refusal&lt;br /&gt;
to submit the proposal, on the ground (to quote his&lt;br /&gt;
letter) that &amp;#039; it is absurd to claim that the delay in&lt;br /&gt;
publication is either a matter for which we should&lt;br /&gt;
be blamed or that has caused you loss.&amp;#039; As to the&lt;br /&gt;
suggestion of reciprocity in goodwill based on&lt;br /&gt;
the author&amp;#039;s readiness in furnishing twice the&lt;br /&gt;
quantity of matter specified in the contract,&lt;br /&gt;
the reply is simply the remark &amp;#039;you readily offered&lt;br /&gt;
to enlarge it without charge.&amp;#039; From which it&lt;br /&gt;
appears that time is not money to the author tribe,&lt;br /&gt;
and the driving of a sharp bargain absolves the&lt;br /&gt;
gainer from any obligation, to do a favour to the&lt;br /&gt;
one who suffers through his lordly leisureliness.&amp;quot;&lt;br /&gt;
Thus far the correspondent, on which the editor&lt;br /&gt;
remarks&mdash;&lt;br /&gt;
&amp;quot;There seems in this case to have been some&lt;br /&gt;
&amp;#039;reciprocity in goodwill,&amp;#039; as the writer admits&lt;br /&gt;
having been paid &amp;#039;the balance &amp;#039; which was to have&lt;br /&gt;
been paid on publication.&amp;quot;&lt;br /&gt;
True, Mr. Editor, but what were the respective&lt;br /&gt;
values of the &amp;quot;reciprocity in goodwill&amp;quot;? The&lt;br /&gt;
writer was to have received, say, &pound;100 on&lt;br /&gt;
publication. This was delayed for 18 months,&lt;br /&gt;
although when the bargain was made, immediate&lt;br /&gt;
publication was, in fact, contemplated. The writer,&lt;br /&gt;
however, got paid his &pound;100, so that the publisher&lt;br /&gt;
clearly lost 18 months&amp;#039; interest on his money. But&lt;br /&gt;
the writer doubled the length of the work, and&lt;br /&gt;
should have received double the pay. Therefore&lt;br /&gt;
the writer lost &pound;100, while the publisher lost only&lt;br /&gt;
&pound;7 io&laquo;., reckoning 5 per cent, interest. But in&lt;br /&gt;
what other profession in the world would an&lt;br /&gt;
employer dare to propose that payment made for a&lt;br /&gt;
stipulated piece of work should be made to serve&lt;br /&gt;
for double that piece of work?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 147 (#551) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
EEVIEWEES AND EEVIEWS.&lt;br /&gt;
I.&lt;br /&gt;
IT would appear, from certain papers which have&lt;br /&gt;
at various times occupied your columns, that&lt;br /&gt;
many writers believe that favourable notice&lt;br /&gt;
from the various reviews is sufficient to secure a&lt;br /&gt;
reasonable sale for most books. If such an impres-&lt;br /&gt;
sion prevails, there may be some use in detailing my&lt;br /&gt;
own experiences. Some years since, I made my first&lt;br /&gt;
venture with a volume of verse. My reasons were&lt;br /&gt;
various, the proverbial vanity of the verse-writer&lt;br /&gt;
amongst them, but the hope of profit was not.&lt;br /&gt;
My own knowledge, lmcked by competent advice,&lt;br /&gt;
and the opinion of my publisher was sufficient, I&lt;br /&gt;
think, to prevent any disappointment upon that&lt;br /&gt;
head, when a publication which had cost me about&lt;br /&gt;
&pound;70 brought in a return of &pound;|5 in sides. Yet, in&lt;br /&gt;
one way, I was unfortunately very successful. The&lt;br /&gt;
reviews, from which I had expected very mixed&lt;br /&gt;
criticism, were uniformly in my favour, and some&lt;br /&gt;
half-dozen proved enthusiastic. It may cut matters&lt;br /&gt;
short if I say that, encouraged by their tone, I&lt;br /&gt;
followed this first venture with two similar ones,&lt;br /&gt;
the results, pecuniary and critical, being almost&lt;br /&gt;
identical, so that I was the proud possessor of&lt;br /&gt;
some 70 eulogiums of my work in print, besides&lt;br /&gt;
letters from various writers, including our great poet,&lt;br /&gt;
in return for which I had invested a capital of some-&lt;br /&gt;
thing over &pound;200. A wealthy man might consider&lt;br /&gt;
this money well invested for such a result. I did&lt;br /&gt;
not, and encouraged this time by the advice of&lt;br /&gt;
friends, I set to work to recover my stake by&lt;br /&gt;
publishing, at my own cost, a prose work. The&lt;br /&gt;
reviews were even warmer in tone than they had&lt;br /&gt;
been as regarded my verse, with a solitary ex-&lt;br /&gt;
ception in a non-literary pa|X&amp;#039;r, and I ln-gan to&lt;br /&gt;
feel confident of a return ; so that I was considerably&lt;br /&gt;
mortified this time on receiving once more an&lt;br /&gt;
account of the sale of about a hundred copies out&lt;br /&gt;
of what I had hoped, from the tone of the critics,&lt;br /&gt;
would prove to be merely a first edition. This&lt;br /&gt;
time I thought that my publisher might be at&lt;br /&gt;
fault, though I had no definite cause of dissatis-&lt;br /&gt;
faction with him. Accordingly, I carried my&lt;br /&gt;
fifth venture, a work of fiction, to another firm to&lt;br /&gt;
which I had l&amp;gt;ccn recommended. With regard to&lt;br /&gt;
the manner in which I was advised and treated by&lt;br /&gt;
this firm, I may have something to say at a future&lt;br /&gt;
date. Once again, all the papers which reviewed&lt;br /&gt;
my tale praised it, and I lost something over &pound;40.&lt;br /&gt;
I returned to my old publishers, anil had a sixth&lt;br /&gt;
book printed last year. Results were about the&lt;br /&gt;
same: one unfavourable review in the Church&lt;br /&gt;
Times; about a score of favourable notices in&lt;br /&gt;
various well-known papers; side about ioo&lt;br /&gt;
copies.&lt;br /&gt;
Now, as many of the sales of my various works&lt;br /&gt;
were made in quarters known to myself, I am able&lt;br /&gt;
to state, with fair certainty, that from 100 to i5o&lt;br /&gt;
favourable reviews have not averaged a return of&lt;br /&gt;
more than three or four shillings apiece from sides&lt;br /&gt;
obtained by their influence. How many sales the&lt;br /&gt;
two unfavourable notices may have prevented is a&lt;br /&gt;
doubtful question.&lt;br /&gt;
It may possibly lx- of some interest if I set down,&lt;br /&gt;
in conclusion, the course taken by the four chief&lt;br /&gt;
weekly Metropolitan Reviews, as showing the risks&lt;br /&gt;
which an author, otherwise favourably received,&lt;br /&gt;
may have of being overlooked by them.&lt;br /&gt;
The Saturday Review ignored my first two&lt;br /&gt;
volumes, and published favourable notices of the&lt;br /&gt;
last four with fair promptitude. No beginner&lt;br /&gt;
need complain of such a course.&lt;br /&gt;
The Spectator commenced with number two,&lt;br /&gt;
and has fx-en extremely kind: however, the notices&lt;br /&gt;
appeared at from three months to a year after&lt;br /&gt;
publication, and my last work, published ten&lt;br /&gt;
months since, is, I believe, still unnoticed by them.&lt;br /&gt;
The Athcnrrum noticed number five only.&lt;br /&gt;
The Academy noticed number one only.&lt;br /&gt;
I may mention that both these last notices were&lt;br /&gt;
favourable, and the notice in the Academy of my&lt;br /&gt;
first volume of verse, coupled with those in the&lt;br /&gt;
Scotsman, Graphic, &amp;lt;&amp;amp;c, was the chief inducement&lt;br /&gt;
to the publication of my second and third volumes.&lt;br /&gt;
Y. A. G.&lt;br /&gt;
II.&lt;br /&gt;
We have recently had a little talk about the&lt;br /&gt;
reviews of novels. It may be interesting to some&lt;br /&gt;
of our readers to see how an American paper, the&lt;br /&gt;
New York Critic, reviews novels. First of all, the&lt;br /&gt;
Critic gives to each work its own separate space&lt;br /&gt;
and title. The notices are short, but they are&lt;br /&gt;
detached. The author is treated as an individual,&lt;br /&gt;
not as one of a herd. This is respectful and polite.&lt;br /&gt;
The reviewer then gives a short account of the&lt;br /&gt;
work&mdash;so far as one can judge, a fair account.&lt;br /&gt;
In this account he tells something of the story.&lt;br /&gt;
And it ends with a few words of appreciative&lt;br /&gt;
approval or the reverse. This method is not pro-&lt;br /&gt;
posed as a model, but it is suggested for considera-&lt;br /&gt;
tion. The following, for instance, is the notice of&lt;br /&gt;
Hardy&amp;#039;s &amp;quot;Group of Noble Dames &amp;quot; :&mdash;&lt;br /&gt;
&amp;quot;At a meeting of one of the Wessex Field and&lt;br /&gt;
Antiquarian clubs, held in the museum of the town,&lt;br /&gt;
certain stories were partly told, partly read from&lt;br /&gt;
manuscript. The club was of an inclusive and&lt;br /&gt;
intersocial character, the meeting was to extend&lt;br /&gt;
over two days, the rain came down in an obstinate&lt;br /&gt;
jwtter which revealed no sign of cessation, and the&lt;br /&gt;
members agreed to let the stories do duty for the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 148 (#552) ############################################&lt;br /&gt;
&lt;br /&gt;
148&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
regulation papers on deformed butterflies, fossil&lt;br /&gt;
ox-horns, and other prehistoric relics. Some of&lt;br /&gt;
them observed tlint a storm-bound club could not&lt;br /&gt;
be selective, and they were much pleased to hear&lt;br /&gt;
such curious chapters from the domestic histories&lt;br /&gt;
of the country. There was no lack of material in&lt;br /&gt;
Wessex. Many were the legends and traditions of&lt;br /&gt;
gentle and noble dames, renowned in times past in&lt;br /&gt;
that part of England, whose actions and passions&lt;br /&gt;
were now, but for men&amp;#039;s memories, buried under&lt;br /&gt;
the brief inscription on a tomb or an entry of dates&lt;br /&gt;
in a dry pedigree. The stories, once told, were too&lt;br /&gt;
good to be lost, so they were gathered together and&lt;br /&gt;
published in a volume called &amp;#039;A Group of Noble&lt;br /&gt;
Dames.&amp;#039; Truly fascinating tales they have proved&lt;br /&gt;
to be, well calculated to while away the dreary and&lt;br /&gt;
monotonous hours of many a club called together&lt;br /&gt;
for more serious work. Their local colour is perfect,&lt;br /&gt;
their interest is absorbing, and the style in which&lt;br /&gt;
they are told is so simple and so natural that, in&lt;br /&gt;
speaking of them, one drops unconsciously into the&lt;br /&gt;
quaint old English expressions in vogue in those&lt;br /&gt;
days. They are among the best things that&lt;br /&gt;
Thomas Hardy has ever done, and are issued in a&lt;br /&gt;
very attractive cover. (81.25. Harper &amp;amp; Bros.)&amp;quot;&lt;br /&gt;
&lt;br /&gt;
MAGAZINES AND CONTRIBUTIONS.&lt;br /&gt;
AGliEAT many letters from time to time&lt;br /&gt;
have reached the Society on the subject of&lt;br /&gt;
prices paid for articles in magazines. There&lt;br /&gt;
have been so many that the Society has now an&lt;br /&gt;
actual knowledge of the ordinary rate of pay of&lt;br /&gt;
every magazine, including certain organs whose&lt;br /&gt;
editors (or proprietors) go on the principle of&lt;br /&gt;
never paying anybody if they can possibly avoid&lt;br /&gt;
it. The rates vary very largely, partly depend-&lt;br /&gt;
ing on the name and reputation of the writer,&lt;br /&gt;
partly on the circulation of the magazine, and,&lt;br /&gt;
in some cases, on the sweating disposition of&lt;br /&gt;
the proprietor. They vary, indeed, in an astonish-&lt;br /&gt;
ing manner. One or two of the oldest and the best-&lt;br /&gt;
known magazines are offering their contributors&lt;br /&gt;
sums which would be thought contemptible by the&lt;br /&gt;
new and cheaper organs, while some of the latter&lt;br /&gt;
are offering prices for work by well-known men&lt;br /&gt;
far above any dreamed of by their older contem-&lt;br /&gt;
poraries. It would seem that there is, and can be,&lt;br /&gt;
no fixed rate for contributions. Journals do not&lt;br /&gt;
all have a wide circulation. When the circulation of&lt;br /&gt;
a magazine has begun to go down, the effect upon&lt;br /&gt;
payment of contributors must, sooner or later, be&lt;br /&gt;
marked; in fact, at this moment certain magazines&lt;br /&gt;
are proving their decline and impending fall&lt;br /&gt;
by the decrease in the amount of the contributor&amp;#039;s&lt;br /&gt;
cheque. It is impossible, without loss; to pay the&lt;br /&gt;
old scale for half the old subscription. On the other&lt;br /&gt;
hand, these things get whispered abroad. Then&lt;br /&gt;
good writers cease to send in work. Then the&lt;br /&gt;
paper is no longer looked at, or inquired after; at&lt;br /&gt;
the clubs it remains in its case ; no new subscribers&lt;br /&gt;
take it in; it gradually fades into decay and&lt;br /&gt;
forgetfulness. There are, besides, certain maga-&lt;br /&gt;
zines&mdash;of which an example was given in last&lt;br /&gt;
month&amp;#039;s Author&mdash;which simply go on the broad&lt;br /&gt;
and intelligible principle of never paying any&lt;br /&gt;
contributor at all unless they are compelled. The&lt;br /&gt;
Society is accumulating evidence on all these points.&lt;br /&gt;
Other considerations affect tht question. Thus:&lt;br /&gt;
(I) There are always a great many people who will&lt;br /&gt;
willingly contribute papers for nothing, except the&lt;br /&gt;
joy of seeing their names in print. If, therefore,&lt;br /&gt;
there were enough of these writers to fill a magazine&lt;br /&gt;
with papers attractive, pleasant, and popular, it&lt;br /&gt;
could be run for nothing. Happily, the numlier&lt;br /&gt;
of writers who are pleasant and popular is very&lt;br /&gt;
limited; therefore, this resource is soon exhausted.&lt;br /&gt;
Yet the number of articles offered to editors on&lt;br /&gt;
all conceivable subjects is incredible. (2) It&lt;br /&gt;
must be remembered that the question is, or should&lt;br /&gt;
be, one of bargain only. The writer, for instance,&lt;br /&gt;
who might possibly be accepted on some magazine&lt;br /&gt;
if he offered his work for nothing, would be cer-&lt;br /&gt;
tainly rejected if he demanded what he might&lt;br /&gt;
himself consider a reasonable sum for his work;&lt;br /&gt;
and, even in the higher-class magazines, if an editor&lt;br /&gt;
chooses to offer only so much&mdash;a great deal less,&lt;br /&gt;
perhaps, than the writer expected&mdash;it is oi&amp;gt;en for&lt;br /&gt;
him to refuse or to accept the offer. Only, as said&lt;br /&gt;
above, where such small offers are made, it is a&lt;br /&gt;
proof of a falling circulation.&lt;br /&gt;
It wotdd be, perhaps, as well if writers, before&lt;br /&gt;
sending a paper to a magazine, were to ascertain&lt;br /&gt;
at the Society&amp;#039;s office the usual scale of pay. They&lt;br /&gt;
could then decide whether it was worth while to&lt;br /&gt;
send in their papers, and could stipulate beforehand&lt;br /&gt;
what price they would be prepared to take.&lt;br /&gt;
&lt;br /&gt;
COMMISSION BOOKS.&lt;br /&gt;
fl^HE Secretary is continually receiving letters&lt;br /&gt;
I and requests on the subject of commission&lt;br /&gt;
books; that is to say, books which the author&lt;br /&gt;
pays for and the publisher sells on a commission of&lt;br /&gt;
10 or 15 per cent, There are a great number of&lt;br /&gt;
books published at the author&amp;#039;s expense, and yet&lt;br /&gt;
there are not many commission l&amp;gt;ooks. In other&lt;br /&gt;
words, as we arc always insisting, a vast number&lt;br /&gt;
of novels are issued every year by foolish and&lt;br /&gt;
deluded people who pay in advance what they are&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 149 (#553) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
149&lt;br /&gt;
informed is half the cost, and afterwards receive&lt;br /&gt;
what they are informed is half the proceeds.&lt;br /&gt;
They can then imitate Mr. Bob Sawyer by placing&lt;br /&gt;
their profits in a wine-glass ami covering them&lt;br /&gt;
with a gooseberry skin. Generally, however, they&lt;br /&gt;
cannot even do that, for the profits turn out to&lt;br /&gt;
be &amp;quot;nuppence.&amp;quot; That is not commission pub-&lt;br /&gt;
lishing. Yet, if a man has got a good book, there&lt;br /&gt;
can be no better way of publishing, provided he&lt;br /&gt;
can get a good house. It is said, and lielieved, that&lt;br /&gt;
a house will not push a book on a 10 per eent.&lt;br /&gt;
commission. That may be true. If it is, perhaps&lt;br /&gt;
they would push it on a i5 per cent, commission.&lt;br /&gt;
Let us see how this works out, taking the&lt;br /&gt;
average six-shilling novel of about 17 sheets. The&lt;br /&gt;
first edition of 1,000 copies costs about &pound;90. The&lt;br /&gt;
next edition of 3,ooo costs about &pound;118. The price&lt;br /&gt;
being 3s. ^d., the first edition, allowing for pre-&lt;br /&gt;
sentation copies, realizes about &pound;i5o, the next&lt;br /&gt;
about &pound;5oo. On the first edition the publisher, at&lt;br /&gt;
15 per cent., takes &pound;22 ios., and on the second&lt;br /&gt;
edition &pound;75. The author, on the other hand,&lt;br /&gt;
makes on the first edition &pound;37 10s., and on the&lt;br /&gt;
next edition of 3,ooo he makes about &pound;3oo. It&lt;br /&gt;
certainly seems to me as if this was a very equitable&lt;br /&gt;
arrangement. I suppose that all the trouble of&lt;br /&gt;
printing the book is taken by the author.&lt;br /&gt;
AN INSTRUCTIVE CASE.&lt;br /&gt;
AN agreement and a bundle of accounts are&lt;br /&gt;
l)efore us. The agreement contains as an&lt;br /&gt;
integral part an &amp;quot;estimate&amp;quot; of the cost&lt;br /&gt;
of production. Observe, that if the author, having&lt;br /&gt;
signed the agreement, afterwards discovers that the&lt;br /&gt;
&amp;quot;estimate&amp;quot; was fraudulent, he has no redress&lt;br /&gt;
except by action in the High Court of Justice, and&lt;br /&gt;
a very difficult business it is to prove by experts&lt;br /&gt;
the fraud in such a case. In the Author we have&lt;br /&gt;
repeatedly warned readers against signing any&lt;br /&gt;
agreement containing an &amp;quot;estimate.&amp;quot; Now the&lt;br /&gt;
book before us being submitted to a printer, it is&lt;br /&gt;
actually found that his &amp;quot;estimate&amp;quot; has been&lt;br /&gt;
exactly doubled, i.e., that the printing and produc-&lt;br /&gt;
tion of the book really cost exactly half of what&lt;br /&gt;
was stated in the &amp;quot;estimate.&amp;quot; The author in the&lt;br /&gt;
agreement bound himself to pay half the &amp;quot; estimate,&amp;quot;&lt;br /&gt;
i.e., he was made liable, really, for the whole of the&lt;br /&gt;
cost. He did pay, in reality, half the sum in&lt;br /&gt;
advance, and left the rest to come out of sides.&lt;br /&gt;
At the close of the iirst edition the publisher&lt;br /&gt;
having, in addition to the other fraud, and contrary&lt;br /&gt;
to the agreement, charged a much larger sum for&lt;br /&gt;
advertisements than was arranged, how does the&lt;br /&gt;
account stand?&lt;br /&gt;
1. According to the publisher&amp;#039;s returns, the cost&lt;br /&gt;
of the book exceeds the sales by about &pound;70.&lt;br /&gt;
Placing against this the sum actually paid&lt;br /&gt;
by the author, he loses aliout &pound;3o. Very&lt;br /&gt;
bad business indeed.&lt;br /&gt;
2. According to the reality of the case, the sales&lt;br /&gt;
of the book exceed the cost by about &pound;5.&lt;br /&gt;
Add the sum paid by the author, and the&lt;br /&gt;
publisher is in pocket to the tune of about&lt;br /&gt;
&pound;40. Not such IkkI business, after all,&lt;br /&gt;
with quite a little book, and quite a little&lt;br /&gt;
fraud.&lt;br /&gt;
&lt;br /&gt;
THE MARLOWE MEMORIAL.&lt;br /&gt;
f|&amp;gt;HE following is the address of Mr. Henry&lt;br /&gt;
I Irving on the unveiling of the Marlowe&lt;br /&gt;
Memorial, as reported in the Times:&mdash;&lt;br /&gt;
&amp;quot;We are here to-day to pay tribute to a&lt;br /&gt;
great memory and to repair a great omission.&lt;br /&gt;
England has always set much store by the men&lt;br /&gt;
who helped to save the State in the supreme&lt;br /&gt;
crisis of her history. The statesmen and&lt;br /&gt;
warriors of the Elizabethan times have never&lt;br /&gt;
lacked a grateful recognition from their descen-&lt;br /&gt;
dants. The literature which was the flower and&lt;br /&gt;
crown of that period of our national growth ban&lt;br /&gt;
remained our chief glory to these days, and the&lt;br /&gt;
works of its greatest representative are the most&lt;br /&gt;
enduring possessions of all who speak the English&lt;br /&gt;
tongue. Of Shakespeare there are memorials which&lt;br /&gt;
attest at almost every turn in our daily lives our&lt;br /&gt;
reverence for his surpassing genius. But till to-&lt;br /&gt;
day we have presented to the world no conspicuous&lt;br /&gt;
symbol of our enormous debt to a man who was&lt;br /&gt;
contemporary with Shakespeare, and in one sense&lt;br /&gt;
his tutor, antl who was the first to employ with&lt;br /&gt;
a master hand the greatest instrument of our&lt;br /&gt;
language. It was natural enough that the fame of&lt;br /&gt;
Christopher Marlowe should be overshadowed by&lt;br /&gt;
that of William Shakespeare, but it is surely some&lt;br /&gt;
discredit to Englishmen that the fine sense of&lt;br /&gt;
Marlowe&amp;#039;s gifts and services to letters, which&lt;br /&gt;
scholars have always had, have hitherto found no&lt;br /&gt;
substantial shape in some trophy for the acclama-&lt;br /&gt;
tion of the world. To-day this long oversight has&lt;br /&gt;
been repaired. Here, in the birthplace of Marlowe,&lt;br /&gt;
rich as it is in the commanding associations of our&lt;br /&gt;
history, you have erected a monument which to&lt;br /&gt;
future generations will speak with a voice no less&lt;br /&gt;
potent than the. historic echoes of this city.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 150 (#554) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
(Hoar, hear.) What manner of man Marlowe&lt;br /&gt;
was in outward seeming I suppose nobody knows.&lt;br /&gt;
Even if it were fmniliar to us, the counterfeit&lt;br /&gt;
presentment could not have the force and signifi-&lt;br /&gt;
cance of the beautiful figure which we owe to the&lt;br /&gt;
art of the sculptor; but it is not with Marlowe; the&lt;br /&gt;
man that we need busy ourselves, even if there&lt;br /&gt;
were more material than there is for judgment of&lt;br /&gt;
his brief and sad career, for it is the ideal of the&lt;br /&gt;
poet whose &amp;quot; raptures were all air and fire&amp;quot; that&lt;br /&gt;
must constantly be present to our minds as we gaze&lt;br /&gt;
on this image of his worship. It recalls some&lt;br /&gt;
of his own Hues which are eloquent of this&lt;br /&gt;
devotion :&mdash;&lt;br /&gt;
&amp;quot;Our souls, whose faculties can comprehend&lt;br /&gt;
The wondrous architecture of the world,&lt;br /&gt;
And measure every wandering planet&amp;#039;s course,&lt;br /&gt;
Still climbing after knowledge infinite&lt;br /&gt;
And always moving as the restless spheres,&lt;br /&gt;
Will us to wear ourselves, anil never rest&lt;br /&gt;
Until we reach the ripest fruit of all.&amp;quot;&lt;br /&gt;
The man who struck such chords as these is not&lt;br /&gt;
unworthy of a monument in his native place.&lt;br /&gt;
(Hear, hear.) It was Marlowe who first wedded&lt;br /&gt;
the harmonies of the great organ of blank verse&lt;br /&gt;
which peals through the centuries in the music of&lt;br /&gt;
Shakespeare. It was Marlowe who first captured&lt;br /&gt;
the majestic rhythms of our tongue, and whose&lt;br /&gt;
&amp;quot;mighty line&amp;quot; is the most resounding note in&lt;br /&gt;
England&amp;#039;s literature. Whatever may be thought&lt;br /&gt;
of his qualities as a dramatist, and whatever place&lt;br /&gt;
he may hold amongst the great writers who framed&lt;br /&gt;
the models of English tragedy, he stands foremost&lt;br /&gt;
and apart as the poet who gave us, with a rare&lt;br /&gt;
measure of richness, the literary form which is the&lt;br /&gt;
highest achievement of poetic expression. I do not&lt;br /&gt;
pretend to do justice to Marlowe in this very&lt;br /&gt;
imperfect utterance of some thoughts which are in&lt;br /&gt;
your minds. It has been a great privilege to me&lt;br /&gt;
to come here to-day to perform an office which&lt;br /&gt;
might have been placed in far worthier hands.&lt;br /&gt;
But I am glad to have an opportunity of speaking&lt;br /&gt;
as an Englishman of the claims of Marlowe&amp;#039;s&lt;br /&gt;
fame to be prized and cherished by his countrymen.&lt;br /&gt;
His reputation should be an abiding element of our&lt;br /&gt;
national pride. And, finally, as an actor, I am&lt;br /&gt;
proud to remember that Marlowe&amp;#039;s work, like&lt;br /&gt;
Shakespeare&amp;#039;s, was written primarily for the stage,&lt;br /&gt;
that, if not an actor himself, Marlowe was intimately&lt;br /&gt;
associated with the actor&amp;#039;s calling, and that the&lt;br /&gt;
Elizabethan dramatists, with Shakespeare, the&lt;br /&gt;
actor, at their head, in employing the stage as the&lt;br /&gt;
first medium of their appeal to posterity linked it&lt;br /&gt;
for ever witli an imperishable glory.&amp;quot; (Cheers.)&lt;br /&gt;
GOOD WORE, SURE PAY.&lt;br /&gt;
IN a paragraph which recently appeared in the&lt;br /&gt;
Author, under the somewhat mystic headline&lt;br /&gt;
&amp;quot;One Word from you. Sir,&amp;quot; literary aspirants&lt;br /&gt;
who are constantly having their overtures declined&lt;br /&gt;
by editors and publishers were exhorted to produce&lt;br /&gt;
&amp;#039;&bull; (food Work &amp;quot;&mdash;a direct and perfectly intelligible&lt;br /&gt;
proposition&mdash;as the one way out of their difficulties;&lt;br /&gt;
and they were further assured that &amp;quot; Good Work,&amp;quot;&lt;br /&gt;
of no matter what kind, had always its mercantile&lt;br /&gt;
value, and could always (consequently or presum-&lt;br /&gt;
ably) command its price. It seems almost a pity&lt;br /&gt;
that so genteel and reputable a fallacy, the&lt;br /&gt;
fostering of which may suit the interests of more&lt;br /&gt;
than one faction in the literary state, should be&lt;br /&gt;
doomed to fall beneath the slow cruel axe of Time,&lt;br /&gt;
yet fall it must. No doubt editors and publishers&lt;br /&gt;
are made the recipients of a vast deal of trash (for&lt;br /&gt;
which commodity, by-the-bye, there is always a&lt;br /&gt;
brisk and healthy demand at the bookstalls, which&lt;br /&gt;
makes it a wonder why publishers should decline&lt;br /&gt;
any of it); but these gentlemen, who have some-&lt;br /&gt;
how l&amp;gt;een empowered to direct and regulate the&lt;br /&gt;
reading of the nation, may be accredited with dis-&lt;br /&gt;
crimination sufficient to enable them to know the&lt;br /&gt;
true metal from the base. But, distinctly and&lt;br /&gt;
emphatically, once and for all, the refusal of a&lt;br /&gt;
manuscript by an editor or publisher, or by all the&lt;br /&gt;
editors and publishers existent, is simply no&lt;br /&gt;
criterion of its merit; a fact which it seems the&lt;br /&gt;
object of certain (possibly interested) persons to&lt;br /&gt;
deny, conceal, or disguise, while it should l&amp;gt;o&lt;br /&gt;
proclaimed far and wide. Need I do more than&lt;br /&gt;
name the historic cases of &amp;quot; The Vicar of Wake-&lt;br /&gt;
field,&amp;quot; &amp;quot;Vanity Fair,&amp;quot; and &amp;quot;Sartor Resartus &amp;quot;?&lt;br /&gt;
The other day a highly popular and (it must be&lt;br /&gt;
concluded) able author, who made his name two or&lt;br /&gt;
three decades since, told me that &amp;quot; every publisher&lt;br /&gt;
wants a good work, and would not refuse one.&amp;quot;&lt;br /&gt;
He subjoined&mdash;as if he were making an unexpected&lt;br /&gt;
and handsome concession&mdash;&amp;quot; Of course a publisher&amp;#039;s&lt;br /&gt;
judgment is not infallible.&amp;quot; We are told on&lt;br /&gt;
good authority that there is nothing either good&lt;br /&gt;
or Imd but thinking makes it so, and we may be&lt;br /&gt;
sure that in most cases the non-accepting publisher&lt;br /&gt;
thinks he is doing right. The fallacy which I&lt;br /&gt;
have defined and denounced is bolstered up in&lt;br /&gt;
other quarters. One example: A certain pub-&lt;br /&gt;
lishing house in London issues a printed circular&lt;br /&gt;
for the guidance, or rather misguidance, of&lt;br /&gt;
uninitiated writers, wherein the latter are treated&lt;br /&gt;
to the statement (in effect) that if he, the publisher,&lt;br /&gt;
does not entertain a work, it is practically useless&lt;br /&gt;
to try it elsewhere. Of course, every author who&lt;br /&gt;
has a right to the name merely chuckles at such&lt;br /&gt;
audacious irrelevancies. Then as for the printing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 151 (#555) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
one&amp;#039;s book at one&amp;#039;s own expense, when publishers&lt;br /&gt;
will not take the risk, a course which is uniformly&lt;br /&gt;
discouraged by this Society (of which I have the&lt;br /&gt;
honour to l&amp;gt;e a Member, and in regard to which I&lt;br /&gt;
hope and predict great things). This position implies&lt;br /&gt;
that if (say) half-a-dozen publishers decline your&lt;br /&gt;
book the book is probably worthless, and had&lt;br /&gt;
letter therefore be left unpublished. In the&lt;br /&gt;
majority of cases this may Ik- the fact; in certain&lt;br /&gt;
others it is quite otherwise. The writer of con-&lt;br /&gt;
scious individuality and power will not have his&lt;br /&gt;
faculty explained away thus lightly, and small&lt;br /&gt;
wonder if, despite probable loss, he prints and&lt;br /&gt;
pays for it. The weakling or pretender, on the&lt;br /&gt;
other hand, is easily discouraged&mdash;and very pro-&lt;br /&gt;
perly so. If the man who, in English creative&lt;br /&gt;
and realistic art, stands next to Shakespeare, had&lt;br /&gt;
not possessed both the courage and the money&lt;br /&gt;
to print at his own cost, in the teeth of at least&lt;br /&gt;
20 head-shaking publishers, the world might this&lt;br /&gt;
day l&amp;gt;e without &amp;quot;Vanity Fair.&amp;quot; Here we may&lt;br /&gt;
pause and tremble. This ease may be claimed as&lt;br /&gt;
exceptional. I do not think it is. I think&mdash;I&lt;br /&gt;
fear&mdash;that masterpieces have been lost to us owing&lt;br /&gt;
to the pecuniary helplessness of their producers.&lt;br /&gt;
We cannot too much insist on the hard-and-fast&lt;br /&gt;
distinction between intrinsic value and marketable&lt;br /&gt;
value. The two are sometimes associated&mdash;not&lt;br /&gt;
always. Every true man of letters will seek (at&lt;br /&gt;
least so far as his own work is concerned) to make&lt;br /&gt;
the two identical. But there seems to linger some&lt;br /&gt;
little doubt or confusion on this point in the public&lt;br /&gt;
head, unless it is that the idea that the successful&lt;br /&gt;
book is the good book&mdash;an idea which, strange? to&lt;br /&gt;
say, even successful authors will not very warmly&lt;br /&gt;
combat&mdash;is fixed immovably there.&lt;br /&gt;
C. Davenport Jones.&lt;br /&gt;
[Our correspondent is perfectly right in his&lt;br /&gt;
position that a good book may be refused by pub-&lt;br /&gt;
lishers, and that the refusal is not in itself a&lt;br /&gt;
sufficient condemnation. At the same time, our&lt;br /&gt;
contention was, and is, that publishers are always&lt;br /&gt;
on the look out for go&amp;lt;xl work&mdash;especially saleable&lt;br /&gt;
work&mdash;and that no publisher will let good work&mdash;&lt;br /&gt;
i.e., saleable work&mdash;leave his house if he can keep&lt;br /&gt;
it there. This is equivalent to saying that pub-&lt;br /&gt;
lishers are men of business, and that they do not&lt;br /&gt;
go to their offices for the sake of fooling away their&lt;br /&gt;
money. To argue that good l&amp;gt;ooks &mdash;i.e., saleable&lt;br /&gt;
l&amp;gt;ooks&mdash;are often refused is to argue that publishers&lt;br /&gt;
do not know their own business, and that their&lt;br /&gt;
readers are incompetent. Does not our correspon-&lt;br /&gt;
dent confuse two things, good literary work and&lt;br /&gt;
good saleable work? It is quite possible that a&lt;br /&gt;
very good liook indeed might be produced&mdash;good&lt;br /&gt;
from the literary point of view&mdash;which would, be&lt;br /&gt;
quite unsaleable for some defects, or from its length,&lt;br /&gt;
or from its subject? For instance, a mathematical&lt;br /&gt;
treatise on elasticity, such as is announced, would&lt;br /&gt;
not l&amp;gt;e sold on the bookstalls. If Browning&lt;br /&gt;
were an unknown person offering a MS. called&lt;br /&gt;
&amp;quot;The King and the Book,&amp;quot; nobody, certainly, would&lt;br /&gt;
publish it for him, and it has been suggested that&lt;br /&gt;
the reason why &amp;quot;Vanity Fair &amp;quot; was sent round to&lt;br /&gt;
so many houses was its very great length, twice the&lt;br /&gt;
length of an ordinary novel. To be sure it was&lt;br /&gt;
not an ordinary novel. The advice persistently&lt;br /&gt;
given by the Society to an author, not to publish at&lt;br /&gt;
his own expense a work refused by publishers, is&lt;br /&gt;
based on the assumption that the latter know their&lt;br /&gt;
business, and that the work is commercially&lt;br /&gt;
worthless. It may not lie artistically worthless, but&lt;br /&gt;
that is a very different thing. We seek to protect&lt;br /&gt;
our profession in all questions that have to do with&lt;br /&gt;
their property. If they believe that their work&lt;br /&gt;
ought to appear, without consideration of its&lt;br /&gt;
commercial value, we can still protect them by&lt;br /&gt;
keeping them in honest hands.&mdash;Editor.]&lt;br /&gt;
+~~~*&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
1.&lt;br /&gt;
The Statute of Limitations.&lt;br /&gt;
IN 1886 I suggested a subject for an article to a&lt;br /&gt;
magazine editor. The article was ordered and&lt;br /&gt;
written, delivery being made in November 1886.&lt;br /&gt;
After a long delay and some correspondence a proof&lt;br /&gt;
wits submitted, corrected, and returned; the article&lt;br /&gt;
has not yet appeared, and of course has not been&lt;br /&gt;
paid for. If I allow the matter to remain another&lt;br /&gt;
12 months, shall I be barred, by the Statute of&lt;br /&gt;
Limitations, of power to recover at law? If I&lt;br /&gt;
am to be so barred, is it possible to recover now,&lt;br /&gt;
i.e., prior to the publication of the article, by taking&lt;br /&gt;
out a county court summons, or by any other means?&lt;br /&gt;
G. W.&lt;br /&gt;
II.&lt;br /&gt;
Fiction and Reality.&lt;br /&gt;
Some years ago a well-known novelist described,&lt;br /&gt;
let us say, a Polish Count as occupying rooms&lt;br /&gt;
in the Grand Hotel in London. The other day&lt;br /&gt;
two less well-known writers of fiction described&lt;br /&gt;
another noble Pole as occupying rooms in the same&lt;br /&gt;
hotel. Then comes a critic who wisely says,&lt;br /&gt;
&amp;quot;This is shocking; it is a mixture of fiction and&lt;br /&gt;
reality.&amp;quot; Query: Which of the two Polish Counts&lt;br /&gt;
is the live man?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 152 (#556) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
in.&lt;br /&gt;
Slating.&lt;br /&gt;
One must hesitate before challenging Professor&lt;br /&gt;
Skeat on a point of etymology. But may I call&lt;br /&gt;
attention to the fact that in &amp;quot;Books and Bookmen&amp;quot;&lt;br /&gt;
Mr. Andrew Lang, in a note to his &amp;quot; Ballads of the&lt;br /&gt;
Ileal and Ideal,&amp;quot; says:&mdash;&amp;quot; Slate is a professional&lt;br /&gt;
term for a severe criticism. Clearly the word is&lt;br /&gt;
originally &amp;#039;slat,&amp;#039; a narrow board of wood with&lt;br /&gt;
which a person might Ik; l&amp;gt;eaten.&amp;quot; Webster gives&lt;br /&gt;
the verb &amp;quot; slat,&amp;quot; and the quotation from Marston :&mdash;&lt;br /&gt;
&amp;quot;How did you kill him?&lt;br /&gt;
Slat[t]ed his brains out.&amp;quot;&lt;br /&gt;
Surely this &amp;quot;will serve.&amp;quot;&lt;br /&gt;
Jamks Nias.&lt;br /&gt;
IV.&lt;br /&gt;
Words and Biucks.&lt;br /&gt;
The writer of the following letter is evidently of&lt;br /&gt;
opinion that &amp;quot;the Editor&amp;quot; should recognise his&lt;br /&gt;
initials, and arrive at his subject by intuition. He&lt;br /&gt;
also seems to think that words, like bricks, arc sold&lt;br /&gt;
by the thousand, and that one man&amp;#039;s word is as good&lt;br /&gt;
as another&amp;#039;s.&lt;br /&gt;
Andrew W. Tukr.&lt;br /&gt;
The Leadenhall Press, E.C.&lt;br /&gt;
[Copy.]&lt;br /&gt;
To the Editor of the Leadenhall Press.&lt;br /&gt;
Dear Sir,&lt;br /&gt;
I shoold feel obliged if you would inform&lt;br /&gt;
mc whether you have any opening for a MS.&lt;br /&gt;
consisting of 11,000 words, the Copyright of which&lt;br /&gt;
I am desirous of selling. I want an early reply.&lt;br /&gt;
Yours truly,&lt;br /&gt;
P. 11. R.&lt;br /&gt;
V.&lt;br /&gt;
A Provident Society.&lt;br /&gt;
Whether or not Mr. Andrew Lang believes in&lt;br /&gt;
the existence of a New &amp;#039;Grub Street, it is certain&lt;br /&gt;
that some of us writing-people have a perpetual&lt;br /&gt;
struggle to keep above water. May I suggest to&lt;br /&gt;
you the possibility of forming an &amp;quot;Authors&amp;#039;&lt;br /&gt;
Provident Society?&amp;quot; What I propose is this. A&lt;br /&gt;
graduated scale of subscriptions varying according&lt;br /&gt;
to the income of the writer, aud entitling him to a&lt;br /&gt;
weekly amount in time of sickness or nou-employ-&lt;br /&gt;
ment. I do not think you would find a single poor&lt;br /&gt;
author who would be so foolish or so reckless as&lt;br /&gt;
not to take advantage of a club of this kind. The&lt;br /&gt;
fees might lie as low as is. 6d. a week, and the&lt;br /&gt;
scheme be started on precisely the same lines as&lt;br /&gt;
working men&amp;#039;s sick benefit clubs. As to the rich&lt;br /&gt;
authors, let them subserilK&amp;#039;, and be entitled to some&lt;br /&gt;
advantage; in the way of recommending a poorer&lt;br /&gt;
brother for the club&amp;#039;s aid.&lt;br /&gt;
Quill Driver.&lt;br /&gt;
VI.&lt;br /&gt;
An Honourable Action.&lt;br /&gt;
When so many unjust editors and publishers are&lt;br /&gt;
pilloried in the Author, it is only fair to give some-&lt;br /&gt;
times an opposite instance.&lt;br /&gt;
I lately sent a book to certain publishers, and in&lt;br /&gt;
time received a letter stating they were willing to&lt;br /&gt;
give me so much&mdash;about three-quarters of what I&lt;br /&gt;
expected&mdash;as the book would make a certain size&mdash;&lt;br /&gt;
which, like the sum offered, was about a quarter&lt;br /&gt;
less than I bad calculated. Greatly puzzled tliat&lt;br /&gt;
my MS. should prove so short, I still thought that&lt;br /&gt;
they must be able lxjst to judge the length it&lt;br /&gt;
would make in print, and so I accepted the sum&lt;br /&gt;
offered, and signed the agreement of copyright.&lt;br /&gt;
But when the proof came, I found I had l&amp;gt;ecn&lt;br /&gt;
right. The book was even longer than I expected.&lt;br /&gt;
When I pointed this out to the publishers, they&lt;br /&gt;
honourably gave me the remainder of the price&lt;br /&gt;
without a question.&lt;br /&gt;
But this is a hint to me&mdash;and may be to others&mdash;&lt;br /&gt;
in future to notice very carefully the length of&lt;br /&gt;
my MS. Other publishers might not be so just to&lt;br /&gt;
the unwary writer.&lt;br /&gt;
RossiGNOL.&lt;br /&gt;
VII.&lt;br /&gt;
Reviews and Newspapers.&lt;br /&gt;
Your note in reply to my letter printed in the&lt;br /&gt;
Author this month, does not seem to me to contain&lt;br /&gt;
such a strong objection to what I propose as at&lt;br /&gt;
first sight appears.&lt;br /&gt;
I do not for a moment advocate that copies of&lt;br /&gt;
new books should not be supplied to newspaper&lt;br /&gt;
proprietors or editors by the publishers, but that,&lt;br /&gt;
after the books have been sent, the bill for them&lt;br /&gt;
should follow. The reviewer would be at no more&lt;br /&gt;
trouble than now in getting his copy, for it would&lt;br /&gt;
l&amp;gt;e supplied to him either by the publisher direct,&lt;br /&gt;
or by the editor.&lt;br /&gt;
It is only just that the books should be paid for&lt;br /&gt;
by the newspaper proprietors, for it is primarily&lt;br /&gt;
for the benefit of the papers that reviews are&lt;br /&gt;
inserted therein.&lt;br /&gt;
H. Haes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 153 (#557) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PAGES CUT OR UNCUT?&lt;br /&gt;
SHALL we have our books and magazines cut&lt;br /&gt;
or uncut?&lt;br /&gt;
For the cutting of the pages the following&lt;br /&gt;
advantages are claimed :&mdash;&lt;br /&gt;
1. The convenience.&lt;br /&gt;
One receives the book ready for reading, as it&lt;br /&gt;
ought to be. A book whose pages have to be cut&lt;br /&gt;
is not ready for the reader. It still lacks some-&lt;br /&gt;
thing which must be done to it. Suppose the&lt;br /&gt;
reader had to number the pages before he could&lt;br /&gt;
begin the book. Yet to cut them is no more&lt;br /&gt;
trouble.&lt;br /&gt;
2. The neatness.&lt;br /&gt;
Very few men can cut abook properly. They grow&lt;br /&gt;
impatient; they slip the paper-knife and carve into&lt;br /&gt;
the page; they hold it loosely and tear the page;&lt;br /&gt;
the only way to get a neat edge is to cut the pages&lt;br /&gt;
with a machine.&lt;br /&gt;
3. The saving of time.&lt;br /&gt;
To cut the pages of a thick octavo takes at least&lt;br /&gt;
half-an-hour of valuable time. We do not waste&lt;br /&gt;
half-an-hour in sweeping the floor, dusting the&lt;br /&gt;
table, or laying the tire. Why should we waste&lt;br /&gt;
our time in doing any other perfectly menial act,&lt;br /&gt;
such as cutting the leaves of our books?&lt;br /&gt;
4. Its cheapness.&lt;br /&gt;
The cost of cutting the leaves is estimated at&lt;br /&gt;
something under io&laquo;. per 1,000 volumes. This&lt;br /&gt;
is nothing.&lt;br /&gt;
Against these arguments it is urged that the&lt;br /&gt;
fashion of collectors is the book with rough and&lt;br /&gt;
uncut leaves; that a book which has been cut will&lt;br /&gt;
not sell so well as an uncut book.&lt;br /&gt;
But we are considering the general convenience&lt;br /&gt;
of readers, not the hobbies of collectors; and the&lt;br /&gt;
the interest of readers, we think, will be best served&lt;br /&gt;
by giving them their books ready cut.&lt;br /&gt;
- &bull;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
AMONG the announcements of the season, we&lt;br /&gt;
can pick out an edition de luxe of a volume&lt;br /&gt;
of Essays by Professor Huxley; the &amp;quot; Vision&lt;br /&gt;
of Saints,&amp;quot; by Lewis Moris; a novel by J. M.&lt;br /&gt;
Barrie&mdash;&amp;quot; The Little Minister &amp;quot;; a &amp;quot; Dictionary of&lt;br /&gt;
Religion,&amp;quot; by the Rev. AVilliam Benham; Dr.&lt;br /&gt;
Cunningham Geikie on the Holy Land, with&lt;br /&gt;
illustrations by that most charming artist, Mi-.&lt;br /&gt;
Henry A. Harper; a cheap illustrated Edition of&lt;br /&gt;
Farrar&amp;#039;s &amp;quot; Life of Christ&amp;quot;; the eighth volume of&lt;br /&gt;
Professor Morley&amp;#039;s &amp;quot;English Writers&amp;quot;; Sidney&lt;br /&gt;
Colvin&amp;#039;s&amp;quot; Letters of Keats&amp;quot; ; Buchheim&amp;#039;s &amp;quot;Balladen&lt;br /&gt;
mid Romanzen &amp;quot;; the publication of Mr. Henry&lt;br /&gt;
A. Jones&amp;#039;s &amp;quot;Saints and Sinners&amp;quot;; new tales by&lt;br /&gt;
Marion Crawford, Rudvard Kipling, and Rolf&lt;br /&gt;
Boldrewood; a book on the Elements of Polities&lt;br /&gt;
by Henry Sedgwick; Sir William Muir&amp;#039;s &amp;quot;History&lt;br /&gt;
of the Caliphate &amp;quot;; new novels by George Manville&lt;br /&gt;
Fenn and Algernon Gissing; verses by George&lt;br /&gt;
Sand; &amp;quot;Hone Sabbatiea&amp;#039;,&amp;quot; a collection of essays&lt;br /&gt;
contributed to the Saturday lieview by Sir James&lt;br /&gt;
F. Stephen; essays by E. A. Freeman; a novel by&lt;br /&gt;
Mr. J. H. Shorthouse; a novel by Mrs. Oliphant;&lt;br /&gt;
essays by Bishop Lightfoot; sermons by the late&lt;br /&gt;
Dean of St. Paul&amp;#039;s, by F. Denison Maurice, by&lt;br /&gt;
Archdeacon Farrar, by Professor Kirkpatrick;&lt;br /&gt;
two new volumes of &amp;quot; Men of Action &amp;quot;; &amp;quot;Rodney,&amp;quot;&lt;br /&gt;
by Mr. Hannay; and &amp;quot; Montrose,&amp;quot; by Mr. Mowbray&lt;br /&gt;
Morris; two new volumes of &amp;quot; English Statesmen &amp;quot;;&lt;br /&gt;
Mr. Churton Collins 011 the Study of English Lite-&lt;br /&gt;
rature; a posthumous work of Gifford Palgrave;&lt;br /&gt;
novels by Clark Russell, Miss Doudney, C. J.&lt;br /&gt;
Wills, Florence Marryat, Norris, Rider Haggard,&lt;br /&gt;
Baring Gould, L. T. Meade, Hall Caine, Jessie&lt;br /&gt;
Fothergill, Robert Buchanan, Tasma, Maarten&lt;br /&gt;
Maartens, Mrs. Chandler Moulton, and many&lt;br /&gt;
others. It is, as said elsewhere, a truly wonderful&lt;br /&gt;
list; but then it is addressed to a hundred millions&lt;br /&gt;
of readers.&lt;br /&gt;
An example of the growing curiosity on the&lt;br /&gt;
continent about English contemporary literature is&lt;br /&gt;
a translation of Mr. Swinburne&amp;#039;s &amp;quot;Poems and&lt;br /&gt;
Ballads,&amp;quot; 1st Series, into French by Gabriel&lt;br /&gt;
Mourey, with an introduction by M. Guv de Mau-&lt;br /&gt;
passant, the greatest, perhaps, of living French&lt;br /&gt;
novelists. As in all translations, the magic of Un-&lt;br /&gt;
original has disappeared, but admirers of Mr.&lt;br /&gt;
Swinburne (that is to say, all competent judges of&lt;br /&gt;
poetry) should get this work, if only for the intro-&lt;br /&gt;
duction. The &amp;quot;Poems and Ballads,&amp;quot; though Mr.&lt;br /&gt;
Swinburne calls them &amp;quot;Peches de Jennesse,&amp;quot; are&lt;br /&gt;
after all one of the milestones in our life of literary&lt;br /&gt;
appreciation. Nothing can ever quite take their&lt;br /&gt;
place, thoHgh we have become old, good, anil&lt;br /&gt;
respectable.&lt;br /&gt;
Everyone will have read with interest Mr.&lt;br /&gt;
Archer&amp;#039;s article on Maeterlinck, the new Belgian&lt;br /&gt;
dramatist, in the September number of the&lt;br /&gt;
Fortnightly Review. This is, however, by 110&lt;br /&gt;
means the first account of his marvellous dramas&lt;br /&gt;
that have been written in England. A review of&lt;br /&gt;
&amp;quot;La Princesse Maleinc&amp;quot; appeared in the St.&lt;br /&gt;
James&amp;#039; Gazette a long while ago, and in the June&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 154 (#558) ############################################&lt;br /&gt;
&lt;br /&gt;
154&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
number of the Author there was a critical estimate&lt;br /&gt;
of Maeterlinck&amp;#039;s dramatic and literary methods in&lt;br /&gt;
&amp;quot;Les Avengles&amp;quot; anil &amp;quot;LTntruse.&amp;quot; Mr. Archer&lt;br /&gt;
writes as if he were the first in the field. Mr.&lt;br /&gt;
Heinemann is about to publish a translation of &amp;quot;La&lt;br /&gt;
Princesse Maleine,&amp;quot; with an introduction by Mr.&lt;br /&gt;
Oscar Wilde, and then everyone will have an&lt;br /&gt;
opportunity of judging the merits of the Flemish&lt;br /&gt;
Shakespeare.&lt;br /&gt;
In the next Author there will be something&lt;br /&gt;
more, it is hoped, about the i st issue of the Oriental&lt;br /&gt;
Translation Fund (new series), edited bv Dr. F. F.&lt;br /&gt;
Arbuthnot, M.R.A.S., printed and published under&lt;br /&gt;
the auspices of the Royal Asiatic Society. The&lt;br /&gt;
undertaking is due to the energetic and untiring&lt;br /&gt;
efforts of the editor, who is a well-known expert&lt;br /&gt;
in Oriental literature. Uninitiated readers should&lt;br /&gt;
not be frightened by the name &amp;quot;Rawsat-Safa, or&lt;br /&gt;
the Garden of Purity.&amp;quot; Some of the Persian&lt;br /&gt;
versions of the old familiar Biblical stories are&lt;br /&gt;
delightful, being no less interesting to Christians&lt;br /&gt;
than Moslems.&lt;br /&gt;
Miss Frances Younghusband, the able trans-&lt;br /&gt;
lator of the &amp;quot;Myths of Hellas&amp;quot; has again used her&lt;br /&gt;
talents by a version of Witt&amp;#039;s &amp;quot;Retreat of the&lt;br /&gt;
Ten Thousand,&amp;quot; which is based on Xenophon&amp;#039;s&lt;br /&gt;
&amp;quot;Anabasis.&amp;quot; Xothing could possibly be better&lt;br /&gt;
done, though Miss Younghusband might give us&lt;br /&gt;
some original work for which she is so thoroughly&lt;br /&gt;
capable. The illustrations are artistic and in-&lt;br /&gt;
structive, and go far to enhance the value of this&lt;br /&gt;
work. Many schoolboys would like to confine&lt;br /&gt;
their knowledge of Xenophon to Miss Young-&lt;br /&gt;
husband&amp;#039;s version, but let us hope that it will&lt;br /&gt;
regenerate them rather than spoil them for their&lt;br /&gt;
Greek studies. The book is published by Messrs.&lt;br /&gt;
Longman.&lt;br /&gt;
&amp;quot;The Critic&amp;#039;s exposure of the young man who&lt;br /&gt;
passed himself off on credulous Americans as a&lt;br /&gt;
brother of Mr. Walter Besant had the effect of&lt;br /&gt;
stopping his depredations upon the literary guild,&lt;br /&gt;
and turning him off to prey upon the represen-&lt;br /&gt;
tatives of other professions. Sir Morell Mackenzie&lt;br /&gt;
has receive:! a letter from Mr. A. P. Gordon&lt;br /&gt;
Gumming, in which the latter informs the eminent&lt;br /&gt;
&amp;#039;medicine man&amp;#039; of his son&amp;#039;s appearance at&lt;br /&gt;
Sykesville, en route to Xew York, after a disastrous&lt;br /&gt;
experience on the stage in Australia. And one of&lt;br /&gt;
Sir Morell&amp;#039;s veritable sons, who is an actor and&lt;br /&gt;
manager, and calls himself H. H. Morell, without&lt;br /&gt;
the Mackenzie, writes to the Spirit of the Times&lt;br /&gt;
from London that he himself is the only son of his&lt;br /&gt;
father who is connected with the theatrical pro-&lt;br /&gt;
fession, and that his only brother is a physician.&lt;br /&gt;
Mr. Morell is Miss Fortescue&amp;#039;s manager. The&lt;br /&gt;
Dramatic Jfirror also has exposed his swindling&lt;br /&gt;
double.&amp;quot;&mdash;Xew York Critic.&lt;br /&gt;
Miss Frances Armstrong, author of &amp;quot;Her Own&lt;br /&gt;
Way,&amp;quot; &amp;amp;c. has brought out a new novel called&lt;br /&gt;
&amp;quot;Changed Lots.&amp;quot; Griffith and Farran. 5*.&lt;br /&gt;
Dr. L. A. Buchheim sends a copy of his&lt;br /&gt;
&amp;quot;Balladen und Romanzen&amp;quot; (Macmillan &amp;amp; Co.).&lt;br /&gt;
It is a selection of German ballads uniform with&lt;br /&gt;
the &amp;quot;Golden Treasury,&amp;quot; and belonging to the&lt;br /&gt;
series so-called. It is a very beautiful collection,&lt;br /&gt;
and ought most certainly to be in the jwssession of&lt;br /&gt;
all who read and love German poetry. A portrait&lt;br /&gt;
of Uhland adorns the title page. It is a pity&lt;br /&gt;
that it was not taken before the poet&amp;#039;s hair fell off.&lt;br /&gt;
A lady sends me a little volume of verse called,&lt;br /&gt;
simply, &amp;quot; Poems,&amp;quot; bearing the initials &amp;quot;D. M. B.&amp;quot;&lt;br /&gt;
and with the names of &amp;quot;Young and Cooper,&lt;br /&gt;
Maidstone,&amp;quot; on the title page. It is a very little&lt;br /&gt;
volume, and there are in it verses which are quite&lt;br /&gt;
too simple for publication. On the other hand,&lt;br /&gt;
there are sonnets which seem to have the true&lt;br /&gt;
ring, and we may very well imagine this writer&lt;br /&gt;
soaring high above these early rhymes, and be-&lt;br /&gt;
coming ashamed of them. Then this copy in my&lt;br /&gt;
hands would become rare and priceless. May this&lt;br /&gt;
be so!&lt;br /&gt;
William Westall is writing Christmas stories for&lt;br /&gt;
the Manchester Weekly Times and the Glasgmc&lt;br /&gt;
Herald. He has also written a short serial for the&lt;br /&gt;
Traveller, a new magazine which is to appear&lt;br /&gt;
in December, and a novel which is being syndicated&lt;br /&gt;
by the Authors&amp;#039; Syndicate, and will &amp;quot;run&amp;quot; in&lt;br /&gt;
sundry English and American newspapers next&lt;br /&gt;
year.&lt;br /&gt;
&amp;quot;It is said that there are three million volumes&lt;br /&gt;
of unsold novels lying on the shelves of the Paris&lt;br /&gt;
publishers, and that the number increases every&lt;br /&gt;
dav. What to do with these unsold and apparently&lt;br /&gt;
unsaleable b &amp;gt;oks is a problem. It was proposed by&lt;br /&gt;
someone that they should be distributed at country&lt;br /&gt;
fairs as prizes for children, instead of gingerbread&lt;br /&gt;
or Scripture texts. The innocent country people&lt;br /&gt;
were greatly pleased with this proposition, and&lt;br /&gt;
quite e.iger to accept it; but the more knowing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 155 (#559) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
i55&lt;br /&gt;
prefect of police interfered and stopped the dis-&lt;br /&gt;
tribution; not, however, until some volumes had&lt;br /&gt;
been given away. It is hoped that the local&lt;br /&gt;
Sunday schools will put in their best work in this&lt;br /&gt;
neighbourhood l&amp;gt;efore the seed already sown has&lt;br /&gt;
bourgeoned ami born fruit.&amp;quot;&mdash;New York Critic.&lt;br /&gt;
Miss Elizabeth Bisland is said to be now engaged&lt;br /&gt;
on a romance and play in collaboration with Bhoda&lt;br /&gt;
Broughton.&lt;br /&gt;
Mrs. Bernhard Whishnw has disposed of the&lt;br /&gt;
American rights of &amp;quot;Zephyr,&amp;quot; and it will be produced&lt;br /&gt;
before long in New York with Miss Loie Fuller in&lt;br /&gt;
the title part. It will be remembered that this&lt;br /&gt;
young actress made a decided hit its &amp;quot; Zephyrina&amp;quot;&lt;br /&gt;
when the play was performed at the Opera Comique&lt;br /&gt;
last May.&lt;br /&gt;
A new volume by Mr. J. E. Gore, F.B.A.S.,&lt;br /&gt;
entitled, &amp;quot; Star Groups: a Students Guide to the&lt;br /&gt;
Constellations,&amp;quot; is in the press, and will be published&lt;br /&gt;
immediately by Messrs. Crosby, Lockwood, and&lt;br /&gt;
Son, Stationers&amp;#039; Hall Court.&lt;br /&gt;
The following books are about to be issued by&lt;br /&gt;
Miss Bramstou, author of &amp;quot; Apples of Sodom &amp;quot; :&mdash;&lt;br /&gt;
&amp;quot;Abby&amp;#039;s Discoveries.&amp;quot; Tale of child-life 5o years&lt;br /&gt;
ago. National Society.&lt;br /&gt;
&amp;quot;A Village Genius.&amp;quot; Story of the Composer of&lt;br /&gt;
the Passions music still sung at Ober&lt;br /&gt;
Ammergau. National Society.&lt;br /&gt;
&amp;quot;Neal Russell.&amp;quot; One-volume tale, suitable for&lt;br /&gt;
free and parish libraries. Swan, Sonnenschein&lt;br /&gt;
Miss Jessie M. Barker&amp;#039;s &amp;quot;Daisy&amp;#039;s Dream: a&lt;br /&gt;
Story of the Earth and its Sculptors,&amp;quot; is to appear&lt;br /&gt;
in the October, November, anil December parts of&lt;br /&gt;
the Girls&amp;#039; Own Paper.&lt;br /&gt;
&amp;quot;In Two Moods,&amp;quot; by Stepniak and Westall,&lt;br /&gt;
from the Russian of Korolenko, was published on&lt;br /&gt;
September 18, in New York, by the American&lt;br /&gt;
Book Company; and in London by Ward and&lt;br /&gt;
Downey.&lt;br /&gt;
Mrs. Alfred Baldwin has a one-volume novel in&lt;br /&gt;
the press called &amp;quot;Where Town and Country meet.&amp;quot;&lt;br /&gt;
It will be published by Longmans and Co.&lt;br /&gt;
Mr. Bertram Milford will publish in the middle&lt;br /&gt;
of October a novel called &amp;quot;Golden Fan : A Tale of&lt;br /&gt;
the Wild AVest.&amp;quot; (Trischler and Co.)&lt;br /&gt;
A new edition of &amp;quot;The Sandcliff Mystery,&amp;quot; by&lt;br /&gt;
Scott Graham, author of &amp;quot; The Golden Milestone,&amp;quot;&lt;br /&gt;
&amp;quot;A Bolt from the Blue,&amp;quot; &amp;amp;c, is published at 2s.&lt;br /&gt;
and 2*. 6d. by Messrs. Oliphant, Anderson, and&lt;br /&gt;
Ferrier.&lt;br /&gt;
Mrs. Jenner&amp;#039;s novel &amp;quot;Love or Money,&amp;quot; which&lt;br /&gt;
has been running in Temple Bar, will be issued in&lt;br /&gt;
volume form on October the 19th. Bentley and&lt;br /&gt;
Son are the publishers.&lt;br /&gt;
Miss Selina Gaye&amp;#039;s new book &amp;quot;From Advent to&lt;br /&gt;
Advent &amp;quot; was published in the summer by Messrs.&lt;br /&gt;
Griffith and Farran. 2i3pp. Price 3-v. bd.&lt;br /&gt;
The forthcoming memoir of the late Watts&lt;br /&gt;
Phillips, which is to be issued by Messrs. Cassell&lt;br /&gt;
and Co., is written by Miss Emma Watts Phillips,&lt;br /&gt;
the sister, not the daughter, of the subject.&lt;br /&gt;
Mr. Walts Phillips had one daughter only, who is&lt;br /&gt;
now in Australia.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Drivf.u, S. R., I).I). An Introduction to the Literature of&lt;br /&gt;
tlie (Jlil Testament. Clark, George Street, Edinburgh.&lt;br /&gt;
Vol. of the International Theological Library. 12*.&lt;br /&gt;
McEvilly, Most Rev. J., 1).I&amp;gt;. An Exposition of the&lt;br /&gt;
Epistles of St. l&amp;#039;uul anil of the Catholic Epistles.&lt;br /&gt;
With introductions, analyses, a paraphrase of the text,&lt;br /&gt;
and a commentary, interspersed with moral reflections.&lt;br /&gt;
Two vols. Fourth Edition, revised. Dublin: M. II.&lt;br /&gt;
Gill.&lt;br /&gt;
PiiKi-rs, Austin, LL.D., D.I). My Note Hook. Frag-&lt;br /&gt;
mentary studies in theology and subjects adjacent&lt;br /&gt;
thereto. With portrait. Fisher 1&amp;#039;uwiu. 6s.&lt;br /&gt;
Thk Powkb of thk Phkskxck of God. Hy the Author of&lt;br /&gt;
&amp;quot;Prayers and Responses for the Household.&amp;quot; Skeffing-&lt;br /&gt;
tou. Paper covers.&lt;br /&gt;
Stkwart, Pkof. Alkxandkb. Handbook of Christian&lt;br /&gt;
Evidences. A. and C. Black, (xl.&lt;br /&gt;
Tkmperaxtia. Ity the Kev. H. H. Gowen. Six Short&lt;br /&gt;
Sermons on the Apostles Creed. By the Kev. J. J.&lt;br /&gt;
Soden, M.A. Short Sermons for Children. By the&lt;br /&gt;
Kev. H. J. Wilmot Buxton, M.A. Third Edition. On&lt;br /&gt;
the Way Home. Sixty Short Sermons for Life&amp;#039;s&lt;br /&gt;
Travellers. By the Kev. W. H. Jones. Sermon Out-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 156 (#560) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
lines. By the Bev. V. St. John Corbett, M.A. The&lt;br /&gt;
Master&amp;#039;s Message. A Series of Plain Sermons, By&lt;br /&gt;
the Rev. H. .1. Wilmot Buxton, M.A. Sermons for the&lt;br /&gt;
Christian Year. Two vols. By the Rev. A. Noel&lt;br /&gt;
Hunt, B.A. Skeffington, Piccadilly.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Belcher, T. W., D.l). Robert Brett (of Stoke Newington),&lt;br /&gt;
his Life and Work. Griffith, Furruii. 3s. bd.&lt;br /&gt;
Brown, James. The History of Sanquhar. Burgh Asses-&lt;br /&gt;
sor. To which is added the Flora and Fauna of the&lt;br /&gt;
district. By Dr. Anatruthcr Davidson. Anderson,&lt;br /&gt;
Dumfries.&lt;br /&gt;
Crump, C. G. Imaginary Conversations. By Walter&lt;br /&gt;
Savage Landor. With biographical and explanatory&lt;br /&gt;
notes. In Six vols. Vol. II. J. M. Dent, Great&lt;br /&gt;
Kastern Street. 3s. bd. net.&lt;br /&gt;
Dictionary of National Biography. Kdited by Sidney&lt;br /&gt;
Lee. Vol. XXVIII. Howard&mdash;Inglethorp. Smith,&lt;br /&gt;
Elder.&lt;br /&gt;
Evkbard, Major H. History of the 29th (Worcestershire)&lt;br /&gt;
Foot, Thos. Farrington&amp;#039;s Regiment. (1694 to 1891.)&lt;br /&gt;
Worcester: Littlebury &amp;amp; Co.&lt;br /&gt;
Fitzgerald, Percy, F.S.A. Life of James Boswcll (of&lt;br /&gt;
Auchinleck), with an account of his sayings, doings,&lt;br /&gt;
and writings. Two vols., with four portraits. Chatto&lt;br /&gt;
and Windus.&lt;br /&gt;
Historic Houses ok the United Kingdom. Descriptive,&lt;br /&gt;
Historical, Pictorial. Part I. Cassell. Paper, jd.&lt;br /&gt;
Hoddkr, Kdwin. George Fife Angas, Father and Founder&lt;br /&gt;
of South Australia. With portrait. Hodder and&lt;br /&gt;
Stoughton. 11 at.&lt;br /&gt;
Hume, Martin A. S. Chronicle of King Henry VIII. of&lt;br /&gt;
England: being a Contemporary Record of some of&lt;br /&gt;
the Principal Events of the Reigns of Henry VIII. and&lt;br /&gt;
Edward VI. Written in Spanish by an unknown&lt;br /&gt;
hand. Translated, with notes and introduction, by.&lt;br /&gt;
George Bell. is. bd.&lt;br /&gt;
Law, George, B.A. History of Hampton Court Palace.&lt;br /&gt;
Vol. III. Orange and Guelph times. George Bell.&lt;br /&gt;
Lewis, J. G. Christopher Marlowe: Outlines of his Life&lt;br /&gt;
and Works. Gibbings, Bury Street, W.C.&lt;br /&gt;
Muir, Sir W. The Caliphate, its Rise, Decline, and Fall.&lt;br /&gt;
8vo. 1 os. 6&amp;#039;/., cloth.&lt;br /&gt;
Sydney, W. Connor. England and the English in the 18th&lt;br /&gt;
Century; Chapters in the Social History of the Times.&lt;br /&gt;
Two vols. Ward and Downey.&lt;br /&gt;
Educational.&lt;br /&gt;
Bebesford-Webb, H. S. German Military and Naval&lt;br /&gt;
Reading Book: For the use of Candidates for Army&lt;br /&gt;
and other Examinations. Percival, Covent Garden.&lt;br /&gt;
Ss.&lt;br /&gt;
Fletcher, Banister. Dilapidations; A Text-book for&lt;br /&gt;
Architects and Surveyors, in tabulated form, corrected&lt;br /&gt;
to the present Time, with all the most recent legal&lt;br /&gt;
cases. With the Conveyancing and Law of Property&lt;br /&gt;
Act and the Agricultural Holdings (England) Act.&lt;br /&gt;
Fourth Edition. B. T. Batsford, 5z, High Holboru.&lt;br /&gt;
6s. 6d.&lt;br /&gt;
Kingsbury, G. C, M.A., M.D. The practice of Hypnotic&lt;br /&gt;
Suggestion, an Elementary Handbook for the use of&lt;br /&gt;
the Medical Profession. Siutpkiu.&lt;br /&gt;
Marshall, A. Milnes, M.D. The Frog: An Introduction&lt;br /&gt;
to Anatomy, Histology, and Embryology. Fourth&lt;br /&gt;
Edition, revised and illustrated. Smith, Elder.&lt;br /&gt;
Martinkau, G. A Village Class for Drawing and&lt;br /&gt;
Wood Carving, is. 6d., cloth.&lt;br /&gt;
Nisbet, H. Lessons in Art. Crown 8vo. is. 6d., cloth.&lt;br /&gt;
Ostwale, W. Solutions. Being the Fourth Book, with&lt;br /&gt;
some additions, of the Second Edition of Ostwald&amp;#039;s&lt;br /&gt;
&amp;quot;Lehrbuch der Allgemeineu Chemie,&amp;quot; translated by&lt;br /&gt;
M. M. Pattison Muir, Fellow of Gouville and Cains&lt;br /&gt;
College, Cambridge. Longmans. 10s. bd.&lt;br /&gt;
Philip&amp;#039;s New Series of Travelling Maps: South Ame-&lt;br /&gt;
rica, with Index. George Philip, Fleet Street.&lt;br /&gt;
Solly, J. Raymond. Acting and the Art of Speech at the&lt;br /&gt;
Paris Conservatoire. Hints on reading, reciting, acting,&lt;br /&gt;
and the cure of stammering. Elliot Stock.&lt;br /&gt;
Solms-Laubach, H. Graf. Fossil Botany, being an Intro-&lt;br /&gt;
duction to Palffophytology from the Standpoint of the&lt;br /&gt;
Botanist. The authorised Kuglish translation by Henry&lt;br /&gt;
E. F. Garnsey, M A., Fellow of Magdalen College,&lt;br /&gt;
Oxford, revised by Isaac Bayley Balfour, M.A., M.D.,&lt;br /&gt;
F. R.S. With illustrations. Clarendon Press. 18s.&lt;br /&gt;
A Text Book of Musical Knowledge. Part II., Inter-&lt;br /&gt;
mediate. Part III., Senior. Also Questions and&lt;br /&gt;
Exercises intended for practical use during the study&lt;br /&gt;
of the foregoing. Prepared for the use of Students,&lt;br /&gt;
more especially for the local examinations in musical&lt;br /&gt;
knowledge of Trinity College, London. Hammond,&lt;br /&gt;
Vigo Street, is. each.&lt;br /&gt;
General Literature.&lt;br /&gt;
Adams, F. John Webb&amp;#039;s End. 2*.&lt;br /&gt;
Alexander, Mrs. A Woman&amp;#039;s Heart. A Novel in 3 vols.&lt;br /&gt;
F. V. White.&lt;br /&gt;
Well Won. In 1 vol. F. V. White. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Bali.axtyne, R. M. The Buffalo Runners. A Tale of the&lt;br /&gt;
Red River Plains. Illustrated by the author. James&lt;br /&gt;
Nisbet. Ss.&lt;br /&gt;
Behnke, Emil. Stammering: its Nature and Treatment.&lt;br /&gt;
Second thousand. Fisher Unwiu.&lt;br /&gt;
Besant, W. Armorel of Lyonesse. 3s. bd.&lt;br /&gt;
Burton, Mina E. Ruling the Planets. 3 vols. Richard&lt;br /&gt;
Bentley.&lt;br /&gt;
Carey, R. N. Our Bessie. 3s.&lt;br /&gt;
Colvills, H. E. Wafted Seeds. Nisbet. is.&lt;br /&gt;
Cook, W. The Horse: its Keep and Management, is.bd.&lt;br /&gt;
Craik, Georoina M. (Mrs. A. W. May). Patience Holt:&lt;br /&gt;
a Novel. 3 vols. Bentley.&lt;br /&gt;
Davenport-Adams, W. With Poet and Player. Essays&lt;br /&gt;
on Literature and the Stage. Elliot Stock,&lt;br /&gt;
Dawson, W. J. The Redemption of Edward Stratum: a&lt;br /&gt;
Social Story. Hodder and Stoughton. 3s. bd.&lt;br /&gt;
Donovan, Dick. A Detective&amp;#039;s Triumphs. Chatto and&lt;br /&gt;
Windus.&lt;br /&gt;
Edgar, Matilda. Ten Years of Upper Canada in Peace&lt;br /&gt;
and War&mdash;i8o5-i8i5&mdash;being the Ridout Letters, with&lt;br /&gt;
annotations. Fisher Unwin. 10s. bd.&lt;br /&gt;
Fenn, G. M. Mahine Nousie. 2 vols. 21s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 157 (#561) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A&lt;br /&gt;
UTHOR.&lt;br /&gt;
Ford, James L. Hypnotic and Other Tales. Illustrated.&lt;br /&gt;
Brentano&amp;#039;s, West Strand.&lt;br /&gt;
Fotheroill, Jessie. Aldyth: or, Let the Knd Try the&lt;br /&gt;
Man. A Story. Rentier.&lt;br /&gt;
Frederic, Harold. In the Valley: a Novel. Popular&lt;br /&gt;
edition. Heinemann. 3s. 6d.&lt;br /&gt;
Gaskell, Mrs. Mary Barton. With biographical intro-&lt;br /&gt;
duction. Volume of the Minerva Library. Ward,&lt;br /&gt;
Lock, Bowden. IS.&lt;br /&gt;
Gellie, M. K. (M.K.B.). Raffan&amp;#039;s Folk: a Story of a High-&lt;br /&gt;
land Parish. I lines, Bedford Street.&lt;br /&gt;
Green, K. E. Fir Tree Farm. 5&laquo;.&lt;br /&gt;
Haggard, H. Bider. Maiwa&amp;#039;s Revenge: or, The War of&lt;br /&gt;
the Little Hand. Illustrated. Longmans. is.&lt;br /&gt;
Henty, G. A. Tliose Other Animals. With portrait of&lt;br /&gt;
the author, and illustrations by Harrison Weir. Volume&lt;br /&gt;
of the Whitefriars Library of Wit and Humour.&lt;br /&gt;
Henry, Bouverie Street. 3s. 6&amp;lt;/.&lt;br /&gt;
Herman, Henry. Scarlet Fortune: a Story of the New&lt;br /&gt;
World and the Old. Trischler. Coloured boards, is.&lt;br /&gt;
Hudson, W. C. The Man with a Thumb. Cassell. is.&lt;br /&gt;
Huefher, F. H. Madox. The Brown Owl: a Fairy&lt;br /&gt;
Story. With two illustrations by F. Madox Browne.&lt;br /&gt;
Volume of the Children&amp;#039;s Library. Fisher I&amp;#039;nwin.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Hughes, Josiah. Australia Revisited in 1890: being&lt;br /&gt;
Kxtracts from the Diary of a Trip Bound the World.&lt;br /&gt;
Simpkin, Marshall.&lt;br /&gt;
Johnston, H. H., C.B., &amp;amp;c. Livingstone and the Explora-&lt;br /&gt;
tion of Central Africa. With illustrations and maps&lt;br /&gt;
by E. G. Bavenstein, F.B.G.S. George Philip.&lt;br /&gt;
4*. 6d.&lt;br /&gt;
Kenton, F. G., M.A. Classical Texts from Papyri in the&lt;br /&gt;
British Museum; including the newly-discovered poems&lt;br /&gt;
of Herodas. With autotype facsimiles of MSS.&lt;br /&gt;
Clarendon Press.&lt;br /&gt;
K.NEirp, Sebastian. My Water Cure, as tested through&lt;br /&gt;
more than 30 years. With illustrations. Translated&lt;br /&gt;
from the 3oth German edition by A. de F. Blackwood.&lt;br /&gt;
Lindlev, Percy. Walks in Epping Forest. With illustra-&lt;br /&gt;
tions and maps. New edition. 113, Fleet Street. 6d.&lt;br /&gt;
Lynch, A. Modern Authors: a Review and a Forecast.&lt;br /&gt;
5*.&lt;br /&gt;
Marshall, Emma. Those Three: or, Little Wings. A&lt;br /&gt;
Story for Girls. James Nisbet. 5&raquo;.&lt;br /&gt;
Born in the Purple: a Story. James Nisbet,&lt;br /&gt;
is. M.&lt;br /&gt;
Mathers, Helen. My Jo, John: a Novel. F. V.&lt;br /&gt;
White. Paper covers, is.&lt;br /&gt;
Maude, F. W. A Merciful Divorce: a Story of Society,&lt;br /&gt;
its sports, functions, and failings. Second thousand.&lt;br /&gt;
Trischler.&lt;br /&gt;
Maurier, G. du. Society Pictures. Drawn by. Selected&lt;br /&gt;
from Punch. No. 11. Bradbury, Agnew. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Meade, L. F. Hepsy Gipsy. Illustrated by Everard&lt;br /&gt;
Hopkins. Methuen.&lt;br /&gt;
Meadows, A. M. The Romance of a Madhouse. Arrow-&lt;br /&gt;
smith. Paper covers, is.&lt;br /&gt;
Molesworth, Mrs. The Red Grange: a Tale. Illus-&lt;br /&gt;
trated by Gordon Browne. Methuen.&lt;br /&gt;
Montt, Pedro. Exposition of the Illegal Acts of ex-&lt;br /&gt;
President Balmaceda, which caused the Civil War in&lt;br /&gt;
Chile. Brentano&amp;#039;s, Strand. Paper covers, is. 6d.&lt;br /&gt;
MuiR, Sir Wm. The Caliphate: its Rise, Decline, and&lt;br /&gt;
Fall. From Original Sources. Religions Tract&lt;br /&gt;
Society, Paternoster Row. ios. 6d.&lt;br /&gt;
Murray, R. W. South Africa: from Arab domination to&lt;br /&gt;
British rule. Edited by. With maps. Stanford.&lt;br /&gt;
Norris, W. E. Miss Wentworth&amp;#039;s Idea: a Novel. Ward&lt;br /&gt;
and Downey.&lt;br /&gt;
Phillpotts, Edex. Folly and Fresh Air. Trischler.&lt;br /&gt;
Potter, G. W., M.I). Ministering Women: the Story of&lt;br /&gt;
the Royal National Pension Fund for Nurses. The&lt;br /&gt;
Hospital, i4o, Strand.&lt;br /&gt;
Pryce, R. Miss Maxwell&amp;#039;s Affections: a Novel. 2 vols.&lt;br /&gt;
Chatto and Windns.&lt;br /&gt;
Sargant, G. E. John Tincroft, Bachelor and Benedict,&lt;br /&gt;
is. 6d.&lt;br /&gt;
Serrano, Mary J. Letters of Marie Bashkirtseff. Trans-&lt;br /&gt;
lated by. With Portraits. Cassell.&lt;br /&gt;
Shaw, G. B. The Quintessence of Ibsenism. is. (nl.&lt;br /&gt;
Sherard, R. H. By Right not Law: a Story. Cassell.&lt;br /&gt;
Picture boards, is.&lt;br /&gt;
Somerville, E. R. and Ross, M. Naboth&amp;#039;s Vineyard: a&lt;br /&gt;
Novel. Spencer Blackett. 3s. M.&lt;br /&gt;
Stone, Percy G. The Architectural Antiquities of the&lt;br /&gt;
Isle of Wight, from the nth to the 17th Centuries.&lt;br /&gt;
Part II. Collected and drawn by, and published by&lt;br /&gt;
him at 19, Great Marlborough Street, W.&lt;br /&gt;
Story, W. W. Excursions in Art and letters. Black-&lt;br /&gt;
wood.&lt;br /&gt;
Turner, J. H. An Endeavour to Fix the Date of the&lt;br /&gt;
Crucifixion. J. Palmer, Alexandra Street.&lt;br /&gt;
Walford, L. B. The Mischief of Monica: a Novel.&lt;br /&gt;
3 vols. Longmans. iSs. 6d.&lt;br /&gt;
Watson, H. Marriott. The Web of the Spider: a Talc&lt;br /&gt;
of Adventure. Hutchinson, Paternoster Square. 6s.&lt;br /&gt;
Wheeler, Owen E. Military Photography. Iliffe,&lt;br /&gt;
St. Bride Street. Paper covers, is. 6d.&lt;br /&gt;
Witt, Emilie de. Sinner or Scientist: a Novel. Tallis,&lt;br /&gt;
Farringdou Street, is.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Byron, Lord. The Poetical Works of, with original and&lt;br /&gt;
additional notes. In 11 vols. Vol. I. (Hours of Idle-&lt;br /&gt;
ness&mdash;English Bards and Scotch Reviewers). Griffith,&lt;br /&gt;
Farran. Paper covers, is.&lt;br /&gt;
Chambers, R. The Life and Works of Robert Hurns.&lt;br /&gt;
Edited by. In 4 vols. W. and R. Chambers.&lt;br /&gt;
Ecritt, W. H. Heart Throbs. Harrison, Pall Mall.&lt;br /&gt;
E. S. G. S. The New Christian Year; or, Thoughts (in&lt;br /&gt;
verse) on the Present Leetiouary. Stoneman, Warwick&lt;br /&gt;
Lane, Paternoster Row.&lt;br /&gt;
Jones, Henry* Arthur. Saints and Sinners: a new and&lt;br /&gt;
original Drama of Modern English Middle-class Life,&lt;br /&gt;
in Five Acts. Macinillan. 3s. 6d.&lt;br /&gt;
Levy, Amy. A Minor Poet and other verse. Volume of&lt;br /&gt;
the Cameo Series. With Portrait. Fisher Unwiu.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
O&amp;#039;Brien, Constance. Possible Plays for Private Players.&lt;br /&gt;
Griffith, Farran. is.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 158 (#562) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Palgrave, Francis T. The Visions of England: Lyrics&lt;br /&gt;
on Leading Men and Event! in English History.&lt;br /&gt;
Cassell&amp;#039;s National Library. Cloth, 6d.&lt;br /&gt;
PMLirs, E. C, and Grindy, S. The Dean&amp;#039;s Daughter:&lt;br /&gt;
a Play in Four Acts; as produced at the St. James&amp;#039;s&lt;br /&gt;
Theatre in October 1888. Trischler. Paper covers,&lt;br /&gt;
is.&lt;br /&gt;
Williamson, J. K. A Ballad of a Jester and other Poems.&lt;br /&gt;
Heywood, Manchester and London.&lt;br /&gt;
Law.&lt;br /&gt;
Russkll, Francis, M.A. A Treatise on the Power and&lt;br /&gt;
Duty of an Arbitrator and the Law of Submissions&lt;br /&gt;
and Awards, with an Appendix of Forms anil of the&lt;br /&gt;
Statutes relating to Arbitration. Seventh edition, by&lt;br /&gt;
the author and Herbert Russell, B.A., of the Inner&lt;br /&gt;
Temple. Stevens, Chancery Lane. 3o.s.; for cash, 24s.&lt;br /&gt;
Science.&lt;br /&gt;
Kingsbury, G. C. Practice of Hypnotic Suggestion. 6*.&lt;br /&gt;
Robkrts, J. Handbook of Weights and Measures. 4a. 6d.&lt;br /&gt;
Watkrdalk&amp;#039;s Fresh Light on the Dynamite Action and&lt;br /&gt;
Ponderosity. 3&raquo;. id.&lt;br /&gt;
Watts, W. Marshall. A Practical Introduction of the&lt;br /&gt;
Elements of Chemistry. James Xisbet. IS.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Keturn as to Alien Immigration during August, \d. Com-&lt;br /&gt;
parative Statement of Pauperism, June 1891, id. Re-&lt;br /&gt;
port from the Select Committee on Railway Servants&amp;#039;&lt;br /&gt;
Hours of Labour, with Proceedings of the Committee&lt;br /&gt;
and Minutes of Evidence, 5.&raquo;. i\d. Standing Order of&lt;br /&gt;
the House of Commons relating to Public and Private&lt;br /&gt;
Business, it. id. Eyre and Spottiswoode.&lt;br /&gt;
Railway Statistics of Canada for 1890. Annual Report of&lt;br /&gt;
the Department of Fisheries, Dominion of Canada, for&lt;br /&gt;
1890 ; and Fisheries Statements and Inspectors&amp;#039; Reports&lt;br /&gt;
for 1890. Brown Chamberlen, Ottawa.&lt;br /&gt;
34th Report of the Commissioners of the Inland Revenue&lt;br /&gt;
for the year ended March 3i last, 6d. Return of Ships&lt;br /&gt;
ordered by the Board of Trade to be provisionally&lt;br /&gt;
detained as unsafe from July 1, 1890, to June 3o,&lt;br /&gt;
1891, i\d. Report of the Hoard of Trade&amp;#039;s Pro-&lt;br /&gt;
ceedings during last Session under the Tramways Act,&lt;br /&gt;
1870, and the Gas and Water Works Facilities Act,&lt;br /&gt;
1870, ir/. Special Report from the Select Committee&lt;br /&gt;
on Teachers&amp;#039; Registration and Organization Bill, 3 s. 3rf.&lt;br /&gt;
Report from the Select Committee on Town Holdings,&lt;br /&gt;
3s. Sd. Department of Science and Art Directory,&lt;br /&gt;
revised up to June 1891, with Regulations for esta-&lt;br /&gt;
blishing and conducting Science and Art Schools and&lt;br /&gt;
Classes, (id. Return as to the Salaries of Attorneys&lt;br /&gt;
and Solicitors General, \d. Return showing the&lt;br /&gt;
Annual Output of Principal Minerals of Great Britain&lt;br /&gt;
and Ireland from i860 to 1890, ijrf. Return as to&lt;br /&gt;
persons suffering sentences for Treason-Felony, \d.&lt;br /&gt;
Return of Information as to the detention of prisoners&lt;br /&gt;
before trial in England and Wales during 1890, z\d.&lt;br /&gt;
General Report to the Board of Trade on the capital,&lt;br /&gt;
traffic,expenditure,and profits of the Railway Companies&lt;br /&gt;
of the United Kingdom for 1890, ikd. Abstracts of&lt;br /&gt;
Returns to the Board of Trade on Shipping Casualties&lt;br /&gt;
from July 1, 1889, to June 30, 1890, 4&raquo;. 6&amp;lt;f. Report&lt;br /&gt;
of the Committee of Council on Education in Scotland,&lt;br /&gt;
2.v. Hoard of Trade Reports on the classification of&lt;br /&gt;
Merchandise Traffic and Schedule of Maximum Rates&lt;br /&gt;
in respect of the Abbotsbury, Aylesbury, and Bucking-&lt;br /&gt;
ham, Ballycastle, and certain other railway companies,&lt;br /&gt;
6d. Report of the Committee of Council on Education&lt;br /&gt;
(England and Wales), with Appendix, 1890-91, 3&raquo;. id.&lt;br /&gt;
23rd Report on the Judicial Statistics of Scotland for&lt;br /&gt;
1890, I*, id. Accounts relating to Trade and Navi-&lt;br /&gt;
gation of the United Kingdom for August, 6rf. Board&lt;br /&gt;
of Agriculture Report on the Distribution of Grants to&lt;br /&gt;
Agricultural and Dairy Schools in Great Britain for the&lt;br /&gt;
Financial Year, 1890-91, Sd. Annual Colonial Re-&lt;br /&gt;
ports.&mdash;Reports for 1890: No. 12.&mdash;Turks and Caicos&lt;br /&gt;
Islands, id. No. i3.&mdash;Gibraltar, id. No. 14.&mdash;Zulu-&lt;br /&gt;
land, irf. No. i5.&mdash;Sierra Leone, i\d. Government&lt;br /&gt;
Departments Securities: Return of the Amounts of&lt;br /&gt;
British Government Securities held by the several&lt;br /&gt;
Government Departments and other Public Offices on&lt;br /&gt;
the 31st of March 1891, specifying whether held in&lt;br /&gt;
England or Ireland (in continuation of Parliamentary-&lt;br /&gt;
Paper No. 263, of Session 1890), id. Return : Savings&lt;br /&gt;
Bank-. &amp;lt;)\d. Australasian Federation : Official Record&lt;br /&gt;
of the Proceedings and Debates of the National&lt;br /&gt;
Australasian Convention, held in the Parliament House,&lt;br /&gt;
Sydney, New South Wales, in the months of March&lt;br /&gt;
and April, 1891, 4*. 3d. Eyre and Spottiswoode.&lt;br /&gt;
Agricultural Statistics, Ireland: General Abstract, showing&lt;br /&gt;
the acreage under crops, also the number and de-&lt;br /&gt;
scription of live stock in each county and province,&lt;br /&gt;
1890-91. Banking, Railway, and Shipping Statistics,&lt;br /&gt;
Ireland, June 1891, id. Alexander Thorn and Co.,&lt;br /&gt;
Dublin.&lt;br /&gt;
Electrical Standards: Report of the Committee appointed&lt;br /&gt;
by the Board of Trade on New Denominations of&lt;br /&gt;
Standards for the Measurement of Electricity, lid.&lt;br /&gt;
Board of Agriculture: Report on the Distribution of&lt;br /&gt;
Grants to Agricultural and Dairy Schools in Great&lt;br /&gt;
Britain for the Financial Year 1890-91, with an Ap-&lt;br /&gt;
pendix, Sd. Public Accounts: Third Report from the&lt;br /&gt;
Committee of Public Accounts, with proceedings of&lt;br /&gt;
the Committee and Minutes of Evidence, is. Town&lt;br /&gt;
Holdings: Report from the Select Committee, with&lt;br /&gt;
proceedings of the Committee and Minutes of Evidence,&lt;br /&gt;
3&raquo;. Sd. Railway Returns for England and Wales,&lt;br /&gt;
Scotland, and Ireland, for the year 1890, with Sum-&lt;br /&gt;
mary Tables for I&amp;#039;nited Kingdom for each year from&lt;br /&gt;
1854 to 1890, 11 J. Department of Science and Art&lt;br /&gt;
Directory, with regulations for establishing and con-&lt;br /&gt;
ducting science and art schools and classes, 6rf. Re-&lt;br /&gt;
turn of Episcopal Fees and Charges paid by every&lt;br /&gt;
Archbishop and Bishop since January 1, i885,&lt;br /&gt;
Reports by Board of Trade on the Classification of&lt;br /&gt;
Merchandise Traffic and Schedule of Minimum Rates,&lt;br /&gt;
determined in respect of the East London Railway&lt;br /&gt;
Joint Committee, and the Loudon and North-Western&lt;br /&gt;
and Lancashire and Yorkshire Railway Companies,&lt;br /&gt;
and the Corporation of Preston, Ribble Branch, Joint&lt;br /&gt;
Railway, 6d. each. Reports by the Board of Trade on&lt;br /&gt;
the Classification of Merchandise Traffic and Schedule&lt;br /&gt;
of Maximum Rates determined in respect of Barry&lt;br /&gt;
Docks and Railway Company (3s. 3d.), the Fe.stiniog&lt;br /&gt;
Railway Company (6&amp;lt;/.), and certain other companies.&lt;br /&gt;
Reports by the Board of Trade on the Classification&lt;br /&gt;
of Merchandise Traffic and Schedule of Maximum&lt;br /&gt;
Rates, determined in respect of the Ely Valley, Brecon&lt;br /&gt;
and Merthyr Tydfil Junction, and Golden Valley&lt;br /&gt;
Railway Companies, 6rf. each. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 159 (#563) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
159&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887,)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
Principals :&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
PRICE LIST ON APPLICATION-TERMS MODERATE.&lt;br /&gt;
The Department for Lady Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success which has attended its&lt;br /&gt;
management. The Course includes Shorthand, Type-writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency-&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
MISS R. V. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C., and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Particulars on application to -&lt;br /&gt;
MARY R. DAY.&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
| ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to di&iacute;ficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
Author&amp;#039;s MSS. carefully copied from 1s. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge.&lt;br /&gt;
References kindly permitted to many well-known&lt;br /&gt;
Authors and Publishers. Further particulars on&lt;br /&gt;
application.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES ERWIN,&lt;br /&gt;
13, DORSET STREET, PORTMAN SQUARE, W.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSPOON,&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES,&lt;br /&gt;
4, SUN COURT, CORNHILL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
All applications relating to Advertisements&lt;br /&gt;
in this Journal should be addressed to the&lt;br /&gt;
Printers and Publishers,&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, LOMBARD STREET, E.C.&lt;br /&gt;
Office No. 59 (close to Lift).&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
TYPE-WRITER,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. type-written from 1s. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE.&lt;br /&gt;
East Harding Street, Fetter Lane,&lt;br /&gt;
London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 160 (#564) ############################################&lt;br /&gt;
&lt;br /&gt;
i6o&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
NOPS&amp;#039; ELECTROTYPE AGENCY.&lt;br /&gt;
FINE ART ELECTROS.&lt;br /&gt;
&lt;br /&gt;
&mdash;&raquo;&laquo;:&amp;lt;*&amp;lt;&laquo;&amp;#039;&mdash;&lt;br /&gt;
Wk huvc at our disposal 2,000,000 (Two&lt;br /&gt;
Millions) of Engravings suitable for Illustrating&lt;br /&gt;
Newspapers, Itooks, Circulars, Magazines,&lt;br /&gt;
Pamphlets, Children&amp;#039;s Papers, &amp;amp;c, &amp;amp;e., and have&lt;br /&gt;
Comprehensive Indexes, of Portraits and Views&lt;br /&gt;
always ready for reference.&lt;br /&gt;
We shall be glad to receive a call from any&lt;br /&gt;
one requiring Illustrations of any kind; and if&lt;br /&gt;
clients at a distance will kindly send us u list of&lt;br /&gt;
subjects they require, together with size limit,&lt;br /&gt;
a Selection of suitable Proofs will lw at once&lt;br /&gt;
despatched to them.&lt;br /&gt;
Cuts found to illustrate MS. or Text.&lt;br /&gt;
Agents for the &amp;quot;Illustrated London&lt;br /&gt;
News,&amp;quot; &amp;quot;Graphic,&amp;quot; &amp;quot;Black and White,&amp;quot;&lt;br /&gt;
&amp;quot;Lady&amp;#039;s Pictorial,&amp;quot; &amp;quot;Strand Magazine,&amp;quot;&lt;br /&gt;
&amp;quot;Pictorial World,&amp;quot; &amp;amp;c, and the principal&lt;br /&gt;
Foreign Illustrated Papers.&lt;br /&gt;
Telegraphic Address&mdash;&amp;quot; DENOPS, LONDON.&amp;quot;&lt;br /&gt;
Telephone Number&mdash;1880.&lt;br /&gt;
19, LUDGATE HILL, LONDON, E.C.&lt;br /&gt;
Branches in Paris, New York, Melbourne, Ontario, and Bombay.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER writes in full sight of the&lt;br /&gt;
operator.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER saves the eyesight.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER prevents writer&amp;#039;s cramp.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER prevents round shoulders.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER enables you to keep pace&lt;br /&gt;
with your thoughts, the operation requires less mental effort&lt;br /&gt;
than the use of a pen, allowing you to concentrate your mind&lt;br /&gt;
more fully on the matter you are writing on.&lt;br /&gt;
The writing of the BAR-LOCK TYPE-WRITER is equal (o a printed proof, and can la1 used as such&lt;br /&gt;
for corrections, thus saving large printer&amp;#039;s charges which are sufficient in many books to defray the&lt;br /&gt;
cost of a Bar-Lock.&lt;br /&gt;
&lt;br /&gt;
Supplied for Cash, or on Our Easy Payment System by Twelve Monthly&lt;br /&gt;
Payments of &pound;119s., or on Hire at &pound;2 2s. per Month.&lt;br /&gt;
CORRESPONDENT AND INSPECTION INVITED.&lt;br /&gt;
THE TYPE-WRITER COMPANY, Limited.&lt;br /&gt;
12 &amp;amp; 14, QUEEN VICTORIA STREET, E.G.&lt;br /&gt;
1, South John Street, Liverpool; 22, Renfield Street, Glasgow; 25, Market Street, Manchester.&lt;br /&gt;
Type-Writing Taught by Experts. Author&amp;#039;s MSS. Copied at Is. 3d. per 1,000 Words at all our Offieet.&lt;br /&gt;
Londos: Printed by Ktrk ami Spothbwoopb, Printers to the (Jneen&amp;#039;s most Excellent Mnjcsty.</td><td>https://historysoa.com/files/original/5/256/1891-10-01-The-Author-2-5.pdf</td><td>publications, The Author</td></tr><tr><td>257</td><td>https://historysoa.com/items/show/257</td><td>The Author, Vol. 02 Issue 06 (November 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+06+%28November+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 06 (November 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-11-01-The-Author-2-6</td><td></td><td></td><td></td><td></td><td>161&ndash;192</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-11-01&quot;&gt;1891-11-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>6</td><td></td><td></td><td>18911101</td><td>Uhc Mutbor*&lt;br /&gt;
[The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 6.]&lt;br /&gt;
NOVEMBER i, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
Warnings&lt;br /&gt;
Notices &amp;quot;65&lt;br /&gt;
On Royalties iM&lt;br /&gt;
The Form and Cost of a Stamp 166&lt;br /&gt;
Copyright in America 167&lt;br /&gt;
An Old Dream 16S&lt;br /&gt;
A Plea for the Popular iOS&lt;br /&gt;
Assorted Aphorisms &amp;#039;7&deg;&lt;br /&gt;
&amp;quot;Slating&amp;quot; &amp;#039;1&amp;#039;&lt;br /&gt;
Notes and News 17&amp;#039;&lt;br /&gt;
The Bookman OS&lt;br /&gt;
The Harvest of the Year I7S&lt;br /&gt;
The Independent Theatre 77&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGB 1&lt;br /&gt;
.. 165&lt;br /&gt;
PAGE&lt;br /&gt;
To England &amp;quot;7s&lt;br /&gt;
A Bureau of Literary Revision &amp;gt;78&lt;br /&gt;
The Writers&amp;#039;Club &amp;#039;79&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I.&mdash;All for Nothing &amp;#039;79&lt;br /&gt;
II.&mdash;Good Work, Sure Pay &amp;#039;s&deg;&lt;br /&gt;
III. &mdash;&amp;quot; Good Work, Sure Pay&amp;quot; &amp;#039;80&lt;br /&gt;
IV. -More Light &amp;quot;8&amp;#039;&lt;br /&gt;
V.&mdash;An Honourable Action 183&lt;br /&gt;
VI.&mdash;Authors and Illustrations l8&amp;#039;&lt;br /&gt;
A Case for the Society for Psychical Research 83&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; l8&laquo;&lt;br /&gt;
New Books and New Editions &amp;#039;85&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol.&lt;br /&gt;
1831&mdash;40. Published under the direction of the State&lt;br /&gt;
III.,&lt;br /&gt;
Trials&lt;br /&gt;
Committee. Edited by John Macdoxell. M.A. 10*.&lt;br /&gt;
INVESTMENTS. A List of 1,600 British, Colonial and&lt;br /&gt;
Foreign Securities dealt in upon the London and Provincial&lt;br /&gt;
Exchanges, giving tho highest and lowest prices of each&lt;br /&gt;
particular Stock for each of tho last twenty-two years, or from&lt;br /&gt;
the time of the creation of such Stock, also the price on 30th&lt;br /&gt;
May, 1891, and the yield per cont. to the Investor. Compiled by&lt;br /&gt;
G. Brown, u. 6&amp;lt;i.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3s.&lt;br /&gt;
Contains all the Public Acts passed during the year, with&lt;br /&gt;
Index, also Tallies showing the effect of the year&amp;#039;s legislation,&lt;br /&gt;
together with complete and classilicd Lists of the Titles of nil&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
JOURNAL OF THE BRITISH ASTRONOMICAL&lt;br /&gt;
ASSOCIATION. Monthly, it. bd.\ Annual Subscription, in-&lt;br /&gt;
cluding postage, iR*.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By the Hon. Raj.fii Abecbomby, F.R. Met.&lt;br /&gt;
Soc. 21.&lt;br /&gt;
METEROLOGICAL INSTRUMENTS, Instructions in the&lt;br /&gt;
use of. a*, (td.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliographv. Roval &laquo;vo. Cloth, is. 6d.&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACK.&lt;br /&gt;
By Sir Geobge Gkkt. K.C.B. Illustrated. Royal 8vo. Cloth, St.&lt;br /&gt;
ANCIENT HISTORY OF THE MAORI. By John&lt;br /&gt;
White. Demy 8vo. Half Morocco. 4 vols. ios. per vol.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Clembst Reid. F.L.S., F.G.S. Five Plates (48 cuts), St. 64&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Wiiitakee, B.A. i&raquo;.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
Tho Geology of. By W. Wiiitakeb, B.A., F.R.S., F.G.S.,&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, bt. Vol. II. APPENDICES. 8vo. Cloth, j&raquo;.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens, is. tod.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, id. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, 3s. gd.&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day. Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. Sua w-Heli.ike. Commandant Royal Military&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artistically&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood&lt;br /&gt;
Engravings. lit.&lt;br /&gt;
&amp;quot;It affords information obtainable nowhere else, and it has lwen&lt;br /&gt;
put together with so much care and thoughtfulncss that Capt . Day&amp;#039;s&lt;br /&gt;
volume will be indeed welcomed by all who have Ui deal with tho&lt;br /&gt;
wind instruments, and can be accepted without question as the&lt;br /&gt;
standard authority.&amp;quot;&mdash;Musicat Xctct.&lt;br /&gt;
PUIiLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
ScABGILL-BlBD, F.S.A. It.&lt;br /&gt;
&amp;quot;The value of such a work as Sir. Sc&amp;amp;rgill-Bird&amp;#039;s can scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash; Timet.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PURLISIIERS.&lt;br /&gt;
KYRE and SI&amp;#039;OTTISWOOOK, Her Majesty&amp;#039;s Printers, East Harding Street, London, B.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 162 (#566) ############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMENTS.&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887.)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
$}rtnttjial4:&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
PRICE LIST ON APPLICATION-TERMS MODERATE.&lt;br /&gt;
miss n. ~ST. GULL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C, and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notefl taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; KISS, carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES BRWIKT,&lt;br /&gt;
13, Dorset Street, Portman Square, W.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, Lombard Street, E.C.&lt;br /&gt;
Office No. 59 (dote to Lift).&lt;br /&gt;
MISS □F&raquo;^-TT3ES3NT,&lt;br /&gt;
type-writer,&lt;br /&gt;
44, Oakley Plats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from Is. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of Charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. type-written from Is. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
The Department for Lady Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success which has attended its&lt;br /&gt;
management. The Course includes Shorthand, Tjpe-writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency&mdash;&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
Particulars on application to&mdash;&lt;br /&gt;
MARY IFJL. DAY.&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from is. per&lt;br /&gt;
1,000. words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge. Instruction given in&lt;br /&gt;
Pitman&amp;#039;s System of Shorthand and in type-&lt;br /&gt;
writing. References kindly permitted to Walter&lt;br /&gt;
Besant, Esq.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSP00N,&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES,&lt;br /&gt;
4, SUIT COTJKT, COBNKZLL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
MISS IE. LESTTY,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
165, QUEEN VICTOKIA STEEET.&lt;br /&gt;
Highest Testimonials for all kinds of Work.&lt;br /&gt;
Price List on Application.&lt;br /&gt;
VICTORIA TYPE-WRITING OFFICE.&lt;br /&gt;
(FRANCES A. COX.)&lt;br /&gt;
565, Mansion House Chamhers;&lt;br /&gt;
11, ttueen Victoria Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully typed. Legal and General&lt;br /&gt;
Copying.&lt;br /&gt;
PROSPECTUS OX APPLICATION.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 163 (#567) ############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMENTS.&lt;br /&gt;
Cljc ^orietjj of 3ttt!)or* (Incorporate^)*&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Night Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sir Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Berone, K.C.M.G.&lt;br /&gt;
Walter Hesant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. D. Blackmore.&lt;br /&gt;
Rev. Prof. Bonnet, F.R.S.&lt;br /&gt;
Lord Brahourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward. Ci.odd.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawfurd, C.M.G.&lt;br /&gt;
The Earl of Desaht.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Gaunett, LL.D.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Prof. E. Ray Lankester, F&amp;#039;.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.i&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Eahl of Pembroke and&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sai.a.&lt;br /&gt;
W. Baitiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
The Right Hon. the Baron Hknhy&lt;br /&gt;
de Worms, M.P., F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
lion. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
A. W. A Beckett.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
Edmund Gosse. J. M. Lely.&lt;br /&gt;
H. Rider Haggard. Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A. Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Members.&lt;br /&gt;
3. The Grievances of Authors. (The Leadenhall Press) 2s. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
g5, Strand, W.C.) 3*.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost Of Production. I&amp;quot; this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
2s. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods of Publication. By S. Sqimre Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Other works bearing on the Literary Profession will follow.&lt;br /&gt;
vol. 11. L 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 164 (#568) ############################################&lt;br /&gt;
&lt;br /&gt;
, 64 AD VERTISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is u beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the coyer oyer the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are various points to select from, broad, medium, and fine, every handwriting can he snited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post tree, is only 10s, 6d.&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot;Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
On&copy; will OUtwear 90 grOSS Of Steel pens. They arc a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Oliver Wendell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 185;, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grundy, Kso.., says (referring to the Fountain Pen) :&mdash;&amp;quot; It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Moberly Bell, Est)., Manager, The Timet, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. I). Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
83, CHEAPSIDE, LONDON. *&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 165 (#569) ############################################&lt;br /&gt;
&lt;br /&gt;
XI b e Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly,)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 6.] NOVEMBER i, 1891. [Price Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that arc&lt;br /&gt;
signed the Authors alone arc responsible.&lt;br /&gt;
&mdash; &raquo;■&raquo;■&diams;&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended by&lt;br /&gt;
experiencetl friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any projKisal of royalty&lt;br /&gt;
without ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has l&amp;gt;oon refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
(8.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconneeU-d&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE friends of the late James Runciman, a&lt;br /&gt;
member of this Society, will learn with pain&lt;br /&gt;
that he has left a widow and children totally&lt;br /&gt;
unprovided for. His literary success came too&lt;br /&gt;
late to enable him to put by anything, and he was&lt;br /&gt;
cut off at the early age of 3g. Contributions are&lt;br /&gt;
received by Mr. W. E. Henley, National Observer,&lt;br /&gt;
Edinburgh, or will be sent to him if forwarded to&lt;br /&gt;
the Secretary at this office.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
The official directions for the secviring of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of rending those&lt;br /&gt;
directions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 166 (#570) ############################################&lt;br /&gt;
&lt;br /&gt;
i66&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
II.&mdash;On the sale of the next 3,ooo.&lt;br /&gt;
ON ROYALTIES,&lt;br /&gt;
fT^HE invention of what is called the royalty&lt;br /&gt;
I system was one of the neatest and prettiest&lt;br /&gt;
strokes eyer invented for the. pillage of the&lt;br /&gt;
luckless author. For, before that disaster, no&lt;br /&gt;
publisher ever ventured to ask for more than half&lt;br /&gt;
profits. To be sure he took more, in fact, he&lt;br /&gt;
frequently took all, and left the poor author none.&lt;br /&gt;
But there was the principle. He said, &amp;quot; I take all&lt;br /&gt;
the risk; that is my contribution to the joint&lt;br /&gt;
enterprise. Therefore I am entitled to take half&lt;br /&gt;
the profits.&amp;quot; This agreed upon, the fraudulent&lt;br /&gt;
publisher took them all, and refused to show his&lt;br /&gt;
books.&lt;br /&gt;
Then somebody invented royalties. The author,&lt;br /&gt;
as the silly trout le&laquo;ps to the fly, leaped to the bait&lt;br /&gt;
of &amp;quot; something.&amp;quot; He had been so long accustomed&lt;br /&gt;
to get nothing on the &amp;quot;half profit&amp;quot; system that&lt;br /&gt;
he thought any change would be a change for the&lt;br /&gt;
better, and, as has always been the curse and bane&lt;br /&gt;
of all dealings between author and publisher, he&lt;br /&gt;
never looked at the other side at all. The publisher&lt;br /&gt;
offered him 10 per cent., even 5 per cent. Even now&lt;br /&gt;
there are writers who think themselves nobly treated&lt;br /&gt;
at 10 per cent. Of late, since the 10 per cent,&lt;br /&gt;
royalty has become a little fly-blown, he has been&lt;br /&gt;
offering a penny in the shilling or twopence in the&lt;br /&gt;
shilling. Let every writer understand exactly what&lt;br /&gt;
he is giving away when he signs a royalty agree-&lt;br /&gt;
ment. The following table, taken from &amp;quot;Methods&lt;br /&gt;
of Publishing,&amp;quot; will give him the necessary infor-&lt;br /&gt;
mation. It is calculated for a 6s. novel. In&lt;br /&gt;
proportion it will do for anything else, the cost of&lt;br /&gt;
production of the first edition being roughly about&lt;br /&gt;
one-fourth of the advertised price. The &amp;quot; conclu-&lt;br /&gt;
sions&amp;quot; are also taken from the same book, which&lt;br /&gt;
ought to be in the hands of every one who writes&lt;br /&gt;
books of any kind.&lt;br /&gt;
I.&mdash;On the side of the first l.ooo.&lt;br /&gt;
&pound;175&mdash;&pound;100&lt;br /&gt;
to divide.&lt;br /&gt;
Per cent.&lt;br /&gt;
S&lt;br /&gt;
10&lt;br /&gt;
■5&lt;br /&gt;
30&lt;br /&gt;
30&lt;br /&gt;
Publisher -&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&euro;&lt;br /&gt;
60&lt;br /&gt;
45&lt;br /&gt;
jo&lt;br /&gt;
Author &bull;&lt;br /&gt;
30&lt;br /&gt;
45&lt;br /&gt;
Co&lt;br /&gt;
55&lt;br /&gt;
90&lt;br /&gt;
&pound;52S-&pound;iSO&lt;br /&gt;
to divide.&lt;br /&gt;
Pit eent.&lt;br /&gt;
5&lt;br /&gt;
15&lt;br /&gt;
20&lt;br /&gt;
25&lt;br /&gt;
30&lt;br /&gt;
35&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
385&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
.&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
60&lt;br /&gt;
Publisher ■&lt;br /&gt;
330&lt;br /&gt;
240&lt;br /&gt;
195&lt;br /&gt;
ISO&lt;br /&gt;
10S&lt;br /&gt;
Author -&lt;br /&gt;
4S&lt;br /&gt;
90&lt;br /&gt;
&amp;#039;35&lt;br /&gt;
1S0&lt;br /&gt;
&amp;quot;5&lt;br /&gt;
370&lt;br /&gt;
3&amp;gt;5&lt;br /&gt;
III.&mdash;On the sale of an edition of 10,000.&lt;br /&gt;
Per cent.&lt;br /&gt;
&pound;1,750&mdash;.C400&lt;br /&gt;
to divide.&lt;br /&gt;
5&lt;br /&gt;
20&lt;br /&gt;
30&lt;br /&gt;
3S&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
Publisher -&lt;br /&gt;
I.2C0&lt;br /&gt;
1,050&lt;br /&gt;
900&lt;br /&gt;
750&lt;br /&gt;
600&lt;br /&gt;
45o&lt;br /&gt;
300&lt;br /&gt;
Author -&lt;br /&gt;
I50&lt;br /&gt;
300&lt;br /&gt;
450&lt;br /&gt;
600&lt;br /&gt;
750&lt;br /&gt;
400&lt;br /&gt;
1,050&lt;br /&gt;
Conclusions:&mdash;&lt;br /&gt;
(1.) No author should sign an agreement&lt;br /&gt;
whereby he binds himself to receive a low royalty&lt;br /&gt;
for an indefinite number of editions.&lt;br /&gt;
This is equivalent to saying that he should retaiu&lt;br /&gt;
his copyright, and so give himself the opportunity&lt;br /&gt;
of reaping the rewards of any big success, by&lt;br /&gt;
securing for himself a higher percentage of the&lt;br /&gt;
results.&lt;br /&gt;
(2.) No author should sign an agreement&lt;br /&gt;
whereby he is not to receive a royalty until a&lt;br /&gt;
certain number of copies have been sold, unless the&lt;br /&gt;
agreement provides facilities for the verification of&lt;br /&gt;
the publisher&amp;#039;s account.&lt;br /&gt;
(3.) No author should sign an agreement whereby&lt;br /&gt;
he is not to receive a royalty until the cost of&lt;br /&gt;
production is covered, unless he has every oppor-&lt;br /&gt;
tunity of satisfying himself that no more than the&lt;br /&gt;
actual cost is charged.&lt;br /&gt;
To these conclusions may be added the corollary&lt;br /&gt;
that no oik; should sign any royalty agreement&lt;br /&gt;
without learning what the publisher who proposes&lt;br /&gt;
it reserves for himself.&lt;br /&gt;
THE FORM AND COST OF A STAMP.&lt;br /&gt;
IT has been for a long time, as the papers in our&lt;br /&gt;
office show, and still is, as our daily work&lt;br /&gt;
informs us, a very usual custom in many of&lt;br /&gt;
the large publishing houses to affix to their forms&lt;br /&gt;
of agreement a sixpenny adhesive stamp, and&lt;br /&gt;
formally cancel it by writing the date or their&lt;br /&gt;
initials over it. This proceeding has been supposed&lt;br /&gt;
to be a compliance with the law, and to obviate any&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 167 (#571) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
risk of future penalties, should it Iwconie necessary&lt;br /&gt;
to produce the contract or agreement in a court of&lt;br /&gt;
law.&lt;br /&gt;
Upon this subject a few words of explanation&lt;br /&gt;
and of caution have become necessary, for this use&lt;br /&gt;
of a sixpenny adhesive stamp does not necessarily&lt;br /&gt;
constitute the safeguard against penalties that&lt;br /&gt;
seems to be expected from it.&lt;br /&gt;
The second clause of the Stamp Act of 1891 is&lt;br /&gt;
as follows:&mdash;&amp;quot; All stamp duties for the time being&lt;br /&gt;
chargeable by law upon any instruments are to bo&lt;br /&gt;
paid and denoted according to the regulations in&lt;br /&gt;
this Act contained, and, except where express pro-&lt;br /&gt;
vision is made to the contrary, are to be denoted by&lt;br /&gt;
impressed stamps only.&amp;quot;&lt;br /&gt;
Under certain circumstances this express provi-&lt;br /&gt;
sion is made for the use of adhesive stamps,&mdash;but&lt;br /&gt;
only, it may be added, up to a small sum&mdash;so that&lt;br /&gt;
upon occasion this method of stamping the contracts&lt;br /&gt;
between author and publisher is effective. But,&lt;br /&gt;
certainly adhesive stamps of a lower value cannot&lt;br /&gt;
be used so as to evade the ad valorem duties&lt;br /&gt;
chargeable at Somerset Ilouse upon all conveyances.&lt;br /&gt;
Where the agreement consists of a transfer or&lt;br /&gt;
assignment of literary property from one person to&lt;br /&gt;
another these ad valorem duties have to be paid,&lt;br /&gt;
and to use a sixpenny adhesive stamp upon such&lt;br /&gt;
contracts would not be held to satisfy the Act.&lt;br /&gt;
Even if stamps of the correct value were affixed, it&lt;br /&gt;
is doubtful whether the penalty would not have to&lt;br /&gt;
be paid before the document in question could be&lt;br /&gt;
admitted in evidence in a court of justice, as the&lt;br /&gt;
Act demands an impressed stamp; but it is certain&lt;br /&gt;
that to affix an adhesive stamp of a lower value is&lt;br /&gt;
a futile proceeding. Yet this is constantly done.&lt;br /&gt;
During the past twelvemonth many agreements&lt;br /&gt;
stamped in this way have come through our office.&lt;br /&gt;
Some have been royalty agreements on the printed&lt;br /&gt;
forms of a publisher&amp;#039;s office, ami such agreements&lt;br /&gt;
are very clearly liable to ad valorem duties. Some&lt;br /&gt;
have been merely letters containing the terms of&lt;br /&gt;
the assignment.&lt;br /&gt;
This fixing of a sixpenny adhesive stamp at the&lt;br /&gt;
bottom is not sufficient. The duty of 6d. upon&lt;br /&gt;
an agreement may l&amp;gt;e denoted by a sixpenny stamp,&lt;br /&gt;
to be cancelled in the usual way, but a sixpenny&lt;br /&gt;
stamp is not available for the conveyance of literary&lt;br /&gt;
property, and authors cannot too soon understand&lt;br /&gt;
this.&lt;br /&gt;
In all question of doubt application should be&lt;br /&gt;
made to Somerset House for light on the matter.&lt;br /&gt;
If an agreement should be insufficiently stamped at&lt;br /&gt;
Somerset House, the deficit has to be made up&lt;br /&gt;
l)cfore the document can be produced as evidence,&lt;br /&gt;
but no penalty lies against the producer. On page&lt;br /&gt;
32 8 of the Author, Vol. I., will be found complete&lt;br /&gt;
instructions on the procedure necessary to get an&lt;br /&gt;
agreement properly stamped.&lt;br /&gt;
Briefly, the agreement must be taken to Somerset&lt;br /&gt;
House, and the officer whose duty it is must be&lt;br /&gt;
asked to stamp it with the amount of duty charge-&lt;br /&gt;
able upon it. This amount is probably correct&lt;br /&gt;
according to the Act. If there is anv doubt the&lt;br /&gt;
Commissioners may be requested to assess it. If&lt;br /&gt;
any appeal is made from the decision of the Com-&lt;br /&gt;
missioners, it comes before the High Court of&lt;br /&gt;
Justice, or even, ultimately, before the House of&lt;br /&gt;
Lortls.&lt;br /&gt;
&lt;br /&gt;
COPYRIGHT IN AMERICA.&lt;br /&gt;
ATRANSATLANTIC &amp;quot;boom&amp;quot; was the&lt;br /&gt;
inevitable sequel of the Printer&amp;#039;s Protection&lt;br /&gt;
Act. It is no exaggeration to say that the&lt;br /&gt;
whole writing tribe is making a rush to secure&lt;br /&gt;
a place in the new market. But if 60,000,000&lt;br /&gt;
readers, now that they have to pay for their&lt;br /&gt;
residing, represent a public worth capturing, it may&lt;br /&gt;
be just as well to bear in mind that the value of&lt;br /&gt;
American Copyright is and must long be, in every&lt;br /&gt;
case, an unknown quantity. In the case of unknown&lt;br /&gt;
writers, or of writers who, if they have a decent&lt;br /&gt;
circulation here, are unknown to the American&lt;br /&gt;
public, the necessity for securing American Copy-&lt;br /&gt;
right adds a new difficulty to their already suffi-&lt;br /&gt;
ciently complicated business transactions. The&lt;br /&gt;
immediate effect of the Act has been to restrict&lt;br /&gt;
the output pending the completion of arrange-&lt;br /&gt;
ments for printing and publishing on the other&lt;br /&gt;
side of the Atlantic. In this connexion, moreover,&lt;br /&gt;
American newspaper rights have acquired an&lt;br /&gt;
altogether exceptional importance. There is, it&lt;br /&gt;
appears, no doubt whatever that publication in&lt;br /&gt;
the columns of a newspaper from type set within&lt;br /&gt;
the limits of the United States satisfies the statute&lt;br /&gt;
and affords a valid protection of the American&lt;br /&gt;
Copyright, leaving the author or his assigns free&lt;br /&gt;
to publish in book form if and when this is desired.&lt;br /&gt;
The difficulty of retaining American Copyright in&lt;br /&gt;
the case of matter published serially in England&lt;br /&gt;
only, will, perhaps, be got over by sending out&lt;br /&gt;
advance sheets and reprinting in America in time&lt;br /&gt;
to issue in l&amp;gt;ook form before the completion of&lt;br /&gt;
the English serial form. In many cases, however,&lt;br /&gt;
new writers will find it much easier to secure&lt;br /&gt;
American publication in serial than in book form.&lt;br /&gt;
It is, therefore, of some importance that it should&lt;br /&gt;
1k&raquo; known that American Copyright can be secured in&lt;br /&gt;
this way. A word of warning, however, seems to be&lt;br /&gt;
necessary. The value of American rights is, as we&lt;br /&gt;
have said, still in all but a very few cases (probably&lt;br /&gt;
3o at most) absolutely unascertainable. They can&lt;br /&gt;
only be secured at the expense of considerable&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 168 (#572) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
trouble, and there is a danger that authors, in&lt;br /&gt;
their anxiety to secure tliein, may accept any offer,&lt;br /&gt;
however inadequate. Nor is that by any means&lt;br /&gt;
all. A clause is coming to be inserted by common&lt;br /&gt;
form in agreements for the purchase of either&lt;br /&gt;
serial or book rights which covers all American&lt;br /&gt;
rights, although it may be questioned whether in&lt;br /&gt;
many cases this is understood by the author. It&lt;br /&gt;
should be borne in mind, therefore, that in all&lt;br /&gt;
contracts for the sale of the American serial&lt;br /&gt;
right the American Copyright should be expressly&lt;br /&gt;
reserved. Authors will have only themselves to&lt;br /&gt;
blame if by carelessness or through ignorance they&lt;br /&gt;
contract themselves out of the benefits of the&lt;br /&gt;
statute or assign them to others otherwise than&lt;br /&gt;
for good consideration.&lt;br /&gt;
Mr. Herbert Spencer has written to a Phila-&lt;br /&gt;
delphia correspondent as follows :&mdash;&amp;quot; I want to say&lt;br /&gt;
through you that I shall not take advantage of the&lt;br /&gt;
new American Copyright Law. I shall continue&lt;br /&gt;
to do as I have done heretofore. I shall send over&lt;br /&gt;
to America the stereotype plates of my books and&lt;br /&gt;
have them printed there, without seeking for any&lt;br /&gt;
protection from the American Government. This&lt;br /&gt;
new law is really prejudicial to the interests of&lt;br /&gt;
grave literature. . . . With this copyright law,&lt;br /&gt;
it will pay the American publisher less than before&lt;br /&gt;
to take up books of a kind which are of doubtful&lt;br /&gt;
sale. The fatal defect in the law is that it puts&lt;br /&gt;
the author or publisher to the expense of a double&lt;br /&gt;
manufacture in supplying two communities. . . .&lt;br /&gt;
Instead of encouraging the unknown author, and&lt;br /&gt;
the author of serious books, this law makes it&lt;br /&gt;
harder for him to gain due recognition than it was&lt;br /&gt;
before. Under this American law the publisher&lt;br /&gt;
will seek out the man who has made his name;&lt;br /&gt;
he will buy the popular author&amp;#039;s works and dis-&lt;br /&gt;
tribute them very widely, and meantime the rising&lt;br /&gt;
man will be left to his own devices. The general&lt;br /&gt;
effect will be to multiply the reproduction of books&lt;br /&gt;
which have no serious influence on the world,&lt;br /&gt;
and to discourage those who write books of&lt;br /&gt;
instruction.&amp;quot;&lt;br /&gt;
AN OLD DREAM.&lt;br /&gt;
Und als die Wahrheit ward geboren,&lt;br /&gt;
Da Kroch sie in ein Jagerhorn:&lt;br /&gt;
Der Jiiger bliets sie in der Wind,&lt;br /&gt;
Dahor man koine Trcu mchr find&amp;#039;t.&lt;br /&gt;
German Proverb.&lt;br /&gt;
This verse I learned in German tongue,&lt;br /&gt;
And heard it by a harper sung,&lt;br /&gt;
That &amp;quot;when on Earth the Truth was born,&lt;br /&gt;
She crept into a hunting horn;&lt;br /&gt;
The hunter came&mdash;the horn was blown&lt;br /&gt;
But where Truth went was never known.&amp;quot;&lt;br /&gt;
And yet sweet Truth is living still,&lt;br /&gt;
And sometimes on a lonely hill&lt;br /&gt;
In whispering leaves or reeds at choice,&lt;br /&gt;
I oft at evening hear her voice.&lt;br /&gt;
Or else it seems to softly ring&lt;br /&gt;
Where nightingales in woodlands sing,&lt;br /&gt;
Or where the lark at early morn&lt;br /&gt;
Kings chorals over hill and bourn.&lt;br /&gt;
And yet again whene&amp;#039;er I pass,&lt;br /&gt;
In dew drops over sprinkled grass,&lt;br /&gt;
Or violet stars in summer skies,&lt;br /&gt;
I see her softly shining eyes.&lt;br /&gt;
When in the forest shade I lay&lt;br /&gt;
Beside a brook one autumn day,&lt;br /&gt;
And breathed the fresh leaf scented air&lt;br /&gt;
I joyed to feel that Truth was there.&lt;br /&gt;
And in the mountains wild and lone&lt;br /&gt;
Where the wind sings its monotone;&lt;br /&gt;
And every thought has liberty,&lt;br /&gt;
There is the Truth, where man is free.&lt;br /&gt;
In valleys still in ocean foam&lt;br /&gt;
I feel sweet Truth where&amp;#039;er I roam,&lt;br /&gt;
Ho for the greenwood&mdash;rock and forn!&lt;br /&gt;
Alone I&amp;#039;ll go&mdash;alone return!&lt;br /&gt;
Cu.w.es Godfrey Leland.&lt;br /&gt;
&mdash;&lt;br /&gt;
A PLEA FOR THE POPULAR,&lt;br /&gt;
MY name k placarded on every railway stall;&lt;br /&gt;
my books are piled in heaps behind the&lt;br /&gt;
placards. You may watch these heaps&lt;br /&gt;
diminishing rapidly as the people buy them up;&lt;br /&gt;
you may see them reading my books in the first&lt;br /&gt;
class as much as in the third. I get a royalty of&lt;br /&gt;
twopence in the shilling, an arrangement which&lt;br /&gt;
gives the publishers a good deal more than it gives&lt;br /&gt;
me. But I am content. The side of sixty, eighty,&lt;br /&gt;
a hundred thousand, two or three times a year,&lt;br /&gt;
yields, as you can easily calculate for yourselves, a&lt;br /&gt;
tidy little income. In fact, I cleared, last year,&lt;br /&gt;
close upon &pound;2,000. Which is really not bad. In&lt;br /&gt;
any walk of life it would be a solid success. In&lt;br /&gt;
literature it is phenomenal.&lt;br /&gt;
But there is one drop of bitterness which poisons&lt;br /&gt;
all the cup. It is that whenever the reviews mention&lt;br /&gt;
my name&mdash;every week, that happens&mdash;they all&lt;br /&gt;
with one consent hold me up to contempt as the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 169 (#573) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
kind of monstrous creature whom the coarse and&lt;br /&gt;
uneducated public delights to honour. They gird&lt;br /&gt;
at my fun, they deride my pathos, they ridicule&lt;br /&gt;
my philosophy. Cheap, Brummagen, sham, melo-&lt;br /&gt;
dramatic, commonplace, vulgar, are a few of the&lt;br /&gt;
adjectives which they habitually heap upon me.&lt;br /&gt;
This kind of criticism, observe, does not hurt my&lt;br /&gt;
income a bit, and therefore 1 ought not to mind it.&lt;br /&gt;
But it makes my publisher mad, because he wants to&lt;br /&gt;
Ik; considered as a pat ron and producer of nothing but&lt;br /&gt;
high-class literature.&mdash;the very highest&mdash;and he can-&lt;br /&gt;
not bring himself to forego the profit of bringing out&lt;br /&gt;
Me. As for me, I can very well afford to laugh&lt;br /&gt;
and let the critics rail. Yet the adjectives prick a&lt;br /&gt;
bit sometimes. They sting and prick and make&lt;br /&gt;
one wince. At such times I feel inclined to turn.&lt;br /&gt;
Although I cannot hit back I can turn and I&lt;br /&gt;
can explain my position. I am turning now.&lt;br /&gt;
&amp;quot;Messieurs the critics,&amp;quot; I say, &amp;quot;gentlemen, all&lt;br /&gt;
you who write for the high-class reviews and the&lt;br /&gt;
&amp;#039;thoughtful&amp;#039; monthlies, are for the most part, I&lt;br /&gt;
believe, classical scholars. You have had the very&lt;br /&gt;
great advantage of the finest education that the&lt;br /&gt;
world can offer; you have been trained in the very&lt;br /&gt;
best models; you learned quite early in life what&lt;br /&gt;
is meant by style and taste; you sniff vulgarity a&lt;br /&gt;
mile off. Further, you have assumed the office&lt;br /&gt;
of censor; you stand up officially and for payment&lt;br /&gt;
as the professional defenders and advocates and pro-&lt;br /&gt;
tectors of literature; you demand for literature a&lt;br /&gt;
lofty standard of taste and style ; you insist upon&lt;br /&gt;
measuring all who write&mdash;that is to say, all from&lt;br /&gt;
you read&mdash;bv this standard, which may be, for aught&lt;br /&gt;
I know, an everlasting canon, handed down whom&lt;br /&gt;
ancient times, or a little yard measure of your&lt;br /&gt;
own.&lt;br /&gt;
&amp;quot;Very good. But, I pray you, consider a little.&lt;br /&gt;
&amp;quot;You, and your fathers before you, have been&lt;br /&gt;
for a hundred years continually advocating the&lt;br /&gt;
education of the whole people. You have succeeded&lt;br /&gt;
so far that you have given them the tools by which&lt;br /&gt;
education is achieved or imparted. You thought&lt;br /&gt;
when you taught them to read, that you were&lt;br /&gt;
actually educating them. You commonly talk as&lt;br /&gt;
if you think so still. It is not so, I assure you.&lt;br /&gt;
The people are as far from being educated now&lt;br /&gt;
as they were a hundred years ago. But they have&lt;br /&gt;
learned to read, which is the first step. When&lt;br /&gt;
you open free public libraries, you talk as if you&lt;br /&gt;
were creating students in science and literature.&lt;br /&gt;
You do not, I assure you. There are no more&lt;br /&gt;
students after the libraries are opened than there,&lt;br /&gt;
were before. Readers, however, there are in plenty&lt;br /&gt;
You have given, in fact, to all the people, what&lt;br /&gt;
was formerly the property of a few, a new ne-&lt;br /&gt;
cessity of life. You have taught them to read.&lt;br /&gt;
They must read. They will read. Heading is&lt;br /&gt;
their favourite occupation when they are neither&lt;br /&gt;
VOL. II.&lt;br /&gt;
working npr playing. They read when they are&lt;br /&gt;
in train or omnibus; they read when they are&lt;br /&gt;
alone; they read in the evenings; they read on&lt;br /&gt;
Sundays. All the world reads. They read the&lt;br /&gt;
newspaper first; the novelette next; and Me, and&lt;br /&gt;
those like me, they read next. Last of all, gentle-&lt;br /&gt;
men, and least of all, they read those modern&lt;br /&gt;
and living authors whom you praise, those who&lt;br /&gt;
have style, taste, refinement, breeding, scholarship,&lt;br /&gt;
and poetry.&lt;br /&gt;
&amp;quot;When you have imparted to the moss of the&lt;br /&gt;
people that craving for taste and style which is an&lt;br /&gt;
instinct with yourselves, they will read your&lt;br /&gt;
favourite authors. But not till then. And I see no&lt;br /&gt;
signs of your even attempting this colossal task.&lt;br /&gt;
&amp;quot;You arc perfectly right, however, in your efforts&lt;br /&gt;
to keep up the standard of literature. You are,&lt;br /&gt;
I think, wrong in not recognizing the fact that&lt;br /&gt;
in modern literature there are many mansions&mdash;&lt;br /&gt;
many standards&mdash;and that the highest is as im-&lt;br /&gt;
possible for the general mass as the lowest is for you.&lt;br /&gt;
&amp;quot;Again, in your public schools, gentlemen, and at&lt;br /&gt;
your universities, all the youths have the same&lt;br /&gt;
education. Yet those who travel first-class read&lt;br /&gt;
Me, and the like of me, as much as those who&lt;br /&gt;
travel third. Why? Because with all jour educa-&lt;br /&gt;
tion it is but a few&mdash;you yourselves, gentlemen,&lt;br /&gt;
and your friends&mdash;who achieve any real knowledge&lt;br /&gt;
or understanding of style and taste. The many&lt;br /&gt;
cannot arrive at this knowledge; they do not even&lt;br /&gt;
try; they are content with Me and with my like.&lt;br /&gt;
&amp;quot;Since this is so, would it not be well not to&lt;br /&gt;
demand of Me&mdash;and such as me&mdash;those qualities,&lt;br /&gt;
which, if I possessed them, would ruin me and do&lt;br /&gt;
no good to mv readers, because they would instantly&lt;br /&gt;
cease to read me? I am what the people want me&lt;br /&gt;
to be. I write what I know will please the people.&lt;br /&gt;
I found out what they wanted, because I know&lt;br /&gt;
what pleased me. I write for myself; therefore,&lt;br /&gt;
I write for the world. I was educated at a great&lt;br /&gt;
middle class school to go into the City like my&lt;br /&gt;
father. I did. Then I felt prickings. I always&lt;br /&gt;
read as much as I could lay hands upon. When&lt;br /&gt;
the pi&amp;#039;ickings became sharp goads I began to&lt;br /&gt;
write. Comic things I wrote first, pathetic&lt;br /&gt;
things next, stories of tears and laughter next.&lt;br /&gt;
At first, stories about the people. But they like,&lt;br /&gt;
1 find, something rather above their own level.&lt;br /&gt;
So now I give them a baronet, or even an earl&lt;br /&gt;
sometimes. The language is a little above them.&lt;br /&gt;
The way of life as much above their own as I can&lt;br /&gt;
make it. The manners also as much above theirs&lt;br /&gt;
as I can go. That is not, I acknowledge, very&lt;br /&gt;
much. So 1 succeeded, and 1 am in the City no more.&lt;br /&gt;
Again, take my essays. It is wonderful to think&lt;br /&gt;
of the really savage way in which my essays have&lt;br /&gt;
been received by you gentlemen. Yet they are&lt;br /&gt;
written on exactly the same principle as my stories.&lt;br /&gt;
M&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 170 (#574) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
They are as commonplace, as gaudy, as cheap, as&lt;br /&gt;
trite as you plea.se. But, gentlemen, they are not&lt;br /&gt;
so to these people. They are only just a little&lt;br /&gt;
above their way of looking at things. My readers&lt;br /&gt;
understand me by an effort of the mind&mdash;not a&lt;br /&gt;
fatiguing effort&mdash;yet an effort. I teach them; I&lt;br /&gt;
educate them. To them 1 reveal things previously&lt;br /&gt;
unknown. Do you call a l&amp;gt;ook of arithmetic&lt;br /&gt;
commonplace? It is not so to the school boy; it is&lt;br /&gt;
to him new and difficult. So with mv essays.&lt;br /&gt;
I teach the j)cople. Well, then, you will say&lt;br /&gt;
next that I ought to teach better, to teach more,&lt;br /&gt;
to teach a higher philosophy. Forgive me; I&lt;br /&gt;
can only teach what the peoples want to learn.&lt;br /&gt;
Should 1 preach a philosophical Atheism of the&lt;br /&gt;
more abstruse kind; should I bid them rise to&lt;br /&gt;
higher works; should I tell them that successful&lt;br /&gt;
shopkeeping is not the highest ambition of man;&lt;br /&gt;
should 1 teach the girls that to marry a man with&lt;br /&gt;
si good business is not the highest lot of woman-&lt;br /&gt;
kind; should I denounce money-getting; should I&lt;br /&gt;
preach a scrupulous honesty; no one would buy&lt;br /&gt;
me; no one would read me. Where would Ik- my&lt;br /&gt;
income? And some other chap would find out the&lt;br /&gt;
trick. As it is with me, so it is with the preachers&lt;br /&gt;
who please the people. Go into a chapel filled&lt;br /&gt;
with them. Are the preachers exhorting them to&lt;br /&gt;
a higher life? Not a bit. Do they persuade their&lt;br /&gt;
flock to honesty? Not so. They go hammering&lt;br /&gt;
away at an old conventional religion which leads&lt;br /&gt;
them to heaven by faith, and leaves their works&lt;br /&gt;
dubious, and their ways crooked. But I am getting&lt;br /&gt;
angry, and indignation is out of place in one who&lt;br /&gt;
looks for sales.&lt;br /&gt;
&amp;quot;In a word&mdash;gentlemen&mdash;my l)ooks represent,&lt;br /&gt;
though you are unwilling to confess the fact, the&lt;br /&gt;
average taste and the average demand. Take a&lt;br /&gt;
pyramid of half-a-dozen layers to stand for the world&lt;br /&gt;
of humanity. The lowest layer hardly reads at all.&lt;br /&gt;
The second, the third, and the fourth, especially&lt;br /&gt;
the last, read Me&mdash;and such as me. They read&lt;br /&gt;
none but such as me. They read whatever I give&lt;br /&gt;
&bull; hem&mdash;balhuls&mdash; not the thing with the e at the&lt;br /&gt;
end of it&mdash; stories, essays, anything. On the fifth&lt;br /&gt;
level I am also read, but not so widely. The&lt;br /&gt;
sixth 1 leave to you. It is a very, very small ]&amp;gt;art of&lt;br /&gt;
the whole, but it contains, my critics, pretty nearly&lt;br /&gt;
the whole of those who read the literature that you&lt;br /&gt;
approve.&lt;br /&gt;
&amp;quot;You think that the pyramid will become a pillar&lt;br /&gt;
by the contracting of the lower levels, and the&lt;br /&gt;
broadening of the upper. Perhaps. But not in&lt;br /&gt;
my time. Therefore I am not greatly concerned&lt;br /&gt;
about it. I have to do with the pyramid, so have&lt;br /&gt;
you if you will only recognize it.&lt;br /&gt;
&amp;quot;The broadening anil the contracting will be an&lt;br /&gt;
affair of many centuries. Remember that the&lt;br /&gt;
education of man has only just commenced.&lt;br /&gt;
We cannot all&mdash;to repeat&mdash;read the Differential&lt;br /&gt;
Calculus; I cannot for my own part. Most of u.s&lt;br /&gt;
have to lie satisfied with arithmetic, and not very&lt;br /&gt;
far in that. What I should like to ask you, if I&lt;br /&gt;
may, is that you should take Me&mdash;or such as me&mdash;&lt;br /&gt;
and put yourselves, if you can, in the position of one&lt;br /&gt;
who has few ideas, very little knowledge, and no&lt;br /&gt;
literary cx[&amp;gt;erience or judgment. This done, ask&lt;br /&gt;
how far this book of mine is good or bad, for such&lt;br /&gt;
a person a.s you have conjured up, and whether a&lt;br /&gt;
better liook&mdash;a deeper philosophy&mdash;would not be&lt;br /&gt;
thrown away upon them.&lt;br /&gt;
&amp;quot;Take Me&mdash;and such as me&mdash;for what we are, a&lt;br /&gt;
product of the times; a necessity for the time;&lt;br /&gt;
representative of the time. You might, if you&lt;br /&gt;
had the time, ask through my books what are the&lt;br /&gt;
things which- the people want and will have.&lt;br /&gt;
Believe me, you will find something&mdash;a good ileal&lt;br /&gt;
more than you expect&mdash;of true dramatic force, of&lt;br /&gt;
genuine situation, and of realistic fidelity. Mean-&lt;br /&gt;
while, I must return to my new volume, nearlv&lt;br /&gt;
ready. It will 1m&raquo; very funny&mdash;quite the cheapest&lt;br /&gt;
kind of fun. Yes. Vulgar too. Oh! Yes&mdash;Yes.&lt;br /&gt;
And flashy. Yes&mdash;Yes&mdash;Yes. And commonplace&lt;br /&gt;
&mdash;Yes! &amp;quot;Yes! Yes! But the book, will it be&lt;br /&gt;
bought? It would surprise yon to see how it will&lt;br /&gt;
be bought. And it will really teach the people&lt;br /&gt;
something&mdash;not much. And as far as the trade&lt;br /&gt;
. . &bull; but you are, of course, far above these conside-&lt;br /&gt;
rations.&amp;quot;&lt;br /&gt;
Solomon Stallabras,&lt;br /&gt;
Novelist, Essayist, and Poet.&lt;br /&gt;
.&lt;br /&gt;
ASSORTED APHORISMS.&lt;br /&gt;
1. Inability to perceive a joke is no proof of&lt;br /&gt;
moral superiority.&lt;br /&gt;
2. To the greatest minds, nothing is insigni-&lt;br /&gt;
ficant.&lt;br /&gt;
3. Love for the creature is the highest honour&lt;br /&gt;
payable to the creator.&lt;br /&gt;
4. It is better to stimulate thought than to&lt;br /&gt;
bestow knowledge.&lt;br /&gt;
5. Only the future has never deceived.&lt;br /&gt;
6. The ugly are the children of the other woman.&lt;br /&gt;
7. Imperial women lead: imperious women&lt;br /&gt;
drive&mdash;or try.&lt;br /&gt;
8. The age of an idea is no gauge of its untruth,&lt;br /&gt;
g. Poverty is not always essential to happiness.&lt;br /&gt;
10. Every sect is somewhat uncharitable but our&lt;br /&gt;
own.&lt;br /&gt;
11. Superstition is the religion of the other man.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 171 (#575) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
12. An ever-young heart is better than an ever-&lt;br /&gt;
green memory.&lt;br /&gt;
13. The highest life, like the lowest, suffers in&lt;br /&gt;
silence.&lt;br /&gt;
14. Revolution at top is safer&mdash;for the top.&lt;br /&gt;
15. Petty troubles worry: big misfortunes&lt;br /&gt;
educate.&lt;br /&gt;
16. The weak war with epithets, and only the&lt;br /&gt;
weak fear them.&lt;br /&gt;
17. Man is a clubbable animal&mdash;as a sage, or by&lt;br /&gt;
a savage.&lt;br /&gt;
18. Whole truths are apt. to spoil popular&lt;br /&gt;
digestions.&lt;br /&gt;
ig. It is too often easier to be loyal to friends&lt;br /&gt;
than to facts.&lt;br /&gt;
20. Humility often apes infallibility.&lt;br /&gt;
21. Theology demands a creed: religion com-&lt;br /&gt;
mands a character.&lt;br /&gt;
22. Some friendships are like e^gs: they dete-&lt;br /&gt;
riorate with age.&lt;br /&gt;
23. Knaves misuse science: fools abuse it.&lt;br /&gt;
24. Reiteration solves no problems.&lt;br /&gt;
25. The always polite must often deceive.&lt;br /&gt;
26. Inconsistency is unpardonable&mdash;by the other&lt;br /&gt;
inconsistent.&lt;br /&gt;
27. Tears, like diamonds, avail most when rarest.&lt;br /&gt;
28. Economy is the twin-sister of generosity.&lt;br /&gt;
29. Any fool may discourage: only the angels&lt;br /&gt;
hearten.&lt;br /&gt;
30. Lying natures imitate candour, by a veneer&lt;br /&gt;
of insolence.&lt;br /&gt;
31. Poison is the beneficent in excess.&lt;br /&gt;
32. New truths are often received as old lies.&lt;br /&gt;
33. Compromise, the life of society, is the death&lt;br /&gt;
of science.&lt;br /&gt;
34. One must pay dearly for the rare privilege&lt;br /&gt;
of helping man.&lt;br /&gt;
Phislay Gi.enkt.g.&lt;br /&gt;
&amp;quot;SLATING.&amp;quot;&lt;br /&gt;
MAY I be permitted to say that I do not&lt;br /&gt;
admit the correctness of the very inadequate&lt;br /&gt;
and far-fetched explanation which assumes&lt;br /&gt;
that this word was &amp;quot;clearly originally slat?&amp;quot; I&lt;br /&gt;
have all the materials for proving that it was&lt;br /&gt;
originally slate, a distinct word, just as there is a&lt;br /&gt;
difference between hat and hate, rat and rate, pat&lt;br /&gt;
and pate. The old unscientific notion that vowel-&lt;br /&gt;
length does not matter has long ago been knocked&lt;br /&gt;
on the head.&lt;br /&gt;
What amuses me is the appe.d to Webster&amp;#039;s&lt;br /&gt;
dictionary, because that work recognises this very&lt;br /&gt;
distinction, and only so much was quoted as&lt;br /&gt;
happened to be convenient. Even the old edition&lt;br /&gt;
of Webster gives &amp;quot; slate, to set loose, at a dog, at&lt;br /&gt;
anything.&amp;quot; The new edition adds &amp;quot; to bait, to slat.&amp;quot;&lt;br /&gt;
Anil by the Inst entry it is merely meant to refer,&lt;br /&gt;
not to&amp;quot; slat (2), to slap,&amp;quot; but to &amp;quot;slat (3), to set&lt;br /&gt;
on, to incite,&amp;quot; in which I believe the form really&lt;br /&gt;
meant is slaat, a northern form, distinct from slat,&lt;br /&gt;
with a as in hat. In my edition of Hay&amp;#039;s&lt;br /&gt;
&amp;quot;Northern Words&amp;quot; (1691). the spelling is s/ete, a&lt;br /&gt;
correct variant with long e. The form in Hotten&lt;br /&gt;
is slate, also with a long vowel.&lt;br /&gt;
I believe it will be found that, as has happened&lt;br /&gt;
before, I am right, despite contradiction. Of&lt;br /&gt;
course my difficulty is that 1 cannot here produce&lt;br /&gt;
all my evidence at length. Bui I think the students&lt;br /&gt;
of phonology will understand me.&lt;br /&gt;
W.Ai.Tun W. Skeat,&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
fl^HE Secretary is urgent with me to give as&lt;br /&gt;
I much publicity as the Author will allow to&lt;br /&gt;
what is, perhaps, the greatest of the many diffi-&lt;br /&gt;
culties with which this Society has to contend. It&lt;br /&gt;
is this. A large number of those who send up their&lt;br /&gt;
names for election do so only when they are in&lt;br /&gt;
trouble with their publishers. They have known all&lt;br /&gt;
along that the Society exists, and that it is always&lt;br /&gt;
at work for the protection of authors. Put thev do&lt;br /&gt;
not feel any call to support the Society until they&lt;br /&gt;
actually need its advice. They do not, as yet, un-&lt;br /&gt;
derstand that the very fact of joining the great com-&lt;br /&gt;
pany of book-writers (not necessarily autho:s by pro&lt;br /&gt;
fession) lavs upon them the duty of supporting the&lt;br /&gt;
only institution which exists for the protection of&lt;br /&gt;
their literary property. They do not, further, under-&lt;br /&gt;
stand as yet the importance of getting advice from&lt;br /&gt;
the only office which can give it on the subject of&lt;br /&gt;
agreements. But, after they have signed a one-&lt;br /&gt;
sided agreement, by which they have given awav&lt;br /&gt;
three-fourths of their property, and rendered them-&lt;br /&gt;
selves liable to be cheated out of the rest, thev come&lt;br /&gt;
to us for help. We give them what help can be&lt;br /&gt;
given. We procure for them for nothing the&lt;br /&gt;
best legal advice possible, as to how they should&lt;br /&gt;
proceed, we place at their disposal the experience&lt;br /&gt;
of our office and our six years of work j we give&lt;br /&gt;
them all this. Frequently it happens that a writer&lt;br /&gt;
in trouble comes to us and costs the Society ten&lt;br /&gt;
guineas, or more, in getting legal counsel. The&lt;br /&gt;
questions involved are intricate, and there are few&lt;br /&gt;
precedents on which to go. In return this member&lt;br /&gt;
M 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 172 (#576) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
pays one guinea. Now it is obvious that but for&lt;br /&gt;
a large support of those who join for the sake of&lt;br /&gt;
the general good, nothing could be done at all.&lt;br /&gt;
There is a case on our records&mdash;there may he more&lt;br /&gt;
than one&mdash;in which a writer engaged the Society&lt;br /&gt;
to see her out of a mess. We did so; we extri-&lt;br /&gt;
cated her from the clutches of a great thief; we&lt;br /&gt;
spent about fifteen guineas upon her ease without&lt;br /&gt;
taking from her even the single subscriptions for&lt;br /&gt;
the year. She then said that she was very much&lt;br /&gt;
obliged to us indeed&mdash;as she ought to have been&mdash;&lt;br /&gt;
that she had had a lesson, and should not try any&lt;br /&gt;
more writing, and, therefore, she would not ask to&lt;br /&gt;
be made a member. This was real gratitude.&lt;br /&gt;
There are other cases in which the applicant ex-&lt;br /&gt;
pected that the Society would fight his or her case,&lt;br /&gt;
at the costs and charges of the Society&mdash;probably&lt;br /&gt;
some case depending on the interpretation of a&lt;br /&gt;
clause in the agreement designed to deceive the&lt;br /&gt;
writer&mdash;a clause which would never be allowed at&lt;br /&gt;
this office.&lt;br /&gt;
Again, some applicants have complained that they&lt;br /&gt;
could get legal advice just as well from their own&lt;br /&gt;
solicitors. As a matter of fact, they cannot. It&lt;br /&gt;
is no discourtesy to the average solicitor to say that&lt;br /&gt;
he knows nothing whatever about literary property&lt;br /&gt;
or its management. And if they consult their own&lt;br /&gt;
solicitor they will certainly have to pay, while, if&lt;br /&gt;
they come to us they will get an opinion for&lt;br /&gt;
nothing.&lt;br /&gt;
It comes to this. The Society has by this time&lt;br /&gt;
done enough to earn and to deserve the confidence&lt;br /&gt;
of all who belong, directly and indirectly, to the&lt;br /&gt;
calling of letters. It should be supported by every-&lt;br /&gt;
one who has written a book&mdash;only one book even&lt;br /&gt;
&mdash;in any branch whatever, and especially by those&lt;br /&gt;
who write books as part of their profession, whether&lt;br /&gt;
scientific, medical, legal, educational, or literary.&lt;br /&gt;
We do not complain because people come to us&mdash;&lt;br /&gt;
the more the better&mdash;there cannot be too many&lt;br /&gt;
members. But we ask them to come at once,&lt;br /&gt;
before they get into trouble, even if they are never&lt;br /&gt;
to get into trouble, for the sake of their less&lt;br /&gt;
fortunate brethren.&lt;br /&gt;
Not the least reason why an author should be&lt;br /&gt;
careful to whom he entrusts his books is the con-&lt;br /&gt;
sideration of the inconvenience and loss caused by&lt;br /&gt;
having books published by different houses. For&lt;br /&gt;
instance, a great many people desire to possess&lt;br /&gt;
complete works of Jefferies. These are in any case&lt;br /&gt;
difficult to procure, but the difficulty is multiplied&lt;br /&gt;
tenfold by the other difficulty of knowing exactly&lt;br /&gt;
what he wrote and where everything was published.&lt;br /&gt;
Of course the wise author would reserve the copy-&lt;br /&gt;
right, unless he sells it outright. But very, very&lt;br /&gt;
few are so wise.&lt;br /&gt;
One of the papers&mdash;the Sunday Sun&mdash;heads a&lt;br /&gt;
notice of the life of Laman Blanchard (by Clement&lt;br /&gt;
Scott and Cecil Howard) with the title &amp;quot; The Dog&amp;#039;s&lt;br /&gt;
Trade of Literature.&amp;quot; Truly, under certain con-&lt;br /&gt;
ditions, it is a veritable dog&amp;#039;s trade. But then, con-&lt;br /&gt;
ditions are changing. The trade is no longer quite&lt;br /&gt;
so canine for those who are fit to follow it. Blanchard&lt;br /&gt;
wrote for the stage at the time when a dramatic&lt;br /&gt;
author received the magnificent sum of las. an&lt;br /&gt;
Act for the whole copyright in his play. He wrote&lt;br /&gt;
for publishers at a time when for editing maga-&lt;br /&gt;
zines, writing novels, essays, and successful plays,&lt;br /&gt;
an author thought himself lucky indeed if he made&lt;br /&gt;
&pound;3oo in a single year. Things have improved,&lt;br /&gt;
thanks to the enormous increase of readers first;&lt;br /&gt;
to tilt; competition of publishers next; and to&lt;br /&gt;
the light thrown upon the business side of&lt;br /&gt;
literature&amp;#039; during the last two or three years by&lt;br /&gt;
this Society. It is a dog&amp;#039;s trade still to the&lt;br /&gt;
unhappy writer who tries to live by bookmaking,&lt;br /&gt;
that is to say, by finding out a subject which&lt;br /&gt;
will, perhaps, tempt a publisher to give him&lt;br /&gt;
twenty or thirty pounds for a book upon it, ami&lt;br /&gt;
then, with scissors and paste, to make up a volume&lt;br /&gt;
upon that subject. The lwokmaking tribe has of&lt;br /&gt;
late suffered grievous minishing, but it still exists,&lt;br /&gt;
and it goes on plundering and blundering. Also&lt;br /&gt;
it goes on&mdash;poor unhappy tribe !&mdash;starving and&lt;br /&gt;
writing letters for money to successful men, and&lt;br /&gt;
making applications to the Royal Literary Fund.&lt;br /&gt;
There seems, however, some reason to hope that&lt;br /&gt;
with the end of the century the race will have&lt;br /&gt;
vanished altogether. It is a dog&amp;#039;s trade, too, to&lt;br /&gt;
the unhappy folk who aim at imaginative work, and&lt;br /&gt;
just fail of success. They win, perhaps, a certain&lt;br /&gt;
literary success, they command a certain sale, but&lt;br /&gt;
they just fall short of popularity, and that for&lt;br /&gt;
reasons which they cannot discover for themselves.&lt;br /&gt;
If they are compelled to live by letters, a dog&amp;#039;s&lt;br /&gt;
lot, truly, is theirs. Again, it is a dog&amp;#039;s trade&lt;br /&gt;
to those who try to make money &mdash; being, to&lt;br /&gt;
put it mildly, imperfectly equipped&mdash;by writing&lt;br /&gt;
for the magazines. In a word, literature is a dog&amp;#039;s&lt;br /&gt;
trade&mdash;and should be no man&amp;#039;s trade&mdash;without&lt;br /&gt;
natural aptitude&mdash;one is not allowed to say genius&lt;br /&gt;
&mdash;without a good education, without the charm of&lt;br /&gt;
style, and without the gift&mdash;the unknown&mdash;the&lt;br /&gt;
indefinable gift&mdash;of winning the ear of the people.&lt;br /&gt;
Then, if a man can be kept from sharks, he may&lt;br /&gt;
presently thank the Lord that he has taken up the&lt;br /&gt;
profession of letters. He will not grow as rich as&lt;br /&gt;
Vanderbilt or Astor, but he will thrive, he will&lt;br /&gt;
live in comfort, he will even &mdash; Oh! dream of&lt;br /&gt;
the bourgeois!&mdash;he will, perhaps, &amp;quot; put by &amp;quot;!&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 173 (#577) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
In an early number of the Author it was&lt;br /&gt;
suggested that among the immense number of dead&lt;br /&gt;
and forgotten books there must be some worthy of&lt;br /&gt;
revival. The past is common property; in the&lt;br /&gt;
vast heaps of dead literature all may delve and&lt;br /&gt;
search about for treasures. There is no law to&lt;br /&gt;
prevent anyone from carrying away and repro-&lt;br /&gt;
ducing whatever he pleases. Is then&amp;#039; anything&lt;br /&gt;
worth republishing? Is not the contemporary&lt;br /&gt;
verdict sufficient? Is not the verdict of the next&lt;br /&gt;
generation sufficient? In ninety-nine cases out&lt;br /&gt;
of a hundred. Sometimes, however, there is a&lt;br /&gt;
book which for some reason or other attracts,&lt;br /&gt;
on its first appearance, no attention; the reviewers&lt;br /&gt;
neglect it; the publisher docs not advertise&lt;br /&gt;
it; readers do not hear of it; the book falls still-&lt;br /&gt;
born. Yet there is something in it which should&lt;br /&gt;
give it life. Can we find such a book in the&lt;br /&gt;
dtisthcap? Again, there is the man who has&lt;br /&gt;
produced, among a mass of stuff all deservedly dead,&lt;br /&gt;
one volume in which he says all that he has to say&lt;br /&gt;
&mdash;delivers the one message that was in him;&lt;br /&gt;
proclaims the one live thing which his eyes could&lt;br /&gt;
see. There was once a writer named Charles&lt;br /&gt;
Maturin. How many could answer any questions&lt;br /&gt;
about. Charles Maturin? Yet he made some&lt;br /&gt;
little figure in his day, which was between&lt;br /&gt;
1782 and 1824. He wrote half a dozen novels,&lt;br /&gt;
produced three or four tragedies, taught a school,&lt;br /&gt;
wrote two or three poems, preached man)&amp;#039;&lt;br /&gt;
sermons. Out of all his works one alone deserves&lt;br /&gt;
to live; in fact, it does live with those who&lt;br /&gt;
read their native literature; this is a novel called&lt;br /&gt;
&amp;quot;Melmoth the Wanderer.&amp;quot; A reprint has been&lt;br /&gt;
issued of this once famous book by Richard&lt;br /&gt;
Bentley and Son. It will be very curious to learn&lt;br /&gt;
whether it proves a success. The case, by the way,&lt;br /&gt;
is one of the few in the production of which there&lt;br /&gt;
must be a certain risk. Given an author once&lt;br /&gt;
popular, but before the memory of living man;&lt;br /&gt;
given a book highly praised by Walter Scott in the&lt;br /&gt;
old days of the llegency; will that author, appearing&lt;br /&gt;
again almost a stranger, l&amp;gt;e able to repeat his&lt;br /&gt;
former success? It is an ex|x&amp;#039;riuient of great&lt;br /&gt;
interest, and I hope that we may be permitted to&lt;br /&gt;
learn the secret of the result. We who have so&lt;br /&gt;
often proclaimed the self-evident fact, so stupidly&lt;br /&gt;
denied, that publishers very seldom take any risks&lt;br /&gt;
at all, that is, very seldom produce at their own&lt;br /&gt;
cost any lx&amp;gt;oks of which there is not an assured&lt;br /&gt;
minimum sale enough to cover the cost&mdash;ought to&lt;br /&gt;
be the first to recognize an exception to this rule&lt;br /&gt;
when we find it, and, when the exception is&lt;br /&gt;
prompted by pure love of literature, we ought to&lt;br /&gt;
wish it every success.&lt;br /&gt;
The Spectator has just made the third&mdash;one&lt;br /&gt;
hopes not the last&mdash;of a series of brilliant dis-&lt;br /&gt;
coveries. In the first, a most sapient member of&lt;br /&gt;
its staff announced to an astonished world that&lt;br /&gt;
poets and novelists come into the world completely&lt;br /&gt;
equipped with a full knowledge of their art. All&lt;br /&gt;
other workers have to learn their trade. The poet&lt;br /&gt;
and the novelist alone &mdash; happy mortals !&mdash; have&lt;br /&gt;
nothing to learn. They sing; they tell tales by&lt;br /&gt;
instinct: as tin; skylark sings ; as the pig grunts;&lt;br /&gt;
as the laughing hyena laughs, so sing they, so they&lt;br /&gt;
tell their tales. There is no art at all; it is pure&lt;br /&gt;
instinct. Was not that a noble discovery for the&lt;br /&gt;
Spectator to make? We have already done our&lt;br /&gt;
best to give a world-wide publicity to this dis-&lt;br /&gt;
covery. After a week or two, being on the l ight&lt;br /&gt;
scent, they make a second discovery. Literary&lt;br /&gt;
men, for their own good, must be excluded from&lt;br /&gt;
any national recognition of their services to the&lt;br /&gt;
State. No honours or distinctions must be&lt;br /&gt;
bestowed upon them. &amp;quot;They arc far better with-&lt;br /&gt;
out,&amp;quot; says the Oracle, leaving it in doubt whether&lt;br /&gt;
she refers to their insides or to their poetry. Again&lt;br /&gt;
a week or two, and another brilliant discovery.&lt;br /&gt;
This time the same Sage. The article liears every&lt;br /&gt;
sign of being by the same writer&mdash;may one guess&lt;br /&gt;
the honoured name of Angelina Gushington? She&lt;br /&gt;
has discovered that men of science must be debarred,&lt;br /&gt;
not only from national recognition by way of the&lt;br /&gt;
ordinary distinctions, but even from the applause&lt;br /&gt;
of their friends. What saith the Sybil? &amp;quot;Up&lt;br /&gt;
till now the men who have devoted themselves to&lt;br /&gt;
abstract science have generally done so from pure&lt;br /&gt;
love of the pursuit of knowledge ... In a&lt;br /&gt;
great measure, men of science have been persons&lt;br /&gt;
who have proved their indifference to worldly&lt;br /&gt;
considerations and their love of knowledge for its&lt;br /&gt;
own sake.&amp;quot; As the Scotch minister said on a&lt;br /&gt;
certain well-known occasion, &amp;quot;Ah! Loard! It&amp;#039;s&lt;br /&gt;
just too reedecklus!&amp;quot; On what facts, from what&lt;br /&gt;
knowledge of scientific men, or scientific society, is&lt;br /&gt;
this confident statement so confidently advanced?&lt;br /&gt;
What scientific society has this dear lady known?&lt;br /&gt;
Now everyone who has had the privilege of&lt;br /&gt;
knowing men of science&mdash;there are no men more&lt;br /&gt;
delightful, more truly sincere, more companion-&lt;br /&gt;
able&mdash;who has enjoyed their friendship; who has&lt;br /&gt;
sat at their tables; will lx&amp;gt;ldly declare that this is&lt;br /&gt;
the greatest rubbish&mdash;the most unreal, the most&lt;br /&gt;
conventional stuff&mdash;ever placed before intelligent&lt;br /&gt;
readers. It is perfectly true that the man of science&lt;br /&gt;
is passionately possessed, filled, and seized with the&lt;br /&gt;
love of knowledge, and a rage for extending know-&lt;br /&gt;
ledge. But to say that he is indifferent to applause&lt;br /&gt;
or to recognition is sheer midsummer madness.&lt;br /&gt;
First of all, he always ardently desires that recog-&lt;br /&gt;
nition of his work which is conveyed by a&lt;br /&gt;
Professorship or a Fellowship; next, he desires to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 174 (#578) ############################################&lt;br /&gt;
&lt;br /&gt;
i/4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
be spoken of, ami to lie considered us an authority&lt;br /&gt;
&mdash;a leader in his own line; then he is never happy&lt;br /&gt;
until the distinction of F.R.S. is awarded him&mdash;&lt;br /&gt;
one little fact which blows the Spectator&amp;#039;s article&lt;br /&gt;
into smithereens. In other words, like all men,&lt;br /&gt;
the follower of science eagerly desires recognition&lt;br /&gt;
of his work: he is jealous of his work; he claims&lt;br /&gt;
and tights for every discovery that he may have&lt;br /&gt;
made; he wishes, above all things, for the applause&lt;br /&gt;
of his fellows. This I say without the least blame&lt;br /&gt;
or reproach. It is a human desire, an intelligible&lt;br /&gt;
desire, a laudable desire, an honourable desire, a&lt;br /&gt;
desirable desire. The idea that men could possibly&lt;br /&gt;
work without such a desire could only be enter-&lt;br /&gt;
tained by persons wholly ignorant of human nature.&lt;br /&gt;
Jiut there may be eases where such a feeling is not&lt;br /&gt;
apparent to the vulgar. The sagacious writer of this&lt;br /&gt;
article adduces the case of a great mathematician.&lt;br /&gt;
Now a mathematician, because he is an abstruse&lt;br /&gt;
writer whose methods and conclusions are absolutely&lt;br /&gt;
unintelligible to the ignorant and the vulgar, cannot&lt;br /&gt;
look for the applause of the world. Nevertheless,&lt;br /&gt;
he does look for, and he does obtain, the re-&lt;br /&gt;
cognition of the few who can understand hint.&lt;br /&gt;
The Spectator also introduces, in the middle of&lt;br /&gt;
the article, the subject of money making. Scientific&lt;br /&gt;
men, we are next told, never want to make money.&lt;br /&gt;
Oh! Really! Indeed! Wonderful! Is that so?&lt;br /&gt;
Let us see. Well, there are certain branches of&lt;br /&gt;
science in which money cannot possibly be made.&lt;br /&gt;
In these branches the professors wisely agree not&lt;br /&gt;
to attempt the impossible. But in those branches&lt;br /&gt;
where money can be made I do not see that&lt;br /&gt;
scientific &bull;men object to make it. For instance,&lt;br /&gt;
medical science may make medical men very rich&lt;br /&gt;
indeed; engineering, which is one of the greatest&lt;br /&gt;
of modern sciences, may make for its followers vast&lt;br /&gt;
fortunes; electricity, in the hands of its most earnest&lt;br /&gt;
students, is producing large incomes; by some&lt;br /&gt;
applications of chemistry great incomes are made.&lt;br /&gt;
In fact, though it is perfectly true that scientific&lt;br /&gt;
men, or literary men, or artists, should not, and do&lt;br /&gt;
not, make dollars the chief reason of their existence,&lt;br /&gt;
they are never indifferent to dollars, and there is&lt;br /&gt;
no reason why they should be. This imaginary&lt;br /&gt;
indifference is the consolation of the unsuccessful&lt;br /&gt;
and the creed of school girls. But surely the&lt;br /&gt;
conventional school girl creed ought not to be&lt;br /&gt;
produced in a paper like the Spectator. Personally,&lt;br /&gt;
it grieves and even humiliates me to see such&lt;br /&gt;
stuff in its columns. I have read the Spectator&lt;br /&gt;
for live-and-twenty years. No paper has taught&lt;br /&gt;
me more; none has suggested more. I have for&lt;br /&gt;
all these years regarded the paper as n private and&lt;br /&gt;
personal friend&mdash;one may sometime differ with a&lt;br /&gt;
personal friend. So that it saddens one to find it&lt;br /&gt;
apparently preparing to step down and to become&lt;br /&gt;
the organ of the school girl. Could the old friends&lt;br /&gt;
of the paper entreat the editor in a Round Robin&lt;br /&gt;
to give Angelina a letter of introduction, with a&lt;br /&gt;
view to employment on the staff, to the Editor&lt;br /&gt;
of that sweet journal, the Girts&amp;#039; Delight?&lt;br /&gt;
Nearly every year there stands out a head and&lt;br /&gt;
shoulders above its companions one work which&lt;br /&gt;
promises to make the year memorable. The pro-&lt;br /&gt;
mise is not always kept, but it is something to Ik.&amp;#039;&lt;br /&gt;
so good as to seem to hold forth that promise.&lt;br /&gt;
Everybody remembers the first appearance of&lt;br /&gt;
&amp;quot;Vice Versa,&amp;quot; &amp;quot;She,&amp;quot; &amp;quot;Treasure Island,&amp;quot; Rud-&lt;br /&gt;
vard Kipling&amp;#039;s stories, to speak only of later works.&lt;br /&gt;
This year a promise of lasting vitality is distinctly&lt;br /&gt;
made by Mr. Hall Caine&amp;#039;s &amp;quot; Scapegoat.&amp;quot; It is a&lt;br /&gt;
great book, great in conception and in execution;&lt;br /&gt;
a strong book, strong in situation and in character;&lt;br /&gt;
and a human book, human in its pathos, its terror,&lt;br /&gt;
and its passion. Like the authors of the other&lt;br /&gt;
books named, Mr. Hall Caine will henceforth have&lt;br /&gt;
the &amp;quot;Scapegoat&amp;quot; always behind him. Can he&lt;br /&gt;
produce even finer work? Perhaps.&lt;br /&gt;
The following circular has been sent to every&lt;br /&gt;
member of the Society. It is hoped that a response,&lt;br /&gt;
unanimous and immediate, will l&amp;gt;c made to this&lt;br /&gt;
appeal. It will be observed that we not desire&lt;br /&gt;
large sums; let everyone who feels that he ought&lt;br /&gt;
to be grateful to Mr. R. I&amp;#039;. Johnson send some-&lt;br /&gt;
thing, not more than a guinea. It is not so much&lt;br /&gt;
the value of the gift as the manner of it that will&lt;br /&gt;
be appreciated:&mdash;&lt;br /&gt;
&amp;quot;It was resolved at a Meeting of the Committee&lt;br /&gt;
held before the Vacation that we should prepare&lt;br /&gt;
and engross on vellum the thiinks of this Society&lt;br /&gt;
to the Secretary of the American International&lt;br /&gt;
Copyright Association, Mr. Robert Underwood&lt;br /&gt;
JOHNSON, of New York, for the very considerable&lt;br /&gt;
part played by him in the successful agitation for,&lt;br /&gt;
and the passing of, the International Copyright&lt;br /&gt;
Act.&lt;br /&gt;
&amp;quot;Since this resolution was passed the French&lt;br /&gt;
Government have presented Mr. Johnson with&lt;br /&gt;
the Grand Cross of the Legion of Honour, in&lt;br /&gt;
recognition of his services to the interests of&lt;br /&gt;
Literature.&lt;br /&gt;
&amp;quot;We have looked in vain for any such recogni-&lt;br /&gt;
tion on the part of our own Government, although&lt;br /&gt;
the interests of British Authors involved in the&lt;br /&gt;
Act. are ten-fold or a hundred-fold greater than&lt;br /&gt;
those of French Authors.&lt;br /&gt;
&amp;quot;It has been therefore determined by this&lt;br /&gt;
Society to express in a more concrete form their&lt;br /&gt;
gratitude. It is proposed to invite subscriptions&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 175 (#579) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
■with which to purchase a piece of plate for pre-&lt;br /&gt;
sentation to Mr. Johnson.&lt;br /&gt;
&amp;quot;The subscription will be limited to one guinea&lt;br /&gt;
as u maximum and 5*. as a minimum.&lt;br /&gt;
&amp;quot;.Should you feel disposed to join in this move-&lt;br /&gt;
ment I shall be glad to receive your name and the&lt;br /&gt;
amount.&lt;br /&gt;
&amp;quot;S. Squibb Spbigoe.&amp;quot;&lt;br /&gt;
THE BOOKMAN.&lt;br /&gt;
THE new literary journal, the Bookman, made&lt;br /&gt;
its first appearance on October 1st, too late&lt;br /&gt;
for notice in our own columns. We are&lt;br /&gt;
always eager to welcome anything calculated to he&lt;br /&gt;
helpful in the interests of literature and of book-&lt;br /&gt;
men. And we therefore wish every success to the&lt;br /&gt;
Bookman. As a society of bookmen and IkkjIc-&lt;br /&gt;
women we would earnestly invite our new friend&lt;br /&gt;
to consider that literature has many sides, that&lt;br /&gt;
there are many readers and many levels and&lt;br /&gt;
standards and many ideals of excellence and of&lt;br /&gt;
style. It is, however, unfortunate that the very first&lt;br /&gt;
number should contain a paper intended to be&lt;br /&gt;
practical, and endorsed by the editor, which contains&lt;br /&gt;
about as many misleading statements ns could well&lt;br /&gt;
be crammed into the space. It takes the form of&lt;br /&gt;
a letter written by a lady&mdash;and by one who is&lt;br /&gt;
most sincerely anxious for fairplay and justice.&lt;br /&gt;
Unfortunately she illustrates the danger of writing&lt;br /&gt;
loosely, and without considering the figures which&lt;br /&gt;
this society has provided.&lt;br /&gt;
She says, taking the end of her letter first, &amp;quot; I&lt;br /&gt;
am quite content that my publishers should get as&lt;br /&gt;
much as I do by my books, only I do not like them&lt;br /&gt;
to get more.&amp;quot;&lt;br /&gt;
Very well. She then gws on to say that a&lt;br /&gt;
penny in the shilling&mdash;meaning, of course, on the&lt;br /&gt;
advertised or published price&mdash;is &amp;quot;the ordinary rate.&amp;quot;&lt;br /&gt;
And further, she says, that it is a &amp;quot;fair rate,&amp;quot; or,&lt;br /&gt;
as explained by her own words later on, that it&lt;br /&gt;
gives as much to herself as to the publisher.&lt;br /&gt;
Now, let us see. An ordinary one volume 6s.&lt;br /&gt;
novel, containing 17 sheets of 258 words to a page,&lt;br /&gt;
printed in small pica and plainly bound, can l&amp;gt;e&lt;br /&gt;
produced as follows:&mdash;&lt;br /&gt;
One thousand copies, with stereotyping and&lt;br /&gt;
advertising, less than &pound;100&mdash;for simplicity&amp;#039;s sake&lt;br /&gt;
say &pound;100.&lt;br /&gt;
If they are all sold the gross return is very&lt;br /&gt;
nearly &pound;166.&lt;br /&gt;
The profit on the edition is &pound;66.&lt;br /&gt;
At one penny in the shilling the author gets&lt;br /&gt;
&pound;25 and the publisher over &pound;41.&lt;br /&gt;
If the l&raquo;ook is a success, so that another edit.&amp;#039;on&lt;br /&gt;
of 3,ooo is called for&mdash;which is unusual&mdash;the cost&lt;br /&gt;
of producing it would be under &pound;120. The sale of&lt;br /&gt;
the whole would produce &pound;5oo. The profit would&lt;br /&gt;
be &pound;38o, the author would make &pound;75, anil the&lt;br /&gt;
publisher would make &pound;3o5. And this is the&lt;br /&gt;
fair and equal royalty advocated by the Bookman!&lt;br /&gt;
Next, the lady says that &amp;quot;the publisher has often&lt;br /&gt;
to sell thousands lief ore he recoups himself the&lt;br /&gt;
cost of production and advertising.&amp;quot; Thousands!&lt;br /&gt;
Now, see the mischief of loose talk. In the case&lt;br /&gt;
before us, the publisher provides an outlay of &pound;100.&lt;br /&gt;
Mind, he does not even pay the money down; he&lt;br /&gt;
waits for returns. But never mind. Here, then,&lt;br /&gt;
is the problem. Given a l&amp;gt;ook which costs &pound;ico to&lt;br /&gt;
produce, saddled with a royalty of 6rf. a copy to the&lt;br /&gt;
author, how many has the publisher to sell, at&lt;br /&gt;
3s. 4r/. a copy&mdash;it is more often 3s. 6d. a copy&mdash;&lt;br /&gt;
Ix&amp;#039;fore he recoups himself? Answer&mdash;by a little&lt;br /&gt;
algebraical equation&mdash;a little over 700. Now,&lt;br /&gt;
these figures of ours are beyond any doubt; they&lt;br /&gt;
are furnished by different printers, and acknow-&lt;br /&gt;
ledged by other printers; they have also been&lt;br /&gt;
acknowledged by several publishers; they have&lt;br /&gt;
never been seriously challenged.&lt;br /&gt;
But it may be said that the book referred to by&lt;br /&gt;
the lady was a dearer book to produce in pro-&lt;br /&gt;
portion to its price. Boughly speaking, a first&lt;br /&gt;
edition of a l&amp;gt;ook may be taken to cost about one-&lt;br /&gt;
fourth of the published price. The first cost of a&lt;br /&gt;
book advertised at 3s. 6d. is recouped when laden&lt;br /&gt;
with a royalty of a penny in the shilling by some-&lt;br /&gt;
thing less than the first edition of 1,000&mdash;in fact, a&lt;br /&gt;
little over 900 copies. The lady adds certain&lt;br /&gt;
remarks, all out of the goodness of her heart, about&lt;br /&gt;
good books paying for had ones&mdash;amiable rubbish&lt;br /&gt;
which we had thought long since exploded.&lt;br /&gt;
The ordinary royalty now proposed to writers of&lt;br /&gt;
fair circulation by the more honourable houses is,&lt;br /&gt;
of course, exactly double that advocated by this&lt;br /&gt;
lady, and approved by the Bookman, and even this&lt;br /&gt;
gives the publisher on a large scale a very great&lt;br /&gt;
advantage.&lt;br /&gt;
&laquo;~&laquo;~&raquo; &amp;lt;&lt;br /&gt;
THE HARVEST OP THE YEAE.&lt;br /&gt;
TN the last number of the Author we gave a&lt;br /&gt;
I brief and necessarily incomplete notice of&lt;br /&gt;
some of the announcements of the season.&lt;br /&gt;
We have now, by taking the advertisements of the&lt;br /&gt;
leading |&amp;gt;apers and reviews for two or three&lt;br /&gt;
consecutive weeks, arrived at a clearer idea of&lt;br /&gt;
the season&amp;#039;s harvest. We may omit all books of&lt;br /&gt;
medicine, physics, chemistry, geology, and science&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 176 (#580) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
generally; all books on theology; all technical and&lt;br /&gt;
educational books, children&amp;#039;s books, military and&lt;br /&gt;
naval lx&amp;gt;oks, and books on social and political&lt;br /&gt;
economy&mdash;though of these last there is a consider-&lt;br /&gt;
able number advertised. It is, indeed, a sign of the&lt;br /&gt;
times that a subject once thought so hopelessly&lt;br /&gt;
dismal in its conclusions and so uncertain in its data,&lt;br /&gt;
should Ik! attracting, year after year, more and more&lt;br /&gt;
of those, who read, and more of those who make it&lt;br /&gt;
their professional pursuit. Our analysis, however,&lt;br /&gt;
considers only those books which belong to the&lt;br /&gt;
general reader, not to the expert or the specialist.&lt;br /&gt;
The names of the writers and the subjects treated&lt;br /&gt;
&mdash;to those who know anything of the subject&mdash;will&lt;br /&gt;
be found to bear out our contention&mdash;which is, of&lt;br /&gt;
course, a mere commonplace, of common sense&mdash;&lt;br /&gt;
that publishers very, very seldom issue anything at&lt;br /&gt;
their own risk which has any risk.&lt;br /&gt;
Biography, the most popular form of history,&lt;br /&gt;
is represented by lives of Bishop Wordsworth,&lt;br /&gt;
Boswell, Cobden, Thomas Payne, Charles West&lt;br /&gt;
Cope, Frederick the Great, Mrs. Carlvle, Darwin,&lt;br /&gt;
Caldeeott, Cervantes, Rodney, Lady Mary Wort ley&lt;br /&gt;
Montague, Gustavus Adolphus, Pericles, Theodoric&lt;br /&gt;
the Goth, Sir Philip Sidney, Nelson, Collingwood,&lt;br /&gt;
Watts Phillips, and E. L. Blunt-hard. History is&lt;br /&gt;
represented by the new work of Froude. Travel&lt;br /&gt;
by works on Thibet, California, New Zealand,&lt;br /&gt;
the Philippines, the Himalayas, the Corea, the Holy&lt;br /&gt;
Land, Manipur, Canada, the Black Forest, New&lt;br /&gt;
Guinea, Kieff, Afghanistan, and the Caspian.&lt;br /&gt;
Essays by the names of Lady Martin, Lady Wilde,&lt;br /&gt;
Augustine Birrell, W. W. .Story, Davenport Adams,&lt;br /&gt;
and Edmund Scherer (in translation). There are&lt;br /&gt;
two collections of verse, edited by Andrew Lang&lt;br /&gt;
and W. E. Henley.&lt;br /&gt;
Very little new poetry is announced&mdash;it is, indeed,&lt;br /&gt;
astonishing to observe how, with all this enormous&lt;br /&gt;
extension of readers, the love of poetry either&lt;br /&gt;
advances not at all, or continues steadily to di-&lt;br /&gt;
minish. A new volume by one of the few accepted&lt;br /&gt;
poets is welcomed by a small circle&mdash;how small&lt;br /&gt;
that circle is can only be judged by the numbers&lt;br /&gt;
of editions, and these are indeed limited. The&lt;br /&gt;
poets themselves keep silence on the subject,&lt;br /&gt;
a fact to be regretted, because the decay of the&lt;br /&gt;
national love of poetry is a distinct factor in any&lt;br /&gt;
examination into the intellectual position and&lt;br /&gt;
advance&mdash;or retreat&mdash;of the generation. On the&lt;br /&gt;
other hand, the recent examples of Mr. William&lt;br /&gt;
Watson and the author of &amp;quot;Iouica&amp;quot; ought to&lt;br /&gt;
encourage young poets. There are, next, anti-&lt;br /&gt;
quarian books, such as &amp;quot; Schlieman&amp;#039;s Excavations,&amp;quot;&lt;br /&gt;
and Hubert Hall&amp;#039;s &bull;&amp;#039; Curiosities of the Exchequer,&amp;quot;&lt;br /&gt;
with a county history or two. There are letters,&lt;br /&gt;
such as those of Marie Bashkirtseff; artists&amp;#039; books,&lt;br /&gt;
such as Walter Crane&amp;#039;s &amp;quot;Queen&amp;#039;s Summer&amp;quot;;&lt;br /&gt;
books which can hardly be classified, as Knight&amp;#039;s&lt;br /&gt;
&amp;quot;Cruise of the Falcon &amp;quot;; a history of Mahdisin;&lt;br /&gt;
Miss Chapman&amp;#039;s companion to &amp;quot; In Memoriam &amp;quot;;&lt;br /&gt;
certain American books; certain reprints, as&lt;br /&gt;
Maturin&amp;#039;s &amp;quot;Melmoth,&amp;quot; and Washington Irviug&amp;#039;s&lt;br /&gt;
&amp;quot;Alhambra &amp;quot;; books of country life, as &amp;quot;On&lt;br /&gt;
Surrey Hills&amp;quot;; books on anthropology, which&lt;br /&gt;
may be counted as scientific books; a treatise on&lt;br /&gt;
Heraldry; Sycd Ameer Ali on the Teachings&lt;br /&gt;
of Mohammed; Gordon&amp;#039;s &amp;quot;Events in the Taiping&lt;br /&gt;
Rebellion; Sir George Birdwood&amp;#039;s &amp;quot;Records of&lt;br /&gt;
the India Office; Clement Scott&amp;#039;s &amp;quot;Thirty Years&lt;br /&gt;
at the Play,&amp;quot; and many others.&lt;br /&gt;
Lastly, there come the novels. Here we have an&lt;br /&gt;
astonishing list. We have selected only those&mdash;&lt;br /&gt;
about three-fourths&mdash;by writers already and favour-&lt;br /&gt;
ably known, novelists with whose work no one could&lt;br /&gt;
for a moment pretend that any risk was connected.&lt;br /&gt;
Making an attempt at alphabetical order, we find&lt;br /&gt;
novels announced as ready, or nearly ready, by&lt;br /&gt;
Grant Allen, Frederick Anstey, Duke of Argyll,&lt;br /&gt;
Rolf Boldrewood, Frank Barrett, E. M. Bnrrie,&lt;br /&gt;
Rev. A. J. Church, Hall Caine, M&amp;#039;Laren Cobban,&lt;br /&gt;
Marion Crawford, Alice Dield, Conan Doyle, Kick&lt;br /&gt;
Donovan, Miss Doudney, Archdeacon Farrar,&lt;br /&gt;
G. M. Fenn, Lanoe Falconer, B. I/. Farjeon,&lt;br /&gt;
Percy Fitzgerald, .Jessie Fothergill, George (iissing,&lt;br /&gt;
Hating Gould, Henry Hermann, Joseph Hatton,&lt;br /&gt;
Rudyard Kipling, Katberine Lee, Marquess of&lt;br /&gt;
Lome, Florence Marryatt, T. L. Meade. Mrs.&lt;br /&gt;
Marshall, Maarten Maartens, George Meredith,&lt;br /&gt;
Mrs. Molesworth, Lucas Malet, W. E. Norris,&lt;br /&gt;
Ouida, James Payn, Mrs. Phillips, Richard&lt;br /&gt;
Pryce, Amelia Rivers, Mabel Robinson, Clark&lt;br /&gt;
Russell, Frank Stockton, T. W. Speight, J. W.&lt;br /&gt;
Shorthouse, Alex. Shand, L. D. Walford, E. Werner,&lt;br /&gt;
Beatrice Whitby, Florence Warden and Stanley&lt;br /&gt;
Weyman. Here are fifty-one in all, popular and&lt;br /&gt;
weli-known writers, who will be widely read;&lt;br /&gt;
some of them have a special clientele, others are&lt;br /&gt;
simply favourite authors at the circulating libraries;&lt;br /&gt;
one docs not go so far as to say that they are&lt;br /&gt;
immortal, or that they will even enjoy the limited&lt;br /&gt;
immortality which awaits many popular authors;&lt;br /&gt;
but they are in demand. Fifty novels by as&lt;br /&gt;
many novelists all in demand! But there is&lt;br /&gt;
more. For there are at least fifty more in the&lt;br /&gt;
advertisements before us whose names we have&lt;br /&gt;
not set. down because they were to the writer&lt;br /&gt;
of the present lines unknown. Again, among&lt;br /&gt;
the second fifty are included a good many novels&lt;br /&gt;
paid for by the authors. These should form a&lt;br /&gt;
separate list by themselves, but it would be&lt;br /&gt;
cruel to the unfortunate people who have been&lt;br /&gt;
persuaded to pay. Again, then; are publishing&lt;br /&gt;
houses not represented in these papers. The&lt;br /&gt;
Religious Societies, the Society lor the Pro-&lt;br /&gt;
motion of Christian Knowledge, the Religious&lt;br /&gt;
Tract Society, and the National Society, are not&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 177 (#581) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
177&lt;br /&gt;
represented here at all. But their lists include&lt;br /&gt;
a gretit quantity of fiction, chiefly by writers&lt;br /&gt;
who are unknown. And it will be further ob-&lt;br /&gt;
served, that the lists do not include many of the&lt;br /&gt;
well known names. For instance, setting down&lt;br /&gt;
only the, names that occur at the first moment&lt;br /&gt;
among these writers, one does not find among&lt;br /&gt;
the advertisements the names of Mrs. Alexander,&lt;br /&gt;
Miss Braddon, Rhoda Broughton, Edwin&lt;br /&gt;
Lester Arnold, William Black, R. D. Black-&lt;br /&gt;
more, Walter Besant, Rol&amp;gt;ert Buchanan, Mrs.&lt;br /&gt;
Lovett Cameron, Miss Betham Edwards,&lt;br /&gt;
Mrs. Edwardes, Justin McCarthy, Justin H.&lt;br /&gt;
McCarthy, Henry Harland, Bret Hartc, George&lt;br /&gt;
Henty, Thomas Hardy, Howells, Henry James,&lt;br /&gt;
Edna Lyall, Mrs. Lynn Linton, George Maedonald,&lt;br /&gt;
George Moore, Christie Murray, Henry Murray,&lt;br /&gt;
Florence; Montgomery, Mrs. Oliphant, E. C. Philips,&lt;br /&gt;
Mrs. Campltell Praed, F. W. Robinson, Mrs.&lt;br /&gt;
Thackeray Ritchie, Mrs. Riddell, Rider Haggard,&lt;br /&gt;
George Sims, Louis Stevenson, Moy Thomas,&lt;br /&gt;
Sarah Tytler, Mark Twain, William Westall,&lt;br /&gt;
W. (i. Wills, Charlotte Yonge,&mdash;as many omissions,&lt;br /&gt;
in fact,as apj&amp;gt;earances. There are also many others&lt;br /&gt;
whose names have been for the moment passed over.&lt;br /&gt;
Theif* &amp;quot;re, In taet,anout l5o living writers of fiction&lt;br /&gt;
&mdash;without counting tint young journalist who sends&lt;br /&gt;
to the papers the paragraphs on the Society of&lt;br /&gt;
Authors&mdash;who have a sure and certain grasp on&lt;br /&gt;
our public&mdash;some of them American, but by far&lt;br /&gt;
the larger number English, Scotch, and Irish.&lt;br /&gt;
Outside this body there are always fifty or sixty&lt;br /&gt;
hangers on&mdash;writers who are on the borderland,&lt;br /&gt;
lwtween popularity and failure. They can persuade&lt;br /&gt;
respectable publishers to produce their wares.&lt;br /&gt;
They are even so far successful that the number of&lt;br /&gt;
copies taken by the circulating libraries does&lt;br /&gt;
justify their production, but they never arrive at a&lt;br /&gt;
cheap edition; nor&mdash;surest test of all&mdash;are they&lt;br /&gt;
ever invited by editors to contribute to their&lt;br /&gt;
magazines. They are read because they are offered&lt;br /&gt;
at the libraries. They are never asked for, never&lt;br /&gt;
missed, never wanted. Nobody knows their names&lt;br /&gt;
or inquires for their former works. They may&lt;br /&gt;
write a dozen books, but they never impress&lt;br /&gt;
the mind of the public in the least. Certainly,&lt;br /&gt;
if the circulating library system were to break&lt;br /&gt;
down -&mdash; which will not suddenly happen &mdash; or&lt;br /&gt;
the three-volume system were to be changed&mdash;&lt;br /&gt;
which is not likely&mdash;these dingers to the fringe&lt;br /&gt;
would swiftly vanish and be no more seen. It will&lt;br /&gt;
be seen that in quantity, in bulk of output,&lt;br /&gt;
the literature of October 1891 is enormous. To&lt;br /&gt;
repeat what has been said before: For whom is&lt;br /&gt;
this mass of literature published? For a people&lt;br /&gt;
which docs not buy books? That, is the common&lt;br /&gt;
opinion. Only for the circulating libraries? That&lt;br /&gt;
is often asserted. In order that publishers may&lt;br /&gt;
get rid of their money? That, too, is a doctrine&lt;br /&gt;
widely circulated by conventional writers, interested&lt;br /&gt;
writers, and unpractical persons. In order to&lt;br /&gt;
gratify authors with the disinterested satisfaction of&lt;br /&gt;
producing good work? Another doctrine per-&lt;br /&gt;
sistently and widely taught. Not so; they are&lt;br /&gt;
written mainly, and published solely, for the sake of&lt;br /&gt;
profit and gain. And most of them&mdash;all the novels&lt;br /&gt;
&mdash;are written with the same spirit, the same&lt;br /&gt;
1iojh&amp;gt;, the same intention as actuates the cabinet-&lt;br /&gt;
maker when he makes a cabinet; namely, that he&lt;br /&gt;
mav produce good work, and that he may receive,&lt;br /&gt;
and enjoy in peace, that share of the proceeds of&lt;br /&gt;
his labour which is justly his. So long as the&lt;br /&gt;
Society of Authors exists it will endeavour to&lt;br /&gt;
secure for him that share.&lt;br /&gt;
&diams;&bull;&raquo;&bull;&diams;&lt;br /&gt;
THE INDEPENDENT THEATRE.&lt;br /&gt;
EVERYTHING attempted in this day must be&lt;br /&gt;
ticketed anil labelled with the name of one&lt;br /&gt;
man. Formerly it was enough that a thing&lt;br /&gt;
vwas designed and proposed, perhaps, by a company.&lt;br /&gt;
The object sought was the subject discussed.&lt;br /&gt;
The subject is now the man who has attempted it.&lt;br /&gt;
Therefore the Theatre Libre, or the Independent&lt;br /&gt;
Theatre of London, will certainly become Mr.&lt;br /&gt;
George Moore&amp;#039;s theatre.&lt;br /&gt;
He expounded the ralson d&amp;#039;etre of the new&lt;br /&gt;
theatre in a letter to the Times of October i3th&mdash;&lt;br /&gt;
a letter in many ways remarkable and in many&lt;br /&gt;
ways calculated to make people angry. Setting&lt;br /&gt;
aside the latter part of the letter, we find an&lt;br /&gt;
eloquent and earnest ap|&amp;gt;eal to the world to secure&lt;br /&gt;
the freedom of the stage from the trammels of&lt;br /&gt;
convention and prejudice. &amp;quot;Dramatic art is the&lt;br /&gt;
art that to-day pre-eminently demands to l&amp;gt;c pro-&lt;br /&gt;
tected against the disease of popularity and its&lt;br /&gt;
concomitant commercialism. The people have had&lt;br /&gt;
their way with the theatre; they have made it&lt;br /&gt;
their recreation ground.&amp;quot; The Independent Theatre&lt;br /&gt;
is founded in order to place More audiences as&lt;br /&gt;
refined and as highly cultured as those which read&lt;br /&gt;
Tennyson, Swinburne, George Meredith, dramatic&lt;br /&gt;
pieces which belong to literature. If, its pro-&lt;br /&gt;
moters argue, the dramatic art is not to perish&lt;br /&gt;
utterly, we must have an uncommercial theatre,&lt;br /&gt;
one which does not aim at making money; one&lt;br /&gt;
which will not play for either stalls or gallery;&lt;br /&gt;
one which shall create a public capable of de-&lt;br /&gt;
manding and of understanding good work. Well,&lt;br /&gt;
the demand for good work will undoubtedly create&lt;br /&gt;
the supply, up to a certain point, but no further.&lt;br /&gt;
In no age and by no imaginable demand, coupled&lt;br /&gt;
either with honour or with dollars, can more&lt;br /&gt;
than a certain amount of good work be produced&lt;br /&gt;
A&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 178 (#582) ############################################&lt;br /&gt;
&lt;br /&gt;
178&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
by a single generation. For instance, tliere is at&lt;br /&gt;
the present moment an enormous demand for good&lt;br /&gt;
fiction, good essays, good writing&mdash;attractive and&lt;br /&gt;
pleasant writing&mdash;in all branches. How many are&lt;br /&gt;
there who can furnish what is wanted?&lt;br /&gt;
Mr. George Moore&amp;#039;s arguments lead irresistibly&lt;br /&gt;
to the conclusion that the Independent Theatre&lt;br /&gt;
ought to be well supported. It may not achieve&lt;br /&gt;
all that its founders ho[&amp;gt;e for it. That, indeed,&lt;br /&gt;
may be confidently predicted. On the other hand,&lt;br /&gt;
it will certainly do something, and even the per-&lt;br /&gt;
formance of a new piece running on lines quite&lt;br /&gt;
different from the old conventional grooves&lt;br /&gt;
should stimulate departure from those grooves&lt;br /&gt;
and new experiments. They ask for &pound;i,5oo&lt;br /&gt;
a year. That is not much. Each subscription is&lt;br /&gt;
at present &pound;2 10s. a year. That means only 600&lt;br /&gt;
subscribers. The very smallness of the sum will&lt;br /&gt;
militate against the success of the promoters. It&lt;br /&gt;
would be better to ask at once for &pound;10,000 a year&lt;br /&gt;
in &pound;10 subscriptions. There are lovers of the&lt;br /&gt;
drama in plenty who would give a &pound;10 subscrip-&lt;br /&gt;
tion. And then we could have fifty performances&lt;br /&gt;
instead of six. Of course there is an evident&lt;br /&gt;
danger, though it is not contemplated by the&lt;br /&gt;
founders, that the Independent Theatre might&lt;br /&gt;
become the Theatre of Crotchets and Hobbies,&lt;br /&gt;
of Cranks and Enthusiasts. Even then it would,&lt;br /&gt;
to some extent, serve its purpose, and so be&lt;br /&gt;
well worth all the money spent upon it. Nothing&lt;br /&gt;
is more wholesome for the Body Politic than to&lt;br /&gt;
let Cranks and Zealots have their say. Nothing&lt;br /&gt;
more surely reduces them to insignificance. Again,&lt;br /&gt;
if a piece succeeds at the Independent, it is&lt;br /&gt;
sure to 1*&amp;#039; presented at an open theatre. And,&lt;br /&gt;
which is worth considering, even if it is true that&lt;br /&gt;
the people have had the theatre to themselves, it&lt;br /&gt;
is also true that they have in many cases shown&lt;br /&gt;
themselves willing to learn, and ready to like a&lt;br /&gt;
piece which they arc told they ought to like. The&lt;br /&gt;
people do not want to prefer bad things to good;&lt;br /&gt;
they would rather like what better taught people&lt;br /&gt;
like, if only in order to be a little superior to their&lt;br /&gt;
neighbours. A hopeful sign, perhaps.&lt;br /&gt;
&lt;br /&gt;
TO ENGLAND.&lt;br /&gt;
A new-raised voice from &amp;#039;yond thy westward sea&lt;br /&gt;
Would sing unto thine ear the songs it sung&lt;br /&gt;
In its own land in the same Saxon tongue&lt;br /&gt;
Our fathers learned at thy loved mother-knee&mdash;&lt;br /&gt;
They, who their very life-blood drew from thee.&lt;br /&gt;
Ami though, in thought and speech we&amp;#039;ve&lt;br /&gt;
somewhat swung,&lt;br /&gt;
From our old moorings, yet to much have clung&lt;br /&gt;
That thou once heldst in full fidelity.&lt;br /&gt;
But I&mdash;what light have I my songs to bring&lt;br /&gt;
E&amp;#039;en to a kindred nation&amp;#039;s judgment seat?&lt;br /&gt;
All! none, except the right of all to sing,&lt;br /&gt;
E&amp;#039;en though their songs be neither strong nor sweet,&lt;br /&gt;
And with the hope, perchance one may be found&lt;br /&gt;
With voice to sing itself the world around.&lt;br /&gt;
New York. W. S. Bate.&lt;br /&gt;
A BUREAU OF LITERARY REVISION.&lt;br /&gt;
WE were as yet in comparative ignorance&lt;br /&gt;
when we proposed as a branch of the&lt;br /&gt;
Society&amp;#039;s work likely to prove useful to&lt;br /&gt;
aspirants, the reading and criticism of young&lt;br /&gt;
writers&amp;#039; work. The two objects of such a branch&lt;br /&gt;
then (and still) in view were (1) that it might&lt;br /&gt;
do a great deal to the repression of bad work,&lt;br /&gt;
anil the persuading of those who could never&lt;br /&gt;
succeed to abandon the attempt, and (2) that&lt;br /&gt;
in the rarer cases of young writers who show the&lt;br /&gt;
unmistakeable signs of. promise and natural aptitude&lt;br /&gt;
we might prevent many mistakes and much dis-&lt;br /&gt;
appointment by a little judicious advice&mdash;such as&lt;br /&gt;
that which a coach would give to his pupil&mdash;as to&lt;br /&gt;
style, arrangement, and other points with what is&lt;br /&gt;
very frequently wanted, instruction in quite the&lt;br /&gt;
elementary points of technique. In other words,&lt;br /&gt;
we laid the foundations for a school of novelists.&lt;br /&gt;
Our readers do not read, that is to say, as the pub-&lt;br /&gt;
lisher&amp;#039;s reader must, with one eye always on the&lt;br /&gt;
commercial value of a book, but solely having regard&lt;br /&gt;
to its literary and artistic worth. We are cettins&lt;br /&gt;
on very well with this branch. Something like a&lt;br /&gt;
hundred and fifty MSS. will have passed through&lt;br /&gt;
our hands this year&mdash;not like those sent to pub-&lt;br /&gt;
lishers for acceptation or the reverse, but sent for&lt;br /&gt;
an opinion which may be a guidance and a help.&lt;br /&gt;
Those who send their works have the first quality&lt;br /&gt;
of an artist&mdash;diffidence&mdash;pity that they have not ail&lt;br /&gt;
the rest.&lt;br /&gt;
We have learned, however, that the Americans&lt;br /&gt;
have been before us with such a Bureau. It is&lt;br /&gt;
now nine years since the New York Bureau of&lt;br /&gt;
Literary Revision and Criticism has lieen estab-&lt;br /&gt;
lished. It professes to give &amp;quot; unbiassed and com-&lt;br /&gt;
petent criticism &amp;quot; both for publishers and authors.&lt;br /&gt;
It offers to revise MSS. for the press and to&lt;br /&gt;
&amp;quot;edit&amp;#039;&amp;#039; them, which must mean, in many cases, to&lt;br /&gt;
re-write them. And it offers to give advice to those&lt;br /&gt;
in search of a publisher. Its fees are elastic, as in&lt;br /&gt;
such kind of work would be necessary.&lt;br /&gt;
To give an opinion or to give advice woidd l&amp;gt;e&lt;br /&gt;
easy. But al&amp;gt;out revising MSS., editing them,&lt;br /&gt;
passing them through the press; what fee would&lt;br /&gt;
be asked? When the work was done, whose name&lt;br /&gt;
would appear on the title-page? Anybody could&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 179 (#583) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
179&lt;br /&gt;
suggest a subject, ami perhaps set down certain&lt;br /&gt;
facts; but it requires a literarv hand to draw them&lt;br /&gt;
up and set them forth to effect. And when that&lt;br /&gt;
wan done, who would be the author? Doubtless&lt;br /&gt;
there an&amp;#039; plenty of people who would pay well for&lt;br /&gt;
such work, provided their own names&amp;#039; appeared&lt;br /&gt;
upon the title; but the real hand&mdash;the hack&mdash;the&lt;br /&gt;
Ghost&mdash;how would he like it?&lt;br /&gt;
Again, it. seems as if there must be a delicate&lt;br /&gt;
line where revision ends and authorship begins.&lt;br /&gt;
One can quite understand a man rendering such&lt;br /&gt;
little assistance to a young writer as would make&lt;br /&gt;
all the difference between success and failure, ami&lt;br /&gt;
yet leave him the actual author of the thing. But&lt;br /&gt;
with a slovenly, ill-constructed, badly put together&lt;br /&gt;
lump of writing, which has to be pulled to pieces&lt;br /&gt;
and then re-arranged and re-written, where is your&lt;br /&gt;
author? Not the first hand on it, certainly. To&lt;br /&gt;
put his name as the author might, by purists, be&lt;br /&gt;
taken us a fraud. Perhaps, so as to avoid any&lt;br /&gt;
chance of the question arising here, we may leave&lt;br /&gt;
that branch of the work entirely to our cousins.&lt;br /&gt;
_ &mdash;- -&lt;br /&gt;
THE WRITERS&amp;#039; CLUB.&lt;br /&gt;
AFEW weeks ago a little body of women,&lt;br /&gt;
mostly journalists, were bold enough to&lt;br /&gt;
express a wish that it were possible to start&lt;br /&gt;
some sort of club for literary women, which would&lt;br /&gt;
not only serve the ordinary purposes of a club&lt;br /&gt;
where its members could (line, write, and meet&lt;br /&gt;
their friends, but would also bye-and-bye develop&lt;br /&gt;
into a Sisterhood of Letters, and be a means of&lt;br /&gt;
bringing literary women&mdash;successful and unsuc-&lt;br /&gt;
cessful&mdash;into eloserand more friendly relations than&lt;br /&gt;
have hitherto been found possible. No sooner had&lt;br /&gt;
the wish found expression than a host of critics&lt;br /&gt;
sprang up to throw cold water on the idea. Such&lt;br /&gt;
a club, they said, was not wanted, and if it were&lt;br /&gt;
wanted it ought not to l&amp;gt;c, ending up, as a rule, with&lt;br /&gt;
various unkind comments on the habits and ways&lt;br /&gt;
of the unhappy lady journalist. The unkindest&lt;br /&gt;
cuts of all came from the one or two highly suc-&lt;br /&gt;
cessful women journalists, who, for some reason or&lt;br /&gt;
other, took it into their heads to he jealous of their&lt;br /&gt;
less successful confreres&mdash;if I may use this expres-&lt;br /&gt;
sion&mdash;and who have steadily misrepresented the&lt;br /&gt;
views and hopes of the promoters. It is, however,&lt;br /&gt;
satisfactory to learn that, in spite of criticism and&lt;br /&gt;
opposition, the &amp;quot;Writers&amp;#039; Club&amp;quot; has sprung into&lt;br /&gt;
being during the last month, and has already nearly&lt;br /&gt;
60 members, all bond fide literary women. It is&lt;br /&gt;
intended to start the Club on a modest scale, and&lt;br /&gt;
at first our chief efforts will be directed to make the&lt;br /&gt;
place useful and comfortable to women journalists.&lt;br /&gt;
There are a large number of journalists with feet&lt;br /&gt;
upon the lowest steps of the ladder, who are lighting&lt;br /&gt;
a hard and uphill battle in the attempt to make a&lt;br /&gt;
respectable living by legitimate work. Many who&lt;br /&gt;
are solitary and reserved, and keep the struggles&lt;br /&gt;
anil disappointments of their lives locked in their&lt;br /&gt;
own breasts, might find their lives made sweeter&lt;br /&gt;
and easier if some older and more fortunately&lt;br /&gt;
placed woman would hold out to them the right&lt;br /&gt;
hand of fellowship. It is this spirit of camaraderie&lt;br /&gt;
which it is hoped the Club will promote, and,&lt;br /&gt;
judging from the way that the well-known writers&lt;br /&gt;
have come forward and offered their co-operation,&lt;br /&gt;
there is every reason to l&amp;gt;e sanguine. A few more&lt;br /&gt;
ladies who will come forward and help us financially&lt;br /&gt;
at the start are still wanted, and will no doubt lie&lt;br /&gt;
forthcoming. Amongst the Vice-Presidents are :&mdash;&lt;br /&gt;
Mrs. Woods, Mrs. Richmond Ritchie, Lady .Icune,&lt;br /&gt;
Lady Paget, Countess of Minister, Miss Edith&lt;br /&gt;
Simcox, Mrs. John Richard Green, Edna Lyall,&lt;br /&gt;
and many others. The President of the Club is&lt;br /&gt;
Mrs. Stannard ; the Honorary Secretary, Miss Low,&lt;br /&gt;
21, Queen Square, Bloomsbury; ami the Treasurer,&lt;br /&gt;
Miss Honor Morton, Ivy Hall, Richmond, Surrey.&lt;br /&gt;
Any lady who is interested in promoting the&lt;br /&gt;
Club is invited to attend the meeting to be held on&lt;br /&gt;
Wednesday, November 4th, at 4. o&amp;#039;clock, at the&lt;br /&gt;
Society of Authors, 4, Portugal Street, Strand,&lt;br /&gt;
when definite steps as to premises will be taken.&lt;br /&gt;
A Women Journalists&amp;#039; Club is not a new thing&lt;br /&gt;
any more than an Authors&amp;#039; Club. Everything&lt;br /&gt;
begins in America, and most things in New York.&lt;br /&gt;
We are indebted to Woman (October 14, 1891) for&lt;br /&gt;
a note on the New York Women&amp;#039;s Press Club. It&lt;br /&gt;
is unfortunately too much of a note. One would&lt;br /&gt;
have liked information as to the subscription, the&lt;br /&gt;
management, the number of members, and the way&lt;br /&gt;
in which the club is worked. The note, says only&lt;br /&gt;
that it is a &amp;quot; model of organisation, tact, and good&lt;br /&gt;
comradeship.&amp;quot; It also gives pictures of three&lt;br /&gt;
leading members.&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
Am. for Nothing.&lt;br /&gt;
APROPOS of our recent remarks on magazine&lt;br /&gt;
contributories, a correspondent writes:&lt;br /&gt;
&amp;quot;A literary magazine was recently offered&lt;br /&gt;
for side, and 11 point was made of the fact that I lie&lt;br /&gt;
editor had arranged with &amp;#039;one of the foremost&lt;br /&gt;
writers of the day&amp;#039; to contribute gratuitously.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 180 (#584) ############################################&lt;br /&gt;
&lt;br /&gt;
i8o&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The editor&amp;#039;s services were to lie retained at a salary&lt;br /&gt;
of &pound;200.&amp;quot;&lt;br /&gt;
He would be dirt cheap at four times that sum.&lt;br /&gt;
All the proprietors of all the magazines will now&lt;br /&gt;
be advertising for that editor. A man who can&lt;br /&gt;
engage the foremost writers of the day to write for&lt;br /&gt;
nothing is indeed invaluable.&lt;br /&gt;
II.&lt;br /&gt;
Goon Work, Suhe Pat.&lt;br /&gt;
In your comments on the clever article in the&lt;br /&gt;
last number of the Author under the above&lt;br /&gt;
heading, you draw a distinction between good&lt;br /&gt;
work and saleable work. For the latter adjective&lt;br /&gt;
allow ine to substitute the word profitable. There&lt;br /&gt;
are, I consider, two kinds of profitable books (I&lt;br /&gt;
am dealing with fiction): I. Those written by&lt;br /&gt;
authors who have an established reputation;&lt;br /&gt;
II. Those written, in the penny novelette style,&lt;br /&gt;
by scribblers who are willing to pay all the costs&lt;br /&gt;
of production so long as their vanity is satisfied&lt;br /&gt;
by appearing in print, and for whose writings,&lt;br /&gt;
nevertheless, there is a large demand.&lt;br /&gt;
Go into any circulating library, and the books&lt;br /&gt;
which are most in request are trashy novels, which&lt;br /&gt;
might have been written by ladies&amp;#039; maids, professing&lt;br /&gt;
to describe the inner life of the aristocracy. These&lt;br /&gt;
are devoured bv that lanre section of the reading&lt;br /&gt;
public&mdash;the young women of the lower middle-&lt;br /&gt;
class, who are the best customers of the circulating&lt;br /&gt;
library.&lt;br /&gt;
The better, though smaller, section of the reading&lt;br /&gt;
public confine themselves to the works of known&lt;br /&gt;
authors, who are in a position to dictate terms to&lt;br /&gt;
publishers; but how can a writer of good average&lt;br /&gt;
merit get his works published unless he is pre-&lt;br /&gt;
pared to pay the cost, so long as he is systematically&lt;br /&gt;
boycotted by publishers, whose interest it is to keep&lt;br /&gt;
down the number of authors who expect fair&lt;br /&gt;
remuneration for their work?&lt;br /&gt;
The early histories of literary men and women,&lt;br /&gt;
as far as I have read them, are all very much alike:&lt;br /&gt;
heart-breaking struggles against the current of&lt;br /&gt;
adversity, which are soon forgotten when the tide&lt;br /&gt;
turns, and they are borne along with the stream.&lt;br /&gt;
A man with grit, who believes in himself, is not&lt;br /&gt;
satisfied to be extinguished by that obscure indi-&lt;br /&gt;
vidual, the publisher&amp;#039;s reader, but is desirous of&lt;br /&gt;
appealing to a higher tribunal; how is he to reach&lt;br /&gt;
it? For those who can afford to do so, I see no&lt;br /&gt;
objection to their paying the cost of producing&lt;br /&gt;
their books, so long as they are dealt with honestly,&lt;br /&gt;
and have a fair share of the profits of a successful&lt;br /&gt;
work; if, though given a good chance, their book&lt;br /&gt;
still proves a failure, they have purchased a valu-&lt;br /&gt;
able experience. The difficulty seems to be how to&lt;br /&gt;
obtain honest treatment. The Society of Authors&lt;br /&gt;
has done much to raise the status of literary men;&lt;br /&gt;
but it deserves most credit for throwing some&lt;br /&gt;
honest rays of light on that insufferable bugl&amp;gt;ear,&lt;br /&gt;
the publisher, and his mysteries.&lt;br /&gt;
Claud Harding.&lt;br /&gt;
[Our contributor wishes to use the word&lt;br /&gt;
profitable instead of saleable. Very well, though&lt;br /&gt;
it does not seem to make any difference. He&lt;br /&gt;
makes, however, a great mistake when he .says that&lt;br /&gt;
there is a great demand for the rubbish for whose&lt;br /&gt;
publication bad writers have to pay. Does he not&lt;br /&gt;
understand that if there were such a demand the&lt;br /&gt;
writers would no longer have to pay?&lt;br /&gt;
Is it. the ca.se that it is publishers&amp;#039; interest to&lt;br /&gt;
keep down authors who must be remunerated?&lt;br /&gt;
It might be so if bad authors were profitable. But&lt;br /&gt;
they are not profitable. Therefore, our corre-&lt;br /&gt;
spondent&amp;#039;s view seems untenable.&lt;br /&gt;
Why do the circulating libraries everywhere in&lt;br /&gt;
every town contain such rubbish? Because they&lt;br /&gt;
buy up at next to nothing a ropy, the remainder&lt;br /&gt;
stock. That is the whole mystery. A bad writer&lt;br /&gt;
pays a hundred pounds and is published. Sales&mdash;&lt;br /&gt;
perhaps not one, perhaps a dozen or twenty. The&lt;br /&gt;
rest sold off as remainder stock.&lt;br /&gt;
At this office we do not speak from guess, but&lt;br /&gt;
from knowledge of the facts. Some time ago a&lt;br /&gt;
creature who published in this way brought out&lt;br /&gt;
several hundreds of such volumes. Not one single&lt;br /&gt;
book had any side to speak of; not one writer got&lt;br /&gt;
anything. Others there are still carrying on the&lt;br /&gt;
same game; holding out false and lying hopes of&lt;br /&gt;
immense sale; charging double the cost of pro-&lt;br /&gt;
duction, and making their profits by the theft&lt;br /&gt;
first and the sale of the remainder stock next.&lt;br /&gt;
Literally, one young fellow who was fooled into&lt;br /&gt;
[laying for publication, received a return for his&lt;br /&gt;
book of no sales at all&mdash;not one single copy sold.&lt;br /&gt;
Perhaps Mr. Harding is quite right in this con-&lt;br /&gt;
tention: That if an author really believes that ;he&lt;br /&gt;
has the stuff in him, and that he has produced good&lt;br /&gt;
work, he might do well to produce his book at his&lt;br /&gt;
own expense if he can only find a man ivho will&lt;br /&gt;
do it honestly. But he would generally do far&lt;br /&gt;
better to send his MS. to one of the firms whom&lt;br /&gt;
we should advise, and first see what they say.&mdash;&lt;br /&gt;
Editob.]&lt;br /&gt;
III.&lt;br /&gt;
&amp;quot;Good Work, Sure Pay.&amp;quot;&lt;br /&gt;
Mr. (J. Davenport Jones, in his plea that the&lt;br /&gt;
rejection of a work by publishers and editors must&lt;br /&gt;
not be accepted as proof of literary worthlessuess,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 181 (#585) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
181&lt;br /&gt;
might have gone farther; lie might have added&lt;br /&gt;
that it is no proof of commercial worthlessness. Of&lt;br /&gt;
publishers, speaking generally, and acknowledging&lt;br /&gt;
exceptions, it is true to say that no body of trades-&lt;br /&gt;
men know less about their own business. I will&lt;br /&gt;
not pause to give the reasons for this assertion;&lt;br /&gt;
they will be sufficiently obvious to those who&lt;br /&gt;
rcniemlier that evil communications corrupt good&lt;br /&gt;
manners; the laxity of authors cannot but have&lt;br /&gt;
a demoralizing effect upon publishers. I assert,&lt;br /&gt;
without fear of contradiction, that out of every&lt;br /&gt;
I,ooo novels&mdash;for the purposes of this argument I&lt;br /&gt;
will confine myself to one branch of literature&mdash;&lt;br /&gt;
passing through the hands of any publisher, those&lt;br /&gt;
which are just above mediocrity are those which&lt;br /&gt;
find readiest acceptance. Out of 1,000 MSS.,&lt;br /&gt;
about o,5o will be &amp;quot;impossible;&amp;quot; these, as in the&lt;br /&gt;
case of g5 in 100 pictures rejected by the Royal&lt;br /&gt;
Academy Selecting Committees, will be virtuously&lt;br /&gt;
rejected by the publisher. As touching the re-&lt;br /&gt;
maining 5o, about 3o MSS. will contain much that&lt;br /&gt;
is good, but defects of workmanship will place them&lt;br /&gt;
outside the pale of the &amp;quot; practicable;&amp;quot; the authors&lt;br /&gt;
of tHese books have yet to learn their business.&lt;br /&gt;
Twemty works remain. Fifteen of these will be&lt;br /&gt;
just sufficiently above the dead level of mediocrity&lt;br /&gt;
to insure readv acceptance by the rank and file of&lt;br /&gt;
the reading public, and pari passu by the publisher.&lt;br /&gt;
There remain five works which will \w distinctly&lt;br /&gt;
good; it may even so happen that among these&lt;br /&gt;
there mav be one absolutely original work, in other&lt;br /&gt;
words, a creation of genius. These five are the&lt;br /&gt;
only books which from a literary, from an artistic,&lt;br /&gt;
and, in the true meaning of the word, from an&lt;br /&gt;
economic point of view, should be published at all;&lt;br /&gt;
but ofthe.se, none will stand much chance of accept-&lt;br /&gt;
ance, unless it have a sponsor&mdash;a friend at court &mdash;&lt;br /&gt;
or unless the writer, whose name it bears, has&lt;br /&gt;
already secured a reading clientele. If these five&lt;br /&gt;
l&amp;gt;ooks are by authors unknown, or only slightly&lt;br /&gt;
known&mdash;other things being equal&mdash;their very&lt;br /&gt;
merits will cause them to l&amp;gt;e looked at askance.&lt;br /&gt;
Publishers&amp;#039; readers are human, very human; very&lt;br /&gt;
fallible. What right has an unwreathed A, B, C,&lt;br /&gt;
I), or E to give token of individuality? Indi-&lt;br /&gt;
viduality? No, it is not individuality; it is&lt;br /&gt;
mannerism, perhaps even worse, affectation. As for&lt;br /&gt;
the unknown author of the really original book, he&lt;br /&gt;
is in the worst plight of all. That his work should&lt;br /&gt;
find favour almost presupposes that the publisher&lt;br /&gt;
or his reader should be a person of genius, in that&lt;br /&gt;
the discovery and acknowledgment of nnproclaimed&lt;br /&gt;
genius is alone possible to genius. Again, having&lt;br /&gt;
discovered a work of genius, the reader must have,&lt;br /&gt;
in a very high degree, the courage of his opinion.&lt;br /&gt;
The publisher&amp;#039;s reader knows, none better than he,&lt;br /&gt;
that 99 in 100 readers of books are fools, who,&lt;br /&gt;
moreover, like their books cast in the moulds of&lt;br /&gt;
old conventions: fools do not appreciate off-hand&lt;br /&gt;
a new prophet. It is, indeed, because he knows&lt;br /&gt;
this, that he recommends for acceptance to the&lt;br /&gt;
firm he represents, those mediocre works which&lt;br /&gt;
require no literary or intellectual acumen for their&lt;br /&gt;
appreciation. This lack of knowledge, or of&lt;br /&gt;
courage on the part of publishers or of their&lt;br /&gt;
readers, has caused many a publisher secret heart-&lt;br /&gt;
burnings at the loss of a fortune once within his&lt;br /&gt;
reach. The writer of real power and originality&lt;br /&gt;
knows by an unerring instinct who and what he is.&lt;br /&gt;
Being able to produce books of the stoutest literary&lt;br /&gt;
fibre, he is the soundest critic of his work; its&lt;br /&gt;
most severe critic; he knows therefore that no&lt;br /&gt;
self-vanity deludes him. He has given months,&lt;br /&gt;
perhaps years, to the consideration of the work&lt;br /&gt;
to which a publisher&amp;#039;s reader may have only&lt;br /&gt;
devoted a few hours. His sufferings before full&lt;br /&gt;
recognition is his will be of the keenest; these no&lt;br /&gt;
one can save him; but he rememliers that if he&lt;br /&gt;
be given sufficient physical strength to hold out to&lt;br /&gt;
the end, his triumph will be all the better worth&lt;br /&gt;
having for being delayed. Indeed, the obstacles to&lt;br /&gt;
the progress of the strongly individual man are of&lt;br /&gt;
the greatest benefit to him; they strengthen and&lt;br /&gt;
deepen that individuality, which is the very essence&lt;br /&gt;
of his genius. The historic cases mentioned by&lt;br /&gt;
Mr. Davenport Jones are not the only cases of the&lt;br /&gt;
refusal of epoch-making books. I might almost go&lt;br /&gt;
so far as to say that no work of genius of an&lt;br /&gt;
unknown and unaided author finds ready accept-&lt;br /&gt;
ance. Anyone who is familiar with the early&lt;br /&gt;
struggles of novelists of distinction, from Defoe to&lt;br /&gt;
Short house, will bear me out in this contention.&lt;br /&gt;
Bekskrkkr.&lt;br /&gt;
IV.&lt;br /&gt;
More Light.&lt;br /&gt;
To the Editor of the Author.&lt;br /&gt;
Sin,&lt;br /&gt;
Will you allow me a short statement of a&lt;br /&gt;
case which has long battled my powers of compre-&lt;br /&gt;
hension. It may be simple enough to a disinte-&lt;br /&gt;
rested reader; but, not being disinterested, I don&amp;#039;t&lt;br /&gt;
quite understand it.&lt;br /&gt;
In 1878 Messrs. Allen &amp;amp; Co. published my&lt;br /&gt;
&amp;quot;Warren Hastings; a Biography,&amp;quot; on the half&lt;br /&gt;
profits system. The book was intended as a&lt;br /&gt;
counterblast to Mill and Macaulay. Some people&lt;br /&gt;
arc prone to complain of their critics, but I have&lt;br /&gt;
no cause to complain of mine. By the press in&lt;br /&gt;
general, both at home and abroad, my book was&lt;br /&gt;
received with warm approval, both as a &amp;quot; readable&amp;quot;&lt;br /&gt;
work and as a timely &amp;quot;corrective&amp;quot; of the popular&lt;br /&gt;
notions imbibed from Macaulay&amp;#039;s well-known&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 182 (#586) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
essay. My reading of Impey&amp;#039;s conduct in the&lt;br /&gt;
Nuncoinar affair anil on some other occasions was&lt;br /&gt;
amply justified, a few years later, by Sir James&lt;br /&gt;
Stephen&amp;#039;s &amp;quot;Nuncomar and Impey.&amp;quot; My general&lt;br /&gt;
estimate of Hasting&amp;#039;* character and policy has now&lt;br /&gt;
been finally confirmed by Mr. G. Forrest&amp;#039;s volumes&lt;br /&gt;
of Selections from the Bengal State Papers.&lt;br /&gt;
All this may seem very satisfactory from a certain&lt;br /&gt;
point of view. But il faut vivre, and even authors&lt;br /&gt;
must sometimes think of money, especially if they&lt;br /&gt;
have families. Has this book brought me any&lt;br /&gt;
substantial profit? Xot one halfpenny, so far.&lt;br /&gt;
My publishers inform me that they have sold about&lt;br /&gt;
35o copies of my book. Assuming the correctness&lt;br /&gt;
of their statement, I may be excused for wondering&lt;br /&gt;
at so poor a return for labours which many&lt;br /&gt;
competent judges had&amp;#039;deemed so fruitful.&lt;br /&gt;
It is a puzzle which fairly floors me. Out of a&lt;br /&gt;
population of 35 millions or so in these islands,&lt;br /&gt;
only 3oo persons have bought copies of a work&lt;br /&gt;
which, in 383 post-octavo pages of largish type,&lt;br /&gt;
deals with the foremost figure in one of the&lt;br /&gt;
stormiest periods of our Indian history. Did the&lt;br /&gt;
publishers charge too high a price&mdash;ten shillings&mdash;-&lt;br /&gt;
for such a volume? It was double what I would&lt;br /&gt;
have charged, but they ought to know their own&lt;br /&gt;
business best. Was it a dull book on a dull&lt;br /&gt;
subject? The critics all assured me to the con-&lt;br /&gt;
trary, and so have many private readers, who had&lt;br /&gt;
no special interest in Indian subjects. Was the&lt;br /&gt;
book insufficiently advertised? Such a question&lt;br /&gt;
might be unjust to the publishers. Other questions&lt;br /&gt;
occur to me, but why go on quessing in the dark?&lt;br /&gt;
With dying Goethe I ask for &amp;quot;more light.&amp;quot; Can&lt;br /&gt;
you, Sir, or any other expert help me to a single&lt;br /&gt;
ray?&lt;br /&gt;
Yours obediently,&lt;br /&gt;
L. J. Trotter.&lt;br /&gt;
v.&lt;br /&gt;
An HoxoniiAiir.E Action.&lt;br /&gt;
Having seen the notice of the &amp;quot;Honourable&lt;br /&gt;
Action,&amp;quot; signed llossignol, in your last issue, I&lt;br /&gt;
should like to say that an almost exactly similar&lt;br /&gt;
circumstance occurred with me, but the publishers&lt;br /&gt;
were, in my case, the Committee of a Religious&lt;br /&gt;
Society. Like Rossignol, I received a letter offer-&lt;br /&gt;
ing me about two-thirds of what I expected, and,&lt;br /&gt;
thinking I must have been mistaken in thinking&lt;br /&gt;
my story as long as it was, I accepted the offer,&lt;br /&gt;
and signed the agreement of copyright. Six&lt;br /&gt;
months after, the Editor wrote asking me to&lt;br /&gt;
kindly correct a few mistakes in the type-writing&lt;br /&gt;
of the story before it went to press, and sent it. to&lt;br /&gt;
me for that purpose; and then, to my surprise, I&lt;br /&gt;
found it really was a third longer than they had&lt;br /&gt;
evidently calculated it to be. In fact, on the back&lt;br /&gt;
of the MS. were the figures made by some clerk in&lt;br /&gt;
adding up the words, and he had made a mistake&lt;br /&gt;
in the last line which made it appear 20,000 words&lt;br /&gt;
shorter than it really was. I sent my representa-&lt;br /&gt;
tion of the facts to the Editor, and at the next&lt;br /&gt;
meeting of the Committee they at once ordered a&lt;br /&gt;
cheque to be made out for me for the additional&lt;br /&gt;
amount, and expressed their regret that the mistake&lt;br /&gt;
had occurred.&lt;br /&gt;
I may add that I have had between 20 and 3o&lt;br /&gt;
story books for the young published, and, with one&lt;br /&gt;
exception, the Religious Societies have paid iue&lt;br /&gt;
better than the publishers with whom I have had&lt;br /&gt;
dealings.&lt;br /&gt;
[A very satisfactory letter. It would, however,&lt;br /&gt;
have been better had the writer given the name of&lt;br /&gt;
the Society, ■ and still better had she given the&lt;br /&gt;
following particulars: (1) the cost of producing&lt;br /&gt;
the book; (2) the price of the book; (3) the&lt;br /&gt;
number of copies the Society was certain of selling;&lt;br /&gt;
(4) the sum paid to her. We should then have&lt;br /&gt;
been in a position to state the profit received by&lt;br /&gt;
the Society, and to acknowledge, if possible, that&lt;br /&gt;
it was a just, and fair, and Christian proportion of&lt;br /&gt;
profit.&mdash;Editor.]&lt;br /&gt;
VI.&lt;br /&gt;
Authors and Illustrators.&lt;br /&gt;
To the Editor of the Author.&lt;br /&gt;
Sir,&lt;br /&gt;
The following, which appeared in Truth of&lt;br /&gt;
October loth, and since in other papers, has been&lt;br /&gt;
responded to by several members of the Press.&lt;br /&gt;
1 A few weeks back I mentioned that Mr. Henry&lt;br /&gt;
Blackburn proposed to undertake the task of&lt;br /&gt;
educating the critics of illustrated books&mdash;a work&lt;br /&gt;
for which I can readily believe that there is&lt;br /&gt;
plenty of room. In pursuit of this end, Mr.&lt;br /&gt;
Blackburn asks me to state that he now invites&lt;br /&gt;
his brethren of the Press to spend an hour at his&lt;br /&gt;
studio, 123, Victoria Street, there to familiarize&lt;br /&gt;
themselves with the various mechanical processes&lt;br /&gt;
employed in the art of illustrating books and news-&lt;br /&gt;
papers. Mr. Blackburn writes :&mdash;&lt;br /&gt;
&amp;quot;At this particular time of year, when piles of&lt;br /&gt;
illustrated books lie waiting for 4 review,&amp;#039; it may not&lt;br /&gt;
be inopportune to ask that those upon whom the&lt;br /&gt;
reputations of so many artists, engravers, and makers&lt;br /&gt;
of &amp;#039; process &amp;#039; blocks depend, should know something&lt;br /&gt;
more than they have hitherto done of the mcdus&lt;br /&gt;
opcr&amp;lt;indi of book and newspaper illustration, and&lt;br /&gt;
especially of the reasons for the failures which they&lt;br /&gt;
see before them.&lt;br /&gt;
&amp;quot;In England it is, unfortunately, not considered&lt;br /&gt;
&amp;#039;good form &amp;#039; to know much of workshops, and our&lt;br /&gt;
best artists, as a rule, take little interest in the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 183 (#587) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
methods by which their works are reproduced.&lt;br /&gt;
Hence the ignorance of writers&mdash;art critics learned&lt;br /&gt;
in schools and styles&mdash;of what is common knowledge&lt;br /&gt;
in France.&amp;quot;&amp;#039;&lt;br /&gt;
As the matter is really an important one to&lt;br /&gt;
authors, perhaps you will allow me to extend the&lt;br /&gt;
invitation through your columns, beyond the&lt;br /&gt;
domain of the &amp;quot;live&amp;quot; journalist to that of&lt;br /&gt;
the more isolated literary man.&lt;br /&gt;
The main object is to bring the author more &amp;quot; en&lt;br /&gt;
rapport&amp;quot; with the illustrator; to do this in the&lt;br /&gt;
easiest way and with the least restraint. Ac-&lt;br /&gt;
knowledge which an author can thus gain, quietly,&lt;br /&gt;
in an hour&amp;#039;s visit, will, if I may say so, be useful to&lt;br /&gt;
him sometime or other; and amongst the uses, not&lt;br /&gt;
the least will be the knowledge of how he can best&lt;br /&gt;
aiil his illustrator.&lt;br /&gt;
As to &amp;quot;educating critics&amp;quot; and the general&lt;br /&gt;
statement that illustrations in books are continually&lt;br /&gt;
criticised without sufficient knowledge, I feel&lt;br /&gt;
bound, in a plain-speaking journal like the Author,&lt;br /&gt;
to give &amp;quot;chapter and verse.&amp;quot;&lt;br /&gt;
My contention is that our leading art critics are&lt;br /&gt;
not, from force of circumstances, well informed on&lt;br /&gt;
matters of technique, e.g., that the writers in the&lt;br /&gt;
Athcna-urn, the Saturday Review, and the Times&lt;br /&gt;
speak erroneously of the photo - mechanically-&lt;br /&gt;
produced blocks used in the type-press, as &amp;quot;inferior&lt;br /&gt;
and rubbishing processes&amp;quot; (sic), which in jure the&lt;br /&gt;
artist&amp;#039;s work and degrade modern illustration; that,&lt;br /&gt;
they ignore the fact that it is generally the misuse&lt;br /&gt;
of the processes, and not the processes themselves&lt;br /&gt;
which are at fault.&lt;br /&gt;
The beautiful methods of photo-engraving now&lt;br /&gt;
available do actually improve the illustrator&amp;#039;s work,&lt;br /&gt;
if he will learn to draw aright. This can be proved&lt;br /&gt;
beyond question, and the younger generation of&lt;br /&gt;
illustrators are giving daily demonstration of the&lt;br /&gt;
fact. For the misuse of the processes, of course&lt;br /&gt;
both publishers and the makers of blocks are&lt;br /&gt;
mainly responsible, the latter especially for under-&lt;br /&gt;
taking work for which the &amp;quot;processes&amp;quot; are unfitted,&lt;br /&gt;
such, for instance, as attempting to turn a wash&lt;br /&gt;
drawing into a relief block when it should have&lt;br /&gt;
been handed to a wood engraver.&lt;br /&gt;
In the Athcnteum illustrations produced mechani-&lt;br /&gt;
cally are constantly referred to as &amp;quot;cuts&amp;quot; (as if&lt;br /&gt;
wood-engraved), a most misleading expression for&lt;br /&gt;
an author to read in his weekly organ.&lt;br /&gt;
But not to go further into details, if you think&lt;br /&gt;
the subject of sufficient importance, the Author&lt;br /&gt;
may do good service in ventilating it and inviting&lt;br /&gt;
discussion.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
Henry Blackburn.&lt;br /&gt;
123, Victoria Street, Westminster,&lt;br /&gt;
19th October, 1891.&lt;br /&gt;
■&lt;br /&gt;
A CASE FOR THE SOCIETY FOR&lt;br /&gt;
PSYCHICAL RESEARCH.&lt;br /&gt;
ABATHER puzzling experience has just been&lt;br /&gt;
related to me. A man who was going abroad&lt;br /&gt;
last mouth met in Broadway, the day before&lt;br /&gt;
he sailed, an Englishman whom he believed to be&lt;br /&gt;
in London, and whom he expected to see when he&lt;br /&gt;
reached that city. As soon as he saw him, he&lt;br /&gt;
said to himself, &amp;quot;Hello, there&amp;#039;s Vaulter !&amp;quot;&mdash;or&lt;br /&gt;
words to that effect, the real name bring immaterial&lt;br /&gt;
to the story. The two men&mdash;not old friends, but&lt;br /&gt;
acquaintances on very friendly terms&mdash;seemed glad&lt;br /&gt;
to see each other, and stopped anil shook hands.&lt;br /&gt;
The American had a moment&amp;#039;s misgiving as to the&lt;br /&gt;
identity of his vis-a-vis, but it disappeared under&lt;br /&gt;
the reassuring influence of the replies his questions&lt;br /&gt;
drew forth. &amp;quot;When did you get here?&amp;quot; he&lt;br /&gt;
asked. &amp;quot;Last. Wednesday,&amp;quot; was the answer&mdash;&lt;br /&gt;
Wednesday being one of the days on which the fast&lt;br /&gt;
steamers arrive from England. &amp;quot;Is your wife with&lt;br /&gt;
you?&amp;quot; &amp;quot;Yes.&amp;quot; &amp;quot;When do you return?&amp;quot;&lt;br /&gt;
&amp;quot;Next Saturday.&amp;quot; &amp;quot;I shall be sorry not to see&lt;br /&gt;
you upon the other side: I sail on the &amp;#039;Majestic&amp;#039;&lt;br /&gt;
to-morrow&amp;quot; (it was then Tuesday) &amp;quot;and had&lt;br /&gt;
counted on seeing you and your wife in London.&amp;quot;&lt;br /&gt;
&amp;quot;I shall be very sorry to iniss you,&amp;quot; was the polite&lt;br /&gt;
response. &amp;quot;By the way,&amp;quot; exclaimed the American,&lt;br /&gt;
&amp;quot;where is Mrs. . She was to be in London&lt;br /&gt;
now, and I had expected to learn her address front&lt;br /&gt;
you.&amp;quot; The name mentioned was that of a well-&lt;br /&gt;
known American writer, whose cousin the English-&lt;br /&gt;
man had married. &amp;quot;She is down in the country&lt;br /&gt;
visiting some of her relations.&amp;quot; After exchanging&lt;br /&gt;
a few more words, the two men shook hands again,&lt;br /&gt;
smiled, touched their hats, and parted.&lt;br /&gt;
On arriving at his office, five minutes later, the&lt;br /&gt;
American dropped a line to the son of the lady&lt;br /&gt;
whose exact whereabouts he had neglected to ascer-&lt;br /&gt;
tain from his English friend: and by return of&lt;br /&gt;
post received an address in Clarges Street. &amp;quot;What&lt;br /&gt;
you say about Vaulter,&amp;quot; added the young man, &amp;quot; is&lt;br /&gt;
[Hire abracadabra to me: the last I heard of him&lt;br /&gt;
lie was with my people in England. Quare: Is&lt;br /&gt;
this a ease for the Society for Psychical Research?&amp;quot;&lt;br /&gt;
The puzzled American sailed from New York the&lt;br /&gt;
next day, and on his arrival at Liverpool posted to&lt;br /&gt;
the London address of the lady in the ease a note&lt;br /&gt;
reporting the contradictory statements as to her&lt;br /&gt;
place of sojourn. When he reached London two&lt;br /&gt;
days thereafter, an answer to his letter awaited him&lt;br /&gt;
at his hotel in Jermyn Street. It contained an&lt;br /&gt;
invitation to dinner; and the next evening over a&lt;br /&gt;
spotless cloth around which a typical English butler&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 184 (#588) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
moved with noiseless dignity, the tale of tlie inter-&lt;br /&gt;
view of ten days ago in Broadway was told at length.&lt;br /&gt;
&amp;quot;I have been visiting relations in the country,&amp;quot;&lt;br /&gt;
said the hostess, &amp;quot;but not for several weeks; and&lt;br /&gt;
Mr. Vaulter hasn&amp;#039;t been out of England for many&lt;br /&gt;
months.&amp;quot; Needless to say, the mystified American&lt;br /&gt;
made a point of calling upon the Vaulters at their&lt;br /&gt;
pleasant apartment overlooking Hyde Park. Of&amp;#039;&lt;br /&gt;
course they were out. &amp;quot;Out of town?&amp;quot; &amp;quot;No, sir,&lt;br /&gt;
in town, but not at &amp;#039;omc,&amp;quot; A letter with a London&lt;br /&gt;
postmark and an English stamp brings excellent&lt;br /&gt;
evidence that they were in town a very few days&lt;br /&gt;
after this fruitless call; but it does not account for&lt;br /&gt;
the striking resemblance to Vaulter of the gentle-&lt;br /&gt;
man in Broadway, nor for his appropriate replies to&lt;br /&gt;
the questions of his puzzled interlocutor, who is&lt;br /&gt;
now strongly inclined to think this is &amp;quot;a case for&lt;br /&gt;
the Society for Psychical Research.&amp;quot;&lt;br /&gt;
From the New York Critic. &bull;&raquo;..-&diams;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
ARCHDEACON Farrar, in his new book&lt;br /&gt;
&amp;quot;Darkness and Dawn, or Scenes in the&lt;br /&gt;
Days of Nero,&amp;quot; returns to his old field, the&lt;br /&gt;
beginnings of Christianity, but not to his old&lt;br /&gt;
publishers. Messrs. Longmans, Green, and Co.&lt;br /&gt;
produce his new book.&lt;br /&gt;
There is a perennial charm in anything written&lt;br /&gt;
about Cervantes and Don Quixote, always provided&lt;br /&gt;
that the writer is competent in his subject. Mr. H.&lt;br /&gt;
E. Watts is well known as the latest and best&lt;br /&gt;
translator of the immortal work. He has now&lt;br /&gt;
contributed a life of the great Spaniard to the&lt;br /&gt;
series known as &amp;quot;Great Writers,&amp;quot; which, if names&lt;br /&gt;
could make a serial succeed, should l&amp;gt;e a very great&lt;br /&gt;
success indeed, containing, as it does, such writers&lt;br /&gt;
as Hall Caine, Augustine Birrell, Rossetti, Sharp&lt;br /&gt;
Hannay, Austin Dobson, Garnett, Edmund Gosse,&lt;br /&gt;
Sime, Oscar Browning, and last, not least, H. E.&lt;br /&gt;
Watts. It has a stirring eventful story to tell, set in&lt;br /&gt;
a stirring time. The life illustrates the great book.&lt;br /&gt;
The book illustrates the life. Let no one read the&lt;br /&gt;
life who does not know the book, let no one hence-&lt;br /&gt;
forth read the book again until he has read the life.&lt;br /&gt;
A most valuable bibliography is appended to the&lt;br /&gt;
work.&lt;br /&gt;
Mrs. Goddard Orpen has just completed a&lt;br /&gt;
series of papers entitled &amp;quot;Chronicles of the&lt;br /&gt;
Sid,&amp;quot; which will begin in the November number&lt;br /&gt;
of the Leisure Hour, and will run through-&lt;br /&gt;
out the year. The &amp;quot;Chronicles&amp;quot; are mainly&lt;br /&gt;
concerned with the journey of a lady through the&lt;br /&gt;
Algerian Sahara and Upper Egypt.&lt;br /&gt;
Miss Augusta A. Varty-Smith (Sa&amp;#039;imath), author&lt;br /&gt;
of &amp;quot; The Fawcette and Garods,&amp;quot; is about to issue a&lt;br /&gt;
novel in three volumes, entitled &amp;quot; Matthew Tindale.&amp;quot;&lt;br /&gt;
The story, which has already appeared in serial&lt;br /&gt;
form, will be published by Messrs. R. Bentley and&lt;br /&gt;
Sons.&lt;br /&gt;
On November 2nd will appear Mrs. F. Marsh&amp;#039;s&lt;br /&gt;
new novel, &amp;quot;The Junior Dean.&amp;quot; (Chatto and&lt;br /&gt;
Windus.) 3 vols.&lt;br /&gt;
&amp;quot;The Railway Foundling,&amp;quot; by &amp;quot;Nomad,&amp;quot; has&lt;br /&gt;
been issued in a cheap edition, 2s. 6cl. It has been&lt;br /&gt;
highly spoken of as a work of vivacity and adven-&lt;br /&gt;
ture with a clever story.&lt;br /&gt;
A fourth edition of Mr. M. Powis Bale&amp;#039;s&lt;br /&gt;
&amp;quot;Handbook for Steam Users&amp;quot; will he published&lt;br /&gt;
immediately by Messrs. Longmans.&lt;br /&gt;
Mr. Ernest M. Bowden&amp;#039;s &amp;quot; Imitation of Buddha,&amp;quot;&lt;br /&gt;
enriched by a preface from Sir Edwin Arnold, will&lt;br /&gt;
l&amp;gt;e issued immediately by Messrs. Methuen &amp;amp; Co.&lt;br /&gt;
It will contain quotations from Buddhist literature&lt;br /&gt;
for every day in the year. The price will be&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Mrs. (Emma) Marshall will publish early in&lt;br /&gt;
November, through Messrs. Seeley and Co.,&lt;br /&gt;
&amp;quot;Winifrede&amp;#039;s Journal,&amp;quot; in the days of Joseph&lt;br /&gt;
Hale, D.D., sometime Bishop of Exeter and&lt;br /&gt;
Norwich, author of &amp;quot;Under Salisbury Spire and&lt;br /&gt;
Winchester Meads.&amp;quot;&lt;br /&gt;
The same author will shortly issue&mdash;&lt;br /&gt;
&amp;quot;Little Queenie,&amp;quot; a story of child-life 60 years&lt;br /&gt;
ago. Messrs. John Shaw and Co.&lt;br /&gt;
&amp;quot;These Three,&amp;quot; a story for girls.&lt;br /&gt;
&amp;quot;Born in the Purple.&amp;quot;&lt;br /&gt;
&amp;quot;My Lady Bountiful.&amp;quot;&lt;br /&gt;
All through Messrs. Nisbet and Co.&lt;br /&gt;
&amp;quot;Bear Hunting in the White Mountains&amp;quot;&lt;br /&gt;
(Chapman and Hall) is the title of the new work&lt;br /&gt;
by Mr. Hey wood W. Seton-Karr. It should have&lt;br /&gt;
been announced in the October number.&lt;br /&gt;
&bull;ft-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 185 (#589) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Note a charming little book for children, &amp;quot; Bub,&amp;quot;&lt;br /&gt;
by Ismay Thorn (Blackie &amp;amp; Son).&lt;br /&gt;
Among the new books of the season must be&lt;br /&gt;
mentioned &amp;quot; United States Pictures.&amp;quot; Drawn with&lt;br /&gt;
pen and pencil by Richard Lovett, M.A. It has u&lt;br /&gt;
map and 100 engravings. It is published by the&lt;br /&gt;
Religious Tract Society.&lt;br /&gt;
appeals to everybody alike. It is Mr. Athol&lt;br /&gt;
Maudslay&amp;#039;snew book on Nature&amp;#039;s Weather Warnings&lt;br /&gt;
and Natural Phenomena, published by Simpkin,&lt;br /&gt;
Marshall &amp;amp; Co. It is a book of rules for fore-&lt;br /&gt;
casting the weather, with a number of old world&lt;br /&gt;
rustic and seagoing prognostications, as useful as&lt;br /&gt;
they are interesting.&lt;br /&gt;
We regret to announce the death of Mrs. Price,&lt;br /&gt;
a novelist who was rapidly rising to distinction.&lt;br /&gt;
Several of her tales are still coming out or are&lt;br /&gt;
arranged for. A serial from her pen is about to&lt;br /&gt;
run through a Glasgow paper. She has left a one-&lt;br /&gt;
volume story completed, and an unfinished two-&lt;br /&gt;
volume story.&lt;br /&gt;
Mr. C. H. Cope produces &amp;quot;Reminiscences&amp;quot; of&lt;br /&gt;
his father, Charles West Cope, R.A. (Bentley and&lt;br /&gt;
Son). He has also brought out a short memoir&lt;br /&gt;
(Society for Promoting Christian Knowledge),&lt;br /&gt;
entitled &amp;quot; Strength Made Perfect in Weakness.&amp;quot;&lt;br /&gt;
On Thursday was published &amp;quot;Mr. and Mrs.&lt;br /&gt;
Herries,&amp;quot; by Miss May Crommelin, author of&lt;br /&gt;
&amp;quot;Goblin Gold,&amp;quot; &amp;quot;Queenie,&amp;quot; &amp;quot;Midge,&amp;quot; &amp;quot;Violet.&lt;br /&gt;
Vyvian,&amp;quot; &amp;lt;fcc. Another work, by the same author,&lt;br /&gt;
is running in Woman, called &amp;quot; For the Sake of the&lt;br /&gt;
Family.&amp;quot;&lt;br /&gt;
Mr. Hume Nisbet&amp;#039;s new Romance, entitled &amp;quot; The&lt;br /&gt;
Jolly Roger,&amp;quot; a Tale of Sea Heroes and Pirates,&lt;br /&gt;
will appear immediately. The work is illustrated&lt;br /&gt;
by the author.&lt;br /&gt;
Miss Mary C. Rowsell, author of &amp;quot; Love Loyal,&amp;quot;&lt;br /&gt;
&amp;quot;Miss Vanbrugh,&amp;quot; &amp;amp;c, is producing (Skeifington&lt;br /&gt;
and Co.), a volume of stories called &amp;quot;Petronella,&amp;quot;&lt;br /&gt;
of which the title story is the novel form of the&lt;br /&gt;
drama produced some months ago. Those who&lt;br /&gt;
spoke well of that play will be glad to hear that it&lt;br /&gt;
will be probably produced again before long and&lt;br /&gt;
with considerable alterations.&lt;br /&gt;
Among the multitude of new books all crying&lt;br /&gt;
out to be heard and all belonging to this or &amp;quot;that&lt;br /&gt;
school, calling, or persuasion, here is one which&lt;br /&gt;
NEW LOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Axo.v, W. K. A. The Collected Sermons of Thomas&lt;br /&gt;
Fuller, D.D., i63i-i65&amp;lt;). Edited by the late J. K.&lt;br /&gt;
Bailey, F.S.A. Completed by. x vols. Unwin&lt;br /&gt;
Brothers.&lt;br /&gt;
Berry, T. .S. Christianity and Kuddhism. zs. 6J.&lt;br /&gt;
Balk, R. L., LL.D. Fellowship with Christ and other&lt;br /&gt;
discourses delivered on special occasions. Hodder and&lt;br /&gt;
Stoughton. 6.v.&lt;br /&gt;
Diggi.e, Rev. Canon&amp;#039;. Sermons for Daily Life. 5s.&lt;br /&gt;
Kx-ei.t., Rev. J. S. The Biblical Illustrator&mdash;St. John,&lt;br /&gt;
Vol. III. Nisbet, Berners Street. 7s. 6d.&lt;br /&gt;
Foster, Rev. J. K. Pain, its Mystery and Meaning, and&lt;br /&gt;
other Sermons. 3.s. 6J.&lt;br /&gt;
Frif.di.ander, M. The Jewish Religion. Kcgan Paul.&lt;br /&gt;
Harrison, Rev. Alex. Problems of Christianity and&lt;br /&gt;
Scepticism. Longmans, ys. 6(1.&lt;br /&gt;
Macduff, J. R., D.D. St. Paul&amp;#039;s Song of Songs: A prac-&lt;br /&gt;
tical exposition of the Eighth Chapter of Romans.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Maurice, F. I). Sermons Preached in Lincoln&amp;#039;s Inn&lt;br /&gt;
Chapel. Vol. I. (in 6 vols.). Xew Edition. Mae-&lt;br /&gt;
millan. 3s. 6rf.&lt;br /&gt;
Moore, A. L., M.A. The Message of the Gospel. Ad-&lt;br /&gt;
dresses and Sermons. Percival. 3s. 6ri.&lt;br /&gt;
Stokes, Prof. Sir G. G., M.P. Natural Theology. The&lt;br /&gt;
Gilford Lectures, delivered before the University of&lt;br /&gt;
Edinburgh in 1891. A. and C. Black.&lt;br /&gt;
Texts and Studies contributing to Biblical and Patristic&lt;br /&gt;
Literature, Vol. I. No. 2. The Passion of S. Perpetua,&lt;br /&gt;
w ith an appendix on the Seillitan Martyrdom, by J. A.&lt;br /&gt;
Robinson, B.D., 4s. No. 3. The Lord&amp;#039;s Prayer in the&lt;br /&gt;
Early Church, by F. II. Chase, B.D., 5s. No. 4. The&lt;br /&gt;
Fragments of lleracleon, by A. E. Brooke, M.A., 4s.&lt;br /&gt;
Cambridge University Press.&lt;br /&gt;
Wordsworth, John, l).l). (Hishop of Salisbury). The&lt;br /&gt;
Holy Communion, Four Visitation Addresses. Parker,&lt;br /&gt;
Oxford ami London.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 186 (#590) ############################################&lt;br /&gt;
&lt;br /&gt;
i86&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Adams, W. Davenport. Some Historic Women: Bio-&lt;br /&gt;
graphicul Studies of Women who have Made History.&lt;br /&gt;
With portraits. Hogg, Paternoster Row. 3s. 6d.&lt;br /&gt;
Bigger, E. B. Anecdotal Life of Sir John Macdonald.&lt;br /&gt;
Stanford, Charing Cross.&lt;br /&gt;
Brown, Cornelius. A History of Nottinghamshire.&lt;br /&gt;
Elliot Stock. 7s. 6d.&lt;br /&gt;
Burnky, James, F.R.S. History of the Buccaneers of&lt;br /&gt;
America. Reprinted from the edition of 1816. Swan&lt;br /&gt;
Sonnenschein.&lt;br /&gt;
Clark, Andrew, M.A. The Colleges of Oxford; their&lt;br /&gt;
History and Traditions. 11 chapters contributed by&lt;br /&gt;
Members of the Colleges. Edited by. Methucn.&lt;br /&gt;
CoMPTON, Herbert. A Master Mariner; Being the Life&lt;br /&gt;
and Adventures of Capt. R. W. Eastwiek. Edited by.&lt;br /&gt;
Illustrated. The Adventure Series. Fisher I&amp;#039;nwin. St.&lt;br /&gt;
Craui-urd, Rev. A. H. General Craufurd and his Light&lt;br /&gt;
Division. 16s.&lt;br /&gt;
Daniell, G. W., M.A. Bishop Wilberforce. &amp;quot;English&lt;br /&gt;
Leaders of Religion &amp;quot; Series. With portrait. Methucn.&lt;br /&gt;
zs. 6d.&lt;br /&gt;
Froude, J. A. The Divorce of Catherine of Aragon.&lt;br /&gt;
The story as told by the Imperial Ambassadors resi-&lt;br /&gt;
dent at the Court of Henry VIII., in usum laicorum.&lt;br /&gt;
Being a supplementary volume to the author&amp;#039;s History&lt;br /&gt;
of England. Longmans, ids.&lt;br /&gt;
Green, J. R. A Short History of the English People.&lt;br /&gt;
Issued in monthly parts. Illustrated. Part I. Mac-&lt;br /&gt;
millan. Paper covers, is.&lt;br /&gt;
Greenwood, Thomas, F.R.G.S. Public Libraries: A&lt;br /&gt;
History of the Movement and a Manual for the&lt;br /&gt;
Organization and Management of Rate-Supported&lt;br /&gt;
Libraries. Fourth Edition, revised and brought up to&lt;br /&gt;
date. Twelfth Thousand. Cassell. zs. 6d.&lt;br /&gt;
Hannay, David. Rodney. English Men of Action Series.&lt;br /&gt;
Macruilian. zs. 6d.&lt;br /&gt;
Jerrold, Blanchard. Life of Gustave Dore, with illus-&lt;br /&gt;
trations from original drawings by Dore. W. H. Allen.&lt;br /&gt;
Phillimore, Adm. Sir Aug., K.O.B. The Last of Nelson&amp;#039;s&lt;br /&gt;
Captains (Admiral Sir William Parker, 1781-1866).&lt;br /&gt;
Harrison, Pall Mall.&lt;br /&gt;
Robertson, .1. Looie, M.A. Thomson&mdash;the Seasons and&lt;br /&gt;
the Castle of Indolence. Edited, with biographical&lt;br /&gt;
notice, introductions, notes, and a glossary, by.&lt;br /&gt;
Clarendon Press. 45. 6&amp;lt;/.&lt;br /&gt;
Robertson, John R., and Hunter, H. The Life of Robert&lt;br /&gt;
Coates, better known as &amp;quot;Romeo&amp;quot; and &amp;quot;Diamond&amp;quot;&lt;br /&gt;
Coates&mdash;the celebrated Amateur of Fashion. Sampson&lt;br /&gt;
Low.&lt;br /&gt;
Scott, C, and Cecil Howard. The Life and Reminis-&lt;br /&gt;
cences of E. L. Blanchard, with Notes from the Diary&lt;br /&gt;
of William Blanchard. With portraits and illustrations.&lt;br /&gt;
z vols. Hutchinson, Paternoster Square, izs.&lt;br /&gt;
Swinnerton, Emily. George Eliot, Her Early Home.&lt;br /&gt;
Illustrated by G. G. Kilburnc, R.A., and Patty Towns-&lt;br /&gt;
end. Raphael Tuck. 16s.&lt;br /&gt;
Watkin, Sir E. W., M.P. Alderman Cobden of Man-&lt;br /&gt;
chester; Letters and Reminiscences of Richard C&amp;#039;obdeu.&lt;br /&gt;
With portraits, illustrations, facsimiles, and index.&lt;br /&gt;
Ward, Lock, and Bowden. 16s.&lt;br /&gt;
Watts Phillips, E. Watts Phillips, Artist and Play-&lt;br /&gt;
wright. With portraits and facsimiles of letters and&lt;br /&gt;
sketches. Cassell. 10s. 6d.&lt;br /&gt;
Weber, F. A Popular History of Music, from the Earliest&lt;br /&gt;
Times. With illustrations. Simpkin Marshall.&lt;br /&gt;
Wordsworth, C, D.D., D.C.L. Annals of My Early&lt;br /&gt;
Life, 1806-46, with Occasional compositions in Latin&lt;br /&gt;
and English verse. Longmans.&lt;br /&gt;
Educational.&lt;br /&gt;
Dyer, J. M., and Whitcombe, Rev. R. H. Elementary&lt;br /&gt;
Trigonometry. Assistant Masters at Eton College.&lt;br /&gt;
George Bell. 4*. 6d.&lt;br /&gt;
Gardiner, S. R., M.A. A School Atlas of English History.&lt;br /&gt;
Edited by. Companion Atlas to the &amp;quot;Student&amp;#039;s&lt;br /&gt;
History of England.&amp;quot; Longmans. 5s.&lt;br /&gt;
German Declensions and Conjugations by Help of&lt;br /&gt;
Reason and Rhyme. By F. Storr, B.A., Master at&lt;br /&gt;
Merchant Taylors* School, is. 6d. Outlines of Logic,&lt;br /&gt;
Psychology, and Ethics. By Arthur Baker, M.A.&lt;br /&gt;
45. 6d. Pope&amp;#039;s Iliad of Homer. Vol. II. Selections&lt;br /&gt;
from Books IX.-XYI., with introduction and notes by&lt;br /&gt;
H. L. Earl. lod. Percival.&lt;br /&gt;
Lawrence-Hamilton, J., M.R.C.S. Suggestions for&lt;br /&gt;
Fisherfoiks&amp;#039; Primary and Technical Education. Paper&lt;br /&gt;
Covers, is.&lt;br /&gt;
Loney, S. L., M.A. A Treatise on Elementary Dynamics.&lt;br /&gt;
Second Edition, revised and enlarged. Cambridge&lt;br /&gt;
University Press.&lt;br /&gt;
Monro, C. H., M.A. Digest XIX. 2, Locati Coudtieti.&lt;br /&gt;
Translation, with notes, by. Cambridge University&lt;br /&gt;
Press.&lt;br /&gt;
Primary French Exercises. By A. A. Somcrville, M.A.&lt;br /&gt;
is. 6d. Le Violon de Faience. Par Jules C&amp;#039;hamp-&lt;br /&gt;
fleury. Edited by Cloris Bevenot. zs. Pierre et&lt;br /&gt;
Camille, et l&amp;#039;Histoire d&amp;#039;un Merle Blanc. Par A. de&lt;br /&gt;
Musset. Edited by W. Dewar, M.A. zs. Pecheur&lt;br /&gt;
d&amp;#039;Islaude. Par Pierre Loti. Edited by R. J. Morich.&lt;br /&gt;
zs. Recits de Guerre et de Revolution. Edited by&lt;br /&gt;
B. Minssen, M. es A. 8&amp;lt;i. The Structure of Sen-&lt;br /&gt;
tences. By R. Somervell, M.A. is. 6d. An Intro-&lt;br /&gt;
duction to the Differential and the Integral Calculus.&lt;br /&gt;
By T. H. Miller, B.A. 3s. 6d. Physiography: A&lt;br /&gt;
Class-book for the Elemeutary Stage of the Science&lt;br /&gt;
and Art Department. By J. Spencer, B.Sc. zs. 6d.&lt;br /&gt;
Percival.&lt;br /&gt;
Waller, Augustus D., M.D. An Introduction to Human&lt;br /&gt;
Physiology. Longmans. 18s.&lt;br /&gt;
Ward, Rowland, F.Z.S. The Sportsman&amp;#039;s Handbook to&lt;br /&gt;
Practical Collecting and Preserving Trophies. Sixth&lt;br /&gt;
edition, with numerous illustrations. Simpkin,&lt;br /&gt;
Marshall.&lt;br /&gt;
General Literature.&lt;br /&gt;
Anderson, A. A., and Wall, A. The Romance of&lt;br /&gt;
N&amp;#039;Shabc; being a record of startling adventures in&lt;br /&gt;
South Central Africa. Illustrated. Chapman and&lt;br /&gt;
Hall. 5*.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 187 (#591) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
187&lt;br /&gt;
Andkrton, Thomas. Letters from a Country House.&lt;br /&gt;
Reprinted from the Midland Counties Herald. Simp-&lt;br /&gt;
kin and Marshall.&lt;br /&gt;
Archer, William. Tales of Two Countries, from the&lt;br /&gt;
Norwegian of Alexauder L. Kielland. The translation&lt;br /&gt;
and introduction by. Osgood, M&amp;#039;llvaine. 3s. 6d.&lt;br /&gt;
Armstrong, A. E. Three Bright Girls: a Story. Illus-&lt;br /&gt;
trated. Blackie. 3s. 6rf.&lt;br /&gt;
Arnold, Sir Edwin, M.A., K.C.I.E. Seas and Lands.&lt;br /&gt;
Reprinted by permission of the proprietors of the&lt;br /&gt;
Daily Telegraph from letters published under the&lt;br /&gt;
title &amp;quot; By Sea and Land&amp;quot; in that journal by. With&lt;br /&gt;
illustrations. Longmans, iis.&lt;br /&gt;
Ashton, John. Ileal Sailor Songs, collected and edited.&lt;br /&gt;
Illustrations. Leadenhall Press, il. is.&lt;br /&gt;
Balguy, Gut. The Bantams of Sheffield. Leadenhall&lt;br /&gt;
Press, is. 6d.&lt;br /&gt;
Barrett, Erank. The Sin of Olga Zassoulich; a Novel.&lt;br /&gt;
3 vols. Chatto and Windus.&lt;br /&gt;
Benson, Mary Eleanor. At Sundry Times and in Divers&lt;br /&gt;
Manners. A Story. 2 vols., with portrait. Kegan&lt;br /&gt;
Paul.&lt;br /&gt;
Bhkesford, Emma. My Lady Bountiful: a Story. Nisbet.&lt;br /&gt;
is. bd.&lt;br /&gt;
Blades, William. The Pentateuch of Printing, with a&lt;br /&gt;
chapter on Judges. Elliot Stock. To subscribers&lt;br /&gt;
lis. 3d.&lt;br /&gt;
Boa-SE, Erederic. Catalogue of the Printed Books in the&lt;br /&gt;
Library of the Incorporated Law Society. Printed for&lt;br /&gt;
the Society by Spottiswoode, New Street Square, E.C.&lt;br /&gt;
Boswell, It. li., M.A. Zadig and other Talcs. By Voltaire&lt;br /&gt;
(1746-1767). A new translation bv. George Bell.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Brkton, Jules. The Life of an Artist. Art and Nature.&lt;br /&gt;
Translated by Mary J. Serrano. Sampson Low.&lt;br /&gt;
Brooks, Noah. The Boy Settlers. A Story of Early&lt;br /&gt;
Times in Kansas. Illustrated. Sampson Low.&lt;br /&gt;
Bryce, Lloyd. Bomance of an Alter Ego. Routledge.&lt;br /&gt;
at.&lt;br /&gt;
Caine, Hall. The Scapegoat: a Romance in two volumes.&lt;br /&gt;
Heincmann. 21s.&lt;br /&gt;
Cambridge, Ada. A Marked Man. Popular edition.&lt;br /&gt;
Heincmann. 3s. bd.&lt;br /&gt;
Chamberlain, B. H., and Mason, W. B. A Handbook&lt;br /&gt;
for Travellers in Japan. Third edition, revised, and&lt;br /&gt;
for the most part re-written. With maps. John&lt;br /&gt;
Murray. 15.v.&lt;br /&gt;
Child, Theodore. Delicate Dining. Osgood, M&amp;#039;llvaine.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Clark, E. B. Twelve Months in Peru. Illustrated.&lt;br /&gt;
Eisher Vnwin. 5s.&lt;br /&gt;
Clark Russell, W. My Danish Sweetheart: a Novel.&lt;br /&gt;
3 vols. Methuen.&lt;br /&gt;
Clayden, Arthur. British Colonization: a Colonial Want&lt;br /&gt;
and an Imperial Necessity. A lecture. Clarke, Eleet&lt;br /&gt;
Street. Paper covers. bd.&lt;br /&gt;
Cobban, J. Maclaren. A Reverend Gentleman. Methuen.&lt;br /&gt;
Coleridge, C. R. Amethyst: the Story of a Beauty.&lt;br /&gt;
2 vols. Innes, Bedford Street, W.C. 12s.&lt;br /&gt;
Cooke, M. C, M.A. British Edible Fungi: How to&lt;br /&gt;
Distinguish and How to Cook Them, with coloured&lt;br /&gt;
figures. Kegan Paul.&lt;br /&gt;
Cross, Joseph. A Daughter of the Gods: Ballads from&lt;br /&gt;
the First, Second, and Third Books of the Iliad.&lt;br /&gt;
Etchings by Tristram Ellis. Leadenhall Press, -s. bd.&lt;br /&gt;
Dalin, Tai.maoe. European Relations. A Tirolese Sketch.&lt;br /&gt;
Volume of the Pseudonym Library. Eisher Unwin.&lt;br /&gt;
Paper covers, is. 6d.&lt;br /&gt;
Davey, Henry. The Student&amp;#039;s Musical History. Curwcu,&lt;br /&gt;
Warwick Lane, E.C. Paper covers, is.&lt;br /&gt;
Da vies, Mary. At the Antipodes. Travels, 1888-89.&lt;br /&gt;
By G. Verschuur. Translated by. With illustrations.&lt;br /&gt;
Sampson Low.&lt;br /&gt;
Deane, Mary. Mr. Zin/.an of Hath: or, Seen in an Old&lt;br /&gt;
Mirror. A Novel. Innes, Bedford Street, W.C. 6s.&lt;br /&gt;
Dennehy, W. E. The Story of the Union: Told by its&lt;br /&gt;
Plotters. Lalor, Mid Abbey Street, Dublin. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Dickixs, Charles. David Copperfield. Illustrated.&lt;br /&gt;
Chapman and Hall. Paper covers, bd.&lt;br /&gt;
Doudney, Sarah. Godiva Durleigh: a Novel for Girls.&lt;br /&gt;
3 vols. Sampson Low.&lt;br /&gt;
Fisher, Annie G. Daisy&amp;#039;s Story. With illustrations.&lt;br /&gt;
Houlstou. 2&laquo;. bd.&lt;br /&gt;
Fletcher, R. Howe. Marjorie and her Papa: How They&lt;br /&gt;
Wrote a Story and Made Pictures for It. Illustrated&lt;br /&gt;
by R. B. Birch. Fisher Unwin. 3s. bd.&lt;br /&gt;
Gow, Greoson. Brave and True, and other Stories.&lt;br /&gt;
Blackie. 2s.&lt;br /&gt;
Gregs, Joseph. Humorous Art: the Social Aspect of&lt;br /&gt;
Life in the Royal Navy. Illustrated from pictorial&lt;br /&gt;
broadsides, naval sketches, sea songs, and popular&lt;br /&gt;
caricature, with engravings and descriptive notes by.&lt;br /&gt;
Sampson Low. Paper covers, is.&lt;br /&gt;
Gulland, J. W. How Edinburgh is Governed: a Hand-&lt;br /&gt;
book for Citizens. Jack, Grange Publishing Works,&lt;br /&gt;
Edinburgh, is.&lt;br /&gt;
Haines, Randolph. Unless: a Romance. Blackwood.&lt;br /&gt;
Hall, Hubert, F.S.A. The Antiquities and Curiosities of&lt;br /&gt;
the Exchequer. Illustrated by Ralph Ncvill, F.S.A.&lt;br /&gt;
With preface by Sir John Lubbock, F.R.S., F.S.A.&lt;br /&gt;
Volume of the Camden Library. Elliot Stock.&lt;br /&gt;
Hall, Edward, M.A., LL.D., &amp;amp;c. The Physical Geology&lt;br /&gt;
and Geography of Ireland. Second edition, revised,&lt;br /&gt;
with coloured maps and illustrations. Stanford.&lt;br /&gt;
Harrison, F. Bayford. Littlehourne Lock. Blackie.&lt;br /&gt;
is. bd.&lt;br /&gt;
Mary Harrison&amp;#039;s Guide to Modern Cookery: with a&lt;br /&gt;
preface by Sir T. Dyke Acland. Sampson Low.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 188 (#592) ############################################&lt;br /&gt;
&lt;br /&gt;
188&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Henty, G. A. A Talc of the Nile Expedition. Blackie.&lt;br /&gt;
6s.&lt;br /&gt;
Held Fast for England: a Tale of the Siege of&lt;br /&gt;
Gibraltar [1779-8?]. Blackie. 5s.&lt;br /&gt;
Hibbard, G. A. Iduna, and other Stories. Osgood and&lt;br /&gt;
Co. 5s.&lt;br /&gt;
Hobbes, J. Oliver. Some Emotions and a Moral. Volume&lt;br /&gt;
of the Pseudonym Library. Fisher Unwin. Paper&lt;br /&gt;
covers. is. 6d.&lt;br /&gt;
Hoffman, Professor. The Illustrated Book of Patience&lt;br /&gt;
Games. Translated from the German and edited by.&lt;br /&gt;
Boutledge.&lt;br /&gt;
HooAlf, J. F. The Convict King: being the Life and&lt;br /&gt;
Adventures of Jorgeu Jorgenson. Keloid by. Ward&lt;br /&gt;
and Downey.&lt;br /&gt;
Holmes, Richard. The Black Friars of Pontefract: an&lt;br /&gt;
account of their rise, progress, and fall. Printed for&lt;br /&gt;
the Yorkshire Archaeological and Topographical&lt;br /&gt;
Association.&lt;br /&gt;
The Homeless Poor of London. Report of a Special&lt;br /&gt;
Committee of the Charity Organization Society, June,&lt;br /&gt;
1891. Published by the Charity Organization Society.&lt;br /&gt;
Printed by Spottiswoode, New Street Square. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Hope, Anthony. Father Stafford: a Novel. Cassell.&lt;br /&gt;
Hope, Asoott K. Redskin and Paleface: Romance and&lt;br /&gt;
Adventure on the Plains. Illustrated. Hogg. 3*. 6d.&lt;br /&gt;
&laquo;&mdash;&mdash; The Wigwam and the Warpath: or, Tales of&lt;br /&gt;
the Red Indians. New and cheaper edition. Blackie.&lt;br /&gt;
3s.&lt;br /&gt;
IIozer, M. A. A Canterbury Tale. Illustrated. Hogg,&lt;br /&gt;
is.&lt;br /&gt;
Hutton, Laurence. Literary Landmarks of Edinburgh.&lt;br /&gt;
Illustrated. Osgood, M&amp;#039;llvainc. 5s.&lt;br /&gt;
Curiosities of the American Stage. Illustra-&lt;br /&gt;
tions. Osgood, M&amp;#039;llvaine. 12s. 6d.&lt;br /&gt;
IIyne, C. J. Stimson&amp;#039;s Reef: a Tale of Adventure.&lt;br /&gt;
Blackie. is. 6d.&lt;br /&gt;
Japp, Alex. H., LL.D. Uncle Tom&amp;#039;s Cabin. By Harriet&lt;br /&gt;
Becchcr Stowe. With the original illustrations by&lt;br /&gt;
George Thomas, and a biographical and critical sketch&lt;br /&gt;
of the author, by. Hogg, Paternoster Row. 4s. 6d.&lt;br /&gt;
Kino, J. Percv. As the Wind Plows: Stray Song in many&lt;br /&gt;
Moods. Leadenhall Press. 5s.&lt;br /&gt;
Lee, Katiikrine (Mrs. H. Jenner). Love or Money.&lt;br /&gt;
A novel by. 3 vols. Bentley.&lt;br /&gt;
Lovktt, Richard, M.A. United States Pictures; drawn&lt;br /&gt;
with pen and pencil by. With map and illustrations.&lt;br /&gt;
Religions Tract Society. 8s.&lt;br /&gt;
Ludlow, James M. A King of Tyre: a Tale of the Times&lt;br /&gt;
of Ezra and Nehemiah. Osgood, M&amp;#039;llvaine.&lt;br /&gt;
Lvall, Edna. Max Hereford&amp;#039;s Dream. Simpkin Marshall.&lt;br /&gt;
Parchment covers. 6d.&lt;br /&gt;
McCarthy, M. T. F., B.A. Mr. I$alfour&amp;#039;s Rule in Ireland.&lt;br /&gt;
Simpkin, Marshall. Paper covers, is.&lt;br /&gt;
McIntyre, Maj. Gen. D., V.C., F.R.G.S. Hindu-Koh:&lt;br /&gt;
Wanderings and Wild Sport on and beyond the&lt;br /&gt;
Himalayas. New edition. With illustrations. Black-&lt;br /&gt;
wood. 7s. 6d.&lt;br /&gt;
Marchbank, Agnes. Some Edinburgh Bohemians. Illus-&lt;br /&gt;
trated. Simpkin, Marshall. Paper covers, is.&lt;br /&gt;
Mason, A. G. The Women of the French Salons. With&lt;br /&gt;
portraits and illustrations. Fisher Unwin. a5s.&lt;br /&gt;
Matthews, Brander. With my Friends: Tales told in&lt;br /&gt;
Partnership by. With an introductory essay on The&lt;br /&gt;
Art and Mystery of Collaboration. Longmans. 6s.&lt;br /&gt;
Maupassant, Guy de. The Odd Number: i3 Tales.&lt;br /&gt;
Translated by Jonathan Sturges. &amp;quot;Red Letter Series.&amp;quot;&lt;br /&gt;
Osgood, M&amp;#039;llvainc. 3s. 6d.&lt;br /&gt;
Maurier, George du. Society Pictures. Drawn by.&lt;br /&gt;
Selected from Punch. No. i3. Bradbury, Agnew.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Muir, Alan. Charming to Her Latest Day: a Novel.&lt;br /&gt;
Illustrated by Hal Ludlow. Sutton, Drowley. 3s. 6J.&lt;br /&gt;
Moore, George. Vain Fortune. Illustrated by Maurice&lt;br /&gt;
Greiffcuhagen. Henry. 6s.&lt;br /&gt;
Morris, M. O&amp;#039;Connor. Peeps at Portugal. Harrison,&lt;br /&gt;
Pall Mall. Paper covers, is.&lt;br /&gt;
Norris, W. E. Mr. Chaine&amp;#039;s Sons: a Novel. 3 vols.&lt;br /&gt;
Bentley.&lt;br /&gt;
Osmaston, Francis. Loose Blades from the One Field.&lt;br /&gt;
Kegan Paul.&lt;br /&gt;
Pearce, John. The Merchant&amp;#039;s Clerk; the Operations&lt;br /&gt;
of the Counting House. 18th edition. Effingham&lt;br /&gt;
Wilson.&lt;br /&gt;
Phelps, E. S. Fourteen to One. Volume of the &amp;quot;Short&lt;br /&gt;
Story&amp;quot; Library. Cassell. 6s.&lt;br /&gt;
Phillips, Mrs. A. A Rude Awakening: a Romance in&lt;br /&gt;
three volumes. Trischlcr.&lt;br /&gt;
Pjrkis, C. L. A Red Sister: a Novel. 3 vols. Sampson&lt;br /&gt;
Low.&lt;br /&gt;
Pool, Maria L. Dally: a Story. Osgood, M&amp;#039;llvainc.&lt;br /&gt;
6s.&lt;br /&gt;
Quiller-Cocch, A. T. The Warwickshire Avon. Notes&lt;br /&gt;
by. Illustrations by Alfred Parsons. Osgood,&lt;br /&gt;
M&amp;#039;llvaine. 12s. 6d.&lt;br /&gt;
Rockhill, W. W. The Land of the Lamas. Notes of&lt;br /&gt;
a journey through China, Mongolia, and Tibet, with&lt;br /&gt;
maps and illustrations. Longmans. 15s.&lt;br /&gt;
Rives, Amelik. Accordingly to St. John: a Story.&lt;br /&gt;
Hciuemann. 5&raquo;.&lt;br /&gt;
Scott, Sir W. Keuilworth. Cheap edition. A. and&lt;br /&gt;
C. Black. Paper covers, 6rf.&lt;br /&gt;
Skarle, Rev. F. C, M.A. To a Boy leaving School for&lt;br /&gt;
the I&amp;#039;niversity. With a preface by the Rev. J. E. C.&lt;br /&gt;
Welldon, M.A. Percival.&lt;br /&gt;
Shorthouse, J. H. Blanche, Lady Falaise: a Tale. Mac-&lt;br /&gt;
millan. 6s.&lt;br /&gt;
Smart, Hawley. Beatrice and Benedict: a Romance of&lt;br /&gt;
the Crimea, 2 vols. F. V. White.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 189 (#593) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
189&lt;br /&gt;
Stanley, H. M. Coomassie and Magdala: the Story of&lt;br /&gt;
Two Campaigns in Africa. Illustrated by Melton&lt;br /&gt;
Prior and other artists. Sampson Low.&lt;br /&gt;
Stockton, F. R. The Squirrel Inn. Sampson Low.&lt;br /&gt;
Stkahan, S. A. K., M.I). Instinctive Criminality; its True&lt;br /&gt;
Character and Rational Treatment. A paper read&lt;br /&gt;
before the Hritish Association. With Prefatory Note&lt;br /&gt;
and Appendix by. Bale, Great Titchfield Street, W.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Teegan, T. H. Elementary Education in France. Dublin.&lt;br /&gt;
Simpkin, Marshall.&lt;br /&gt;
Thompson, Louisa, Gladys Anstruther, or &amp;quot;The Young&lt;br /&gt;
Stepmother.&amp;quot; Illustrated. Blackie. 2s. bd.&lt;br /&gt;
Tytlee, SaBah. Girl Neighbours. New and cheaper&lt;br /&gt;
edition. Black ic. 3s.&lt;br /&gt;
Wall, J. C. The Tombs of the Kings of England. Illus-&lt;br /&gt;
trated by the author. Sampson Low.&lt;br /&gt;
Welches, Adair. Tales of the &amp;quot; Wild and Woolly West.&amp;quot;&lt;br /&gt;
Leadenhall Press, is.&lt;br /&gt;
Wilkinson, W. H. Those Foreign Devils! A Celestial&lt;br /&gt;
on England and Englishmen, by Yuan Hsiang-Fu,&lt;br /&gt;
translated by W.H.W. Leadenhall Press. 2s. bd.&lt;br /&gt;
Wintek, John Strange. Lumley the Painter: a novel.&lt;br /&gt;
F. V. White. Paper covers, is.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Bkresford, Gilbert. Poems. Nisbct. 3s. bd.&lt;br /&gt;
Bradshaw, John, M.A., LL.D. The Poetical Works of&lt;br /&gt;
Thomas Gray, English and Latin. Edited with an&lt;br /&gt;
introduction, life, notes, and a bibliographv by George&lt;br /&gt;
Bell.&lt;br /&gt;
Collier, J. Payne. The Poetical Works of Edmund&lt;br /&gt;
Spenser. Edited by. 5 vols. Aldine edition. George&lt;br /&gt;
Bell.&lt;br /&gt;
Collingwood, W. G., M.A. The Poems of John RnsVin.&lt;br /&gt;
Written between the ages of 7 and 26. With an&lt;br /&gt;
appendix of later poems. Now first collected from&lt;br /&gt;
original manuscript and printed sources, and edited, in&lt;br /&gt;
chronological order, with notes, biographical and&lt;br /&gt;
critical. In 2 vols., with 23 plates, never before pub-&lt;br /&gt;
lished, from drawings by the author, illustrative of&lt;br /&gt;
some places mentioned in the text; also facsimiles of&lt;br /&gt;
two poems, and an early letter to his father. A special&lt;br /&gt;
edition (limited to 750 copies). George Allen, Sunny-&lt;br /&gt;
side, Orpington, and 8, Bell Yard, Temple Bar, London.&lt;br /&gt;
31. 3s.&lt;br /&gt;
Gowing, Mrs. Aylmer. Ballads of the Tower, and other&lt;br /&gt;
Poems, mostly adapted for recitation. Griffith, Farran.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Lang, Andrew. The Blue Poetry-book. Edited by.&lt;br /&gt;
With illustrations by H. J. Ford and Lancelot Speed.&lt;br /&gt;
Longmans. 6s.&lt;br /&gt;
Lehmann, R. C. In Cambridge Courts: studies of&lt;br /&gt;
University Life in Prose and Verse. Illustrated.&lt;br /&gt;
Whitefriars Library. Henry, Bouverie Street. 3s. bd.&lt;br /&gt;
Lecky, W. E. H. Poems. 5*.&lt;br /&gt;
Moli&amp;amp;re. Le Misanthrope. A comedy by. Edited, with&lt;br /&gt;
introduction and notes, by H. W. Gegg Markheim,&lt;br /&gt;
M.A., Fellow of Queen&amp;#039;s College, Oxford. Clarendon&lt;br /&gt;
Press. 3s. bd.&lt;br /&gt;
Merry, W. W. Selected Fragments of Roman Poetry:&lt;br /&gt;
from the earliest times of the Republic to the Augustan&lt;br /&gt;
Age. Edited, with introduction and notes, by. Rector&lt;br /&gt;
of Lincoln College, Oxford. Clarendon Press. 6s. bd.&lt;br /&gt;
Norton, C. E. The Divine Comedy of Dante Alighicri.&lt;br /&gt;
Translated by. I.&mdash;Hell. Macniillan. 6s.&lt;br /&gt;
Parsons, Alfred. A Selection from the Sonnets of&lt;br /&gt;
William Wordsworth. With illustrations. Osgood,&lt;br /&gt;
M&amp;#039;llvaine. &raquo;5s.&lt;br /&gt;
Whitman, W. Good-bye, my Fancy. 4s. 6d.&lt;br /&gt;
Law.&lt;br /&gt;
Aire, E. N. The Law of Stamp Duties on Deeds and&lt;br /&gt;
other Instruments j being the second edition of &amp;quot;A&lt;br /&gt;
Digest of the Law Relating to Stamp Duties.&amp;quot; Jordan,&lt;br /&gt;
Chancery Lane. 5*. net.&lt;br /&gt;
Highmork, N. J. Stamp Act, 1891, and the Stamp Duties&lt;br /&gt;
Management Act, 1891. Stevens. 5&raquo;.&lt;br /&gt;
Roberts, James, M.A., and GoLLAN, H. C, M.A. The&lt;br /&gt;
Law relating to the Public Health of London: being&lt;br /&gt;
the Public Health (London) Act, 1891, annotated, &amp;amp;c.&lt;br /&gt;
Hutterworth, Fleet Street. 14s.&lt;br /&gt;
Rumsky, Almarie. A Legal Haudl&amp;gt;ook for Executors and&lt;br /&gt;
Administrators. Swan Sonnenschein.&lt;br /&gt;
Smith, J. W., LL.D. A Handy Hook on the Law of Bills,&lt;br /&gt;
Cheques, Notes, and I.O.U&amp;#039;s. Entirely rewritten.&lt;br /&gt;
Fifty sixth thousand. Effingham Wilson, is. 6d.&lt;br /&gt;
YOUNG, T. E., B.A. The German Law of Insurance, 1889,&lt;br /&gt;
against Invalidity and Old Age: a history, analysis,&lt;br /&gt;
and criticism. A paper read &amp;#039;before the Institute of&lt;br /&gt;
Actuaries. Layton, Farringdon Street. Paper covers.&lt;br /&gt;
Science.&lt;br /&gt;
Adams, W. S. Scientific and Practical Treatise on Diseases,&lt;br /&gt;
&amp;amp;c, to which the horse is liable. 10 s. bd.&lt;br /&gt;
Clouston, E. S. Neurosis of Development. 7s. bd.&lt;br /&gt;
Dixon, C. Birds of our Rambles. 7s. 6&amp;lt;f.&lt;br /&gt;
Durham, W. Food, Physiology, &amp;amp;c. &amp;quot;Science in Plain&lt;br /&gt;
Language &amp;quot; Series. A. and C. Black, is. bd.&lt;br /&gt;
Gore, J. K. Star Groups. 5s.&lt;br /&gt;
Parker, J. Elementary Thermodynamics. 9s.&lt;br /&gt;
Proctor, R. A. Other Suns than Ours. A Series of&lt;br /&gt;
Essays, with other Science Gleanings, two Essays on&lt;br /&gt;
Whist, and Correspondence with Sir John Hersehel.&lt;br /&gt;
Second Edition. W. H. Allen.&lt;br /&gt;
Wbightson, Prof. Crops. 2s. bd.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 190 (#594) ############################################&lt;br /&gt;
&lt;br /&gt;
190&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Copy of memoranda and tables prepared in view of the&lt;br /&gt;
proposed inquiry into the Financial Relations between&lt;br /&gt;
England, Scotland, and Ireland, 311. Census of&lt;br /&gt;
Ireland, Part I., Vol. I., Province of Leinster. No. 1,&lt;br /&gt;
County of Carlow, 7d. Irish Land Commission Return&lt;br /&gt;
for July last, id. Report on Railway Rates and&lt;br /&gt;
Charges Provisional Order Bills, Part II., 78. 2d. A&lt;br /&gt;
List of the Principal Indian Government Publications&lt;br /&gt;
on sale in this country and at the various Government&lt;br /&gt;
presses in India. Translations of Laws recently passed&lt;br /&gt;
in France and Germany affecting the Bounties on&lt;br /&gt;
Sugar, 2d. Eyre and Spottiswoode.&lt;br /&gt;
Memorandum by the Inspectors of Irish Fisheries relating&lt;br /&gt;
to the Mackerel Fishing on the Coast of Ireland&lt;br /&gt;
during the Spring of 1891. Thom, Abbey street, -&lt;br /&gt;
Du&lt;br /&gt;
Second Report from the House of Lords Committee on&lt;br /&gt;
Metropolitan Hospitals, with proceedings and minutes&lt;br /&gt;
of evidence. Session 1890-91 (6s. 7d.) Census of&lt;br /&gt;
Ireland, Part I., Vol. I., Province of Leinster. No. 6.&lt;br /&gt;
County of Longford. 6d. Report of the Directors of&lt;br /&gt;
Convict Prisons for 1890-91, Part II., 31d. Third&lt;br /&gt;
Report of the Royal Commission on Mining Royalties,&lt;br /&gt;
with minutes of evidence, 28. Return for year ended&lt;br /&gt;
March 31 last of the Army and Navy Officers permitted&lt;br /&gt;
to hold Civil Employments of Profit in Public Depart.&lt;br /&gt;
ments, 1d. Report of the Lord Chief Justice&amp;#039;s&lt;br /&gt;
Judgment in the cases of Connor v. Ritson, Gibson v.&lt;br /&gt;
Lawson, and Curran v. Treleaven on July 14 last,&lt;br /&gt;
id. Returns as to Still-birth Interments during 1890,&lt;br /&gt;
24d. Return of Parishes Divided and districts assigned&lt;br /&gt;
to Churches by the Ecclesiastical Commissioners for&lt;br /&gt;
England, 5d. Reports by Board of Trade on the&lt;br /&gt;
Classification of Merchandise and Schedule of Maxi-&lt;br /&gt;
mum Rates determined in respect of the North British,&lt;br /&gt;
the Ayrshire and Wigtownshire, the Severn and Wye&lt;br /&gt;
and Severn Bridge Railway Companies, and the Cavan&lt;br /&gt;
and Leitrim and Roscommon Light Railway and&lt;br /&gt;
Tramway Company, 6d. each. 14th Report of the&lt;br /&gt;
Commissioners of Prisons for the year ended March 31,&lt;br /&gt;
1891, 5d. 69th Report of the Commissioners of&lt;br /&gt;
Woods, Forests, and Land Revenues, dated June 29,&lt;br /&gt;
1891, Is. 51d. Return of Public Income and Expen-&lt;br /&gt;
diture for 15 years ended March 31, 1891, 2 d. Kew&lt;br /&gt;
Bulletin of miscellaneous information for September,&lt;br /&gt;
2d. Railway and Canal Traffic Act, 1888. Reports&lt;br /&gt;
by the Board of Trade on the Classification of Mer-&lt;br /&gt;
chandise Traffic and Schedule of Maximum Rates&lt;br /&gt;
applicable thereto, in respect of the London and North&lt;br /&gt;
Western and Lancashire and Yorkshire Railway&lt;br /&gt;
Companies&amp;#039; Joint Railways; the Glasgow and South-&lt;br /&gt;
Western Railway; and the Cockermouth, Keswick,&lt;br /&gt;
and Penrith Railway, 6d. each. Accounts relating to&lt;br /&gt;
Trade and Navigation of the United Kingdom for&lt;br /&gt;
September, 6d. Statistical Abstract relating to British&lt;br /&gt;
India, from 1880-81--1889-90, 18. 3d. Return relating&lt;br /&gt;
to Aliens who became Naturalized Subjects between&lt;br /&gt;
July 29, 1890, and August 1, 1891, itd. Agricultural&lt;br /&gt;
Statistics of Ireland for 1890, 18. 3d. Report and&lt;br /&gt;
Tables relating to Migratory Agricultural Labourers in&lt;br /&gt;
Ireland, 20. Return of an article on Opium, by&lt;br /&gt;
Dr. Watt, Reporter on Economic Products with the&lt;br /&gt;
Government of India, 8d. Return as to Convictions&lt;br /&gt;
for Drunkenness in England and Wales during 1890,&lt;br /&gt;
Ad. Report by the Board of Trade on the Classification&lt;br /&gt;
of Merchandise Traffic and Schedule of Maximum&lt;br /&gt;
Rates, determined in respect of the Londonderry&lt;br /&gt;
(Seaham to Sunderland) Railway Company, 6d.&lt;br /&gt;
Finance Accounts of the United Kingdom for 1890-91&lt;br /&gt;
83. Report from the Select Committee on Corn Sales&lt;br /&gt;
with Proceeding and Minutes of Evidence, 6 d.&lt;br /&gt;
Reports by the Board of Trade on the Classification&lt;br /&gt;
of Merchandise Traffic and Schedule of Maximum&lt;br /&gt;
Rates, determined in respect of the Metropolitan and&lt;br /&gt;
North Staffordshire Railway Companies, 6d. each.&lt;br /&gt;
9th Annual Report of the Fishery Board for Scotland,&lt;br /&gt;
in three Parts--I. General Report (ud); II. Report&lt;br /&gt;
on Salmon Fisheries (8d.); III. Scientific Investi-&lt;br /&gt;
gations (45. 8d.). Report of the Committee on the&lt;br /&gt;
Spacing and Construction of Watertight Bulkheads in&lt;br /&gt;
the Mercantile Marine, 6s. Reports by the Board of&lt;br /&gt;
Trade on the Classification of Merchandise and Sche.&lt;br /&gt;
dule of Maximum Rates determined in respect of the&lt;br /&gt;
Bishops Castle, Buckley, and Bridport Railway Com-&lt;br /&gt;
panies, 6d. each. Judicial Statistics, 1890.--England&lt;br /&gt;
and Wales. Part 1.--Police, Criminal Proceedings&lt;br /&gt;
Prisons. Part II.--Equity, Common Law, Civil and&lt;br /&gt;
Canon Law, 28. Report by the Board of Trade on the&lt;br /&gt;
Classification of Merchandise Traffic and Schedule of&lt;br /&gt;
Maximum Rates determined in respect of the Cleator&lt;br /&gt;
and Workington Junction Railway Company and&lt;br /&gt;
certain other companies, 3s. 3d.; also in respect of the&lt;br /&gt;
Limavady and Dungiven Railway Company, 6d.; also&lt;br /&gt;
in respect of the North-Eastern Railway Company, 6d.&lt;br /&gt;
Correspondence respecting the Claims of British Sub-&lt;br /&gt;
jects against the Hellenic Steam Navigation Company,&lt;br /&gt;
4d. Census of Ireland, 1891, Part I., Vol. I.--Pro-&lt;br /&gt;
vince of Leinster. No. 5, Kings County, 8 d. Report&lt;br /&gt;
from the Select Committee on House of Commons&lt;br /&gt;
(Ventilation), with proceedings of the Committee and&lt;br /&gt;
Minutes of Evidence, is. ud. Mineral Statistics of&lt;br /&gt;
the United Kingdom for 1888 and 1889, 28. 5d. 37th&lt;br /&gt;
Report of the Postmaster-General on the Post Office,&lt;br /&gt;
4d. Return of Public Expenditure (Exchequer&lt;br /&gt;
Issues), Charges on Taxes for each year, 1857-58 to&lt;br /&gt;
1890-91, id. Report on Sanitary Measures in India&lt;br /&gt;
in 1889-90. Vol. 23. 13. 6d. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 191 (#595) ############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMENTS.&lt;br /&gt;
THE SOCIETY OF TYPISTS. (EMPLOYERS AND CLERKS.)&lt;br /&gt;
ZFOTTlsriDIEID MAY, 1888.&lt;br /&gt;
To protect Employers from undercutting in price; to ensure Clerks being paid a&lt;br /&gt;
fair &amp;quot;wage; and for the prevention of the Sweating practised in cheap work&lt;br /&gt;
Offices.&lt;br /&gt;
SCHEDULE OF PRICES.&lt;br /&gt;
Legal and General Copying -&lt;br /&gt;
Carbon Duplicates of ditto&lt;br /&gt;
Author&amp;#039;s MSS. iu quantities of 3,ooo&lt;br /&gt;
words and over - -&lt;br /&gt;
Medical and Scientific MSS. -&lt;br /&gt;
Ralancc Sheets (Red Ruling extra) -&lt;br /&gt;
Carbon Duplicates, each copy two-&lt;br /&gt;
thirds top copy.&lt;br /&gt;
Prompt Books, per Act, 18 pp. 4to.&lt;br /&gt;
typed -&lt;br /&gt;
Prompt Rooks, after 18 pp. -&lt;br /&gt;
Actors&amp;#039; Parts when Prompt Rook&lt;br /&gt;
is not typed (size of page half-&lt;br /&gt;
foolscap) -&lt;br /&gt;
Carbon Duplicates, each copy half&lt;br /&gt;
price top copy.&lt;br /&gt;
Typing from Dictation -&lt;br /&gt;
Hire of Type-writer and Operator&lt;br /&gt;
folio (71&lt;br /&gt;
id. per folio.&lt;br /&gt;
1 \d. per&lt;br /&gt;
words).&lt;br /&gt;
it. id. per 1,000&lt;br /&gt;
words,&lt;br /&gt;
from m. 6d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
2&amp;lt;/. per folio.&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
per page.&lt;br /&gt;
irf. per page.&lt;br /&gt;
Hire of Type-writer and Operator&lt;br /&gt;
()perator only&lt;br /&gt;
day&lt;br /&gt;
ex-&lt;br /&gt;
from 2&laquo;. 6d. per hour,&lt;br /&gt;
iw.&amp;#039; per day (10&lt;br /&gt;
to 5).&lt;br /&gt;
&pound;2 5s. per week&lt;br /&gt;
7s. 6rf. per&lt;br /&gt;
(travelling&lt;br /&gt;
pensei extra).&lt;br /&gt;
Addressing envelopes - - from 7s. 6&amp;lt;i. per 1,000.&lt;br /&gt;
Typing from French, German, Italian,&lt;br /&gt;
or Spanish - - from 3&amp;lt;f. per folio.&lt;br /&gt;
Typing Plays from above Languages Half as much again&lt;br /&gt;
as ordinary price.&lt;br /&gt;
Postage and special qualities of paper charged extra.&lt;br /&gt;
Fee for Instruction in Type-writing, &pound;2 2&laquo;. for six weeks,&lt;br /&gt;
two hours daily, morning or afternoon, payable in advance.&lt;br /&gt;
All information can be obtained from the&lt;br /&gt;
HONORARY SECRETARY,&lt;br /&gt;
55, Chancery Lane, W.C.&lt;br /&gt;
Miss Allen, 39, Lombard Street.&lt;br /&gt;
Miss Ashworth, 28, Victoria Street, Westminster.&lt;br /&gt;
Mr. H. H. Rill, 22, The Avenue, Redford Park, W.&lt;br /&gt;
Mr. J. H. Rarber, 193, L&amp;#039;nion Street, Plymouth.&lt;br /&gt;
Mrs. Callard, Savoy Mansions.&lt;br /&gt;
Mr. Cassal, 21, Parliament Street, S.W.&lt;br /&gt;
Mr. J. C. Casso.v, 55, Chancery Lane, W.C.&lt;br /&gt;
Mr. J. Darke, Lion Chambers, Rroad Street, Rristol.&lt;br /&gt;
Mr. Davison (Caligraph), Queen Street, E.C.&lt;br /&gt;
Mr. J. W. Karle (Remington), 100, Grucechurch Street,&lt;br /&gt;
E.C.&lt;br /&gt;
Fitch Typewriter Co., Queen Victoria Street.&lt;br /&gt;
Mr. H. L. Hall, 100, Gracechurch Street, E.C.&lt;br /&gt;
Mr. F. .1. Hallett, Taunton.&lt;br /&gt;
Misses Hadwen &amp;amp; Fleming, Queen Street, Edinburgh.&lt;br /&gt;
Mrs. Marshall, i 26, Strand, W.C.&lt;br /&gt;
Mdme. Monchablon, 26, Austin Friars, E.C.&lt;br /&gt;
Messrs. North, South, &amp;amp; Co., 14, St. George&amp;#039;s Square,&lt;br /&gt;
Edinburgh.&lt;br /&gt;
Mr. H. Quinton, 1, Pavilion Parade, Rrightou.&lt;br /&gt;
Miss Richardson, 5, Victoria Street, W.C.&lt;br /&gt;
Mr. W. J. Richardson (Rar-loek), 12, Queen Victoria&lt;br /&gt;
Street, E.C.&lt;br /&gt;
Mr. A. M. Ross, North John Street, Liverpool.&lt;br /&gt;
Miss A. Stewart, 32, High Street, Southampton.&lt;br /&gt;
Mrs. Si&amp;#039;Rinoett, 4, Abchureh Yard, E.C.&lt;br /&gt;
Miss Taylor, Poultry Chambers, E.C.&lt;br /&gt;
Messrs. Treadwell &amp;amp; Wright, Devereuz Ruildings,&lt;br /&gt;
Dcvereux Court, W.C.&lt;br /&gt;
Miss Weyman, Hillside, Mortimer, Rerks.&lt;br /&gt;
Clerks employed on Piece Work in Society Offices are paid extra for&lt;br /&gt;
carbon copies.&lt;br /&gt;
HONORARY SECRETARY,&lt;br /&gt;
55, Chancery Lane.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 192 (#596) ############################################&lt;br /&gt;
&lt;br /&gt;
192&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
NOPS&amp;#039; ELECTROTYPE AGENCY.&lt;br /&gt;
&lt;br /&gt;
FINE ART ELECTROS.&lt;br /&gt;
Wk have at our disposal 2,000,000 (Two&lt;br /&gt;
Millions) of Engravings suitable for Illustrating&lt;br /&gt;
Newspapers, Hooks, Circulars, Magazines,&lt;br /&gt;
Pamphlets, Children&amp;#039;s Papers, &amp;amp;c., &amp;amp;c., and have&lt;br /&gt;
Comprehensive Indexes, of Portraits and Views&lt;br /&gt;
always ready for reference.&lt;br /&gt;
We shall he glad to receive a call from any&lt;br /&gt;
one requiring Illustrations of any kind; and if&lt;br /&gt;
clients at a distance will kindly send us a list of&lt;br /&gt;
subjects they require, together with sire limit,&lt;br /&gt;
a .Selection of suitable Proofs will be at once&lt;br /&gt;
despatched to them.&lt;br /&gt;
Cuts found to illustrate MS. or Text.&lt;br /&gt;
Agents for the &amp;quot;Illustrated. London&lt;br /&gt;
News,&amp;quot; &amp;quot;Graphic,&amp;quot; &amp;quot;Black and White,&amp;quot;&lt;br /&gt;
&amp;quot;Lady&amp;#039;s Pictorial,&amp;quot; &amp;quot;Strand Magazine,&amp;quot;&lt;br /&gt;
&amp;quot;Pictorial World,&amp;quot; &amp;amp;c, and the principal&lt;br /&gt;
Foreign Illustrated Papers.&lt;br /&gt;
Telegraphic Address&mdash;&amp;quot; DEN0PS, LONDON.&amp;quot;&lt;br /&gt;
Telephone Nmber&mdash;1880.&lt;br /&gt;
19, L U D G A T E HILL, LONDON, E. C.&lt;br /&gt;
Branches in Paris, New York, Melbourne, Ontario, and Bombay.&lt;br /&gt;
HOW SHALL I WRITE MY MANUSCRIPT?&lt;br /&gt;
-&mdash;Q&raquo;3O0ttr&raquo;--rH&lt;br /&gt;
THE old-fashioned way was by quill or steel pen; the modern way is by a Typewriter. If you adopt&lt;br /&gt;
the modern way, then the success of the change depends upon the Typewriter you select. And, remember,&lt;br /&gt;
there is a great difference in Typewriters. Correct theory, substantial construction, and mechanical&lt;br /&gt;
details rendered perfect bv unlimited expenditure and three years&amp;#039; practical experience. Ease of&lt;br /&gt;
Management, Durability, VISIBLE WRITING, Perfect Writing, Automatic&lt;br /&gt;
Line Spacing, Automatic Inking, Duplicate Keyboard, m-e among the qualities&lt;br /&gt;
which malce every owner of a&lt;br /&gt;
bar-lock: modern standard typewriter&lt;br /&gt;
So content and satisfied. We want you to have a BAIl-LOCK on Free Trial for a week&mdash;you will not&lt;br /&gt;
want to use a pen again. We supply them for Cash or by 12 Monthly Payments of &pound;1 ig*., or 24 of&lt;br /&gt;
&pound;1 is. id.&lt;br /&gt;
The BAR-LOCK was awarded the only Gold Medal at Edinburgh, 1890, and Jamaica, 1891. It is&lt;br /&gt;
used by the Sub-editor of the Times and many London and Provincial Papers. It is also in use at the&lt;br /&gt;
offices of the Morning Post, St. Stephen&amp;#039;s Review, the Star, the Manchester Guardian, the Western&lt;br /&gt;
Morning News, the Plymouth Mercury, &amp;amp;c, &amp;amp;c.&lt;br /&gt;
Illustrated Catalogue sent Post Free on Application to&mdash;&lt;br /&gt;
THE TYPEWRITER COMPANY, LTD.&lt;br /&gt;
LONDON: 12 &amp;amp; 14, QUEEN VICTORIA STREET, E.C.&lt;br /&gt;
MANCHESTER: 45, Market Street. LIVERPOOL: 1, South John Street. GLASGOW: 22, Renfleld Street.&lt;br /&gt;
London: Printed by Evuu and Si&amp;#039;OTtiswoodk, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/257/1891-11-01-The-Author-2-6.pdf</td><td>publications, The Author</td></tr><tr><td>258</td><td>https://historysoa.com/items/show/258</td><td>The Author, Vol. 02 Issue 07 (December 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+07+%28December+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 07 (December 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-12-01-The-Author-2-7</td><td></td><td></td><td></td><td></td><td>193&ndash;224</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-12-01&quot;&gt;1891-12-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>7</td><td></td><td></td><td>18911201</td><td>XT b e Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 7.]&lt;br /&gt;
DECEMBER 1, 1891.&lt;br /&gt;
[Pkice Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGE&lt;br /&gt;
Warnings &amp;#039;97&lt;br /&gt;
Notices &amp;#039;97&lt;br /&gt;
The Authors&amp;#039; Club 98&lt;br /&gt;
On Royalties &amp;#039;99&lt;br /&gt;
The Cost of Production 300&lt;br /&gt;
International Copyright Joo&lt;br /&gt;
Tho Study of English aoo&lt;br /&gt;
Tempota (et Fcniuuc) Mntantur 301&lt;br /&gt;
An Arabian Night 301&lt;br /&gt;
To a Young Violinist 302&lt;br /&gt;
The Growth of Literature in New Zealand 303&lt;br /&gt;
Notes and News 305&lt;br /&gt;
The Hygiene of the Literary&amp;#039; Li&amp;#039;&amp;quot; 308&lt;br /&gt;
&amp;quot;The Arrowmaker&amp;quot; 309&lt;br /&gt;
TAQE&lt;br /&gt;
I Spirit! Dei Ponti. The Spirits of Bridges 310&lt;br /&gt;
A Method of Advertisement 313&lt;br /&gt;
A Puzzling Experience 314&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I.&mdash;A New Departure 314&lt;br /&gt;
II.&mdash;A New Reading Union 214&lt;br /&gt;
III. &mdash;On New Work aij&lt;br /&gt;
IV. &mdash;Novels in a Batch 315&lt;br /&gt;
V.&mdash;The Generosity of tho Religious Society .. .. 31J&lt;br /&gt;
VI.&mdash;The Bookman 316&lt;br /&gt;
Notes on the Above 316&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 317&lt;br /&gt;
New Books and New Editions 319&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
STATE TRIALS, Keports of. New Series. Vol. HI.,&lt;br /&gt;
1831&mdash;40. Published under tho direction of the State Trials&lt;br /&gt;
Committee. Edited bv .loiix Macdoxeli.. M.A. io&raquo;.&lt;br /&gt;
INVESTMENTS. A List of r,6oo British, Colonial and&lt;br /&gt;
Foreign Securities dealt in upon the London and Provincial&lt;br /&gt;
Exchanges, giving tho highest and lowest prices of each&lt;br /&gt;
particular Stock for each of the last twenty-two years, or from&lt;br /&gt;
the time of the creation of such Stock, also the price on 30th&lt;br /&gt;
May, 1801, and the yield per cent, to the Investor. Compiled by&lt;br /&gt;
G. Brown. 2.1. 6d.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Keel Cloth, 3*.&lt;br /&gt;
Contains all the Public Acts passed during the jear, with&lt;br /&gt;
Index, also Tables showing the effect of the year&amp;#039;s legislation,&lt;br /&gt;
together with complete and classified Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
JOURNAL OF THE BRITISH ASTRONOMICAL&lt;br /&gt;
ASSOCIATION. Monthly, i&raquo;. 6d.; Annual Subscription, in-&lt;br /&gt;
cluding postage, i8&raquo;.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By tho Hon. RAXPH Abecrohby, F.R. Met.&lt;br /&gt;
800. 3*.&lt;br /&gt;
MKTEROLOGICAL INSTRUMENTS, Instructions in the&lt;br /&gt;
USe Of. 3T. 6d.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Royal Svo. Cloth, is. 6d.&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OP THE NEW ZEALAND RACE.&lt;br /&gt;
BySirGEOROEGREY. K.C.B. Illustrated. Royal 8vo. Cloth, 5&laquo;.&lt;br /&gt;
ANCIENT HISTORY OF THE MAORI. By John&lt;br /&gt;
WniTE. Demy Svo. Half Morocco. 4 vols. iw. per vol.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Clemest Reid, F.L.S., F.G.S. Five Plates (48 cuts), s*. 6rf.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. By William Wiiitaker, B.A. is.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
Tho Geology of. Bv W. WniTAKER, B.A., F.R.S., F.G.S.,&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, 6s. Vol. II. APPENDICES. 8vo. Cloth, j&raquo;.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kcw&lt;br /&gt;
Gardens. 28. lod.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, zd. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, 3s. gd.&lt;br /&gt;
DESCRIPriVE CATALOGUE OF MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day, Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. Shaw-Hellieb, Commandant Royal Military&lt;br /&gt;
School of Music. Illustrated by a series of Twelvo artistically&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood&lt;br /&gt;
Engravings. 3 iff.&lt;br /&gt;
&amp;quot;It affords information obtainable nowhere else, and it has been&lt;br /&gt;
put togetht r with so much care and thoughtfulness that Capt. Day&amp;#039;s&lt;br /&gt;
volume will be indeed welcomed by all who have to deal with the&lt;br /&gt;
wind instruments, and can be accepted without question as tho&lt;br /&gt;
standard authority.&amp;quot;&mdash;Musical News.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Olllce. By S. R.&lt;br /&gt;
Scargill-Bird. F.S.A. 7*.&lt;br /&gt;
&amp;quot;The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash;Times.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT A\D GENERAL PUHLISHERS.&lt;br /&gt;
EYRE anil SPOTTISWOODE, Her Majesty&amp;#039;s Printers, East Harding Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 194 (#598) ############################################&lt;br /&gt;
&lt;br /&gt;
i94&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
Messrs. METHUEN&amp;#039;S LIST.&lt;br /&gt;
#cto Boofts for Cljrtstmas presents.&lt;br /&gt;
THE COLLEGES OF OXFORD : their History and their Traditions. Twenty-one Chapters by Members of the Colleges,&lt;br /&gt;
Edited by Andrew Clark, M.A., Fellow of Lincoln. 8vo. 18s.&lt;br /&gt;
&amp;quot;Whether the reader approaches the book as a patriotic member of a college, as an antiquary, or as student of the organic growth of&lt;br /&gt;
college foundations, it will amply reward his attention.&amp;quot;&mdash;Times.&lt;br /&gt;
THE LIFE OF ADMIRAL LORD COLLINGWOOD. By W. Clark Russell, Author of &amp;quot;The Wreck of the&lt;br /&gt;
&amp;#039;Grosvenor.&amp;#039;&amp;quot; With Illustrations by F. Brangwyn. 8vo. ijs.&lt;br /&gt;
&amp;quot;Those that believe that there is no better reading than the lives of those who have fought and bled and died for their country will be&lt;br /&gt;
glad that there has at length appeared a really adequate biography of such a true Englishman as Lord Collingwood.&amp;quot;&mdash;Anti-Jacobin.&lt;br /&gt;
OLD COUNTRY LIFE. By S. Daring Gould, Author of &amp;quot;Mehalah,&amp;quot; &amp;amp;c. With Sixty-seven Illustrations by W.&lt;br /&gt;
Parkinson-, F. D. Bediord. and F. Masey. Larue crown 8vo., cloth super extra, top edge gilt. ios. bd. Third Edition.&lt;br /&gt;
&amp;quot;&amp;#039; Old Country Life,&amp;quot; as healthy, wholesome reading, full of breezy life and movement, full of quaint stories vigorously told, will not&lt;br /&gt;
be excellod by any book to bo published throughout the year. Sound, hearty, and English to the core.&amp;quot;&mdash; World.&lt;br /&gt;
S. BARING GOULD.&lt;br /&gt;
URITII: A Story of Dartmoor. By S. Baring Gould&lt;br /&gt;
Author of &amp;quot;Mehalah,&amp;quot; &amp;amp;c. Xow Edition. Crown Svo. 6s.&lt;br /&gt;
&amp;quot;Mr. Baring Gould is at his Iwst in &amp;#039; Until.&amp;quot; &amp;quot;&mdash;Timet.&lt;br /&gt;
Mrs. MOLESWORTH.&lt;br /&gt;
THE RED GRANGE. By Mrs. Molesworth, Author of&lt;br /&gt;
&amp;quot;The Cuckoo Clock,&amp;quot; Ac. With Illustrations by Gordon&lt;br /&gt;
Browne. Extra crown Svo. 6s.&lt;br /&gt;
Mrs. WALFORD.&lt;br /&gt;
A PINCH OF EXPERIENCE. By L. B. Walford,&lt;br /&gt;
Author of &amp;quot;Mr. Smith.&amp;quot; With Illustrations by Goudok&lt;br /&gt;
Brown e. Extra crown Svo. 6*.&lt;br /&gt;
THE AUTHOR OF &amp;quot;MADEMOISELLE MORI.&amp;quot;&lt;br /&gt;
THE SECRET OF MADAME DE MONLUC. By the&lt;br /&gt;
Author of &amp;quot;The Atelier du Lys.&amp;quot; Crown 8vo., cloth extra, $$.&lt;br /&gt;
NEW NOVELS.&lt;br /&gt;
L. T. MEADE.&lt;br /&gt;
THE HONOURABLE MISS: A Tale of a Country Town.&lt;br /&gt;
By L. T. Meade, Author of &amp;quot;Scamp and I,&amp;quot; &amp;quot; A Girl of the&lt;br /&gt;
People,&amp;quot; 4c With Illustrations by Everard Hopkihs.&lt;br /&gt;
Crown 8vo. 3s. bd.&lt;br /&gt;
GIRL OF THE PEOPLE. By L. T. Meade.&lt;br /&gt;
Illustrations by R. Barnes. Crown Svo. 3*. 6d.&lt;br /&gt;
With&lt;br /&gt;
HEPSY GIPSY. By L. T. Meade, Author of &amp;quot;A Girl of&lt;br /&gt;
the People,&amp;quot; Ac. Illustrated by Evbrard Hopkins. Crown&lt;br /&gt;
SVO. 28. bd.&lt;br /&gt;
Mrs. PARR.&lt;br /&gt;
DUMPS. By Mrs. Parr, Author of &amp;quot;Dorothy Fox,&amp;quot; &amp;amp;c.&lt;br /&gt;
Illustrated by W. Parkinson. Crown Svo. }*.M.&lt;br /&gt;
NEW AND CHEAPER EDITIONS.&lt;br /&gt;
MASTER ROCKAFELLAR&amp;#039;S VOYAGE. By W. Clark Russell, Author of &amp;quot;The Wreck of the &amp;#039;Grosvenor,&amp;#039;&amp;quot; &amp;amp;c.&lt;br /&gt;
Illustrated by Gordon Browne. Crown 8vo. 3s. 6d.&lt;br /&gt;
&amp;quot;Mr. Clark Russell&amp;#039;s story of &amp;#039;Master Roekafellar&amp;#039;s Voyago&amp;#039; will be among the favourites of the Christmas books. There is a rattle&lt;br /&gt;
and go all through it, and its illustrations are charming in themselves, and very much above the average in the way in which they are&lt;br /&gt;
produced. &mdash;Guardian.&lt;br /&gt;
SYD HELTON; or, the Boy who would not go to Sea. By G. Manville Fenn, Author of &amp;quot; Iu the King&amp;#039;s Name,&amp;quot; flee.&lt;br /&gt;
Illustrated by Gordon Browne. Crown Svo. 3s. bd.&lt;br /&gt;
&amp;quot;The pick of the adventure books for this season. There is not a dull page in it. &amp;#039;Syd Bclton&amp;#039; is a capital book.&amp;quot;&mdash;Sptakrr.&lt;br /&gt;
MY LAND OF BEULAH. By Mrs. Leith Adams. With a Frontispiece by Gordon Browne. Crown 8vo. &amp;quot;is. 6d.&lt;br /&gt;
NATURE IN BOOKS: Studies in Literary Biography.&lt;br /&gt;
By P. Anderson-Gkaiiam. Crown 8vo. 6s.&lt;br /&gt;
This is an attempt to trace the influence of surrounding circum-&lt;br /&gt;
stances, and especially of the influences of nature, on some great&lt;br /&gt;
writers. The chapters are entitled :&mdash;I. &amp;quot;The Magic of the Fields&amp;quot;&lt;br /&gt;
(JefCeries). II. &amp;quot; Art andXature&amp;quot; (Tennyson). 111.&amp;quot;The Doctrine&lt;br /&gt;
of Idleness&amp;quot; (Thoreau). IV. &amp;quot;The Romance of Life&amp;quot; (Scott).&lt;br /&gt;
V. &bull;&bull; The Poetry or Toil&amp;quot; (Burns). VI. &amp;quot;The Divinity or Nature&amp;quot;&lt;br /&gt;
(Wordsworth).&lt;br /&gt;
The Latest Translation of Ibsen.&lt;br /&gt;
BRAND. A Drama by Henry Ibsen. Translated by&lt;br /&gt;
William Wilson. Crown Svo. j*.&lt;br /&gt;
THE IMITATION OF BUDDHA: being Quotations from&lt;br /&gt;
Buddhist Literature for each day in the year. By E. M.&lt;br /&gt;
Bowden. With Preface by Sir Edwin Arnold. 34010. 2s. bd.&lt;br /&gt;
LYRA HEROICA: a Book of Verse for Boys. Selected and Arranged by W. E. Henley. Crown 8vo. Buckram, gilt&lt;br /&gt;
top. 6s.&lt;br /&gt;
VERSES. By Graham R. Tomson. With Frontispiece by A. Tomson. Fcap. 8vo. 3s. id. Also an Edition on&lt;br /&gt;
hand-made paper, limited to So copies. Large crown 8vo. 10s. bd. net.&lt;br /&gt;
FREAKS OF FANATICISM. By S. Baring Gould. Crown 8yo. 6s. A New and Cheaper Edition of the Book&lt;br /&gt;
originally published as the Second Series of&amp;quot; Historic Oddities.&amp;quot;&lt;br /&gt;
HISTORIC ODDITIES AN I) STRANGE EVENTS. By S. Baring Gould. First Series. Third Edition. Crown&lt;br /&gt;
8VO. bt.&lt;br /&gt;
METHUEN &amp;amp; Co., 18, Bury Street, W.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 195 (#599) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
J95&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887.)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
$JrtlUt|)HM:&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
PRICE LIST O.V APPLICATION-TERMS MODERATE.&lt;br /&gt;
miss n.. sr. g-xxjXj,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C, and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES ERWIKT,&lt;br /&gt;
13, Dorset Street, Portman Square, W.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, Lombard Stheet, E.C.&lt;br /&gt;
Office No. 59 (close to Lift).&lt;br /&gt;
.TTBKT,&lt;br /&gt;
TYPE-WRITES,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from Is. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of Charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street,&lt;br /&gt;
E.C.&lt;br /&gt;
Authors&amp;#039; MSS. type-written from Is. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklershury, London, E.C.&lt;br /&gt;
Tho Department for Lndy Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success whicb has attended its&lt;br /&gt;
management. The Course includes Shorthand, Type-writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency&mdash;&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
Particulars on application to&mdash;&lt;br /&gt;
MARY H. X&amp;gt;-A-Y.&lt;br /&gt;
2XT.&lt;br /&gt;
S. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from I*, per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge. Instruction given in&lt;br /&gt;
Pitman&amp;#039;s System of Shorthand and in type-&lt;br /&gt;
writing. References kindly permitted to Walter&lt;br /&gt;
Besant, Esq.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSPOON,&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES,&lt;br /&gt;
ft, SX7W COURT, CORIJHILL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent ont on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
-A.. ES. LEHTTY,&lt;br /&gt;
TYPE WRITING OFFICE,&lt;br /&gt;
165, QUEEN VICTOKIA STREET.&lt;br /&gt;
Highest Testimonials for all kinds of Work.&lt;br /&gt;
Price List on Application.&lt;br /&gt;
VICTORIA TYPE-WRITING OFFICE.&lt;br /&gt;
(FRANCES A. COX.)&lt;br /&gt;
565, Mansion House Chambers;&lt;br /&gt;
11, Queen Victoria Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully typed. Legal and General&lt;br /&gt;
Copying.&lt;br /&gt;
PROSPECTUS ON APPLICATION.&lt;br /&gt;
HOW FEW CAN WRITE CORRECTLY, and how&lt;br /&gt;
very few express their thoughts gracefully and with precision! The&lt;br /&gt;
grammar, punctuation, and style of writing (whether of important&lt;br /&gt;
private letters, essays, sermons, public addresses, or MSS. intended&lt;br /&gt;
for thepress),inost carefully revised byG. WASHINGTON MOON&lt;br /&gt;
Hon. F.R.S.L., Author of &amp;quot;The Dean&amp;#039;s English,&amp;quot; &amp;quot;Bud English&lt;br /&gt;
Exposed,&amp;quot; &amp;quot; The Revisers&amp;#039;English,&amp;quot; &amp;quot;Common Errors.&amp;quot; and other&lt;br /&gt;
critical works on the English language, and Reader to one of the&lt;br /&gt;
largest of the London publishing tinus.&mdash;Terms on application at&lt;br /&gt;
IB, New Burlington Street, W., London.&lt;br /&gt;
LADY SECRETARY, with thorough knowledge of Type-writing and Shorthand requires a rc-appointuient.&lt;br /&gt;
Excellent References. Address, B., c/o Miss Gill, 6, Adam Street, Strand, W.C, who would also answer persoual enquiries.&lt;br /&gt;
VOL. II. JJ 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 196 (#600) ############################################&lt;br /&gt;
&lt;br /&gt;
, 96 AD VER TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;lt;; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two davs&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are various points to select from, broad, medium, and fine, every handwriting can he suited,&lt;br /&gt;
and the price of the entire instrnmeut, with filler complete, post free, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will outwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
I)k. Oliver Wendell Holmks has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Gucndy, Esq., says (referring to the Fountain Pen) :&mdash;&amp;quot; It is a vast improvement on ever}- Stylograph.&amp;quot;&lt;br /&gt;
Mobeklt Hell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. I). Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; 1 have used them constantly for some&lt;br /&gt;
years, and, as far ns I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
03, CHEAFSIDB, LOIXTDOHT. *&amp;#039;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 197 (#601) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authort. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 7.] DECEMBER 1, 1891. [Price Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that arc&lt;br /&gt;
signed the Authors alone are responsible,&lt;br /&gt;
&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed:&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended by&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
(8.) Never forget that publishing is a business,&lt;br /&gt;
like anv other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Ins Fields.&lt;br /&gt;
&laquo;-&laquo;~&raquo;&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE Committee have to acknowledge with&lt;br /&gt;
thanks the ample response made to their&lt;br /&gt;
request for subscriptions towards the pro-&lt;br /&gt;
posed presentation to Mr. Robert Underwood&lt;br /&gt;
Johnson. No more money need be sent, as the&lt;br /&gt;
amount received and promised will fully cover the&lt;br /&gt;
amount spent. We will render a further account&lt;br /&gt;
uext mouth.&lt;br /&gt;
The meaning, as between publisher and author,&lt;br /&gt;
of the so-called &amp;quot;Royalty System&amp;quot;&mdash;where there&lt;br /&gt;
is no system&mdash;was explained in the Author for&lt;br /&gt;
November 1891. Writers are entreated, in their&lt;br /&gt;
own interests, to study the facts and figures there&lt;br /&gt;
set forth.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colles, the&lt;br /&gt;
Honorary Secretary. Mr. Colles will issue a report&lt;br /&gt;
on the financial side of the Syndicate, drawn by a&lt;br /&gt;
firm of chartered accountants, at the beginning of&lt;br /&gt;
the new year,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 198 (#602) ############################################&lt;br /&gt;
&lt;br /&gt;
ig8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
A correspondent writes to ask for information as&lt;br /&gt;
to the &amp;quot;loss&amp;quot; of copyright. A few elementary&lt;br /&gt;
points are, therefore, advanced. Copyright is the&lt;br /&gt;
right to copy or reproduce. It must not be parted&lt;br /&gt;
with, except for a consideration fair and reasonable.&lt;br /&gt;
Most publishers&amp;#039; agreements contain a clause which&lt;br /&gt;
assigns to them the copyright. It is called some-&lt;br /&gt;
times by its own name, sometimes it is called the&lt;br /&gt;
right to first and all subsequent editions, some-&lt;br /&gt;
times it. is called the right to produce future&lt;br /&gt;
editions at cheaper prices, should the publisher think&lt;br /&gt;
lit. Then follows the consideration for which the&lt;br /&gt;
author is asked to surrender his property. Writers&lt;br /&gt;
who sign this agreement in too many cases do not&lt;br /&gt;
even know what they are giving or selling, and in&lt;br /&gt;
some instances are too inexperienced in business&lt;br /&gt;
matters to understand plain English. Let them&lt;br /&gt;
before signing any agreement ask themselves these&lt;br /&gt;
questions:&lt;br /&gt;
1. Does the agreement assign the copyright to&lt;br /&gt;
the publishers?&lt;br /&gt;
2. If so, for what consideration?&lt;br /&gt;
3. What does that consideration leave to the&lt;br /&gt;
publishers on the side of the first and all&lt;br /&gt;
subsequent editions?&lt;br /&gt;
■ ■&mdash;&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
1.&lt;br /&gt;
AFINAL meeting of the Parliamentary Com-&lt;br /&gt;
mittee of the proposed Authors&amp;#039; Club was&lt;br /&gt;
held at the Society&amp;#039;s Office on Thursday last.&lt;br /&gt;
Mr. Oswald Craufurd, C.M.G., in the chair. The&lt;br /&gt;
rules have now been finally adopted. The pro-&lt;br /&gt;
spectus of the club has been drawn up and adopted.&lt;br /&gt;
It has been decided to bring out the club, as many&lt;br /&gt;
other new clubs have been successfully started, as a&lt;br /&gt;
Joint Stock Company. The committee have every&lt;br /&gt;
reason to be sanguine of success. Up to the present&lt;br /&gt;
moment they have received the names of many well&lt;br /&gt;
known men of letters. The subscription will be, at&lt;br /&gt;
first, four guineas a year.&lt;br /&gt;
II.&lt;br /&gt;
Prospectus.&lt;br /&gt;
Literature, which formerly was taken to include&lt;br /&gt;
little beside history, belles lettres, and poetry,&lt;br /&gt;
now includes writing on any and every subject&lt;br /&gt;
that can occupy the wit of man. There are&lt;br /&gt;
those who write on science&mdash;an army in them-&lt;br /&gt;
selves; those who write fiction&mdash;another armv;&lt;br /&gt;
those who write on music, painting, sculpture,&lt;br /&gt;
architecture, and all branches of art. There are&lt;br /&gt;
those who write on law, those who write on&lt;br /&gt;
medicine, those who write on social and political&lt;br /&gt;
economy, those who write on theology, those who&lt;br /&gt;
write their travels, those who write biography,&lt;br /&gt;
those who write essays and magazine articles.&lt;br /&gt;
There are journalists, and there are those who sit&lt;br /&gt;
in judgment on all who write. In every liberal&lt;br /&gt;
profession there are authors. In every calling out-&lt;br /&gt;
side the liberal professions there are authors.&lt;br /&gt;
Those who write books are not necessarily authors&lt;br /&gt;
by profession. They think they have a thing to&lt;br /&gt;
say, and they say it by means of a book. In may&lt;br /&gt;
be a contribution to their own profession, the&lt;br /&gt;
subject in which they have been trained. It may-&lt;br /&gt;
be only one book that makes its writer an author.&lt;br /&gt;
The living authors, including every man and every&lt;br /&gt;
woman who has written a book, may now be&lt;br /&gt;
numbered by thousands.&lt;br /&gt;
The Authors&amp;#039; Club is established for the associa-&lt;br /&gt;
tion of authors in every branch of literature,&lt;br /&gt;
including in that term the writers and editors of&lt;br /&gt;
books, dramatists, journalists, and contributors to&lt;br /&gt;
leading periodicals, or to the transactions of learned&lt;br /&gt;
and scientific societies, and writers in collective&lt;br /&gt;
publications.&lt;br /&gt;
But it will be understood, the fact of a man&lt;br /&gt;
having written books&mdash;however good or successful&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 199 (#603) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
199&lt;br /&gt;
&mdash;will not alone qualify him for admission to the&lt;br /&gt;
Club unless he is iilso a clubbable person.&lt;br /&gt;
At present it cannot be said that there is any&lt;br /&gt;
literary club at all. There are men of letters at&lt;br /&gt;
the Athenaeum, just as there are men distin-&lt;br /&gt;
guished in the church, in science, and in&lt;br /&gt;
art. There are men of letters in the Savile, the&lt;br /&gt;
Gnrrick, the Arts, and the Savage, but there is no&lt;br /&gt;
such thing as a&amp;#039;club where the first qualification is&lt;br /&gt;
that the members shall belong to the republic of&lt;br /&gt;
letters. There is no club which serves the interests&lt;br /&gt;
of literature in the same way as the Service Clubs&lt;br /&gt;
act for the Army and the Navy. And just as there&lt;br /&gt;
exist in the Army and the Navy the widest possible&lt;br /&gt;
differences and distinctions among the members,&lt;br /&gt;
.so the widest possible differences exist among&lt;br /&gt;
authors, and should not be a bar to union.&lt;br /&gt;
It is intended to make the Club a high-class in-&lt;br /&gt;
stitution. It will, for instance, contain reading and&lt;br /&gt;
■writing rooms, billiard rooms, smoking rooms, card&lt;br /&gt;
rooms, dressing rooms, dining rooms, &amp;amp;c.&lt;br /&gt;
Some of the special advantages of the Club for&lt;br /&gt;
members will be as follows :&mdash;&lt;br /&gt;
(1.) It will be a Club with a very reasonable&lt;br /&gt;
subscription and charges.&lt;br /&gt;
(2.) It will be placed in a central position.&lt;br /&gt;
(3.) Every member will be supposed to know&lt;br /&gt;
every other member.&lt;br /&gt;
(4.) It will aim at being a social club on the&lt;br /&gt;
lines already followed by some of the&lt;br /&gt;
newer clubs.&lt;br /&gt;
(5.) Members will have the privilege of enter-&lt;br /&gt;
taining their friends.&lt;br /&gt;
(6.) It will contain rooms for writing, provided&lt;br /&gt;
with a referenee library.&lt;br /&gt;
(7.) There will be a table d&amp;#039;hote dinner as well&lt;br /&gt;
as dinners at separate tables.&lt;br /&gt;
(8.) The Club will necessarily, from the quali-&lt;br /&gt;
fications demanded of its members, step&lt;br /&gt;
at the outset into the front as a society&lt;br /&gt;
composed of men who have at least shown&lt;br /&gt;
some intellectual activity.&lt;br /&gt;
(9.) Its members will be limited to 600.&lt;br /&gt;
III.&lt;br /&gt;
The advantages which this Club, successful and&lt;br /&gt;
well managed, ought to confer upon the pro-&lt;br /&gt;
fession of letters, may be briefly summed up as&lt;br /&gt;
follows: It has long been one of the chief aims&lt;br /&gt;
of the Society of Authors to bring together, as&lt;br /&gt;
barristers are brought together, though they may&lt;br /&gt;
l&amp;gt;e united by a more slender tie, those who produce&lt;br /&gt;
the literature of the day. It is found that the&lt;br /&gt;
Society, whose chief work is the defence of the&lt;br /&gt;
property created by these producers, has developed&lt;br /&gt;
some power of awakening the spirit and cama-&lt;br /&gt;
raderie belonging to a common profession; but&lt;br /&gt;
that it necessarily lacks the power of bringing&lt;br /&gt;
together the members of the profession. We&lt;br /&gt;
cannot have a common hall, we cannot have&lt;br /&gt;
benchers to maintain the dignity and watch for the&lt;br /&gt;
honour of the profession. But, we have a Society,&lt;br /&gt;
and we may, if we please, have a club. The spirit&lt;br /&gt;
engendered by the existence of common interests&lt;br /&gt;
lies at the root of all professional unions. When&lt;br /&gt;
these interests are recognised and understood to be&lt;br /&gt;
common to all, the professional spirit will grow&lt;br /&gt;
and spread. The old jealousies and quarrels of&lt;br /&gt;
authors, which disgrace the history of literature,&lt;br /&gt;
will be rendered impossible when, as in the legal&lt;br /&gt;
profession, men are restrained by public opinion,&lt;br /&gt;
or by professional etiquette, from the old miserable&lt;br /&gt;
practice of rending, abusing, and scarifying each&lt;br /&gt;
other. No reasonable person ever can or will&lt;br /&gt;
object to open and honourable criticism, especially&lt;br /&gt;
when it is invited by sending books to an editor&lt;br /&gt;
for review. But it is above all things desirable to&lt;br /&gt;
create and to foster that professional spirit which&lt;br /&gt;
shall make authors feel that they owe to each other&lt;br /&gt;
the same respect, and must pay the same outward&lt;br /&gt;
forms of respect, as barrister owes and pays to&lt;br /&gt;
barrister, or physician to physician. Now the&lt;br /&gt;
Authors&amp;#039; Club should be able, far more efficiently&lt;br /&gt;
than the Authors&amp;#039; Society, to lead in the creation&lt;br /&gt;
of this spirit.&lt;br /&gt;
Another advantage to literature will be that the&lt;br /&gt;
work done by the Society&mdash;the diffusing of know-&lt;br /&gt;
ledge; as to the cost of production&mdash;the meaning of&lt;br /&gt;
royalties&mdash;the frauds practised by the fraudulent&lt;br /&gt;
houses, &amp;amp;c, will become more accessible by means of&lt;br /&gt;
a club whose members are all men of letters, and,&lt;br /&gt;
therefore, interested in spreading abroad among&lt;br /&gt;
their own class these facts and figures.&lt;br /&gt;
It may be objected that the elder writers among&lt;br /&gt;
us will not wish to join a new literary club. It is&lt;br /&gt;
true that they have their own clubs, and that we&lt;br /&gt;
cannot expect many of them to break up old habits&lt;br /&gt;
and to change their circles, and to go into strange&lt;br /&gt;
clubs among new people. Still, some of them, for&lt;br /&gt;
the love of letters, will certainly join the club, and&lt;br /&gt;
we must remember, as regards the rest, that the&lt;br /&gt;
future belongs to the young. Only let the young&lt;br /&gt;
men join us, and the future of the club is assured.&lt;br /&gt;
ON ROYALTIES.&lt;br /&gt;
LAST month we gave approximately the mean-&lt;br /&gt;
ing of what is called tlie &amp;quot; Royalty System&amp;quot;&lt;br /&gt;
in a series of tables, which readers will do&lt;br /&gt;
well to study and to note carefully. A timely&lt;br /&gt;
incident may show one of the dangers against which&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 200 (#604) ############################################&lt;br /&gt;
&lt;br /&gt;
200&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
au author should l&amp;gt;e on his guard in signing&lt;br /&gt;
gureoments based u]&amp;gt;on this system. A.B. wrote a&lt;br /&gt;
book, which lie took to a publisher. The latter&lt;br /&gt;
offered the author an agreement granting a certain&lt;br /&gt;
royalty on the published price, but inserted a clause&lt;br /&gt;
stipulating that, should he sell the book at. less than&lt;br /&gt;
half price, the royalty should be only a certain&lt;br /&gt;
amount on the nett sales instead of the published&lt;br /&gt;
price. This agreement was signed by the author,&lt;br /&gt;
who supposed that the clause could only refer to&lt;br /&gt;
remainder stock. Not at all. The publisher sold&lt;br /&gt;
the bulk of the edition just under half price; but&lt;br /&gt;
he gave the author no hint of his intention. What&lt;br /&gt;
he gained on the royalties over what he. lost by&lt;br /&gt;
lowering the price put something into his pocket on&lt;br /&gt;
every volume.&lt;br /&gt;
THE COST OF PRODUCTION.&lt;br /&gt;
ANOTHER edition of this very useful little work&lt;br /&gt;
is now ready. Those who possess the earlier&lt;br /&gt;
editions will please note that since they were&lt;br /&gt;
issued there has been a rise in compositors&amp;#039; wages,&lt;br /&gt;
which, so far as London is concerned, will affect&lt;br /&gt;
the item of composition, or setting-up, and press&lt;br /&gt;
work, or machining, to the extent of about i5 per&lt;br /&gt;
cent. It has not, we are assured, touched prices&lt;br /&gt;
in Edinburgh.&lt;br /&gt;
Those who consult the book should also bear in&lt;br /&gt;
mind that our estimates are very liberal, so as to be&lt;br /&gt;
on the safe side. A printer&amp;#039;s bill is a very elastic&lt;br /&gt;
thing, one that may be shortened as well as&lt;br /&gt;
lengthened, in a most surprising manner. Eor in-&lt;br /&gt;
stance, a certain piece of work required for the&lt;br /&gt;
Authors&amp;#039; Syndicate, which began by costing 36*. a&lt;br /&gt;
week, 1ms now gone down to ids., without the least&lt;br /&gt;
alteration in length. And the other day the account&lt;br /&gt;
of a book was sent in which showed the cost of&lt;br /&gt;
production considerably less than the estimate in&lt;br /&gt;
the Society&amp;#039;s book. Nor is this the only occasion&lt;br /&gt;
in which we have found the figures supplied to us&lt;br /&gt;
to have been liberal ones.&lt;br /&gt;
&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
I.&lt;br /&gt;
CERTAIN French writers and composers have&lt;br /&gt;
formed the &amp;quot; Societe Civile du Copyright,&amp;quot;&lt;br /&gt;
and have appointed Edward Brandus,&lt;br /&gt;
publisher, of New York, their agent. The French&lt;br /&gt;
Copyright Company has been incorporated with&lt;br /&gt;
a capital of ?5o,ooo, with headquarters at&lt;br /&gt;
No. 26, Rue Caumartin, in Paris, and an office&lt;br /&gt;
in New York, at 3o, Broad Street. The object&lt;br /&gt;
is to protect the property of French authors and&lt;br /&gt;
composers in the United States. To a Tribune&lt;br /&gt;
reporter, who asked him whether he had any&lt;br /&gt;
individual contracts with well-known authors, Mr.&lt;br /&gt;
Brandus replied: &amp;quot;Few great authors arc willing&lt;br /&gt;
to bind themselves to publish their books in any-&lt;br /&gt;
particular way or place. However, our Society&lt;br /&gt;
has met the approval of Frenchmen, and we shall&lt;br /&gt;
publish many works of many famous authors.&amp;quot; He&lt;br /&gt;
also expressed the opinion that the Society will be&lt;br /&gt;
as beneficial to American authors as to French.&lt;br /&gt;
II.&lt;br /&gt;
With regard to the difficulty of retaining&lt;br /&gt;
copyright in America for a story that is being&lt;br /&gt;
published serially in England, it appears to me&lt;br /&gt;
that the difficulty might be got over somewhat&lt;br /&gt;
in the way the right in plays was retainer],&lt;br /&gt;
by producing to a few friends. Produce the&lt;br /&gt;
book in America simultaneously with the first&lt;br /&gt;
instalment being issued in England; but produce&lt;br /&gt;
also in England, say, eight copies of the book at a&lt;br /&gt;
prohibitive price&mdash;five for the libraries, the rest for&lt;br /&gt;
those who like buying scarce articles; this would&lt;br /&gt;
be publication simultaneously of the whole book,&lt;br /&gt;
here and in America, but not a publication that&lt;br /&gt;
would injure the run in the serial. Perhaps&lt;br /&gt;
opinions upon this suggestion may be obtained.&lt;br /&gt;
James Baker.&lt;br /&gt;
THE STUDY OF ENGLISH.&lt;br /&gt;
PROFESSOR Skeat&amp;#039;s paper on the Educational&lt;br /&gt;
Value of English, published in the Educational&lt;br /&gt;
Review of November, is a claim for our own&lt;br /&gt;
language and our own literature as instruments of&lt;br /&gt;
the higher education. It is the first chapter onlv.&lt;br /&gt;
He shows that the true value of our language was&lt;br /&gt;
actually left to foreigners to discover. The&lt;br /&gt;
first Anglo-Saxon grammar of any scientific&lt;br /&gt;
value was written by a Dane. The only grammars&lt;br /&gt;
of the, English language, of any importance&lt;br /&gt;
are written by Germans. The best treatise on&lt;br /&gt;
English metre is written by a German. The best&lt;br /&gt;
account of Early English Literature is by a Dutch-&lt;br /&gt;
man, and the best book on Shakespeare is by a&lt;br /&gt;
German. Again, there are no periodicals in&lt;br /&gt;
Germany&mdash;in this country there are none&mdash;devoted&lt;br /&gt;
to the study of English Literature. &amp;quot;With a&lt;br /&gt;
certain few exceptions of well-known names,&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 201 (#605) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
2Q\&lt;br /&gt;
writes Professor Skeat, &amp;quot;the editor of either of&lt;br /&gt;
tliese periodicals would not accept a contribution&lt;br /&gt;
sent him by a correspondent from England, lest he&lt;br /&gt;
should find that, when the article appeared in print,&lt;br /&gt;
it would prove the incompetency of the author, and&lt;br /&gt;
his own mismanagement.&amp;quot; This affords a safe&lt;br /&gt;
measure of the reputation which English scholar-&lt;br /&gt;
ship enjoys abroad.&lt;br /&gt;
&lt;br /&gt;
TEMPORA (ET FEMIN5J) MUTANTTJR.&lt;br /&gt;
&amp;quot;Jocund his muse was, but his life was chaste.&amp;quot;&lt;br /&gt;
(Herkick.)&lt;br /&gt;
I.&lt;br /&gt;
Old Herrick&amp;#039;s dead and gone,&lt;br /&gt;
Yet no hoary granite stone&lt;br /&gt;
Remains the Poet&amp;#039;s resting-place to tell&mdash;&lt;br /&gt;
But the vicars ever since&lt;br /&gt;
Have been trying to convince&lt;br /&gt;
The world each caught his mantle as it fell!&lt;br /&gt;
II.&lt;br /&gt;
Thus you see a silly fellow&lt;br /&gt;
Who cannot pluck a yellow&lt;br /&gt;
Buttercup, without apostrophizing odes;&lt;br /&gt;
While my laughter-loving lasses&lt;br /&gt;
I must view with other glasses&lt;br /&gt;
Than those prescribed by Education Codes.&lt;br /&gt;
III.&lt;br /&gt;
I suppose the air of Devon&lt;br /&gt;
Lends a soft poetic leaven&lt;br /&gt;
To those who court it&amp;#039;s enervating breeze;&lt;br /&gt;
For though old Herrick rated&lt;br /&gt;
Dean Prior, which he hated,&lt;br /&gt;
He worked away at his Hesperides!&lt;br /&gt;
IV.&lt;br /&gt;
His Julia is dead,&lt;br /&gt;
Anthea too has fled&lt;br /&gt;
To the land from whence no travellers return,&lt;br /&gt;
But his Daffodills shine bright&lt;br /&gt;
And his Glow-worms lend their light,&lt;br /&gt;
And there roars upon the rocks his rugged&lt;br /&gt;
bourn.&lt;br /&gt;
V.&lt;br /&gt;
Yes! The mosses ami the flowers,&lt;br /&gt;
Fed by everlasting showers,&lt;br /&gt;
Luxuriate on venerable banks;&lt;br /&gt;
But, alas! in vain you seek&lt;br /&gt;
For the cherry lip and cheek&lt;br /&gt;
That can coax a very anchorite to pranks!&lt;br /&gt;
VOL. II.&lt;br /&gt;
VI.&lt;br /&gt;
No! The beauties of the parish&lt;br /&gt;
Are not the sort to ravish&lt;br /&gt;
Your eyes, or pay for intimate inspection;&lt;br /&gt;
I could never care a stiver&lt;br /&gt;
For a lass with too much liver&lt;br /&gt;
Or a tallowy and sallowy complexion!&lt;br /&gt;
VII.&lt;br /&gt;
Oh! Herrick ! could you rise,&lt;br /&gt;
You would view with sad surprise&lt;br /&gt;
A cuticle of parchment or of paste;&lt;br /&gt;
And would own that at the most&lt;br /&gt;
&amp;#039;Twould be now a sorry boast&lt;br /&gt;
That while your muse was jocund you were&lt;br /&gt;
chaste.&lt;br /&gt;
Dean Prior Vicarage,&lt;br /&gt;
Buckfastleigh.&lt;br /&gt;
&diams;■&raquo;■&diams;&lt;br /&gt;
AN ARABIAN NIQHT.&lt;br /&gt;
(From the American Author.)&lt;br /&gt;
OvCHEHEKAZADE had just begun her thou-&lt;br /&gt;
sand-and-second narration. The Sultan&lt;br /&gt;
Schahriah held up his hand in impatient&lt;br /&gt;
weariness, and she stopped.&lt;br /&gt;
&amp;quot;Is this the same old thing?&amp;quot; he demanded.&lt;br /&gt;
&amp;quot;Genii, disguised califs, enchanted palaces, roc&amp;#039;s&lt;br /&gt;
eggs, magic lamps, and all that?&amp;quot;&lt;br /&gt;
&amp;quot;It must be so, your Serene Placidity,&amp;quot; the&lt;br /&gt;
trembling romancer replied. &amp;quot;Naught else is&lt;br /&gt;
there wonderful enough to frame a tale for ears&lt;br /&gt;
like thine.&amp;quot;&lt;br /&gt;
&amp;quot;Then out you go!&amp;quot;&lt;br /&gt;
The sultan gave a wrathful signal. Slaves&lt;br /&gt;
seized the hapless girl and dragged her, shrieking,&lt;br /&gt;
toward the place where the bowstrings were kept.&lt;br /&gt;
She broke from them and threw herself at the&lt;br /&gt;
sultan&amp;#039;s feet.&lt;br /&gt;
&amp;quot;I have thought of another one!&amp;quot; she cried.&lt;br /&gt;
&amp;quot;This is a new one!&amp;quot;&lt;br /&gt;
&amp;quot;If it be both new and good, well. We desire&lt;br /&gt;
originality, but we desire imagination also. The&lt;br /&gt;
new tale must be more wonderful than any you&lt;br /&gt;
have submitted to us these thousand-and-one nights&lt;br /&gt;
past.&amp;quot;&lt;br /&gt;
&amp;quot;It is much more wonderful.&amp;quot;&lt;br /&gt;
&amp;quot;Then we will consider it. There are also&lt;br /&gt;
other requirements. Don&amp;#039;t ask us what they are.&lt;br /&gt;
If you are left alive, you may know that you have&lt;br /&gt;
satisfied them. If you are slain, you may know&lt;br /&gt;
that you have failed. Proceed. If your new story&lt;br /&gt;
is just the thing we want, we may accept it. Wo&lt;br /&gt;
can soou tell. So can you!&amp;quot;&lt;br /&gt;
O&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 202 (#606) ############################################&lt;br /&gt;
&lt;br /&gt;
2QZ&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Thus encouraged, poor Scheherazade began for&lt;br /&gt;
the second time her thousand-and-second narration.&lt;br /&gt;
&amp;quot;In the time of my youth wealth was my slave,&lt;br /&gt;
and luxury was the air I breathed. A wish un-&lt;br /&gt;
gratified was a thing I could not imagine. Another&lt;br /&gt;
tiling I could not imagine was the need for any&lt;br /&gt;
sort of effort. As for work, it simply did not exist&lt;br /&gt;
within my knowledge.&amp;quot;&lt;br /&gt;
&amp;quot;Pretty good invention !&amp;quot; muttered the sultan.&lt;br /&gt;
&amp;quot;Rather too good, since we remember what hard&lt;br /&gt;
scratching your father&amp;#039;s family had to do to get&lt;br /&gt;
along!&amp;quot;&lt;br /&gt;
&amp;quot;One terrible day,&amp;quot; Scheherazade continued,&lt;br /&gt;
&amp;quot;all this happiness became a memory. A sudden&lt;br /&gt;
tempest of misfortune uprooted the beautiful tree&lt;br /&gt;
of prosperity; and where its roots had been was&lt;br /&gt;
now only the deep, black hole of poverty. In the&lt;br /&gt;
depths of that hole I was engulfed. I was left&lt;br /&gt;
alone, without help. I, who had never learned&lt;br /&gt;
what exertion meant, must now work if I would&lt;br /&gt;
keep alive, even at the bottom of the dismal hole.&amp;quot;&lt;br /&gt;
&amp;quot;You said something about this being a new&lt;br /&gt;
storv,&amp;quot; Schahriah suggested grimly. &amp;quot;If it is, you&lt;br /&gt;
had better get to the new part right away!&amp;quot;&lt;br /&gt;
&amp;quot;Patience, O Most Serene! It was all terribly&lt;br /&gt;
new to me! But I conie now at once to the&lt;br /&gt;
blissfully thrilling part. By one timely and supreme&lt;br /&gt;
effort I got out of the hole 1 was in, and renewed&lt;br /&gt;
the atmosphere of luxury I had l&amp;gt;een wont to&lt;br /&gt;
breathe. Pens, ink, and paper had been saved from&lt;br /&gt;
the wreck of our fortune. They were the instru-&lt;br /&gt;
ments of my deliverance. Without an instant of&lt;br /&gt;
delay I began to write for the magazines!&amp;quot;&lt;br /&gt;
The sultan uttered a howl. The slaves sprang&lt;br /&gt;
forward to seize once more the unhappy fabricator.&lt;br /&gt;
Their master motioned them to stand back. He&lt;br /&gt;
could endure yet a little more.&lt;br /&gt;
&amp;quot;The magazines, eh? That may account for&lt;br /&gt;
the lack of flesh on your bones when you came to&lt;br /&gt;
live at the palace,&amp;quot; he remarked to Scheherazade.&lt;br /&gt;
&amp;quot;But goon. Tell us how you managed it. In&lt;br /&gt;
that, must lie tin; new and wonderful part of your&lt;br /&gt;
story&mdash;if it have any such part!&amp;quot;&lt;br /&gt;
&amp;quot;It managed itself, O Most Credulous One ! I&lt;br /&gt;
but went forth among the makers of magazines and&lt;br /&gt;
told them my wish. Some of them prayed me, in&lt;br /&gt;
tones of melting kindness, to show them what I&lt;br /&gt;
had written. No word, as yet, had ever been&lt;br /&gt;
written by me; for I knew not how to write.&lt;br /&gt;
Then thesB gentle-hearted men knelt before me&lt;br /&gt;
and begged that I would straightway begin. I&lt;br /&gt;
granted their prayer. The first thing I wrote for&lt;br /&gt;
them they published and paid for,&mdash;and never&lt;br /&gt;
thereafter did I write a line that was not published&lt;br /&gt;
and paid for. I wrote much, and forgot poverty.&lt;br /&gt;
That is the tale, O Most Gullible!&amp;quot;&lt;br /&gt;
The sultan reflected in silence for a little time.&lt;br /&gt;
&amp;quot;It has been told many times before,&amp;quot; he said at&lt;br /&gt;
last. &amp;quot;We have seen it on the printed page.&lt;br /&gt;
Foolish men and women seem to love the telling of&lt;br /&gt;
it. Therefore, it is not new. It is sufficiently&lt;br /&gt;
marvellous to make up for that, however. It is&lt;br /&gt;
more wonderful than &amp;#039; The Slave of the Lain]),&amp;#039;&lt;br /&gt;
and that is a recommendation. In all the thousand&lt;br /&gt;
and one nights you have told us nothing so in-&lt;br /&gt;
credible. So, only for one thing, your story might&lt;br /&gt;
be accepted. Among the requirements we did not&lt;br /&gt;
mention is truth. Truth we must have. Now, we&lt;br /&gt;
could believe in &amp;#039;The Valley of Diamonds&amp;#039;; but&lt;br /&gt;
who could believe this latter tale? Therefore&amp;quot;&lt;br /&gt;
He gave once more the signal to the slaves; and&lt;br /&gt;
thev did what was expected of them.&lt;br /&gt;
James C. Pi*udt.&lt;br /&gt;
Moorestown, N. J.&lt;br /&gt;
&lt;br /&gt;
TO A YOUNG VIOLINIST.&lt;br /&gt;
At her Debut, New York, Oct. 18, 1S91.&lt;br /&gt;
Fair sister of the Muses! &amp;#039;tis the hour&lt;br /&gt;
Dearest of all, when thou dost wed thy Art.&lt;br /&gt;
No bride more radiant a more single heart&lt;br /&gt;
Gave to her chosen&mdash;and what noble dower!&lt;br /&gt;
Graces akin to forest and to flower;&lt;br /&gt;
A spirit blithe as dawn; a soul astart;&lt;br /&gt;
A nature rich, to keep thee what thou art &mdash;&lt;br /&gt;
A star of beauty and a flame of power.&lt;br /&gt;
Now, while the tranced throng turn each to each&lt;br /&gt;
Sharing their joy, think&amp;#039;st thou on those&lt;br /&gt;
young years&lt;br /&gt;
When many a day and night was unbeguiled&lt;br /&gt;
Save by this love that lightened toil and tears?&lt;br /&gt;
Thy music melts upon the verge of speech&mdash;&lt;br /&gt;
Fame crowns the artist, I, the constant child.&lt;br /&gt;
R. U. Johnson.&lt;br /&gt;
(New York Critic.)&lt;br /&gt;
&lt;br /&gt;
THE GROWTH OF LITERATURE IN&lt;br /&gt;
NEW ZEALAND.&lt;br /&gt;
By Mrs. James Soisted, Cor. Mem. R.G.S.&lt;br /&gt;
(Australasia).&lt;br /&gt;
THE practical &amp;quot; nation making&amp;quot; work in which&lt;br /&gt;
New Zealand colonists are engaged, leaves&lt;br /&gt;
the majority, at least, scant leisure for&lt;br /&gt;
intellectual pursuits.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 203 (#607) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
It is therefore a good augury for the literary&lt;br /&gt;
future of this beautiful country that amid the&lt;br /&gt;
absorbing demand upon their energies the belles&lt;br /&gt;
letties are not wholly neglected.&lt;br /&gt;
It would be impossible within the compass of&lt;br /&gt;
this short article to do more than briefly glance at&lt;br /&gt;
the intellectual history of New Zealand.&lt;br /&gt;
It will, however, be readily granted by my&lt;br /&gt;
readers that the national literature of any country&lt;br /&gt;
must necessarily be greatly influenced, not only by&lt;br /&gt;
the character of the natives, but also by the nature&lt;br /&gt;
of the country itself.&lt;br /&gt;
Moreover, every country should have its distinc-&lt;br /&gt;
tive character faithfully expressed in a literature&lt;br /&gt;
which is a reflex of the land in which it had its&lt;br /&gt;
birth. Further, nothing can better show the&lt;br /&gt;
growth of a nation than its progress in literature.&lt;br /&gt;
Nor does it necessarily follow that because such&lt;br /&gt;
literature bears a local colouring, the writers are&lt;br /&gt;
either narrow or insular. There were many and&lt;br /&gt;
exceptional causes which led not only to political,&lt;br /&gt;
but also to literary activity, from the very earliest&lt;br /&gt;
inception of settlement in this colony. For, in&lt;br /&gt;
addition to the ordinary political struggles&mdash;and&lt;br /&gt;
they were many and bitter&mdash;there was the dealings&lt;br /&gt;
with a warlike native population whose numbers&lt;br /&gt;
have been variously estimated; but it is certain&lt;br /&gt;
that in the North Island there must have been&lt;br /&gt;
over 70,(XK) people when the settlers first arrived.&lt;br /&gt;
It was a meeting of races, one, well trained in&lt;br /&gt;
civilisation, guided by their own moral code, the&lt;br /&gt;
other with quite a different rule of life. A stubborn&lt;br /&gt;
conflict of races seemed inevitable, albeit, the&lt;br /&gt;
natural fierceness of the Maori tribes was not&lt;br /&gt;
infrequently tempered with an admirable fidelity&lt;br /&gt;
and generosity not often surpassed.&lt;br /&gt;
These early struggles, extending, as they did,&lt;br /&gt;
ovar many years, combined witli causes to be&lt;br /&gt;
presently touched upon, gave the lirst impetus to&lt;br /&gt;
literary culture, as they led to debates, to pamphlets,&lt;br /&gt;
to memorials, and to a sharpening and an educating&lt;br /&gt;
that had a good mental effect on the colonists&lt;br /&gt;
generally.&lt;br /&gt;
One great advantage that cannot well be over-&lt;br /&gt;
estimated was due to the fact that among the&lt;br /&gt;
very earliest bands of settlers in New Zealand&lt;br /&gt;
might be found many men of high standing and&lt;br /&gt;
culture, who brought with them to the scene of&lt;br /&gt;
their labours elevated views of colonial life, and&lt;br /&gt;
exidted ideals, up to which they endeavoured to&lt;br /&gt;
live in the new existence; with its peculiar&lt;br /&gt;
environment, and in so doing they largely in-&lt;br /&gt;
fluenced the lives of all around them. Greed of&lt;br /&gt;
gain formed no part of the plan of life mapped out&lt;br /&gt;
for themselves by such men as Fitzgerald, Clifford,&lt;br /&gt;
Weld, Domett, Swanson, Godley, Pollen, Cargill,&lt;br /&gt;
Maeandrcw, Burns, Gillies, Martin, Wakefield,&lt;br /&gt;
Fit/.herbert, Richmond,Fox, Featherston,Whitaker,&lt;br /&gt;
Sinclair, &amp;amp;c. These anil many others were men&lt;br /&gt;
of whom any nation under the sun might well be&lt;br /&gt;
proud. They were actuated by the highest&lt;br /&gt;
motives and aimed at founding, not merely &amp;quot;a&lt;br /&gt;
bit of England&amp;quot; in the midst of a Polynesian&lt;br /&gt;
population, but a grand nation that would in time&lt;br /&gt;
to come develop and ultimately become the&lt;br /&gt;
veritable &amp;quot; Britain of the South.&amp;quot;&lt;br /&gt;
That newspapers are no mean factors in literary&lt;br /&gt;
culture is an established fact, and in ably con-&lt;br /&gt;
ducted journals New Zealand stands pre-eminent.&lt;br /&gt;
As early as August 1839, there appeared the first&lt;br /&gt;
number of the New Zealand Gazette, while at&lt;br /&gt;
the present time no fewer than i3o newspapers are&lt;br /&gt;
published in this country. Sir Julius Vogel, to&lt;br /&gt;
whose ability and energy the colony is so largely&lt;br /&gt;
indebted, is the acknowledged father of the daily&lt;br /&gt;
press of New Zealand.&lt;br /&gt;
The leading dailies and weeklies issued now in&lt;br /&gt;
the chief cities, namely, Wellington, Auckland,&lt;br /&gt;
Dunedin, ami (Jhristchurch, will bear favourable&lt;br /&gt;
comparison with similar publications in the large&lt;br /&gt;
English towns.&lt;br /&gt;
Once a year the large weekly journals open their&lt;br /&gt;
columns to locally written novelettes, but beyond&lt;br /&gt;
such limited opportunity, New Zealand authors&lt;br /&gt;
receive but scant encouragement in their own&lt;br /&gt;
country. This is probably due in some measure to&lt;br /&gt;
the smallness of the population, the immense&lt;br /&gt;
quantity of books imported, anil also to the fact&lt;br /&gt;
that articles and stories are copied from English&lt;br /&gt;
magazines by the newspapers, who pay nothing for&lt;br /&gt;
the privilege of doing so. Still, new aspirants&lt;br /&gt;
for literary fame are constantly appearing in the&lt;br /&gt;
field, and latent talent is being developed which&lt;br /&gt;
cannot fail in causing our literature to rank higher&lt;br /&gt;
year by year. Already some of our novelists are&lt;br /&gt;
well known in the world of letters. Sir Julius&lt;br /&gt;
Vogel, Fergus Hume, B. L. Farjeon, W. Watson,&lt;br /&gt;
and Vincent Pyke, are amongst those who are&lt;br /&gt;
leading the way in fiction.&lt;br /&gt;
In poetry we can point with pride to such sweet&lt;br /&gt;
singers as Bracken, Bathgate, Domett, and Mrs. J.&lt;br /&gt;
G. Wilson, all of whom have, and are, helping to&lt;br /&gt;
originate a national literature. It is, indeed, chiefly&lt;br /&gt;
to the early poets of a new country, with their&lt;br /&gt;
warm sympathy, their tuneful eloquence, and fervid&lt;br /&gt;
imagination, that we look, not only for the lirst&lt;br /&gt;
vivid description of scenery, new flowers, trees,&lt;br /&gt;
birds, and animals, with their varied habits and&lt;br /&gt;
peculiarities, but also for the strange and hitherto&lt;br /&gt;
unrecorded manners, customs and legends of a&lt;br /&gt;
newly-discovered race of men.&lt;br /&gt;
Science has by no means been neglected, as New&lt;br /&gt;
Zealand is fortunate in possessing many admirable&lt;br /&gt;
naturalists, including botanists, zoologists, and&lt;br /&gt;
geologists, whose labours have produced most&lt;br /&gt;
excellent results; notably the zoological researches&lt;br /&gt;
O 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 204 (#608) ############################################&lt;br /&gt;
&lt;br /&gt;
204&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
of Sir James Hector. Since the founding of the&lt;br /&gt;
&amp;quot;New Zealand Institute&amp;quot; in 1869, with its annual&lt;br /&gt;
volume of proceedings and transactions, science&lt;br /&gt;
has become thoroughly systematised, and a marked&lt;br /&gt;
advance has been made in the various branches.&lt;br /&gt;
And, I think, without undue .exultation, we may&lt;br /&gt;
congratulate ourselves on having outstripped the&lt;br /&gt;
other Colonies in the race for scientific honours.&lt;br /&gt;
Even Canada, with all the resources at her&lt;br /&gt;
command, has produced nothing at all comparable&lt;br /&gt;
with the &amp;quot;Transactions of the New Zealand&lt;br /&gt;
Institute,&amp;quot; or Sir Walter Buller&amp;#039;s magnificent&lt;br /&gt;
ornithological works.&lt;br /&gt;
Although born and reared in New Zealand, long&lt;br /&gt;
study among the museums of Europe, and acquaint-&lt;br /&gt;
ance with the literature of the subject on which&lt;br /&gt;
he writes, renders Sir Walter Buller absolutely the&lt;br /&gt;
first authority in the world on the New Zealand&lt;br /&gt;
avifauna, and his &amp;quot;History of the Birds of New&lt;br /&gt;
Zealand&amp;quot; is a book to be coveted, not only by&lt;br /&gt;
savants, but by all lovers of natural history.&lt;br /&gt;
The author was elected Fellow of the Royal&lt;br /&gt;
Society, and Her Majesty conferred upon him an&lt;br /&gt;
imperial distinction, in recognition of the great&lt;br /&gt;
value of his work to science. A melancholy&lt;br /&gt;
interest, indeed, attaches to the avifauna of this&lt;br /&gt;
wonderful country, where so many of the beautiful&lt;br /&gt;
indigenous birds are either extinct or on the verge&lt;br /&gt;
of extinction. Apropos of this, I may mention&lt;br /&gt;
that on a recent occasion when the Earl and&lt;br /&gt;
Countess of Onslow paid a visit to the Ngatihuia&lt;br /&gt;
tribes at Otaki, for the purpose of presenting to the&lt;br /&gt;
chiefs the Governor&amp;#039;s infant sou, a godson of Her&lt;br /&gt;
Majesty the Queen, who had been named Huia, in&lt;br /&gt;
compliment to the Maori people. Allusion was&lt;br /&gt;
made there to the rapid disappearance of the sacred&lt;br /&gt;
huia bird. During the unique and most interesting&lt;br /&gt;
ceremonial, of which I would fain have given a&lt;br /&gt;
full description did space permit, throughout which&lt;br /&gt;
Sir Walter Buller acted as interpreter, and after&lt;br /&gt;
the child had been duly presented to the chiefs,&lt;br /&gt;
who cast rare and beautiful presents before him;&lt;br /&gt;
the women meanwhile chanting a soft and plaintive&lt;br /&gt;
lullaby. The young hereditary chief, Tamihana&lt;br /&gt;
TeHuia, concluded an eloquent and stirring speech&lt;br /&gt;
in the following characteristic manner. Pointing&lt;br /&gt;
with outstretched arm in the direction of a&lt;br /&gt;
magnificent mountain range that could be clearly&lt;br /&gt;
seen from the tribal meeting-house where the&lt;br /&gt;
reception was being held, he exclaimed :&mdash;&lt;br /&gt;
&amp;quot;There yonder is the snow-clad Ruahine range,&lt;br /&gt;
the home of our favourite bird. We ask you, O&lt;br /&gt;
Governor to restrain the Pakehas&mdash;white men&mdash;&lt;br /&gt;
from shooting it, that when your boy grows up he&lt;br /&gt;
may see the beautiful bird which bears his name.&lt;br /&gt;
We thank you and Lady Onslow again for this&lt;br /&gt;
proof of your regard for the Maori people, and of&lt;br /&gt;
your earnest desire to promote theirswelfare. You&lt;br /&gt;
have heard the words of the tribe. There is&lt;br /&gt;
nothing more to say.&amp;quot;&lt;br /&gt;
But to return.&lt;br /&gt;
The powerful personality of such a man as Sir&lt;br /&gt;
George Grey has unquestionably exercised an&lt;br /&gt;
incalculable influence in the moulding of literarv&lt;br /&gt;
taste and culture in a land throughout whoso&lt;br /&gt;
history he has played such a prominent and&lt;br /&gt;
important part. A scholar himself, he has done&lt;br /&gt;
more to encourage and foster colonial talent than&lt;br /&gt;
any other man in the country.&lt;br /&gt;
Painters, as well as poets, scientists, and novelists,&lt;br /&gt;
are producing good work, and pictures from the&lt;br /&gt;
studios of such clever artists an Mrs. Gilbert Mair,&lt;br /&gt;
Miss White, John Gully, Barriuid, and others, are&lt;br /&gt;
gradually attracting attention outside the colonies.&lt;br /&gt;
Art societies flourish in all our principal towns,&lt;br /&gt;
and in the four chief cities art galleries have been&lt;br /&gt;
established.&lt;br /&gt;
Public libraries are to be found everywhere,&lt;br /&gt;
booksellers abound, magazine literature is more&lt;br /&gt;
than ever plentiful, and local tales and poems art&amp;#039;&lt;br /&gt;
beginning to be more sought after than heretofore.&lt;br /&gt;
The educationarv system prevailing hen; aims at&lt;br /&gt;
a high standard of excellence. The schools both&lt;br /&gt;
primary and secondary, are thoroughly well oquip|&amp;gt;ed&lt;br /&gt;
and taught, and a sound university training is now&lt;br /&gt;
open to the young colonial.&lt;br /&gt;
In 1889, there were no fewer than 496 matricu-&lt;br /&gt;
lated students in New Zealand. Thus it will be&lt;br /&gt;
* seen that the aim of the colony is to give in literarv&lt;br /&gt;
culture all that even England could bestow. Anil&lt;br /&gt;
all these agencies must have their effect in the&lt;br /&gt;
years to come. One thing at least is certain,&lt;br /&gt;
namely, that future generations, who may people&lt;br /&gt;
these lovely islands, will have no cause for com-&lt;br /&gt;
plaint that the dominions of their inheritance&lt;br /&gt;
lacked any of the advantages which tend to pro-&lt;br /&gt;
mote the growth of national development, through&lt;br /&gt;
the intellectual dormancy or supineness of the&lt;br /&gt;
earlier colonists. AVhatevcr may Ik; the ultimate&lt;br /&gt;
destiny of these fair daughters of the parent State,&lt;br /&gt;
the records of their infancy will ever remain as&lt;br /&gt;
mementoes of the capability, industry, and eminence&lt;br /&gt;
of a large number of early settlers in nearly every&lt;br /&gt;
department in the wide empires of knowledge.&lt;br /&gt;
Even at the present da}&amp;#039;, New Zealand possesses&lt;br /&gt;
a literature which has rendered its magnificent&lt;br /&gt;
resources tolerably familiar to the educated world.&lt;br /&gt;
I am aware that some English cities are of opinion&lt;br /&gt;
that colonial authors introduce too much Maori&lt;br /&gt;
into their work, thereby making it too New-&lt;br /&gt;
Zealandish for the taste of English readers. But&lt;br /&gt;
surely a characteristic nationalism is much to be&lt;br /&gt;
desired, especially here, where the time has been&lt;br /&gt;
too short to develop any historical associations, and&lt;br /&gt;
far less racial peculiarities. Moreover, it is only by&lt;br /&gt;
the use of local colouring that anything like a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 205 (#609) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
national flavour can ever be imparted to colonial&lt;br /&gt;
writing.&lt;br /&gt;
That our writers exhibit no desire to become&lt;br /&gt;
slavish imitators of the old models is, I am inclined&lt;br /&gt;
to believe, a healthy and hopeful sign of the growth&lt;br /&gt;
of a true colonial literature, which, being indigenous&lt;br /&gt;
and the product of colonial ability and culture,&lt;br /&gt;
cannot fail to have a peculiar attraction. But&lt;br /&gt;
better, far letter it. should be said of the reading&lt;br /&gt;
public of New Zealand, that they exercise a&lt;br /&gt;
sobriety of judgment and correctness of tjiste which&lt;br /&gt;
prevent their being satisfied with anything which is&lt;br /&gt;
not really good, rather than that they encourage&lt;br /&gt;
productions of inferior merit for the sake of boast-&lt;br /&gt;
ing of the increasing literature of the country.&lt;br /&gt;
New Zealand is, indeed, rich in all that is&lt;br /&gt;
capable of affording inspiration, both in poetry and&lt;br /&gt;
fiction. A land of mountains, torrents, geysers,&lt;br /&gt;
rivers, plains, sea-girt, and with a thousand&lt;br /&gt;
harbours, will assuredly nurture authors and poets,&lt;br /&gt;
just as certainly as it will sailors. Let us hope&lt;br /&gt;
then, that our literary pioneers may be as successful&lt;br /&gt;
in founding a national literature as have been the&lt;br /&gt;
pioneers in politics, in government, and in all the&lt;br /&gt;
institutions that go to ennoble a race. There can&lt;br /&gt;
be little doubt that despite drawbacks of many&lt;br /&gt;
kinds experienced in the past, the future greatness&lt;br /&gt;
of New Zealand in literature, as in other enter-&lt;br /&gt;
prises, is well assured, based as it is upon a solid&lt;br /&gt;
foundation of steady progress.&lt;br /&gt;
[I have to acknowledge my indebtedness to the&amp;#039;&lt;br /&gt;
kindness of my friend, Sir Robert Stout, for much&lt;br /&gt;
valuable information contained in the above&lt;br /&gt;
article.&mdash;L. I. S.]&lt;br /&gt;
&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
IFIND it necessary (sec p. 216) to remind&lt;br /&gt;
certain readers of the Author that the an-&lt;br /&gt;
nouncement on the front page&mdash;&amp;quot; For the&lt;br /&gt;
opinions expressed in papers that are signed the&lt;br /&gt;
authors alone are responsible &amp;quot;&mdash;means what it&lt;br /&gt;
says. Especially does it apply to the columns&lt;br /&gt;
which are signed by my name.&lt;br /&gt;
The lamentable death of Lord Lytton deprives&lt;br /&gt;
this Society of one of its strongest and most dis-&lt;br /&gt;
tinguished supporters. Lord Lytton became a&lt;br /&gt;
Vice-President of the Society on its first foun-&lt;br /&gt;
dation. He presided at our first public meeting,&lt;br /&gt;
at Willis&amp;#039;s Booms: he never failed to express on&lt;br /&gt;
every possible occasion the greatest interest in the&lt;br /&gt;
welfareand prospects of our Association, and he was&lt;br /&gt;
one of the few who really understood the possibilities&lt;br /&gt;
which lie before us, to be realized if we only&lt;br /&gt;
know how to make use of our power and our&lt;br /&gt;
opportunities. It, is not necessary that, at such a&lt;br /&gt;
time, we should speak critically of his contributions&lt;br /&gt;
to literature. That he possessed the highest love&lt;br /&gt;
and respect for literature in all its branches is well&lt;br /&gt;
known to all. All his poems were written in the&lt;br /&gt;
intervals of diplomatic work. They arc, at least,&lt;br /&gt;
remarkable for delicacy of expression and for&lt;br /&gt;
refinement. No man ever filled more important&lt;br /&gt;
posts or was known to a larger circle of ac-&lt;br /&gt;
quaintances. Attache and Secretary of Embassy&lt;br /&gt;
at Florence, the Hague, St. Petersburg, Constanti-&lt;br /&gt;
nople, Vienna, Copenhagen, Athens, Lisbon, and&lt;br /&gt;
Madrid, Viceroy of India and Ambassador to&lt;br /&gt;
France, his life was spent in Courts. Yet he&lt;br /&gt;
always found time for the cultivation of letters.&lt;br /&gt;
His kindness of heart, his admirable social&lt;br /&gt;
qualities, his urbanity, a ready wit which was never&lt;br /&gt;
spiteful, gathered round him an immense circle of&lt;br /&gt;
private friends. He died writing verses, the ink&lt;br /&gt;
not yet dry on the page, when lift; was extinct.&lt;br /&gt;
We have also lost, in the Bishop of Carlisle,&lt;br /&gt;
another member of distinction. He, too, was one&lt;br /&gt;
who entirely approved of the objects of the Society,&lt;br /&gt;
and, so far as can be known, of its methods. During&lt;br /&gt;
a recent controversy with a certain society, touching&lt;br /&gt;
very closely the honour of the Episcopal Pencil who&lt;br /&gt;
are its vice-presidents, he wrote in kindness and&lt;br /&gt;
sympathy. What active steps he took in the&lt;br /&gt;
society itself I do not know.&lt;br /&gt;
I ventured to call attention in the October&lt;br /&gt;
Author to the reckless way in which people who&lt;br /&gt;
write letters to the papers garble or invent their&lt;br /&gt;
quotations. In the Times, for instance, half the&lt;br /&gt;
letters every day are taken up with denying alleged&lt;br /&gt;
statements, or protesting against inferences drawn&lt;br /&gt;
from garbled ([notations. Let me give an illustra-&lt;br /&gt;
tion instructive of the rapid growth of false&lt;br /&gt;
inference from garbled quotation. It happened&lt;br /&gt;
the other day. I mentioned in a certain paper&mdash;&lt;br /&gt;
apropos of Milton&amp;#039;s cottage at Chalfont St. Giles&lt;br /&gt;
&mdash;the fact that very few visitors ever go to see&lt;br /&gt;
the cottage. This fact is proved by the visitors&amp;#039;&lt;br /&gt;
book, which everyone signs on payment of (sd. I&lt;br /&gt;
then asked whether Milton could be forgotten,&lt;br /&gt;
and advanced two other innocent little opinions&mdash;&lt;br /&gt;
which I fondly thought as much beyond question&lt;br /&gt;
as an axiom in Euclid. They were&mdash;(1) that&lt;br /&gt;
very few people read Milton through more than&lt;br /&gt;
once in their lives; and (2) that certain poems, and&lt;br /&gt;
certain portions of poems, would always continue&lt;br /&gt;
household words.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 206 (#610) ############################################&lt;br /&gt;
&lt;br /&gt;
2o6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
This little innocent passage was quoted by an&lt;br /&gt;
evening paper. Then the fun began. First&lt;br /&gt;
a learned Q.C. wrote an indignant and scornful&lt;br /&gt;
letter, arguing that a man who had said such things&lt;br /&gt;
was an ignorant creature who had never even heard&lt;br /&gt;
of &amp;quot;L&amp;#039;Allegro,&amp;quot; &amp;amp;c.&lt;br /&gt;
Setting this person right, I again pointed out that&lt;br /&gt;
very few people go to visit the cottage, and added,&lt;br /&gt;
a.s an encouragement to visitors, that there is a&lt;br /&gt;
village inn where people can get lunch or whatever&lt;br /&gt;
they want. Then the Q.C. appeared again&mdash;after&lt;br /&gt;
bim other correspondents. The indignation of all was&lt;br /&gt;
virtuous, unanimous, heartfelt, wonderful. They all&lt;br /&gt;
started with a good bold assumption. &amp;quot;This man&lt;br /&gt;
says that Milton is forgotten.&amp;quot; The man, observe,&lt;br /&gt;
had said nothing of the kind. One of them, a&lt;br /&gt;
lady, filled&mdash;inflated with holy wrath&mdash;invented a&lt;br /&gt;
new charge. &amp;quot;Here is a man,&amp;quot; she said, &amp;quot;who&lt;br /&gt;
actually consults public-houses us to the vitality of&lt;br /&gt;
Milton!&amp;quot; No one can stand such an outrage as that;&lt;br /&gt;
so this lady, feeling that she really did well to be&lt;br /&gt;
angry, poured all the contents of the pepper-and-&lt;br /&gt;
spitebox into her letter. Another writer adopted the&lt;br /&gt;
sarcastic vein&mdash;everybody knows the sarcastic letter-&lt;br /&gt;
writer&mdash;and would like to ask, &amp;amp;c, &amp;amp;c. Of course&lt;br /&gt;
he neglected to say where the assumed statement&lt;br /&gt;
had been made. Then came along the solemn&lt;br /&gt;
man, who is never wanting on these occasions. He&lt;br /&gt;
was constrained to thank Heaven that this state-&lt;br /&gt;
ment was not allowed to pass without contradiction.&lt;br /&gt;
He, too, neglected to say where he found the&lt;br /&gt;
statement. Then librarians wrote to contradict&lt;br /&gt;
&amp;quot;this statement&amp;quot;&mdash;neglecting to say where they&lt;br /&gt;
found it&mdash;on the ground that many readers ask for&lt;br /&gt;
Milton. And others wrote to contradict the&lt;br /&gt;
statement&mdash;but did not say where they found it&mdash;&lt;br /&gt;
on the ground that new editions of Milton are&lt;br /&gt;
constantly issued. Not a single person ever re-&lt;br /&gt;
ferred to the real original statement that very few&lt;br /&gt;
people read Milton through more than once in&lt;br /&gt;
their lives. Wen; they blind or malignant?&lt;br /&gt;
Neither. They were simply following the trick of&lt;br /&gt;
the day to accept whatever they read in the paper&lt;br /&gt;
without examination or question.&lt;br /&gt;
Two more things happened in this wonderful&lt;br /&gt;
correspondence. In answering the Q.C, I had&lt;br /&gt;
observed, with the mildest possible sarcasm, that&lt;br /&gt;
this kind of reasoning belonged, I supposed, to the&lt;br /&gt;
legal mind. The Q.C. cried out to the world that&lt;br /&gt;
here was a man insulting the whole legal profession.&lt;br /&gt;
Lastly, there appeared a leading article in the&lt;br /&gt;
same evening paper, in which the writer concluded&lt;br /&gt;
by rebuking me for making inquiries of public-&lt;br /&gt;
houses instead of publishers! So that it comes to&lt;br /&gt;
this. I stand convicted on three charges. I have&lt;br /&gt;
stated that John Milton is forgotten; I have&lt;br /&gt;
insulted the whole, legal profession; I am proved&lt;br /&gt;
to be in the habit of consulting public-houses on&lt;br /&gt;
literary matters.&lt;br /&gt;
It only remains now to repeat the words which&lt;br /&gt;
caused the indignation :&mdash;&lt;br /&gt;
1. Very few people visit Chalfont St. Giles to&lt;br /&gt;
see Milton&amp;#039;s cottage.&lt;br /&gt;
2. Very few people read Milton through more&lt;br /&gt;
than once.&lt;br /&gt;
3. Certain of his poems are known by heart to all&lt;br /&gt;
people who read at all.&lt;br /&gt;
But if these ladies and gentlemen had only been&lt;br /&gt;
so very good as to read what I did say before they&lt;br /&gt;
commented on it!&lt;br /&gt;
I have received a bundle of the American papers&lt;br /&gt;
called the Author and the Writer. With these&lt;br /&gt;
papers we may, I hope, borrow and lend, and so&lt;br /&gt;
be mutually helpful. One thing to be observed&lt;br /&gt;
about them is that they are eminently practical.&lt;br /&gt;
There is none of the pretence about art for art&amp;#039;s&lt;br /&gt;
sake, which some of us are always advancing.&lt;br /&gt;
Literature is frankly approached as a profession&mdash;&lt;br /&gt;
a thing which some among us, especially the&lt;br /&gt;
disinterested persons who conduct the affairs&lt;br /&gt;
of authors, oppose most vehemently. These&lt;br /&gt;
Americans discuss their magazines, their circulation,&lt;br /&gt;
and their tariff. with wonderful frankness; they&lt;br /&gt;
write about points of practical working; in the&lt;br /&gt;
matter of fiction they consider endings, openings,&lt;br /&gt;
the conduct of dialogue&mdash;all those things which we&lt;br /&gt;
are generally taught to believe instinctive! and due&lt;br /&gt;
to nature&amp;#039;s promptings, just as nature teaches one&lt;br /&gt;
baby to play the violin; and another to compose&lt;br /&gt;
a sonata in the cradle. The Americans, in fact,&lt;br /&gt;
show in these journals that they are eminently a&lt;br /&gt;
practical people. They mean to study the art of&lt;br /&gt;
fiction, anil to make a profession of it, as our people&lt;br /&gt;
have never yet thought of doing. What will lie the&lt;br /&gt;
consequence? A general raising of the level; a&lt;br /&gt;
vast improvement in the technique; so much, cer-&lt;br /&gt;
tainly. Not the production of the greatest work&lt;br /&gt;
any more than at present. Great men do not appear&lt;br /&gt;
with every generation. The standard, however,&lt;br /&gt;
of literary excellence may be raised very much&lt;br /&gt;
higher. And if our writers do not, in like manner,&lt;br /&gt;
consider and study the art as an art, so much the&lt;br /&gt;
worse for them.&lt;br /&gt;
In a recent libel case, tried at the High Court&lt;br /&gt;
of Justice, when a singer sued for damages on the&lt;br /&gt;
ground of a so-called libellous criticism, it was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 207 (#611) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
argued by counsel for defendants that when criti-&lt;br /&gt;
cism is invited, the subject 1ms no right to coin-&lt;br /&gt;
plain of hostile judgment. This seems very&lt;br /&gt;
reasonable. At the theatre scats are given to the&lt;br /&gt;
critics; at concerts seats arc reserved for the critics;&lt;br /&gt;
at the offices of newspapers hooks arc presented to&lt;br /&gt;
the critics. These gentlemen may very fairly say,&lt;br /&gt;
&amp;quot;You ask me to tell the world what I think of&lt;br /&gt;
your book, your plav, your music, your singing.&lt;br /&gt;
Well, I think you are incapable of singing or writing&lt;br /&gt;
or doing anything at all worth hearing. You had&lt;br /&gt;
better go into obscurity, and stay there.&amp;quot; The per-&lt;br /&gt;
former lias brought it upon himself ; he ought not to&lt;br /&gt;
complain. He has asked for an honest opinion, and&lt;br /&gt;
he has got it. Most probably had he not invited&lt;br /&gt;
the critic to witness and judge his performance,&lt;br /&gt;
that critic would not have seen, heard, or read it.&lt;br /&gt;
On the other hand, it may fairly be contended as&lt;br /&gt;
a general principle, and without reference to any&lt;br /&gt;
case, that there should be observed a certain polite-&lt;br /&gt;
ness. In criticism, as in society, one should remain&lt;br /&gt;
a gentleman, courteous in word and manner.&lt;br /&gt;
A gentleman should be ashamed to jump upon&lt;br /&gt;
the writer of a harmless book only because it&lt;br /&gt;
is ii weak book; nor should he shriek and&lt;br /&gt;
swear over that book; nor should he call the&lt;br /&gt;
writer names. In fact, the old fashioned blood and&lt;br /&gt;
bludgeon style of abuse, invective, and contempt is&lt;br /&gt;
brutal. Where it still lingers, which is in very few&lt;br /&gt;
quarters, it is brutal still. When one has to light,&lt;br /&gt;
the rapier, and not the club, is the weapon of a&lt;br /&gt;
gentleman. Some critics, it is true, have never&lt;br /&gt;
learned to use the rapier. That is another way of&lt;br /&gt;
saying that they have not received the education&lt;br /&gt;
of a gentleman. In any case, there is another&lt;br /&gt;
way open to an author. If he does not like&lt;br /&gt;
the criticisms of a paper he has only to refuse a&lt;br /&gt;
press copy of his book to that paper. If it then&lt;br /&gt;
reviews him, another question arises, namely, what&lt;br /&gt;
is permitted by the law. Any man may criticise&lt;br /&gt;
within limits the work of any other man, but not&lt;br /&gt;
to the injury of his credit or his means of liveli-&lt;br /&gt;
hood. And this whether a man be a fishmonger&mdash;&lt;br /&gt;
in which case we may not say that he habitually&lt;br /&gt;
sells stinking fish&mdash;or an author, in which case we&lt;br /&gt;
may not say, unless we are prepared to plead&lt;br /&gt;
justification, that his books are pernicious, immoral,&lt;br /&gt;
ignorant, stolen, or anything else which may&lt;br /&gt;
interfere with his livelihood.&lt;br /&gt;
If an editor a fortnight, ago had wanted a paper&lt;br /&gt;
on the Political Function of Imagination, to whom&lt;br /&gt;
would he have applied for that paper? It is not&lt;br /&gt;
an easy subject. Of course there are tliousands of&lt;br /&gt;
able pens ready to write on any subject, difficult or&lt;br /&gt;
not. But, as the children say, &amp;quot;seriously,&amp;quot; whom&lt;br /&gt;
would he ask? He might ask Mr, John Morley or&lt;br /&gt;
Mr. Leslie Stephen&mdash;he would have an excellent&lt;br /&gt;
paper from either. He might ask any of twei.ty&lt;br /&gt;
novelists anil poets; he would get a pleasant paptr,&lt;br /&gt;
easy to read, but not greatly advancing the subjei t.&lt;br /&gt;
The last person in the world of whom he would&lt;br /&gt;
have thought is the one person who has actually&lt;br /&gt;
done it better, I believe than any other person in&lt;br /&gt;
the world could have done it. Mr. Goschcn, tl e&lt;br /&gt;
man of the city&mdash;the financier&mdash;has beaten tl e&lt;br /&gt;
literary craftsman in his own craft. Hardly any&lt;br /&gt;
better essav has ever been written than Mr. Gosehen&amp;#039;s&lt;br /&gt;
discourse on Imagination. The other great essay,&lt;br /&gt;
that by Mr. Arthur Balfour on Progress, is^ the&lt;br /&gt;
work of a craftsman, one of the Company of&lt;br /&gt;
Authors.&lt;br /&gt;
Books for boys! Do any of us realise the&lt;br /&gt;
immense annual output of books for bovs&mdash;the&lt;br /&gt;
enormous mass of literature which exists for the&lt;br /&gt;
sole and exclusive use of bays? The other (lav,&lt;br /&gt;
among a lot of boys, the question rose as to their&lt;br /&gt;
favourite author. There was but one opinion. It&lt;br /&gt;
was led off by the one who spoke first. He lifted&lt;br /&gt;
his head, and remarked briefly, &amp;quot;Henty for me.&amp;quot;&lt;br /&gt;
That was the opinion of all&mdash;&amp;quot;Henty for me.&amp;quot; Of&lt;br /&gt;
course, Marrvatt will never lose his followers among&lt;br /&gt;
boys; nor Walter Scott; while there are writers&lt;br /&gt;
like Kingston, Collingwood, George Manville Fenn,&lt;br /&gt;
and others&mdash;good men and true. But &amp;quot;Henty&lt;br /&gt;
for me.&amp;quot; There is a list before me, showing&lt;br /&gt;
thirty-three stories for boys, all written by this&lt;br /&gt;
wonderful story teller. A boy who has read the&lt;br /&gt;
whole of Henty has read a great part of the world&amp;#039;s&lt;br /&gt;
history. In fact, he is the schoolboy&amp;#039;s historian.&lt;br /&gt;
The school histories only teach him dates and lay&lt;br /&gt;
figures. His home historians put life into the&lt;br /&gt;
figures and meaning into the dates.&lt;br /&gt;
It is now live years ago, I think, that the current&lt;br /&gt;
number of Lonymaiis Magazine was glorified by&lt;br /&gt;
the appearance of the most beautiful paper ever&lt;br /&gt;
written by Richard Jefferies&mdash;a paper into which&lt;br /&gt;
he poured his whole soul, all his knowledge, all his&lt;br /&gt;
love for nature&mdash;a paper which shall always stand&lt;br /&gt;
for the man, because an author must always be&lt;br /&gt;
judged by his best work. This paper, as everyone&lt;br /&gt;
remembers, was called &amp;quot; The Pageant of Summer.&amp;quot;&lt;br /&gt;
The present (December) number of the magazine&lt;br /&gt;
contains another paper recently found by his widow,&lt;br /&gt;
called &amp;quot;The Coining of Summer.&amp;quot; It is like a&lt;br /&gt;
first draft of the &amp;quot;Pageant,&amp;quot; a study, a series of&lt;br /&gt;
sketches, which the writer was afterwards to endow&lt;br /&gt;
with breath and vision and a soul. Most curious&lt;br /&gt;
ami most, interesting compared with that other&lt;br /&gt;
article. Bead without reference to the &amp;quot; Pageant,&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 208 (#612) ############################################&lt;br /&gt;
&lt;br /&gt;
2o8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
it is ii paper full of knowledge, written in the&lt;br /&gt;
earlier style of the &amp;quot; Gamekeeper at Home.&amp;quot;&lt;br /&gt;
When Jefferies died, a reviewer in the Athenecum&lt;br /&gt;
remarked that in a few years there would be no&lt;br /&gt;
more recollection of Jefferies and no more&lt;br /&gt;
documents connected with the name. At the&lt;br /&gt;
present moment his books are going up every day&lt;br /&gt;
higher and higher in value; new editions are being&lt;br /&gt;
issued&mdash;a new edition of &amp;quot;The Dewy Morn&amp;quot; is&lt;br /&gt;
out this day&mdash;and people are discussing, in . the&lt;br /&gt;
papers, the facts of his life; as, for instance,&lt;br /&gt;
whether he died a Christian, or whether his faculties&lt;br /&gt;
were so weak at the close that it mattered nothing&lt;br /&gt;
what he. said. There is every sign, as his friends&lt;br /&gt;
believe, of such immortality for Jefferies as belongs&lt;br /&gt;
to White of Selborne.&lt;br /&gt;
Some time ago we announced in these columns,&lt;br /&gt;
for the information of those who l&amp;gt;elong to the&lt;br /&gt;
company of readers of Jefferies, that a bust of him&lt;br /&gt;
was to be executed and placed in Salisbury&lt;br /&gt;
Cathedral. The bust is now ready. The Hon.&lt;br /&gt;
Treasurer, Mr. A. W. Kinglake, Haines Hill,&lt;br /&gt;
Taunton, says that he still wants about &pound;5o, to&lt;br /&gt;
complete the payment for it. Will this company of&lt;br /&gt;
readers wipe off this debt, if only as a mark of the&lt;br /&gt;
love they bear the author?&lt;br /&gt;
The same number of Longman contains a short&lt;br /&gt;
story&mdash;the &amp;quot;History of a Failure &amp;quot;&mdash;which every-&lt;br /&gt;
body must read. Perhaps it will make some of the&lt;br /&gt;
readers angry; it will certainly make all of them&lt;br /&gt;
laugh and cry.&lt;br /&gt;
In the Sign of the Ship Mr. Andrew Lang has&lt;br /&gt;
a few words on the subject of titles. He says that&lt;br /&gt;
they are exploded&mdash;matters of old custom&mdash;that&lt;br /&gt;
nobody of an)&amp;#039; sense wants to be made a peer or&lt;br /&gt;
pines for the Garter; that he himself does not want&lt;br /&gt;
a title; that &amp;quot; Sir Charles Dickens &amp;quot; would be ridicu-&lt;br /&gt;
lous; that every author who did not get a title&lt;br /&gt;
would be jealous of everyone who did, and that he&lt;br /&gt;
would rather be commended bv the bookstall bov.&lt;br /&gt;
I hope 1 have put his case fairly&mdash;But&mdash;but is it&lt;br /&gt;
so true that nobody of sense&mdash;nobody of sense&mdash;&lt;br /&gt;
pines for a peerage or the Garter? Is it so true&lt;br /&gt;
that nobody wants a title? And is there anything&lt;br /&gt;
in the jealousy argument that docs not apply to&lt;br /&gt;
every other profession? Yet it is never urged that&lt;br /&gt;
titles must not be given to lawyers and soldiers&lt;br /&gt;
because other lawyers and soldiers would be jealous.&lt;br /&gt;
However, my point, which I repeat, is this. The&lt;br /&gt;
nation has only one way of recognizing distinction and&lt;br /&gt;
good service. It is by the bestowal of a title. The&lt;br /&gt;
man so decorated is not thereby made any greater;&lt;br /&gt;
it is the nation which makes itself greater by-&lt;br /&gt;
showing that it recognizes bis worth. This is, I&lt;br /&gt;
believe, the theory of rank and titles. If it is the&lt;br /&gt;
true theory, I want to know why men of letters are&lt;br /&gt;
jealously excluded from such recognition: Brown-&lt;br /&gt;
ing, Charles Dickens, Thackeray, and George Eliot&lt;br /&gt;
would have been no greater, but it would have Wen&lt;br /&gt;
better for the country had those great writers&lt;br /&gt;
received the highest honours the nation can bestow.&lt;br /&gt;
For, you see, it would be a very great thing if the&lt;br /&gt;
people generally could be taught to honour science,&lt;br /&gt;
art, and literature. It would be better for the&lt;br /&gt;
national character; better for those who follow&lt;br /&gt;
science, art, and literature. But the country at&lt;br /&gt;
large only honours those professions or callings&lt;br /&gt;
whose followers are honoured bv the Sovereign or&lt;br /&gt;
by the State. They accept the rule of usage. Men&lt;br /&gt;
of letters are not honoured, ordinary people think,&lt;br /&gt;
because they follow a pursuit which is not worthy&lt;br /&gt;
of honour.&lt;br /&gt;
Waltek Besant.&lt;br /&gt;
■&lt;br /&gt;
THE HYGIENE OF THE LITERARY LIFE.&lt;br /&gt;
TWO papers are published in Boston, both&lt;br /&gt;
intended, like our own, for the literary class.&lt;br /&gt;
Thev do not profess to be reviews, they are&lt;br /&gt;
meant to be professionally useful. One of these,&lt;br /&gt;
the Writer, appears to be designed especially as a&lt;br /&gt;
practical help to aspirants; the other, called the&lt;br /&gt;
Author, addresses itself to those already engaged&lt;br /&gt;
in the work of writing. The present year is their&lt;br /&gt;
third of existence. Apart from the personal&lt;br /&gt;
columns, which are too full of details for a literary&lt;br /&gt;
paper of this country, the Author contains a good&lt;br /&gt;
deal that may be of great use to its readers. Thus,&lt;br /&gt;
an article on hygiene reminds writers that bodily&lt;br /&gt;
exercise is absolutely necessary for the continued&lt;br /&gt;
production of good work, an elementary reminder,&lt;br /&gt;
which, like the Decalogue, cannot be too often&lt;br /&gt;
repeated, or too strongly insisted upon. A &amp;quot;one&lt;br /&gt;
or two mile walk,&amp;quot; says our American friend.&lt;br /&gt;
Translated into English read a six or eight mile&lt;br /&gt;
walk for men, and half as much for women. He&lt;br /&gt;
recommends in the matter of diet a light breakfast,&lt;br /&gt;
nothing at noon, and the evening meal when the&lt;br /&gt;
work is done. But can any person go on from&lt;br /&gt;
nine in the morning till seven in the evening working&lt;br /&gt;
on a light breakfast? Wine and tobacco this&lt;br /&gt;
hygienist prohibits absolutely, a rule with which&lt;br /&gt;
we disagree absolutely. Of sleep, take, he says,&lt;br /&gt;
eight hours a day. Evervone must find (ait for&lt;br /&gt;
Jlimself what sleep he wants. Nine hours a day&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 209 (#613) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
209&lt;br /&gt;
seems not too much for the average brain worker,&lt;br /&gt;
whether he l&amp;gt;e a man of science or of literature.&lt;br /&gt;
Kxercise in plenty, especially after breakfast.&lt;br /&gt;
That seems the first ami most important rule for the&lt;br /&gt;
literary life. Richard Jefferies, for instance, walked&lt;br /&gt;
in all weathers, without great coat or umbrella,&lt;br /&gt;
for an hour and a half every morning after breakfast,&lt;br /&gt;
and every afternoon from three to half-past four.&lt;br /&gt;
The next important rule is to study diet. There&lt;br /&gt;
seems nothing gained, but epiite the reverse, by too&lt;br /&gt;
great abstinence. It is certain that the brain of a&lt;br /&gt;
worker must be well nourished, and, therefore, the.&lt;br /&gt;
body. Also&mdash;a doctrine to be advanced with hesi-&lt;br /&gt;
tation&mdash;it seems to the present writer that a dull&lt;br /&gt;
uniformity of living, whether in respect to exercise,&lt;br /&gt;
sleep, hours of work, society, or diet, is a great&lt;br /&gt;
enemy of good work, and that the imagination&lt;br /&gt;
is stimulated by variety. A feast is good for all&lt;br /&gt;
kinds of men occasionally; a gathering where the&lt;br /&gt;
guests are joyous and careless, and the &amp;quot;best work&lt;br /&gt;
possible&amp;quot; is forgotten for the time. He, indeed,&lt;br /&gt;
who is always thinking of producing the &amp;quot;best&lt;br /&gt;
work possible,&amp;quot; will certainly end in producing the&lt;br /&gt;
Prig&amp;#039;s work, which is the worst work possible.&lt;br /&gt;
Another simple suggestion. The present writer&lt;br /&gt;
finds that occasional&mdash;and frequent&mdash;changes of&lt;br /&gt;
scene tend to strengthen the excision of the imagina-&lt;br /&gt;
tion. He goes away as often as he can ; takes a night&lt;br /&gt;
out; visits country places; and makes notes of&lt;br /&gt;
what he sees and hears. When he gets back his&lt;br /&gt;
work becomes brighter, the handling firmer, the&lt;br /&gt;
colouring more delicate.&lt;br /&gt;
The writer of the American article recommends&lt;br /&gt;
oild forms of exercise&mdash;Indian clubs, dumb bells,&lt;br /&gt;
and &amp;#039;&bull; lung gymnastics &amp;quot;&mdash;which is the filling of&lt;br /&gt;
the lungs with pure air and then expelling it; the&lt;br /&gt;
&amp;quot;Delsarte movement,&amp;quot; and so on. They are,&lt;br /&gt;
doubtless, very good, but not so good as walking&lt;br /&gt;
or rifling. He also instances the late William&lt;br /&gt;
Cullen Bryant, who &amp;quot;was in the habit of taking&lt;br /&gt;
exercise by bending backward over a wooden chair&lt;br /&gt;
two or three times in succession, and performing&lt;br /&gt;
sundry other feats with the same instrument every&lt;br /&gt;
morning.&amp;quot; The poet in his study doing gymnastics&lt;br /&gt;
with a wooden chair would make a pleasing&lt;br /&gt;
illustration to his works.&lt;br /&gt;
Lastly, the literary worker must certainly agree&lt;br /&gt;
with this American writer when he lays it down as&lt;br /&gt;
a principle that the literary worker needs a long&lt;br /&gt;
life. Yes&mdash;yes&mdash;oh! yes, that is what we espe-&lt;br /&gt;
cially need; and it would be comforting to think,&lt;br /&gt;
as he thinks, if we could think it, that the greatest&lt;br /&gt;
and best work comes to a man late in life.&lt;br /&gt;
But we cannot, unhappily, think this. The pear&lt;br /&gt;
becomes ripe; then the |&amp;gt;ear becomes rotten. Let&lt;br /&gt;
Us, by taking exercise and not working too hard,&lt;br /&gt;
defer the day of |)erfect ripeness as long as we can, &raquo;■&raquo;■&raquo;&lt;br /&gt;
&amp;quot;THE ARROWMAEER.&amp;quot;*&lt;br /&gt;
Day in, day out, or sun or rain,&lt;br /&gt;
Or sallow leaf, or summer grain,&lt;br /&gt;
Beneath a wintry morning moon&lt;br /&gt;
Or through red smouldering afternoon,&lt;br /&gt;
With simple joy, with careful pride,&lt;br /&gt;
He plies the craft he long has plied:&lt;br /&gt;
To shape the stave, to set the sting,&lt;br /&gt;
To fit the shaft with irised wing;&lt;br /&gt;
And farers by may hear him sing,&lt;br /&gt;
For still his door is wide:&lt;br /&gt;
&amp;quot;Laugh and sigh, live and die,&mdash;&lt;br /&gt;
The world swings round; I know not, I,&lt;br /&gt;
If north or south mine arrows fly!&amp;quot;&lt;br /&gt;
And sometimes, while he works, he dreams,&lt;br /&gt;
And on his soul a vision gleams:&lt;br /&gt;
Some storied field fought long ago,&lt;br /&gt;
Where arrows fell as thick as snow.&lt;br /&gt;
His breath comes fast, his eyes grow bright,&lt;br /&gt;
To think upon that ancient fight.&lt;br /&gt;
Oh, leaping from the strained string&lt;br /&gt;
Against an armored Wrong to ring,&lt;br /&gt;
Brave the song that arrows sing!&lt;br /&gt;
He weighs the finished fight:&lt;br /&gt;
&amp;quot;Live and die; by and by&lt;br /&gt;
The sun kills dark; I know not, I,&lt;br /&gt;
In what good fight my arrows fly!&amp;quot;&lt;br /&gt;
Or at the gray hour, weary grown,&lt;br /&gt;
When curfew o&amp;#039;er the wold is blown,&lt;br /&gt;
He sees, as in a magic glass,&lt;br /&gt;
Some lost and lonely mountain-jwiss;&lt;br /&gt;
And lo! a sign of deathful rout&lt;br /&gt;
The mocking vine has wound about,&mdash;&lt;br /&gt;
An earth-fixed arrow by n spring,&lt;br /&gt;
All greenly mossed, a mouldered thing;&lt;br /&gt;
That stifled shaft no more shall sing!&lt;br /&gt;
He shakes his head in doubt.&lt;br /&gt;
&amp;quot;Laugh and sign; live, and die,&mdash;&lt;br /&gt;
The hand is blind: I know not, I,&lt;br /&gt;
In what lost pass mine arrows lie!&lt;br /&gt;
One to east, one to west,&lt;br /&gt;
Another for the eagle&amp;#039;s breast,&mdash;&lt;br /&gt;
The archer and the wind know best!&amp;quot;&lt;br /&gt;
The stars are in the sky;&lt;br /&gt;
He lavs his arrows by.&lt;br /&gt;
Helen Gray Conk.&lt;br /&gt;
* The Ride to the Lady, and other poems. Hy Helen&lt;br /&gt;
Oniy Cone. &pound;i. Honphton, Mifflin, and Co.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 210 (#614) ############################################&lt;br /&gt;
&lt;br /&gt;
2 lO&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
I SPIRITI DEI PONTI.&lt;br /&gt;
THE SPIRITS OP BRIDGES.&lt;br /&gt;
&amp;quot;I stood upon a bridge and heard&lt;br /&gt;
The water rushing by,&lt;br /&gt;
And as I thought to every word&lt;br /&gt;
The water made reply.&amp;quot;&lt;br /&gt;
I spoke ono day in Florence to a witch, asking&lt;br /&gt;
her if such a being as The Spirit of the Water was&lt;br /&gt;
known to her. And this was the answer:&lt;br /&gt;
&amp;quot;Yes&mdash;there is a spirit of the water, as there is&lt;br /&gt;
of fire, and everything else. That is to say, molti-&lt;br /&gt;
moltissimi&mdash;as many of them as there are men and&lt;br /&gt;
women. You don&amp;#039;t see them, or only now and&lt;br /&gt;
then, but you can make them to be seen.&amp;quot; How?&lt;br /&gt;
&amp;quot;Oh, easily enough, if you let them know what you&lt;br /&gt;
want, for they are affectionate to those who care&lt;br /&gt;
for them. But they are capricious and appear in&lt;br /&gt;
many delusive forms.&lt;br /&gt;
&amp;quot;And this is a good way to see them. You go&lt;br /&gt;
of an evening, and look over a bridge, or in the&lt;br /&gt;
daytime in the woods at a smooth stream or dark&lt;br /&gt;
water&mdash;chc sia sempre un poco oscttro&mdash;and pro-&lt;br /&gt;
nounce the incantation, and throw a handful or a&lt;br /&gt;
few drops of its water into the water itself. And&lt;br /&gt;
then you must look long and patiently; sometimes&lt;br /&gt;
for several days; when, poco d poco, you will see&lt;br /&gt;
dim shapes passing by in the water, one or two,&lt;br /&gt;
and then more and more, and if you are quiet,&lt;br /&gt;
they will come in great numbers, and show you&lt;br /&gt;
what you desire to know. But if you tell anyone&lt;br /&gt;
what you have seen, they will never appear again,&lt;br /&gt;
and it will be well for you should nothing worse&lt;br /&gt;
happen.&lt;br /&gt;
&amp;quot;There was a man, a young man, near Civitella,&lt;br /&gt;
and he was in great need of money&mdash;like all of&lt;br /&gt;
us&mdash;but his was dire and dreadful need. Kbbene&mdash;&lt;br /&gt;
this young man had an uncle, who was believed to&lt;br /&gt;
have left a great treasure buried somewhere, but no&lt;br /&gt;
one knew the place. Now this nephew was a&lt;br /&gt;
reserved, solitary youth; much by himself in lone&lt;br /&gt;
places&mdash;old mines &mdash; in the woods &mdash; tin poco&lt;br /&gt;
straghon&mdash;and he learned this secret of looking&lt;br /&gt;
into streams or wells or lake.-, till at last, whenever,&lt;br /&gt;
he pleased, he could see swarms of all kinds of&lt;br /&gt;
figures sweeping along in the water. And one&lt;br /&gt;
evening he saw a shape like that of his uncle who&lt;br /&gt;
had died, and, in surprise, he called out &amp;#039; Zio tnio!&amp;#039;&lt;br /&gt;
Then the uncle stopped, and the youth said,&lt;br /&gt;
&amp;#039;Did&amp;#039;st thou but know how I suffer from poverty!&amp;#039;&lt;br /&gt;
Then he saw in the water his home, and the wood&lt;br /&gt;
near it, and the form of his uncle passed along the&lt;br /&gt;
wood, anil so on to a lonely place till it came to a&lt;br /&gt;
great stone, and on this it laid its hand, and looked&lt;br /&gt;
at the young man, and so disappeared. The next&lt;br /&gt;
day the young man went there, an&amp;lt;| under the stone&lt;br /&gt;
found a great treasure. So he became rich&mdash;ami&lt;br /&gt;
I hope the same to all of us!&amp;quot;&lt;br /&gt;
This account of the shapes and shades who&mdash;&lt;br /&gt;
&amp;quot;pass&lt;br /&gt;
As in a inagie glass.&amp;quot;&lt;br /&gt;
made a great impression on me, and as the witch&lt;br /&gt;
had said, &amp;quot;Looking day after day they will l&amp;gt;econie&lt;br /&gt;
more clear,&amp;quot; so I found that thinking day by day&lt;br /&gt;
on this Bosicrucian-like fancy revealed to me the&lt;br /&gt;
wondrous truth that one may dwell in the ineffable&lt;br /&gt;
beauties anil mysteries of nature, among oaken or&lt;br /&gt;
piney forests, and rushing lonely rivers in their&lt;br /&gt;
shades, looking at wild flowers as at girl acquaint-&lt;br /&gt;
ances, and at, rocks as dwelling places of thoughts,&lt;br /&gt;
and at one&amp;#039;s own thoughts as spirits (just as the&lt;br /&gt;
Indians chronicled by Bekker believed that at our&lt;br /&gt;
every heart-beat a spirit is born), until poetry&lt;br /&gt;
becomes our own true, dearest life, and this real&lt;br /&gt;
life an unreality. For the qualities of matter, and&lt;br /&gt;
the beautiful are indeed immanent and eternal, but&lt;br /&gt;
matter is only that wherein they act and display&lt;br /&gt;
themselves. And this thought with me took tin-&lt;br /&gt;
following form :&mdash;&lt;br /&gt;
I looked into the deep river,&lt;br /&gt;
I looked so still and long &bull;&lt;br /&gt;
Until I saw the Elfin shades&lt;br /&gt;
Pass by in many a throng.&lt;br /&gt;
They came and went like silent dreams,&lt;br /&gt;
Forever moving on,&lt;br /&gt;
As darkness tikes the starry beams,&lt;br /&gt;
Un-noted till they&amp;#039;re gone.&lt;br /&gt;
I saw what oft I wished to see,&lt;br /&gt;
Anil what I ne&amp;#039;er had seen;&lt;br /&gt;
And what I oft had longed to be,&lt;br /&gt;
And what I had not been.&lt;br /&gt;
For lie who looks in the dark river,&lt;br /&gt;
In the hour of the Klfin grey,&lt;br /&gt;
Will wish that he might never go,&lt;br /&gt;
Or else had staid away.&lt;br /&gt;
And to him who looks in that river.&lt;br /&gt;
This thing will eome to pass,&lt;br /&gt;
He would not give for diamonds&lt;br /&gt;
The dew-drops in the grass.&lt;br /&gt;
He would not eall for silver bright&lt;br /&gt;
The moon light in the leaves,&lt;br /&gt;
Nor give for all the gold on earth&lt;br /&gt;
The sun light on the sheaves.&lt;br /&gt;
For all this world seems little worth,&lt;br /&gt;
All earthly things unsound,&lt;br /&gt;
&amp;#039;I&amp;#039;o him who once has seen the dreams&lt;br /&gt;
Which pass o&amp;#039;er Elfin ground.&lt;br /&gt;
This seeing spirits from a bridge in the water&lt;br /&gt;
recalls a very curious phenomena, which of every&lt;br /&gt;
twelve or fourteen readers, one, at least, may realize&lt;br /&gt;
with only a few days&amp;#039; practice, and all, perhaps, witli&lt;br /&gt;
patience in time. This i* based on what is called&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 211 (#615) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
21 I&lt;br /&gt;
pseudapia, volitional percept ion, or, as I term it, eve&lt;br /&gt;
memory, and it has been thoroughly established by&lt;br /&gt;
the experiments of many men of science, such as&lt;br /&gt;
Francis Galton, Clarke, and others.(i) It amounts&lt;br /&gt;
briefly to this, that by looking at images we can get&lt;br /&gt;
them by heart or by eye, so that we can at will&lt;br /&gt;
reproduce them to our vision. Thus, if we take,&lt;br /&gt;
let us say, a few coloured pictures representing&lt;br /&gt;
birds, or animals, or men, and look at them intently&lt;br /&gt;
and then close the eyes, and repeat the process, and&lt;br /&gt;
then put. In&amp;#039;fore us a mirror reflecting only a plain&lt;br /&gt;
grey or black or any uniform surface, we can soon&lt;br /&gt;
see the images exist, passing along if we will.&lt;br /&gt;
This is simply a matter of perseverance and deter-&lt;br /&gt;
mination with everybody, and in time it can be&lt;br /&gt;
brought to great perfection.&lt;br /&gt;
But there is a very marvellous phase of this&lt;br /&gt;
voluntary perception which comes in time. This&lt;br /&gt;
is when images which we have not learned by effort&lt;br /&gt;
begin to come from the secret store-houses of the&lt;br /&gt;
brain, and mingle in these mystic processions. Of&lt;br /&gt;
this there are many curious instances recorded.&lt;br /&gt;
For these latent thoughts come forth so that what&lt;br /&gt;
is apparently marvellous becomes so in reality,&lt;br /&gt;
recalling an old story told by Grosius or Prsetorius,&lt;br /&gt;
of someone who would fain have a grand masque&lt;br /&gt;
or procession of fair devils and quaint bonny&lt;br /&gt;
goblins, in a certain magnificent feast. Against&lt;br /&gt;
which a holy friar remonstrated as an exceeding&lt;br /&gt;
wicked and profane thing, but to no avail, save&lt;br /&gt;
that by his preaching he frightened more than half&lt;br /&gt;
of those who were to have played the parts of&lt;br /&gt;
demons, so that they stayed away. At which the&lt;br /&gt;
lord who gave the feast was very angry. How-&lt;br /&gt;
ever, when the procession came to [miss, there was&lt;br /&gt;
no lack of actors in it&mdash;for not only were there&lt;br /&gt;
twice as many as had been at first engaged, but&lt;br /&gt;
still new ones kept coming after them, and ever&lt;br /&gt;
more and more, and these all so wilil and strange,&lt;br /&gt;
some horrible, some lovely, that mortal man never&lt;br /&gt;
dreamed the like. There wen? Venus, her nymphs,&lt;br /&gt;
and satyrs, red, green, blue, and violet imps, devils&lt;br /&gt;
of all horrors, giants of every coarseness, fairies,&lt;br /&gt;
like, wines, of every fineness, howling savages,&lt;br /&gt;
goblins, night-mares, camias, lennires, empusai,&lt;br /&gt;
trees as men walking, yea, all the fancies of Jerome&lt;br /&gt;
Basch and Hollenbreiighel in the original casks.&lt;br /&gt;
But when at last they swarmed along by thousands,&lt;br /&gt;
us Dutch spuyten fcln, spitting tire and flames,&lt;br /&gt;
and appearing in naught, but ghastly insupportable&lt;br /&gt;
terror, the people began to ga,sp and croak for&lt;br /&gt;
fear. And what would come of it all, I know not,&lt;br /&gt;
but just then the priest who had forbidden the&lt;br /&gt;
procession thundered out a terrible exorcism&mdash;and&lt;br /&gt;
the whole diabolical spuk vanished into air.&lt;br /&gt;
(1) For a full account of the subject, vide my work on&lt;br /&gt;
Practical Education, London, Whittaker aud Co. 1886.&lt;br /&gt;
The reader need not fear that the forms which&lt;br /&gt;
will come by practising with pictures and a mirror&lt;br /&gt;
will be so melodramatic as these here described.&lt;br /&gt;
But that images and ideas will be evoked from the&lt;br /&gt;
brain and blend with the figures originally con-&lt;br /&gt;
ceived is true, and has been notably proved by the&lt;br /&gt;
experience of wise observers.&lt;br /&gt;
More than one of the old polyhistors and&lt;br /&gt;
curiosity hunters describe waters on whose surfaces&lt;br /&gt;
mysterious forms, like strange reflections in a&lt;br /&gt;
mirror, were ever seen coming and going. The&lt;br /&gt;
conception is one of the most picturesque or&lt;br /&gt;
sweetly strange which ever sprung up out of that&lt;br /&gt;
wonderful worship of nature which was so deeply&lt;br /&gt;
implanted in the Teutonic races, and of which&lt;br /&gt;
curious beaux restcs may still be seen in all&lt;br /&gt;
Germans. At any hotel in Europe it is always the&lt;br /&gt;
Germans who want to take tea in the arbour,&lt;br /&gt;
breakfast on the balcony, dine al fresco, and lunch&lt;br /&gt;
by waterfalls in lonely forests. Not many years&lt;br /&gt;
ago, a burgomaster in Germany cut down an&lt;br /&gt;
avenue of lime trees in a town, for which sacrilege&lt;br /&gt;
he was promptly shot dead by a student who&lt;br /&gt;
gloried in the deed. It was (as Saintine, who&lt;br /&gt;
narrates the fact, justly observes) only an hereditary&lt;br /&gt;
breaking out of the old German tree-worship of&lt;br /&gt;
Teutoburgian time. In Bavaria many still believe&lt;br /&gt;
that fairies live in water lilies, where they sit comfort-&lt;br /&gt;
ably of summer afternoons sewing, knitting, and&lt;br /&gt;
gossiping&mdash;alien selir achon&mdash;&amp;quot; cradled in silent&lt;br /&gt;
waters.&amp;quot;&lt;br /&gt;
You understand, reader, that this exquisite&lt;br /&gt;
pantheistic polytheistic spirit which took form in&lt;br /&gt;
Psellus, and became perfectly poetical in Paracelsus&lt;br /&gt;
and Rosicrucianism&mdash;this religion which peoples&lt;br /&gt;
the waters with naiads, and kelpies, and nixies, and&lt;br /&gt;
the air and earth, and all that bides therein with&lt;br /&gt;
peculiar sprites, leads, as no other inspiration can&lt;br /&gt;
do, to a sincere and deep enjoyment of Xature. I&lt;br /&gt;
may say to the on/// very deep love of it which is&lt;br /&gt;
pure and real. They who go about picking out&lt;br /&gt;
&amp;quot;beautiful bits,&amp;quot; after reading of Ituskin, or any&lt;br /&gt;
other of the writers or books who teach you how&lt;br /&gt;
and what to admire in proper form&mdash;citr, quit,&lt;br /&gt;
qitomodo, it quibus auxiliis&mdash;only feel beauty at&lt;br /&gt;
second hand, or see the tapestry as some reviewers&lt;br /&gt;
see books, entirely from the wrong side.&lt;br /&gt;
&amp;quot;But,&amp;quot; I am told, &amp;quot;there are really no fairies.&amp;quot;&lt;br /&gt;
Well, a knowledge of what man has believed in&lt;br /&gt;
goes very far to remedy that want. The monks&lt;br /&gt;
have left the old cathedral shades, the bedesman&lt;br /&gt;
sleeps among his ashes cold; but the cathedrals&mdash;T&lt;br /&gt;
mean the forests&mdash;are still with us, and it is some-&lt;br /&gt;
thing to know how they were once ]&amp;gt;copled by&lt;br /&gt;
man.&lt;br /&gt;
But the new philosophy or evolution impresses it&lt;br /&gt;
deeply on us, that we, our very thinking selves,&lt;br /&gt;
are one with the life of trees, waters, rain,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 212 (#616) ############################################&lt;br /&gt;
&lt;br /&gt;
212&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
air, and all that is. The electricity and mysterious&lt;br /&gt;
essence of ether, and all hidden forces are in&lt;br /&gt;
us, as in the rocks and flowers, a million years&lt;br /&gt;
ago you were in it, millions of years hence you will&lt;br /&gt;
still live and act, for we were all ever immortal&lt;br /&gt;
and ever shall act in Nature or in God&mdash;life thou&lt;br /&gt;
canst, not escape. In this view all things have&lt;br /&gt;
a true life in the Beautiful, and Nature from a&lt;br /&gt;
dead object of aesthetic twaddle becomes inspired&lt;br /&gt;
with soul. And he wrho will give to this, and to&lt;br /&gt;
the faiths of the olden time, serious thought or&lt;br /&gt;
repeated meditation, till they shall become familiar&lt;br /&gt;
to him, will soon live in Nature a new life, streams&lt;br /&gt;
shall speak to him with laughing voices, elfin songs&lt;br /&gt;
resound among the cliffs, and the wondrous light&lt;br /&gt;
which shines invisibly to common eyes wherever&lt;br /&gt;
the heroes of ancient time lie buried, shall make&lt;br /&gt;
clear his path, and he will see from that which was,&lt;br /&gt;
that which is to come.&lt;br /&gt;
As I write on a sunny day, I see to the right,&lt;br /&gt;
spreading far away, the blue Mediterranean under&lt;br /&gt;
as blue a sky, the white line of waves breaking&lt;br /&gt;
on the beach, and hear their mysterious sough&lt;br /&gt;
ever varying, like voices. There goes a vessel by&lt;br /&gt;
as in a dream, the same high prow and stem, the&lt;br /&gt;
same strangely long diagonal sail, which we see on&lt;br /&gt;
old Greek or Carthaginian coins.&lt;br /&gt;
Therein I see and feel the life of ancient days,&lt;br /&gt;
which shall ever be.&lt;br /&gt;
Charles Godfrey Lelanu.&lt;br /&gt;
Florence, Nov. 12, 1891.&lt;br /&gt;
&diams;&bull;&raquo;■&raquo;&lt;br /&gt;
A METHOD OF ADVERTISEMENT.&lt;br /&gt;
&amp;quot;TT OU cannot,&amp;quot; said Mr. Daventry, &amp;quot;get on&lt;br /&gt;
1 unless fellows jaw about you. There&amp;#039;s no&lt;br /&gt;
use telling me that, if I get on first, the jaw&lt;br /&gt;
will follow, perhaps faster than I like, for it is not.&lt;br /&gt;
true. That was the old way. Now-a-davs it&amp;#039;s the&lt;br /&gt;
jaw first and the success afterwards, and the more&lt;br /&gt;
jaw the more success. Why, there&amp;#039;s no rubbishing&lt;br /&gt;
yarn I couldn&amp;#039;t sell to the public, if I was only&lt;br /&gt;
known as a Mahatma, or a disciple of the Higher&lt;br /&gt;
Criticism. I should get a big practice at the bar,&lt;br /&gt;
if men would go about swearing that I was the&lt;br /&gt;
illegitimate son of a Begum, or one skin short.&lt;br /&gt;
But nobody knows my name.&amp;quot;&lt;br /&gt;
For Robert Daventry was seriously discouraged.&lt;br /&gt;
ITnappreciative publishers had sent, back his novel,&lt;br /&gt;
and callous editors had rejected his articles, while,&lt;br /&gt;
two years close attendance at the courts had not&lt;br /&gt;
brought him in enough to pay for his wig.&lt;br /&gt;
&amp;quot;I will be heard of,&amp;quot; he continued, addressing&lt;br /&gt;
a group of highly unsympathetic friends. &amp;quot;I will&lt;br /&gt;
be heard of, and one day you shall all go about&lt;br /&gt;
swaggering that you knew me to speak to, and&lt;br /&gt;
your female cousins, when they hear it from you,&lt;br /&gt;
will say, &amp;#039;Really, how awfully nice!&amp;#039; And it&lt;br /&gt;
won&amp;#039;t be very long before I manage it somehow.&amp;quot;&lt;br /&gt;
And his words came true.&lt;br /&gt;
It chanced that one day he went up the river&lt;br /&gt;
with a lady. Shortly after leaving the station, the&lt;br /&gt;
door of the railway-carriage, on which she was&lt;br /&gt;
leaning, flew open. Robert Daventry jumped&lt;br /&gt;
forward. He could not quite reach her skirts,&lt;br /&gt;
but she clutched wildly and desperately in the&lt;br /&gt;
direction of his outstretched arm, by good fortune&lt;br /&gt;
secured it, anil was saved.&lt;br /&gt;
&amp;quot;That was a shave, young woman,&amp;quot; said he, us&lt;br /&gt;
he settled her on a seat and adjusted his wristband,&lt;br /&gt;
which had been almost, torn off his shirt. &amp;quot;Before&lt;br /&gt;
vou play those pranks again, kindly cut vour&lt;br /&gt;
&amp;#039;nails.&amp;quot;&lt;br /&gt;
&amp;quot;I was nearly killed, Bob,&amp;quot; said she, laughing&lt;br /&gt;
a little hysterically. &amp;quot;If I had fallen out,&amp;quot; she&lt;br /&gt;
added, &amp;quot; it might have been very awkward for you,&lt;br /&gt;
for people would have certainly said that vou&lt;br /&gt;
threw me out of the carriage.&amp;quot;&lt;br /&gt;
But. Rol&amp;gt;ert made no reply.&lt;br /&gt;
&amp;quot;Wouldn&amp;#039;t they, Bob?&amp;quot;&lt;br /&gt;
&amp;quot;We&amp;#039;ll do it,&amp;quot; he said, suddenly breaking silence.&lt;br /&gt;
&amp;quot;It will be splendid.&amp;quot; And then and there he&lt;br /&gt;
unfolded this project, which his brain had rapidly&lt;br /&gt;
formed on the hint contained in his companion&amp;#039;s&lt;br /&gt;
words. &amp;quot;We will go to the &amp;#039; Horn,&amp;#039; have some&lt;br /&gt;
lunch, and start for a row. I will land you near&lt;br /&gt;
the X Station, and you shall run up to&lt;br /&gt;
town by the first train you can catch. Leave&lt;br /&gt;
your hat on the bank. I will return to the inn&lt;br /&gt;
alone, pay for the boat, anil come up by the next&lt;br /&gt;
train. The passer-by who finds your hat is sure&lt;br /&gt;
to conclude you are drowned. We will dine&lt;br /&gt;
together at K&mdash; &amp;#039;s, where I will meet you,&lt;br /&gt;
and we shall probably be able to read some pari! -&lt;br /&gt;
graphs in the evening paper about &amp;#039;the mysterious&lt;br /&gt;
disappearance of a lady,&amp;#039; &amp;#039;supposed drowning&lt;br /&gt;
fatality,&amp;#039; and so on. Then, when those beastly editors&lt;br /&gt;
have quite done making public asses of themselves,&lt;br /&gt;
I shall explain that the hat was left there to sec&lt;br /&gt;
what would happen, and all those papers will have&lt;br /&gt;
to talk about me. I shall send my photograph to&lt;br /&gt;
all the illustrated periodicals. I should think&lt;br /&gt;
some manager might see that I am the man for n&lt;br /&gt;
real good drama. What do you say to doing it?&amp;quot;&lt;br /&gt;
The lady thought, that it would not be a bad&lt;br /&gt;
joke, supposing it was necessary to make; a joke at&lt;br /&gt;
all, but rather demurred at leaving her hat on the&lt;br /&gt;
bank.&lt;br /&gt;
&amp;quot;You can get another one in London,&amp;quot; said&lt;br /&gt;
Mr. Daventry. &amp;quot;If you don&amp;#039;t leave something&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 213 (#617) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
tangible on the bank, the casual passer-by will not&lt;br /&gt;
detect the presence of the crime. Everybody&lt;br /&gt;
knows that a hat on the bank is the recognised&lt;br /&gt;
sign of a corpse in the water. You can wear my&lt;br /&gt;
cricket cap up to town.&amp;quot;&lt;br /&gt;
Now it fell out that in the street of the village&lt;br /&gt;
where it was proposed to have lunch, and to hire&lt;br /&gt;
their boat, Mr. Robert Daventry saw a laxly of his&lt;br /&gt;
acquaintance coming towards them, and he turned&lt;br /&gt;
up a back way rather abruptly. This did not&lt;br /&gt;
escape his companion&amp;#039;s notice, who began to cross-&lt;br /&gt;
examine him upon the subject. Robert, intent&lt;br /&gt;
upon his scheme, was not inclined to waste time in&lt;br /&gt;
idle words, and said so with a sweetness that&lt;br /&gt;
proved exasperating.&lt;br /&gt;
The lady said, &amp;quot; You coward, you are ashamed to&lt;br /&gt;
be seen with me.&amp;quot;&lt;br /&gt;
Bob said, in his turn a little angry&mdash;for no one&lt;br /&gt;
likes the epithet of coward&mdash;&amp;quot; Perhaps you think I&lt;br /&gt;
ought to introduce you about the place as the girl&lt;br /&gt;
I&amp;#039;m going to marry?&amp;quot;&lt;br /&gt;
Then the waiter was seen standing inside the&lt;br /&gt;
door, looking for an opportunity to announce to&lt;br /&gt;
the visitors that their boat was ready. So they&lt;br /&gt;
laughed and were friends again.&lt;br /&gt;
They were a little nervous as they went down to&lt;br /&gt;
the water. Indeed, it is hard not to be nervous,&lt;br /&gt;
when on the edge of perpetrating a practical joke.&lt;br /&gt;
It is only the most callous and practised performer&lt;br /&gt;
who can venture boldly, where failure must entail&lt;br /&gt;
ridicule.&lt;br /&gt;
Mr. Daventry sculled in silence up stream, until&lt;br /&gt;
they reached a spot which seemed admirably suited&lt;br /&gt;
to their purpose. This was a small reach about&lt;br /&gt;
four hundred yards long, and hidden from the gaze&lt;br /&gt;
of anyone who chanced to be above or below, by&lt;br /&gt;
the abrupt winding of the stream.&lt;br /&gt;
Here he turned into the bank, and helped his&lt;br /&gt;
accomplice out.&lt;br /&gt;
&amp;quot;Leave your hat,&amp;quot; he said, &amp;quot;and run down&lt;br /&gt;
stream about a quarter of a mile, and you will see&lt;br /&gt;
the station (mite near the river. Here&amp;#039;s my cap.&lt;br /&gt;
K &amp;#039;s at 8.3o. Shove her out with your foot.&amp;quot;&lt;br /&gt;
He went on sculling up stream. She, in&lt;br /&gt;
obedience to his instructions began to run down the&lt;br /&gt;
bank. As she did so, she turned every now and&lt;br /&gt;
then to watch him, for he was a good-looking man,&lt;br /&gt;
and the sculling action suited him. Seeing which&lt;br /&gt;
he took one of his hands off his sculls every now&lt;br /&gt;
and then, and waved a little encouragement to her&lt;br /&gt;
in the prosecution of their splendid joke. And he&lt;br /&gt;
came to the up-corner, and she came to the down-&lt;br /&gt;
corner, and he began to disappear trom her gaze,&lt;br /&gt;
and she hung over the brink to watch him,&mdash;and,&lt;br /&gt;
alas, she slipped. Vainly she clutched at all within&lt;br /&gt;
her grasp; the rotten twigs snapped, the rotten&lt;br /&gt;
bank yielded, she slipped further, and fell in.&lt;br /&gt;
Two hours afterwards the body was found by a&lt;br /&gt;
passer-by, who noticed the hat lying on the bank.&lt;br /&gt;
Mr. Robert Daventry&amp;#039;s cap was firmly clutched in&lt;br /&gt;
her convulsive grasp.&lt;br /&gt;
In the meantime the gentleman had further&lt;br /&gt;
elaborated his joke. Why should there be only&lt;br /&gt;
one person drowned? Why not two or more?&lt;br /&gt;
To think was to act. Your practical joker is&lt;br /&gt;
above all things careless of the personal propertv&lt;br /&gt;
of other people. Mr. Daventry headed for the&lt;br /&gt;
other bank, landed, turned the boat bottom upper-&lt;br /&gt;
most and sent it spinning with a kick down stream.&lt;br /&gt;
Then he walked rapidly to the nearest railway&lt;br /&gt;
station.&lt;br /&gt;
That evening he was arrested for murder.&lt;br /&gt;
At his trial the following points were clearly&lt;br /&gt;
made out by the prosecution :&mdash;&lt;br /&gt;
He had quarrelled with the deceased at the Horn&lt;br /&gt;
Inn before starting on the fatal expedition,&lt;br /&gt;
and had said that he would not marry her.&lt;br /&gt;
He looked very pale on starting.&lt;br /&gt;
Later he was seen to turn the boat over anil kick&lt;br /&gt;
it down stream, and then to start running into&lt;br /&gt;
the country.&lt;br /&gt;
When arrested his hand was severely scratched,&lt;br /&gt;
uud his shirt cuff nearly torn off.&lt;br /&gt;
There were signs of a scuttle on the bank, and the&lt;br /&gt;
victim had the prisoner&amp;#039;s cap in her hand.&lt;br /&gt;
The theory of the prosecution was that he had&lt;br /&gt;
been strolling along the bank with the unfortunate&lt;br /&gt;
girl&mdash;the mark where the boat had been put in&lt;br /&gt;
had been found by a detective&mdash;that he had&lt;br /&gt;
quarrelled with her and had pushed her into the&lt;br /&gt;
river. That he had then turned the boat over,&lt;br /&gt;
hoping to make his act appear the result of an&lt;br /&gt;
accident.&lt;br /&gt;
For the defence the true story was told.&lt;br /&gt;
He was found guilty.&lt;br /&gt;
In reply to the awful question of the judge&lt;br /&gt;
whether he had anything to say why the utmost&lt;br /&gt;
penalty should not be inflicted, he said, &amp;quot; My Lord,&lt;br /&gt;
it was all a joke.&amp;quot;&lt;br /&gt;
Many have sung, and many have narrated, the&lt;br /&gt;
charms of mediocrity, but no one appreciates it&lt;br /&gt;
highly for himself. But few consider themselves&lt;br /&gt;
commonplace. Yet occasionally it will be borne&lt;br /&gt;
in upon a man that he is but an average specimen.&lt;br /&gt;
Sometimes he will sit down under his fate, and will&lt;br /&gt;
court only the average destiny; holding all public&lt;br /&gt;
achievements as very wondrous, for in this way his&lt;br /&gt;
inability to perform them may l&raquo;e best excused.&lt;br /&gt;
Sometimes he will turn hither and thither, vaguely,&lt;br /&gt;
hurriedly, inconsequentially, if haply he may cheat&lt;br /&gt;
his own mediocrity, or encompass fame by some&lt;br /&gt;
rapid bye-path.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 214 (#618) ############################################&lt;br /&gt;
&lt;br /&gt;
214&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Robert Daventry was mediocre, and his soul&lt;br /&gt;
loathed mediocrity. And he did not die for&lt;br /&gt;
nothing.&lt;br /&gt;
&amp;quot;The Evening Scorpion&amp;quot; had in their office a&lt;br /&gt;
manuscript signed with the assassin&amp;#039;s name. It&lt;br /&gt;
had been the design of the editor to lose this&lt;br /&gt;
work, for he had employed the accompanying&lt;br /&gt;
stamps in his urgent correspondence. But now he&lt;br /&gt;
saw a more honourable course open to him. He&lt;br /&gt;
published the story with a fac-simile of Robert&amp;#039;s&lt;br /&gt;
signature attached, and he sold two editions of the&lt;br /&gt;
paper on the day of issue.&lt;br /&gt;
O. J.&lt;br /&gt;
&lt;br /&gt;
A PUZZLING EXPERIENCE.&lt;br /&gt;
THE &amp;quot;puzzling experience&amp;quot; related in the&lt;br /&gt;
current number of the Author recalls very&lt;br /&gt;
pointedly to my mind an occurrence of a some-&lt;br /&gt;
what similar nature which once happened to myself.&lt;br /&gt;
My own experience throws no light upon that of&lt;br /&gt;
your other correspondent; but it shows that,&lt;br /&gt;
puzzling as such occurrences no doubt often are,&lt;br /&gt;
they may still be nothing more than mere&lt;br /&gt;
coincidences.&lt;br /&gt;
A year or two ago, I had occasion to pay several&lt;br /&gt;
visits to America. On one of these (I think in&lt;br /&gt;
1887) I was in a Liverpool tramear, on my way to&lt;br /&gt;
join a steamer of the Allan Line, when there&lt;br /&gt;
entered a certain official of the Canadian Govern-&lt;br /&gt;
ment with whom I was well acquainted, and whom&lt;br /&gt;
I expected to meet on my arrival at my destination.&lt;br /&gt;
I was not aware that he was then in Europe, but&lt;br /&gt;
it turned out that he had, for a time, left his official&lt;br /&gt;
duties on sick leave. My friend left the matter he&lt;br /&gt;
was at the moment engaged ii]jon and came down&lt;br /&gt;
to the docks to see me off. His last words, just as&lt;br /&gt;
the vessel was moving, were: &amp;quot;God-bye. I shall&lt;br /&gt;
be in [naming it well-known Canadian city]&lt;br /&gt;
about a fortnight after you will arrive there.&amp;quot;&lt;br /&gt;
I landed at Halifax, Nova Scotia, and travelled&lt;br /&gt;
over the Intercolonial Line to Montreal. An hour&lt;br /&gt;
or two later, as I was seated in the writing-room of&lt;br /&gt;
the Windsor Hotel, attending to some corre&lt;br /&gt;
spondence, I felt a touch on the shoulder and looking&lt;br /&gt;
up, I saw the friend from whom I had parted in&lt;br /&gt;
Liverpool only about ten days before. At first, I&lt;br /&gt;
confess, the idea occured to me that it was&lt;br /&gt;
a case for the Psychical Society; but his&lt;br /&gt;
cheerful salute, &amp;quot;Well, Christy, here we are&lt;br /&gt;
again,&amp;quot; at once proved the reverse. He pro-&lt;br /&gt;
ceeded to explain that, having been recalled by&lt;br /&gt;
cable, through pressing business, a fortnight earlier&lt;br /&gt;
than the date when he had told me he should leave,&lt;br /&gt;
he had left Liverpool by an &amp;quot;Ocean Greyhound&amp;quot;&lt;br /&gt;
the day after I did and travelling by the quicker&lt;br /&gt;
New York route, had arrived in Montreal a day&lt;br /&gt;
earlier than myself.&lt;br /&gt;
Thus, within about ten days, I had twice by the&lt;br /&gt;
purest accident, met the same individual, at places&lt;br /&gt;
nearly 5,ooo miles apart, and in different conti-&lt;br /&gt;
nents, when in each case I had the best of reasons&lt;br /&gt;
for supposing him to be in the other.&lt;br /&gt;
Millek Christy.&lt;br /&gt;
&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
A New Departure.&lt;br /&gt;
fT^IIE following advertisement, which &amp;quot;caught&lt;br /&gt;
I my eye&amp;quot; in the columns of the Daily Aeir*&lt;br /&gt;
on November i3th, is somewhat of a new&lt;br /&gt;
departure in the struggle for literary fame.&lt;br /&gt;
&amp;quot;The author of a well-reviewed novel will give&lt;br /&gt;
20 per cent, commission to one who can place&lt;br /&gt;
two MSS. one-volume stories.&mdash;Address, 53o M,&lt;br /&gt;
&amp;#039;Daily News&amp;#039; Enquiry Office, 67, Fleet Street,&lt;br /&gt;
E.C.&amp;quot;&lt;br /&gt;
We have all heard of those misguided individuals&lt;br /&gt;
who are so anxious to shine in the literary world&lt;br /&gt;
that they are eager to pay even a disreputable&lt;br /&gt;
publisher to &amp;quot;bring out&amp;quot; their lucubrations; but&lt;br /&gt;
here we have a new genus of simpleton. Mirabile&lt;br /&gt;
dirtu, the author of a &amp;quot; well-reviewed&amp;quot; (not neces-&lt;br /&gt;
sarily, however, a successful) novel is willing to&lt;br /&gt;
pay 25 per cent, to someone&mdash;anyone &mdash; who&lt;br /&gt;
will &amp;quot;place&amp;quot; t wo others !&amp;quot; M,&amp;quot; whoever he or&lt;br /&gt;
she may be, must be singularly innocent of any-&lt;br /&gt;
thing except the. writing of the two MSS. in&lt;br /&gt;
question to suppose that the author of a well-&lt;br /&gt;
reviewed novel would find insuperable difficulties&lt;br /&gt;
in placing the MSS. in question if they trerc worth&lt;br /&gt;
printing at all. If he cannot do this alone, no&lt;br /&gt;
third party would be able to get them placed, unless&lt;br /&gt;
payment were made for publication. Let &amp;quot;M&amp;quot;&lt;br /&gt;
no longer tempt sharks by foolish advertisements.&lt;br /&gt;
It would cost him much less to submit his work to&lt;br /&gt;
the Society, and take their advice.&lt;br /&gt;
II.&lt;br /&gt;
A New Reading Union.&lt;br /&gt;
The world of novelists should be interested in a&lt;br /&gt;
society of working miners and others, winch has&lt;br /&gt;
been formed at Backworth, in Northumberland,&lt;br /&gt;
for the study of classical novels. After a course&lt;br /&gt;
of lectures upon fiction had been given by Mr.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 215 (#619) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
2*5&lt;br /&gt;
Moulton, of Cambridge, it was found tlmt hardly&lt;br /&gt;
any of the greatest works of fiction were known to&lt;br /&gt;
his hearers, and this effort to popularise them was&lt;br /&gt;
the outcome. The members of the union agree&lt;br /&gt;
to read a specified novel every two months, meet&lt;br /&gt;
for discussion, and write papers upon some given&lt;br /&gt;
points. They ask novelists or other literary&lt;br /&gt;
authorities to assist them by suggesting main ideas&lt;br /&gt;
to be kept in view while reading a subject for&lt;br /&gt;
debate, and another for the essays. At the head&lt;br /&gt;
of their circular stand these true words, &amp;quot; Literature&lt;br /&gt;
is the Science of Life, and the great classical novels&lt;br /&gt;
arc among life&amp;#039;s best text books. To study these&lt;br /&gt;
is the true antidote to trashy and poisonous fiction.&amp;quot;&lt;br /&gt;
The books already read, or to be read, include&lt;br /&gt;
&amp;quot;Vanity Fair,&amp;quot; &amp;quot; The Newcomes,&amp;quot;&amp;quot; Silas Marner,&amp;quot;&lt;br /&gt;
&amp;quot;Bomohi,&amp;quot; &amp;quot;Anne of Geierstein,&amp;quot; &amp;quot;Wood-&lt;br /&gt;
stock,&amp;quot; &amp;quot;Sintram,&amp;quot; &amp;quot;Westward Ho!&amp;quot; &amp;quot;Jane&lt;br /&gt;
Eyre,&amp;quot; &amp;#039;&amp;quot;93,&amp;quot; &amp;quot;Les Miserables,&amp;quot; &amp;quot;Persuasion,&amp;quot;&lt;br /&gt;
&amp;quot;Wives and Daughters,&amp;quot; &amp;quot;Martin Chuzzlewit,&amp;quot;&lt;br /&gt;
&amp;quot;Tale of Two Cities,&amp;quot; &amp;quot; Put yourself in his place,&amp;quot;&lt;br /&gt;
&amp;amp;c. Many authors of standing have helped them&lt;br /&gt;
with ready kindness, and it is hoped that others on&lt;br /&gt;
reading this may write to the secretary, Mr. J.&lt;br /&gt;
Barrow, Northumberland Terrace, Backworth,&lt;br /&gt;
Neweastle-on-Tync. It is self-evident that books&lt;br /&gt;
suggested should be such as are published in cheap&lt;br /&gt;
editions.&lt;br /&gt;
Necessarily the books chosen must be get-at-able&lt;br /&gt;
in cheap editions.&lt;br /&gt;
III.&lt;br /&gt;
Ox New Work.&lt;br /&gt;
As bearing on &amp;quot;Berserker&amp;#039;s&amp;quot; assertion in the&lt;br /&gt;
November Author, that it is impossible to get a&lt;br /&gt;
publisher to take up original work, it may be&lt;br /&gt;
interesting to your readers to know that this has&lt;br /&gt;
been frankly admitted by at least one of our leading&lt;br /&gt;
publishing houses.&lt;br /&gt;
The firm to whom I first offered my book on&lt;br /&gt;
&amp;quot;&amp;quot;in refusing to bring it out&lt;br /&gt;
except at my own expense, gave as their reason for&lt;br /&gt;
declining it that it was written &amp;quot;on totally new&lt;br /&gt;
lines of thought.&amp;quot;&lt;br /&gt;
J. B. C.&lt;br /&gt;
[It is only another way of expressing the great&lt;br /&gt;
fact that publishers very seldom take any risk. If&lt;br /&gt;
we keep on dinning this truth into the heads of&lt;br /&gt;
people, they will some day, perhaps, get to look&lt;br /&gt;
upon publishing as a trade&mdash;which it is&mdash;like any&lt;br /&gt;
other trade, conducted for profit.&mdash;Editor.]&lt;br /&gt;
IV.&lt;br /&gt;
Novels in a Batch.&lt;br /&gt;
A correspondent sends us, as an illustration of&lt;br /&gt;
the care and thoroughness with which the reviewing&lt;br /&gt;
of novels in the batch is conducted, the interesting&lt;br /&gt;
fact that a genealogical work, published in the&lt;br /&gt;
summer, was lately noticed in one of the leading&lt;br /&gt;
reviews as a novel among the weekly batch!&lt;br /&gt;
V.&lt;br /&gt;
The Gexkrosity of the Religious Society.&lt;br /&gt;
Further particulars have now been received as to&lt;br /&gt;
the case of munificent generosity on the part of a&lt;br /&gt;
religious publishing society, recorded in the No-&lt;br /&gt;
vember Author. The book in question was&lt;br /&gt;
published by this religious publishing society &mdash;&lt;br /&gt;
not the Society for Promoting Christian Knowledge&lt;br /&gt;
&mdash;at the price of two shillings. On a royalty of&lt;br /&gt;
5 per cent., which is iniquitous and sweating, the&lt;br /&gt;
writer would receive &pound;5 a thousand. On a royalty&lt;br /&gt;
of 10 per cent., which is also a sweating royalty,&lt;br /&gt;
the author would receive &amp;lt;&pound;io a thousand. On a&lt;br /&gt;
royalty of twopence in the shilling, or 16 per cent.,&lt;br /&gt;
he would receive &pound;16 i3s. 4//. for every thousand.&lt;br /&gt;
If 3,ooo copies were sold, the following is the&lt;br /&gt;
estimated result :&mdash;&lt;br /&gt;
per cent.&lt;br /&gt;
S&lt;br /&gt;
per cent.&lt;br /&gt;
10&lt;br /&gt;
per cent.&lt;br /&gt;
&amp;#039;5&lt;br /&gt;
&pound;&lt;br /&gt;
&pound;&lt;br /&gt;
e&lt;br /&gt;
Publisher&amp;#039;s profits&lt;br /&gt;
60&lt;br /&gt;
45&lt;br /&gt;
30&lt;br /&gt;
Author ...&lt;br /&gt;
■ 5&lt;br /&gt;
3&deg;&lt;br /&gt;
AS,&lt;br /&gt;
The generous society, however, did not give any&lt;br /&gt;
royalty at all. They gave the writer the magnificent,&lt;br /&gt;
princely sum of JE12!!!! It is only a religious&lt;br /&gt;
society which can be so truly, nobly generous. It&lt;br /&gt;
will be remembered by those who read a little&lt;br /&gt;
pamphlet, published last year, called the &amp;quot;Literary&lt;br /&gt;
Handmaid of the Church,&amp;quot; that one of the many&lt;br /&gt;
princely acts of the Society for Promoting Christian&lt;br /&gt;
Knowledge was to give an author &pound;12 for a book&lt;br /&gt;
of which 6,000 copies were sold, and to refuse&lt;br /&gt;
anything more, although the author pleaded that,&lt;br /&gt;
they had promised more if the book should prove&lt;br /&gt;
a success. How wonderfully do these societies&lt;br /&gt;
promote the cause of true religion! With what&lt;br /&gt;
self-sacrificing courage do they hold aloft the&lt;br /&gt;
banner of justice! Let us always and always&lt;br /&gt;
thank Heaven for the religious publishing society!&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 216 (#620) ############################################&lt;br /&gt;
&lt;br /&gt;
2l6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
VI.&lt;br /&gt;
The Bookman.&lt;br /&gt;
27, Paternoster Bow, London,&lt;br /&gt;
Sir, 25th November, i891.&lt;br /&gt;
In the lust number of the .Author you refer&lt;br /&gt;
to ii letter by a lady authoress published in the&lt;br /&gt;
first number of the Bookman. You say that the&lt;br /&gt;
letter is &amp;quot; endorsed by the editor.&amp;quot; You go further,&lt;br /&gt;
and actually declare that on a six shilling book a&lt;br /&gt;
profit to the author of &pound;jb, and to the publisher of&lt;br /&gt;
&pound;3o.&amp;quot;&amp;gt;, is &amp;quot; the full and equal royalty advocated by&lt;br /&gt;
the Bookman!&amp;quot;&lt;br /&gt;
No more gross misrepresentations could possibly&lt;br /&gt;
be imagined.&lt;br /&gt;
So far from endorsing the letter, I added the&lt;br /&gt;
following note :&mdash;&lt;br /&gt;
&amp;quot;The spirit of this letter is worthy of all&lt;br /&gt;
admiration, but it should be remembered&mdash;(1) that&lt;br /&gt;
on tin; matter of royalties well-known writers&lt;br /&gt;
should not be put on a level with beginners; and&lt;br /&gt;
(2) that the writer of the letter was in the habit&lt;br /&gt;
of publishing books which sold at a low price, and&lt;br /&gt;
contained a good deal of matter.&amp;quot;&lt;br /&gt;
Ignoring this note, you attempt to make out&lt;br /&gt;
that I considered a royalty of one penny a shilling&lt;br /&gt;
on a very popular six shilling book as fair. No such&lt;br /&gt;
thing. The author of the letter was referring to&lt;br /&gt;
books selling about one shilling and sixpence and&lt;br /&gt;
two shillings, and so long as to involve quite as&lt;br /&gt;
much setting as an average six-shilling volume.&lt;br /&gt;
On such, I believe, a royalty of one penny per&lt;br /&gt;
shilling may be fair, but I expressed no opinion&lt;br /&gt;
even on that.&lt;br /&gt;
On a book priced at six shillings and selling&lt;br /&gt;
well, I agree with you that a much higher rate&lt;br /&gt;
may be paid; in fact, my note was written to make&lt;br /&gt;
this clear. Hut I do not accept your statements on&lt;br /&gt;
this subject. How can an addition of a thousand&lt;br /&gt;
copies of a six-shilling volume be all sold? Out&lt;br /&gt;
of a thousand a considerable number would be sent&lt;br /&gt;
to reviewers, and could not, therefore, be included&lt;br /&gt;
in an estimate of money received. But I have no&lt;br /&gt;
hesitation in saying that the great majority of&lt;br /&gt;
books published at six shillings do not reach any-&lt;br /&gt;
thing like a sale of a thousand. Several hundred&lt;br /&gt;
copies have to be got riil of for what they will&lt;br /&gt;
bring. And you take no account of the element of&lt;br /&gt;
time, one book selling a thousand in a day, another&lt;br /&gt;
struggling through its thousand in ten years. I&lt;br /&gt;
need not say that this consideration should influence&lt;br /&gt;
the whole reckoning&lt;br /&gt;
I now desire to put a direct question. I am,&lt;br /&gt;
and have been for years, a member of the Society&lt;br /&gt;
of Authors. Many of the contributors to the&lt;br /&gt;
Bookman arc also members. None of us, as far as&lt;br /&gt;
I know, have ever given you permission to speak&lt;br /&gt;
our minds on all subjects. We, acquiesce in the&lt;br /&gt;
publication of the Author at the expense of the&lt;br /&gt;
Society, because we think that, on the whole, it&lt;br /&gt;
does good, though I, for one, do not see why it&lt;br /&gt;
should not easily pay its way. But some of us, at&lt;br /&gt;
least, feel when we read you on such subjects i:s&lt;br /&gt;
&amp;quot;The man of the magnificent imagination.&amp;quot;&lt;br /&gt;
&amp;quot;Titles for Authors,&amp;quot; Ac, as you feel towards the&lt;br /&gt;
Spectator. If we cared to use your own elegant&lt;br /&gt;
language, we should say, we are &amp;quot;grieved and&lt;br /&gt;
humiliated to see such stuff in your columns.&amp;quot; Our&lt;br /&gt;
trouble is that you talk as if you had a right to be&lt;br /&gt;
our spokesman. You say to me, &amp;quot;As a society of&lt;br /&gt;
bookmen and bookwomen, we would earnestly&lt;br /&gt;
invite, &amp;amp;c. Who gave you a right to say that?&lt;br /&gt;
At what meeting of the Society of Authors was this&lt;br /&gt;
invitation resolved upon? Did the Committee&lt;br /&gt;
authorise you to extend it? Oris it simply you,&lt;br /&gt;
the conductor of the paper, who are speaking&lt;br /&gt;
without authority from any other human being i&lt;br /&gt;
If so, I venture to suggest that the practice of&lt;br /&gt;
speaking for men who have given you no authority&lt;br /&gt;
to represent them, and who repudiate many of&lt;br /&gt;
your most cherished opinions, should be dropped&lt;br /&gt;
at once. Let the opinions be given simply as&lt;br /&gt;
those of Mr. Walter Besant, and they will receive&lt;br /&gt;
the respect they are entitled to, and from none&lt;br /&gt;
more willingly than from,&lt;br /&gt;
Sir,&lt;br /&gt;
Your obedient Servant,&lt;br /&gt;
The Editor of the &amp;quot; Bookman.&amp;quot;&lt;br /&gt;
Notes on the Above.&lt;br /&gt;
1. &amp;quot;Endorsed by the Editor.&amp;quot; The lady who&lt;br /&gt;
wrote the letter did so on the assumption that a&lt;br /&gt;
royalty of a penny in the shilling was a fair royalty&lt;br /&gt;
&mdash;the usual royalty&mdash;and that it gave the writer&lt;br /&gt;
as much as it left the publisher. This was the&lt;br /&gt;
whole point of her letter, and it was entirely&lt;br /&gt;
erroneous. The Editor did not correct these mis-&lt;br /&gt;
statements. He let them pass. If he did not&lt;br /&gt;
endorse them, what did he do? Our readers,&lt;br /&gt;
however, have his words before them. They may&lt;br /&gt;
judge for themselves.&lt;br /&gt;
2. Whether the book is a shilling book or a six&lt;br /&gt;
shilling book, the proportion is tlie same. The&lt;br /&gt;
example of a six shilling book is given as the most&lt;br /&gt;
convenient and the most intelligible.&lt;br /&gt;
3. Why should well-known writers receive more&lt;br /&gt;
than beginners on a royalty? A royalty gives so&lt;br /&gt;
much a copy. The beginner will not be in such&lt;br /&gt;
great demand as the well-known writer, and will,&lt;br /&gt;
therefore, on the same royalty, get less.&lt;br /&gt;
4. &amp;quot;The writer was in the habit of publishing&lt;br /&gt;
books at a low price containing a good deal of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 217 (#621) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
217&lt;br /&gt;
matter.&amp;quot; Well, I have myself published books for a&lt;br /&gt;
shilling each containing as much matter as is found&lt;br /&gt;
in most si.v shilling books. But never, certainly,&lt;br /&gt;
for a penny royalty. So that I speak from personal&lt;br /&gt;
experience and not from theory.&lt;br /&gt;
5. &amp;quot;How can an edition of a thousand copies of&lt;br /&gt;
a six shilling edition be all sold?&amp;quot; You may&lt;br /&gt;
deduct thirty or so for press copies. The rest will&lt;br /&gt;
be all sold if the book is successful to that extent.&lt;br /&gt;
If it is not going to be successful to so small an&lt;br /&gt;
extent the publisher will beforehand&mdash;and quite&lt;br /&gt;
rightly&mdash;make the author pay towards the pro-&lt;br /&gt;
duction of the book. Those six shilling books&lt;br /&gt;
which are not paid for by the author sell sometimes&lt;br /&gt;
a great many thousands&mdash;in every case which can&lt;br /&gt;
be called in the least successful a good deal more&lt;br /&gt;
than a thousand. The Editor of the Bookman&lt;br /&gt;
wants to consider the length of time in getting the&lt;br /&gt;
book off. Well, let us consider it. A six shilling&lt;br /&gt;
book costs about &pound;100 with advertising. The first&lt;br /&gt;
subscription, always supposing that it is a book&lt;br /&gt;
sure of a reasonable success, and therefore not paid&lt;br /&gt;
for by the author, will certainly earn more than half&lt;br /&gt;
by the first subscription, in nearly all ciises the&lt;br /&gt;
other half in the first three months. There will&lt;br /&gt;
not, in any case, be much left to be covered after&lt;br /&gt;
the first five hundred are gone.&lt;br /&gt;
There is nothing whatever to be altered in the&lt;br /&gt;
notes of last month&amp;#039;s Author on this unfortunate&lt;br /&gt;
letter.&lt;br /&gt;
6. In answer to the Editor&amp;#039;s &amp;quot;direct question,&amp;quot; I&lt;br /&gt;
have only to call his attention to the notice at the&lt;br /&gt;
beginning of every Author, that signed articles&lt;br /&gt;
represent the opinions of the writer only. The&lt;br /&gt;
paragraphs to which he refers are signed by me as&lt;br /&gt;
the writer.&lt;br /&gt;
W. B.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
IN the long list of books published in November,&lt;br /&gt;
note for purchase or circulating library pur-&lt;br /&gt;
poses Austin Dobson&amp;#039;s &amp;quot; Hogarth,&amp;quot; Gardiner&amp;#039;s&lt;br /&gt;
&amp;quot;History of the Great Civil War,&amp;quot; Vol. III., Lord&lt;br /&gt;
Rosebery&amp;#039;s &amp;quot; Pitt,&amp;quot; Traill&amp;#039;s &amp;quot;Marquis of Salisbury,&amp;quot;&lt;br /&gt;
Churton Collins&amp;#039; &amp;quot;Illustrations of Tennyson,&amp;quot;&lt;br /&gt;
Mrs. Grimwood&amp;#039;s &amp;quot; Escape from Manipur,&amp;quot; Andrew&lt;br /&gt;
Lang&amp;#039;s &amp;quot;Angling Sketches,&amp;quot; Maudslay&amp;#039;s &amp;quot; Nature&amp;#039;s&lt;br /&gt;
Warnings,&amp;quot; William Morris&amp;#039; &amp;quot; Story of the Glitter-&lt;br /&gt;
ing Plain,&amp;quot; Bullen&amp;#039;s &amp;quot;Lyrics from Elizabethan&lt;br /&gt;
Dramatists,&amp;quot; Leeky&amp;#039;s &amp;quot;Poems.&amp;quot;&lt;br /&gt;
A one-volume edition of George Meredith&amp;#039;s&lt;br /&gt;
&amp;quot;One of our Conquerors&amp;quot; is now ready.&lt;br /&gt;
(Chapman and Hall).&lt;br /&gt;
A cheap edition is ready of George Macdonald&amp;#039;s&lt;br /&gt;
&amp;quot;There and Back.&amp;quot; (Kegan Paul &amp;amp; Co.)&lt;br /&gt;
A book out of the common, and far more than&lt;br /&gt;
commonly interesting, is Mr. Athol Maudslay&amp;#039;s&lt;br /&gt;
&amp;quot;Nature&amp;#039;s Weather Warnings and Natural Phe-&lt;br /&gt;
nomena.&amp;quot; Here are simple rules for forecasting&lt;br /&gt;
the weather, obsolete weather prognostications, folk&lt;br /&gt;
lore, flower lore, moon lore&mdash;all kinds of things&lt;br /&gt;
unexpected. It is a little book published by&lt;br /&gt;
Simpkin, Marshall, and Co.&lt;br /&gt;
In the new number of the Educational&lt;br /&gt;
Beview are papers by Arthur Sedgwick on &amp;quot;The&lt;br /&gt;
Women&amp;#039;s Question at Oxford &amp;quot;; by Lyulph&lt;br /&gt;
Stanley on &amp;quot;The Work before the London School&lt;br /&gt;
Board&amp;quot;; by A. G. Vernon Harcourt on &amp;quot;Greek&lt;br /&gt;
from the Science man&amp;#039;s Point of View &amp;quot;; by Pro-&lt;br /&gt;
fessor Skeat on &amp;quot;The Educational Value of&lt;br /&gt;
English,&amp;quot; Part II. ; and by Arthur Monteliore, on&lt;br /&gt;
&amp;quot;Nautical Education.&amp;quot; The spirit of progress and&lt;br /&gt;
activity has at last been aroused even in educational&lt;br /&gt;
papers, which of old were wont to be the dullest&lt;br /&gt;
of dull organs.&lt;br /&gt;
&amp;quot;Glimpses into Nature&amp;#039;s Secrets,&amp;quot; by Edward&lt;br /&gt;
Alfred Martin (Elliot Stock), is an attempt to&lt;br /&gt;
bring under the observer&amp;#039;s notice a few facts re-&lt;br /&gt;
lating to those creatures of the sea-shore, which,&lt;br /&gt;
familiar more or less to all, are always replete with&lt;br /&gt;
interest to the seaside sojourner. The descriptions&lt;br /&gt;
are neither lengthy nor technical, yet the infor-&lt;br /&gt;
mation is trustworthy, and conveyed with a&lt;br /&gt;
scientific spirit, although the manner chosen has&lt;br /&gt;
been a popular one.&lt;br /&gt;
There is a new edition of Jefferies&amp;#039; &amp;quot;The Dewy&lt;br /&gt;
Morn.&amp;quot; It now finds a place among Messrs.&lt;br /&gt;
Bentlcy and Son&amp;#039;s &amp;quot;Favourite Novels.&amp;quot;&lt;br /&gt;
The narrative of Mrs. Frank Grimwood&amp;#039;s escape&lt;br /&gt;
from tin&amp;#039; Mutiny of Manipur is a most wonderful&lt;br /&gt;
story, simply and beautifully told, full of pathos&lt;br /&gt;
and of situations terrible as well as pathetic. Its&lt;br /&gt;
success is said to be as great as it deserves.&lt;br /&gt;
Let us welcome among the company of novelists&lt;br /&gt;
a new comer in the person of Miss Mary Dickens,&lt;br /&gt;
granddaughter of her grandfather. In the children&lt;br /&gt;
of the great novelist, their father&amp;#039;s genius, as con-&lt;br /&gt;
stantly happens, has manifested itself in other lines.&lt;br /&gt;
Perhaps it has reappeared in his granddaughter.&lt;br /&gt;
The name of the. work is &amp;quot;Cross Currents.&amp;quot; The&lt;br /&gt;
publishers are Chapman and Hall. Surely all who&lt;br /&gt;
love their Charles Dickens will at least pay his&lt;br /&gt;
memory the compliment by calling for the novel of&lt;br /&gt;
his grandchild.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 218 (#622) ############################################&lt;br /&gt;
&lt;br /&gt;
2l8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Mrs. W. K. Clifford brings out her &amp;quot;Love&lt;br /&gt;
Letters of a Worldly Woman&amp;quot; this day&mdash;with&lt;br /&gt;
Edward Arnold.&lt;br /&gt;
Miss Mabel Robinson has gone to the same&lt;br /&gt;
publishers with her new book, &amp;quot; Hovenden, V.C.&amp;quot;&lt;br /&gt;
Under the same name are new books by Clark&lt;br /&gt;
Russell, Barry Gould, MacLaren Cobban, L. B.&lt;br /&gt;
Walford, Mrs. Molesworth, W. E. Henley; not a&lt;br /&gt;
bad list for a new house.&lt;br /&gt;
Messrs. Longmans have in the press the auto-&lt;br /&gt;
biography of an actress, not a great London actress,&lt;br /&gt;
but an obscure member of a country company&mdash;of&lt;br /&gt;
that class formerly called strolling actors. It is the&lt;br /&gt;
only book which gives the actual life of the modern&lt;br /&gt;
strolling actor. The experiences and anecdotes are&lt;br /&gt;
strictly true. The author calls herself &amp;quot; Dorothy&lt;br /&gt;
Wallis,&amp;quot; and Mr. Walter Besant, who is personally&lt;br /&gt;
acquainted with her, will contribute a preface to the&lt;br /&gt;
work.&lt;br /&gt;
The author of &amp;quot;John Westaeott&amp;quot; has com-&lt;br /&gt;
pleted a three-volume novel, dealing with English&lt;br /&gt;
characters, the scene being laid partly in the&lt;br /&gt;
west country and on the Cornish coast, and some&lt;br /&gt;
exciting scenes in a picturesque part of Bohemia.&lt;br /&gt;
The publication is delayed for the American&lt;br /&gt;
edition. Amongst the publications in which this&lt;br /&gt;
writer&amp;#039;s work has appeared during the present&lt;br /&gt;
year are Cornhill, the Times, Black and White,&lt;br /&gt;
Spectator, Leisure Hour, Athenceum, the Author,&lt;br /&gt;
Cassell&amp;#039;s, &amp;amp;c.; and he is also contributing&lt;br /&gt;
notes to some of the principal provincial dailies.&lt;br /&gt;
His article upon St. David, which appeared in&lt;br /&gt;
the English Illustrated some three years since,&lt;br /&gt;
under the title of &amp;quot;A Dead City,&amp;quot; has become the&lt;br /&gt;
acknowledged guide to that quaint place, and in the&lt;br /&gt;
programme of the meeting of the Royal Society of&lt;br /&gt;
Antiquaries of Ireland at Killarney this year it&lt;br /&gt;
was especially recommended to the members for&lt;br /&gt;
comparison with the pre-historic remains in West&lt;br /&gt;
Kerry.&lt;br /&gt;
The Duke of Argyll and his son, the Marquis of&lt;br /&gt;
Lome, have joined the Company of Novelists, in&lt;br /&gt;
the series published by the Automatic Company.&lt;br /&gt;
Mr. George Saintsbury has introduced the&lt;br /&gt;
Essays of Edmund Scherer to the English public&lt;br /&gt;
in translation, with a critical preface. (Sampson&lt;br /&gt;
Low &amp;amp; Co.)&lt;br /&gt;
We have received &amp;quot; A Descriptive List of British&lt;br /&gt;
Novels,&amp;quot; compiled by W. M. Griswold, and pub-&lt;br /&gt;
lished at Cambridge, Massachussetts. The number&lt;br /&gt;
of novels noticed is 916, from No. i,025 to No. 1,941.&lt;br /&gt;
What precedes No. 1,023 probably belongs to&lt;br /&gt;
another collection. The intention of the collection&lt;br /&gt;
is to supply a notice of every novel taken from the&lt;br /&gt;
reviews of the day. Generally these are laudatory;&lt;br /&gt;
sometimes they are the reverse. A pleasing&lt;br /&gt;
surprise is introduced by a novel system of spelling.&lt;br /&gt;
We have &amp;quot;ar&amp;quot; for &amp;quot;are,&amp;quot; &amp;quot;we&amp;#039;r&amp;quot; for &amp;quot;were,&amp;quot;&lt;br /&gt;
&amp;quot;britly&amp;quot; for &amp;quot; brightly,&amp;quot; and so forth; the result&lt;br /&gt;
is that the critics&amp;#039; remarks appear absolutely fresh&lt;br /&gt;
and new.&lt;br /&gt;
Mrs. Edmonds, whose &amp;quot;Greek Lays, Idylls, and&lt;br /&gt;
Legends&amp;quot; (Triibner and Co.) were favourably&lt;br /&gt;
noticed some five years ago, has recently published&lt;br /&gt;
a new book, entitled &amp;quot;Kolokotrones, Klepht and&lt;br /&gt;
Warrior&amp;quot; (Fisher Unwiu). The same publisher&lt;br /&gt;
has also recently issued &amp;quot;Amaryllis,&amp;quot; by the same&lt;br /&gt;
author, and a book of fairy tales.&lt;br /&gt;
Mr. A. R. Ropes has published, with Seelev&lt;br /&gt;
and Co., a Selection from the Letters of Lady Mary&lt;br /&gt;
Wortley Montague, with an introduction.&lt;br /&gt;
&amp;quot;Cora Langton,&amp;quot; the author of &amp;quot;Jock and his&lt;br /&gt;
Friends,&amp;quot; has written another children&amp;#039;s book,&lt;br /&gt;
&amp;quot;A Parliament of Pickles.&amp;quot; It is a funny,&lt;br /&gt;
natural, and pathetic story.&lt;br /&gt;
With regard to our announcement of Mr. Bert nun&lt;br /&gt;
Mitford&amp;#039;s new novel &amp;quot; Golden Face; A Tale of the&lt;br /&gt;
Wild West,&amp;quot; Trischler and Co., we learn that its&lt;br /&gt;
publication is postponed until the end of January&lt;br /&gt;
next.&lt;br /&gt;
William Wilson&amp;#039;s translation of &amp;quot;Brand,&amp;quot;&lt;br /&gt;
Ibsen&amp;#039;s most powerful drama, has been published&lt;br /&gt;
by Methuen. It is not a play to be acted, but the&lt;br /&gt;
situations are splendid in their simplicity mid the&lt;br /&gt;
central character is certainly as fine as anything&lt;br /&gt;
that Ibsen has ever drawn.&lt;br /&gt;
Immediately will be published &amp;quot;When Town&lt;br /&gt;
and Country Meet.&amp;quot; Longmans. Price 6*. By&lt;br /&gt;
Mrs. Alfred Baldwin.&lt;br /&gt;
The Cassell Publishing Company, New York,&lt;br /&gt;
have bought the American rights of &amp;quot; Indian Idyls,&lt;br /&gt;
by an &amp;#039;Idle Exile,&amp;#039;&amp;quot; originally published &amp;#039;by&lt;br /&gt;
Messrs. Thaeker and Spink, Calcutta, and also of&lt;br /&gt;
a one-volume novel by &amp;quot;An Idle Exile,&amp;quot; entitled,&lt;br /&gt;
&amp;quot;By a Himalayan Lake,&amp;quot; which ran as a serial in&lt;br /&gt;
the &amp;quot;Pictorial World.&amp;quot;&lt;br /&gt;
Messrs. Methuen, London, also have in the press&lt;br /&gt;
&amp;quot;In Tent and Bungalow,&amp;quot; another collection of&lt;br /&gt;
short stories by the author of &amp;quot; Indian Idyls.&amp;quot;&lt;br /&gt;
Miss Peard&amp;#039;s new Dutch novel, &amp;quot;The Baroness,&amp;quot;&lt;br /&gt;
will be published simultaneously in London&lt;br /&gt;
(Bentley) and New York (Harper) at the beginning&lt;br /&gt;
of the year.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 219 (#623) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Among the new books of the month must be&lt;br /&gt;
included Mr. Henry Charles Moore&amp;#039;s &amp;quot;Who was&lt;br /&gt;
She?&amp;quot; published by Dean and Son with the&lt;br /&gt;
October books.&lt;br /&gt;
The title of Mr. Walter Besant&amp;#039;s new novel,&lt;br /&gt;
about to run through Chamber&amp;#039;s Journal, is &amp;quot;The&lt;br /&gt;
Ivory Gate.&amp;quot; It is the title of a novel by the late&lt;br /&gt;
Mortimer Collins, which was published in the year&lt;br /&gt;
1866. Mr. Bosant has been very kindly j&amp;gt;ermitted&lt;br /&gt;
by Miss Mabel Collins to use the title for the new&lt;br /&gt;
story.&lt;br /&gt;
A Fourth Edition is ready of Sir Monier&lt;br /&gt;
Williams&amp;#039; &amp;quot;Brahminisiu and Hinduism.&amp;quot; (John&lt;br /&gt;
Murray.)&lt;br /&gt;
&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Benham, Rev. W. The Dictionary of Religion; an En-&lt;br /&gt;
cyclopaedia of Christian and other religious doctrines,&lt;br /&gt;
denominations, sects, heresies, ecclesiastical terms,&lt;br /&gt;
history, biography, &amp;amp;c. Edited by. Cassell. io&laquo;. 6rf.&lt;br /&gt;
The Church and Hek Doctrine. By the Bishop of&lt;br /&gt;
Sydney, the Bishop of Ossory, Canon Girdlestone, the&lt;br /&gt;
Rev. Henry Wace, D.D., and others. J. Nisbet and Co.&lt;br /&gt;
6s.&lt;br /&gt;
Farrar, Archdeacon. The Life of Christ. Illustrated.&lt;br /&gt;
Cassell and Co. yt. 6d.&lt;br /&gt;
Geikie, Rev. C, D.D. The Holy Land and the Bible.&lt;br /&gt;
With illustrations from original drawings. By Henry&lt;br /&gt;
A. Harper. Cassell. 2is.&lt;br /&gt;
Granger, M. E. Advent Readings, arranged for daily&lt;br /&gt;
reading and meditation. Griffith, Farran. 3&laquo;. 6d.&lt;br /&gt;
Huntinoford, Rev. E., D.C.L. Popular Misconceptions&lt;br /&gt;
about the First Eleven Chapters of Genesis. Second&lt;br /&gt;
edition, continued to the death of Joseph. Bickers,&lt;br /&gt;
Leicester Square, is.&lt;br /&gt;
Maoee, C. S. Growth in Grace, and other Sermons. By&lt;br /&gt;
the late W. C. Magee, D.D., Archbishop of York.&lt;br /&gt;
Edited by. Isbister. 7s. 6d.&lt;br /&gt;
Maurice, F. Denison. Sermons Preached in Lincoln&amp;#039;s Inn&lt;br /&gt;
Chapel. In 6 vols. Vol.11. New edition. Macmillan&lt;br /&gt;
and Co. 3&raquo;. 6d.&lt;br /&gt;
Robinson, J. A., B.D. Texts and Studies, Contributions to&lt;br /&gt;
Biblical and Patristic Literature. Edited by. Vol.11.,&lt;br /&gt;
No. I., a Study of Codex Beza?. Cambridge University-&lt;br /&gt;
Press. 7s. 6d.&lt;br /&gt;
Skene, W. F., D.C.L. The Lord&amp;#039;s Supper and the Pass-&lt;br /&gt;
over Kitual; being a Translation of the Substance&lt;br /&gt;
of Professor Bickncll&amp;#039;s work, termed &amp;quot;Messe und&lt;br /&gt;
Pascha.&amp;quot; With an introduction by the Translator on&lt;br /&gt;
the connexion of the Early Christian Church with the&lt;br /&gt;
Jewish Church. Clark, Edinburgh. 5j.&lt;br /&gt;
What We Believe: a simple Statement of the Christian&lt;br /&gt;
Faith. Griffith, Farran.&lt;br /&gt;
White, Edward, Archbishop of Canterbury. Living&lt;br /&gt;
Theology. With portrait. Preachers of the Age Series.&lt;br /&gt;
Sampson Low.&lt;br /&gt;
Williams, Sir Monies, K.C.I.E. Brahminism and&lt;br /&gt;
Hinduism; or, Religious Thought and Life in India.&lt;br /&gt;
Fourth edition, enlarged and improved. Murray. i8&raquo;.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Armstrong, W. The Life and Work of Briton Riviere.&lt;br /&gt;
Christmas number of the Art Journal. With numerous&lt;br /&gt;
illustrations. Art Journal office, Ivy Lane, E.C.&lt;br /&gt;
Belford Bax, E. Selected Essays of Arthur Schopenhauer.&lt;br /&gt;
With a biographical introduction and sketch of his&lt;br /&gt;
philosophy. George Bell. 5*.&lt;br /&gt;
Belmore, Earl of, G.C.M.G. The History of the Corry&lt;br /&gt;
Family of Castlecoolc. Longmans; Thorn, Dublin,&lt;br /&gt;
io*. 6d.&lt;br /&gt;
Brugsch-Bey, H. Egypt under the Pharaohs: a History&lt;br /&gt;
derived entirely from the Monuments. A new edition,&lt;br /&gt;
condensed and revised by M. Brodrick. Maps and&lt;br /&gt;
illustrations. Murray. 18s.&lt;br /&gt;
Crawford, Frederick. Hans Christian Andersen&amp;#039;s Cor-&lt;br /&gt;
respondence with the late Grand Duke of Saxe-Weimar,&lt;br /&gt;
Charles Dickens, and others. Edited by. With portrait&lt;br /&gt;
and memoir. Dean, Fleet Street. 6*.&lt;br /&gt;
Dobson, Austin. William Hogarth. Sampson Low.&lt;br /&gt;
Edwards, S. J. Celestine. From Slavery to a Bishopric j&lt;br /&gt;
or, the Life of Bishop Walter Hawkins, of the British&lt;br /&gt;
Methodist Episcopal Church, Canada. Kensit. London.&lt;br /&gt;
Fleav, F. G., M.A. A Biographical Chronicle of the&lt;br /&gt;
English Drama, 1559-1642. In 2 vols. Reeves and&lt;br /&gt;
Turner. 1/. 10s.&lt;br /&gt;
Forbes, Archibald. The Afghan Wars, 1839-42 and&lt;br /&gt;
1878-80. With portraits and plans. Seeley, Essex&lt;br /&gt;
Street, Strand.&lt;br /&gt;
Frith, Henry. The Biography of a Locomotive Engine.&lt;br /&gt;
Illustrated. Cassell and Co. St.&lt;br /&gt;
Gardiner, S. R., M.A. History of the Great Civil War,&lt;br /&gt;
1642-49. Vol. III. 1647-49. Longmans. 28s.&lt;br /&gt;
Goff, G. L. Historical Records of the 91st Argyllshire&lt;br /&gt;
Highlanders, now the 1st Battalion Princess Louise&amp;#039;s&lt;br /&gt;
Argyll and Sutherland Highlanders, containing an&lt;br /&gt;
account of the formation of the regiment in 1794, and&lt;br /&gt;
of its subsequent services to 1881. Arrunged by.&lt;br /&gt;
Bentley.&lt;br /&gt;
Hamerton, P. G. Paris, in Old and Preseut Times. Illus-&lt;br /&gt;
trated (new edition). Seeley and Co.&lt;br /&gt;
Hope, M. J. Novalis: His Life, Thoughts, and Works.&lt;br /&gt;
Edited and translated by. Stott.&lt;br /&gt;
Oxenden, Right Rev. A., D.D. The History of My Life:&lt;br /&gt;
an Autobiography. Longmans, 5s.&lt;br /&gt;
Picton, J. Allansox, M.P. Sir James A. Picton: a&lt;br /&gt;
Biography, with facsimile sketches. Isbister and Co.&lt;br /&gt;
12*.&lt;br /&gt;
Ropes, A. R., M.A. Lady Mary Wortlcy Montagu:&lt;br /&gt;
Selected Passages from her Letters. Edited by.&lt;br /&gt;
With nine portraits, after Sir Godfrey Kueller and&lt;br /&gt;
other artists. Seeley.&lt;br /&gt;
Rosebery, Lord. Pitt. Twelve English Statesmen&lt;br /&gt;
Series. Macmillan. 2s. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 220 (#624) ############################################&lt;br /&gt;
&lt;br /&gt;
220&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Sciierer, W. A History of German Literature, from the&lt;br /&gt;
Accession of Frederick the Great to the Death of&lt;br /&gt;
Goethe. Translated from the third German edition by&lt;br /&gt;
Mrs. F. C. Conybeare and edited by F. Max Miiller.&lt;br /&gt;
Clarendon Press. 5s.&lt;br /&gt;
Siborne, Maj.-Ge.v H. T. Waterloo Letters: a selection&lt;br /&gt;
from original and hitherto unpublished letters bearing&lt;br /&gt;
on the operations of the 16th, 17th, and 18th of June,&lt;br /&gt;
1815, by officers who served in the campaign. Edited,&lt;br /&gt;
with explanatory notes, by. Illustrated, with maps&lt;br /&gt;
and plans. Cassell. 21s.&lt;br /&gt;
Traill, H. D., D.C.L. The Marquis of Salisbury. The&lt;br /&gt;
Prime Ministers of Queen Victoria Series. Edited by&lt;br /&gt;
Stuart J. Heid. Sampson Low.&lt;br /&gt;
Villari, Prof. Pasquale. The Life and Times of&lt;br /&gt;
Niccolo Machiavelli. Translated by Madame Linda&lt;br /&gt;
Villari. Anew edition. Augmented by the author;&lt;br /&gt;
revised by the translator. Illustrated. Two vols.&lt;br /&gt;
Fisher Uuwin. 321.&lt;br /&gt;
Educational.&lt;br /&gt;
Chisholm, G. G., M.A. Longmans&amp;#039; School Geography&lt;br /&gt;
for India and Ceylon. Longmans. 3.1. 6d.&lt;br /&gt;
Easton, Rev. .T. G., M.A. A First Book of Mechanics&lt;br /&gt;
for young beginners, with numerous easy examples and&lt;br /&gt;
answers. Cassell. 4s. 6d.&lt;br /&gt;
Ferguson, F. O. Architectural Perspective. Illustrated.&lt;br /&gt;
Crosby Lockwood, and Son.&lt;br /&gt;
Maycock, W. Pekkk.n. A First Book of Electricity and&lt;br /&gt;
Magnetism. With illustrations. Whittakcr and Co.&lt;br /&gt;
2S. 6(1.&lt;br /&gt;
Meakin, J. E. B. An Introduction to the Arabic of&lt;br /&gt;
Morocco; English-Arabic Vocabulary, Grammar,&lt;br /&gt;
Notes, &amp;amp;c. Kegan Paul.&lt;br /&gt;
Mitchell, C. F. Forty Plates on Building Construction.&lt;br /&gt;
Cassell and Co. 10s. 6d.&lt;br /&gt;
Ramsay, Ci. E., LL.D., M.A. Latin Prose Composition.&lt;br /&gt;
Third edition. Volume I., containing Syntax, Exer-&lt;br /&gt;
cises with Notes, Vocabulary, and Appendix. Clarendon&lt;br /&gt;
Press. 4s. 6d.&lt;br /&gt;
General Literature.&lt;br /&gt;
Armstrong, A. E. Marian, or the Abbey Grange. Illus-&lt;br /&gt;
trated. Blackie and Son. is. 6d.&lt;br /&gt;
Armstrong, F. Changing Lots. Griffith, Farran. Ss.&lt;br /&gt;
Armstrong, J. Dan&amp;#039;s Little Girl. With illustrations.&lt;br /&gt;
Beligious Tract Society. 3s.&lt;br /&gt;
Baldwin, Mrs. Alfred. Where Town and Country Sleet.&lt;br /&gt;
Longmans. 6s.&lt;br /&gt;
Baring Gould, S., M.A. Historic Oddities and Strange&lt;br /&gt;
Events. Third edition. Methuen.&lt;br /&gt;
Beale, Anne. Fay Arlington. Griffith, Farran. Ss.&lt;br /&gt;
Bell, Ernest. Handbook of Athletic Sports. Edited by.&lt;br /&gt;
Vol. V.&mdash;Athletics, Cycling, Skating. Illustrated.&lt;br /&gt;
George Bell and Sons. 3s. 6d.&lt;br /&gt;
Bewsiier, Mrs. M. E. Mischief Makers, or the Story of&lt;br /&gt;
Zipporah. Griffith, Farran. 3s. 6d.&lt;br /&gt;
Birch, U. E. Ivy&amp;#039;s Dream. Illustrated. Religious Tract&lt;br /&gt;
Society, is.&lt;br /&gt;
Bland, E. A. Foxy Fielding&amp;#039;s Friend. With illustrations.&lt;br /&gt;
Religious Tract Society, it.&lt;br /&gt;
Bouvet, Marguerite. Sweet William, a Tale of Early&lt;br /&gt;
Times in Normandy. Nelson and Sons.&lt;br /&gt;
Bramston, M. Neal Russell. The Story of a Brave Man.&lt;br /&gt;
Swan Sounenscheiu.&lt;br /&gt;
A Village Genius: a True Story of Oberain-&lt;br /&gt;
mergau. National Society&amp;#039;s Depository. is.&lt;br /&gt;
Bremner, C. S. A Month in a Dandi, a Woman&amp;#039;s Wander-&lt;br /&gt;
ings in Northern India. Simpkin, Marshall. 6s.&lt;br /&gt;
Brightwen, Mrs. Wild Nature won by Kindness. With&lt;br /&gt;
illustrations by the Author and F. Carruthers Gould.&lt;br /&gt;
Popular edition. Fisher I&amp;#039;nwin. Paper covers, is.&lt;br /&gt;
Brodie, Emilv. The Orphans of Mertou Hall. Illustrated.&lt;br /&gt;
Religious Tract Society, is.&lt;br /&gt;
Brown, Frances. Granny&amp;#039;s Wonderful Chair. Illustrated&lt;br /&gt;
by M. Seymour Lucas. Griffith, Farran.&lt;br /&gt;
Brown, Maggie. Pleasant Work for Busy Fingers; or&lt;br /&gt;
Kindergarten at Home. Illustrated. Cassell and Co.&lt;br /&gt;
Ss.&lt;br /&gt;
Butler, M. M. Waiting and Serving: or the Major&amp;#039;s&lt;br /&gt;
Little Sentinel. Nelson and Son.&lt;br /&gt;
Carey, Rosa N. Averil. Illustrated. Religious Tract&lt;br /&gt;
Society. 3s.&lt;br /&gt;
Our Bessie. Illustrated. Religious Tract Society.&lt;br /&gt;
3&raquo;.&lt;br /&gt;
Clark, Alfred. A Dark Place of the Earth. Forest&lt;br /&gt;
Department, Ceylon. Sampson Low.&lt;br /&gt;
Clutterbuck, W. .1. About Ceylon and Borneo. Illus-&lt;br /&gt;
trated. Longmans, 10s. 6d.&lt;br /&gt;
Collins, J. Churton. Illustrations of Tennyson. Chatto&lt;br /&gt;
and Windus.&lt;br /&gt;
Craddock, C. E. In the &amp;quot;Stranger People&amp;#039;s&amp;quot; Country:&lt;br /&gt;
a Novel. Osgood, M&amp;#039;llvaine. 6s.&lt;br /&gt;
Cresswell, H. W. How to Buy and Sell at Auction&lt;br /&gt;
Rooms. Routledge.&lt;br /&gt;
Cusack, M. F. The Story of my Life. &amp;quot;The Nun of&lt;br /&gt;
Kenmare.&amp;quot; Hodder and Stoughton. 6s.&lt;br /&gt;
Debenham, Mary H. For King and Home and Mistress&lt;br /&gt;
Phil. National Society Depository, is. each.&lt;br /&gt;
Doudney, Sarah. The Love Dream of Gaily Funning&lt;br /&gt;
Hutchinson, is. 6d.&lt;br /&gt;
Where Two Ways Meet. Illustrated. Hutchin-&lt;br /&gt;
son. 5s.&lt;br /&gt;
Drayson, Lt.-Col. A. W. Among the Zulus. Griffith,&lt;br /&gt;
Farran. 2s.&lt;br /&gt;
Edwards, A. B. Pharaohs, Fellahs, and Explorers.&lt;br /&gt;
Illustrated. Osgood, M&amp;#039;llvaine. 18s.&lt;br /&gt;
Everett-Green, E. Dare Lorimer&amp;#039;s Heritage. Illustrated.&lt;br /&gt;
Hutchinson. 5s.&lt;br /&gt;
Falk, David G. Rick, or the Kecidiviste: a Romance of&lt;br /&gt;
Australian Life. Trischler and Co.&lt;br /&gt;
Fenn, G. Manville. The Rajah of Dah. Illustrated.&lt;br /&gt;
W. and R. Chamlwrs.&lt;br /&gt;
The Crystal Hunter. A Boy&amp;#039;s Adventures in&lt;br /&gt;
the Higher Alps. Partridge, Paternoster Row. 5*.&lt;br /&gt;
Fullerton, W. M. In Cairo. Macmillan. 3s. 6rf.&lt;br /&gt;
Ganconagh. John Sherman and Dhoya. The Pseudonym&lt;br /&gt;
Library. Fisher Unwin. Paper covers. 1*. 6&amp;lt;f.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 221 (#625) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
221&lt;br /&gt;
Garland, HAin.ra. Main-Travelled Roads. Mississippi&lt;br /&gt;
Valley Stories. Fisher Unwin. 3*. 6d.&lt;br /&gt;
Glanville, Ernest. The Fossicker: a Romance of&lt;br /&gt;
Mashonaland. Chatto and Windus.&lt;br /&gt;
Gollock, G. A. Light on Our Lessons; or, What is the&lt;br /&gt;
Use? A missionary book for Roys and Girls. With&lt;br /&gt;
preface by Eugene Stock. Church Missionary Society,&lt;br /&gt;
Salisbury Square, E.G.&lt;br /&gt;
Giikvillk, Lady. The Gentlewoman in Society. Henry&lt;br /&gt;
and Co. 6*.&lt;br /&gt;
Grimwood, E. St. Clair. My Throe Years in Manipur,&lt;br /&gt;
and Escape from the Recent Mutiny. With illustra-&lt;br /&gt;
tions and plan. Rentley.&lt;br /&gt;
Harden, Henley J. Elizabeth, or Cloud and Sunshine.&lt;br /&gt;
W. and R. Chambers.&lt;br /&gt;
Hatton, Joseph. The Princess Mazaroff, a Romance of&lt;br /&gt;
the Day. Two vols. Hutchinson, Paternoster Square,&lt;br /&gt;
us.&lt;br /&gt;
Hayes, Mrs. M. H. My Leper Friends: an Account of&lt;br /&gt;
Personal Work among Lepers, and of their Daily Life&lt;br /&gt;
in India. Illustrated. W. Thacker and Co., 87, New-&lt;br /&gt;
gate Street.&lt;br /&gt;
Hill, G. R., D.C.L. Writers and Readers. T. Fisher&lt;br /&gt;
Unwin. 5s.&lt;br /&gt;
HiTcncocK, Thomas. Unhappy Loves of Men of Genius.&lt;br /&gt;
Illustrated. Osgood, M&amp;#039;llvaine. 5*.&lt;br /&gt;
Holt, E. S. Countess Maud: a Tale of the 14th Century.&lt;br /&gt;
T. F. Shaw.&lt;br /&gt;
Kaplan, A. 0. Raby&amp;#039;s Souvenir. Illustrated by Frances&lt;br /&gt;
Bruudage. Dean, Fleet Street. 10s. 6d.&lt;br /&gt;
Karsland, Vera. Women and their Work. Sampson&lt;br /&gt;
Low. i&laquo;.&lt;br /&gt;
Kenyon, Edith C. Ernest&amp;#039;s Golden Thread. W. and R.&lt;br /&gt;
Chambers.&lt;br /&gt;
Kingston, W. II. G. Ben Haddeii. Religious Tract&lt;br /&gt;
Society, is.&lt;br /&gt;
Kingsland, Wm. The Mystic Quest: a Tale of Two&lt;br /&gt;
Incarnations. George Allen.&lt;br /&gt;
Lang, Andrew. Angling Sketches. Illustrated. Long-&lt;br /&gt;
mans. 7s. 6d.&lt;br /&gt;
Laurie, A. The Secret of the Magian: or the Mystery of&lt;br /&gt;
Ecbatana. Illustrated. Sampson Low.&lt;br /&gt;
Lkpth-Adams, Mrs. My Land of Beulah. With frontis-&lt;br /&gt;
piece by Gordon Browne. Methuen.&lt;br /&gt;
Lysaght, E. J. Grannie: a Story. Blackie and Son.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Lysah, C. The Little Princes in the Tower. (England&amp;#039;s&lt;br /&gt;
Royal Children Series.) Illustrated. Trischler and&lt;br /&gt;
Co.&lt;br /&gt;
Macquoid, K. S. The Prince&amp;#039;s Whim, and other Stories.&lt;br /&gt;
Innes. 3s. 6d.&lt;br /&gt;
Malot, Hector. Conscience. Translated by Julia E. S.&lt;br /&gt;
Rae. In 2 vols. Richard Bentley and Son.&lt;br /&gt;
Mannering, G. E. With Axe and Rope in the New&lt;br /&gt;
Zealand Alps. Illustrated. Longmans. 11*. 6d.&lt;br /&gt;
Manning, W. S. Hints and Encouragements for Profitable&lt;br /&gt;
Fruit-Growing. Jarrold and Sons. u.&lt;br /&gt;
Marshall, E. Little Queenie: a Story of Child Life Sixty&lt;br /&gt;
Years Ago. T. F. Shaw.&lt;br /&gt;
Maudslay, Athol. Nature&amp;#039;s Weather Warnings and&lt;br /&gt;
Natural Phenomena. Simpkin, Marshall.&lt;br /&gt;
Marryat, F. The Little Marine and the Japanese Lily:&lt;br /&gt;
a Tale for Hoys. Illustrated. Hutchinson. 3s. (id.&lt;br /&gt;
Martin, Annie. Home Life on an Ostrich Farm. With&lt;br /&gt;
ten illustrations by. Second edition. George Philip.&lt;br /&gt;
3*. 6d.&lt;br /&gt;
Meade, L. T. The Honourable Miss: a Story of an old-&lt;br /&gt;
fashioned Town. Illustrated. Methuen and Co.&lt;br /&gt;
&mdash;&mdash;&mdash; A Sweet Girl Graduate. Illustrated. Cassell and&lt;br /&gt;
Co. 3*. 6d.&lt;br /&gt;
The Children of Wilton Chase. Illustrated.&lt;br /&gt;
W. and R. Chambers.&lt;br /&gt;
Miles, Alfred H. The Now Sunday School Reciter and&lt;br /&gt;
the Ladies&amp;#039; Reciter. Edited by. Platform Series.&lt;br /&gt;
Hutchinson, Paternoster Square, is. each.&lt;br /&gt;
Molesworth, Mrs. The Bewitched Lamp. W. and R.&lt;br /&gt;
Chambers.&lt;br /&gt;
Morris, Wm. The Story of the Glittering Plain: or, The&lt;br /&gt;
Land of Living men. Reeves and Turner.&lt;br /&gt;
Newman, Mrs. Begun in Jest: a Novel. 3 vols. John&lt;br /&gt;
Murray. 3 is. 6&amp;lt;/.&lt;br /&gt;
Nisbet, Hume. The &amp;quot; Jolly Roger &amp;quot;: a Story of Sea Heroes&lt;br /&gt;
and Pirates. Digby and Long.&lt;br /&gt;
Norman, M. M. A Girl in the Karpathians. Fourth&lt;br /&gt;
edition. George Philip and Son. 3s. 6d.&lt;br /&gt;
O&amp;#039;Reilly, Mrs. Joan and Jerry. W. and R. Chambers.&lt;br /&gt;
Pearce, J. H. Inconsequent Lives: a village chronicle.&lt;br /&gt;
Heineinann. 5s.&lt;br /&gt;
Praed, Mrs. Campbell. The Romance of a Chalet: a&lt;br /&gt;
Story. Two vols. F. V. White.&lt;br /&gt;
Rae, Ji&amp;#039;lia S. K. Robinson Crusoe; Uncle Tom&amp;#039;s Cabin;&lt;br /&gt;
and The Swiss Family Robinson: Old Stories told&lt;br /&gt;
anew. Edited by, and illustrated by Floreuce Maple-&lt;br /&gt;
stone. Trischler and Co.&lt;br /&gt;
Reid, Erskine, and Comiton, H. The Dramatic Peerage,&lt;br /&gt;
1891. Compiled by. Raithby, Lawrence, and Co.&lt;br /&gt;
Rideal, Charles F. Young Ladies of To-day. Illus-&lt;br /&gt;
trated. Dean and Son.&lt;br /&gt;
Riddell, C. E. L. A Mad Tour. Richard Bentley and&lt;br /&gt;
Son.&lt;br /&gt;
Roberts, Cecil. Adrift in America; or, Work and&lt;br /&gt;
Adventure in the States. Lawrence and Buller, 169,&lt;br /&gt;
New Bond Street.&lt;br /&gt;
Roberts, Morley. Land-Travel and Seafaring. Illus-&lt;br /&gt;
trated by A. 1). M&amp;#039;Cormick. Lawrence and Buller.&lt;br /&gt;
Robinson, F. Mabel. Hoveudcn, V.C. 1 a Novel. 3 vols.&lt;br /&gt;
Methuen and Co.&lt;br /&gt;
Robinson, F. W. Poor Zeph. Willoughby, Paternoster&lt;br /&gt;
Row. is.&lt;br /&gt;
Ross, Fred., F.R.H S. Yorkshire Family Romance.&lt;br /&gt;
Simpkin, Marshall. 6s.&lt;br /&gt;
Rowsell, Mary C. Petronella and Madame Pono-s&amp;#039;ski.&lt;br /&gt;
Skeffiugton. Paper covers. IS.&lt;br /&gt;
Russell, W. Clarke. The Tragedy of Ida Noble. Being&lt;br /&gt;
the Christmas number of Atlan&amp;#039;a. Illustrated by&lt;br /&gt;
Everard Hopkins. Trischler. Paper covers, is.&lt;br /&gt;
&mdash; The British Seas. Picturesque Notes by Russell&lt;br /&gt;
and other writers. With etchings and engravings.&lt;br /&gt;
Seeley and Co.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 222 (#626) ############################################&lt;br /&gt;
&lt;br /&gt;
222&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Ryce, John. The Rector of Amesty: a Novel in 3 vols.&lt;br /&gt;
Sampson Low.&lt;br /&gt;
St. Aubyn, Alan. The Junior Dean; a Novel. 3 vols.&lt;br /&gt;
Chatto and Windus.&lt;br /&gt;
Sargent, G. E. John Tincroft, Bachelor and Benedict&lt;br /&gt;
Illustrated. Religious Tract Society, is. 6d.&lt;br /&gt;
Severne, Florence. Uneven Ground: a novel. 3 vols.&lt;br /&gt;
David Stott.&lt;br /&gt;
Skipton, Helen. Twilight. Innes. 3s. 6&amp;lt;l.&lt;br /&gt;
SlAden, Douglas. Lester the Loyalist: a Romance of the&lt;br /&gt;
Founding of Canada. Made in Japan. Griffith,&lt;br /&gt;
Farran. 2*. 6d.&lt;br /&gt;
Soans, Rev. R. G., and Kenton, Fdith. Harold&amp;#039;s New&lt;br /&gt;
Creed, or Brothers Still. Illustrated. Religious Tract&lt;br /&gt;
Society. 2s. fid.&lt;br /&gt;
Speak, John W. Rudolph of Rosenfeldt: a Story of the&lt;br /&gt;
Times of William the Silent. Hodder and Stoughtou.&lt;br /&gt;
3s. 6rf.&lt;br /&gt;
Stables, Gordon, M.D. Leaves from the Log of a&lt;br /&gt;
Gentleman Gipsy in Wayside Camp and Caravan.&lt;br /&gt;
Illustrated. Jarrold, Paternoster Buildings. tSs.&lt;br /&gt;
Two Sailor Lads. T. F. Shaw.&lt;br /&gt;
Our Home in the Silver West: a Story of&lt;br /&gt;
Struggle and Adventure. Illustrated. Religious Tract&lt;br /&gt;
Society. 3s. fid.&lt;br /&gt;
Stevenson, R. L. &amp;quot;The Treasure Island &amp;quot; Series. Trea-&lt;br /&gt;
sure Island, Kidnapped, and the Black Arrow.&lt;br /&gt;
Cassells.&lt;br /&gt;
Stuart, Esm&pound;. The Silver Mine: an Underground Story.&lt;br /&gt;
National Society&amp;#039;s Depository. 3s.&lt;br /&gt;
Swan, Annie S. Who shall Serve: a Story for the Times.&lt;br /&gt;
Oliphant, Anderson, and Ferrier. 3s. 6d.&lt;br /&gt;
Swevn, Frances. Millicent Simonds, or Through Cleansing&lt;br /&gt;
Fires. Illustrated. Religious Tract Society, is.&lt;br /&gt;
Symington, Maggie. Two Silver Keys: a Story. Illus-&lt;br /&gt;
trated. Biggs, is. 6d.&lt;br /&gt;
Tasm\. The Penance of Portia James: a Novel. Heine-&lt;br /&gt;
mann. 5s.&lt;br /&gt;
Taylor, Lucy. Jeanette, or the Charity that Encourages&lt;br /&gt;
a Multitude of Sins. Illustrated. Religious Tract&lt;br /&gt;
Society, is. 6d.&lt;br /&gt;
Thorne, Eglanton. Aldyth&amp;#039;s Inheritance. Illustrated.&lt;br /&gt;
Religious Tract Society. 3s. 6d.&lt;br /&gt;
Totten, C. A. L., M.A. Our Race: its Origin and&lt;br /&gt;
Destiny. With an Introduction by Professor C. Piasii&lt;br /&gt;
Smyth. Robert Banks and Son. 3s.&lt;br /&gt;
Verne, Jules. A Journey to the Centre of the Earth.&lt;br /&gt;
Griffith, Farran. 3s. fid.&lt;br /&gt;
Vesper. Bobby: a Christmas Eve Story. Sampson Low.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Vincent, Frank, aud Lancaster, A. E. The Lady of&lt;br /&gt;
(&amp;#039;awupore: a Romance. Funk and Wagnalls.&lt;br /&gt;
Volkhovsky, Felix. A China Cup, and other Stories for&lt;br /&gt;
Children. Illustrated. T. Fisher Unwin. is. fid.&lt;br /&gt;
Warakeb, T., LL.D. Naval Warfare of the Future: a&lt;br /&gt;
consideration of the Declaration of Paris, 1856; its&lt;br /&gt;
Obligation and its Operation upon Maritime Bellige-&lt;br /&gt;
rents. Swan Sounenschein.&lt;br /&gt;
Ward, E. A Pair of Originals: with illustrations.&lt;br /&gt;
Seeley.&lt;br /&gt;
Ward, H. W. My Gardener: a Practical Handbook for&lt;br /&gt;
the Million. Eyre and Spottiswoode.&lt;br /&gt;
Warden, Florence. St. Cuthbert&amp;#039;s Tower. Cassell and&lt;br /&gt;
Co. is.&lt;br /&gt;
Warner, Dudley. As We were Saying. Illustrated.&lt;br /&gt;
Osgood, M&amp;#039;Uvaiue. 3s. 6d.&lt;br /&gt;
Webb, Mrs. Alypius of Tagaste: a Tale of the Early-&lt;br /&gt;
Church. Religious Tract Society, is.&lt;br /&gt;
Weyman, Stanley E. The New Rector. In z vols.&lt;br /&gt;
Smith, Elder.&lt;br /&gt;
White, Rev. Henry. Echoes from a Sanctuary. Edited&lt;br /&gt;
and arranged by Sarah Donduey; with an Introduction&lt;br /&gt;
by the Bishop of Ripon. Hutchinson and Co. 5*.&lt;br /&gt;
Whittemore, Rev. W&bdquo; D.D. Sunshine for 1891. Edited&lt;br /&gt;
by. Illustrated. George Stoneman. is. 6d.&lt;br /&gt;
Willock, A. Devar. Taradiddles. Illustrated. Gilbert&lt;br /&gt;
Dalziel. is.&lt;br /&gt;
Woods, Margaret L. Esther Vanhomrigh: a Novel.&lt;br /&gt;
3 vols. John Murray. 31s. bd.&lt;br /&gt;
Wrightson, I. Farm Crops. The &amp;quot;Downton&amp;quot; Series.&lt;br /&gt;
Cassell.&lt;br /&gt;
Yonge, C. M. The Constable&amp;#039;s Tower, or the Times of&lt;br /&gt;
Magna Charta. National Society&amp;#039;s Depository. 3s.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Allen, Clement F. K. The Book of Chinese Poetry,&lt;br /&gt;
being the collection of ballads, sagas, hymns, and&lt;br /&gt;
other pieces known as the Shih Ching or Classic of&lt;br /&gt;
Poetry. Metrically translated by. Kegan Paul.&lt;br /&gt;
Blind, Mathii.de. Dramas in Miniature. Poems and&lt;br /&gt;
Lyrics. With a frontispiece by Ford Madox Brown.&lt;br /&gt;
Chatto and Windus.&lt;br /&gt;
Bullen, A. H. Lyrics from the Dramatists of the Eliza-&lt;br /&gt;
bethan Age. Edited by Lawrence and Bullen. 5s.&lt;br /&gt;
Lyrics from the Song-books of the ElizabctJtan&lt;br /&gt;
Age. Edited by Lawrence and Bullen. 5&raquo;.&lt;br /&gt;
Ewald, A. C, F.S.A. The Dramatic Works of George&lt;br /&gt;
Farquhar. Edited, with life and notes, by. 5t vols.&lt;br /&gt;
Nimmo.&lt;br /&gt;
Garrett, Edmund H. Elizabethan Songs in Honour of&lt;br /&gt;
Love and Beautie. Collected and illustrated by.&lt;br /&gt;
With an introduction by Andrew Lang. Osgood,&lt;br /&gt;
M&amp;#039;llvaine. 3 is. 6rf.&lt;br /&gt;
Ibsen, Heinrik. Brand; a Dramatic Poem. Translated&lt;br /&gt;
into English Prose by William Wilson. Methuen.&lt;br /&gt;
Lecky, W. E. H. Poems. Longmans. 5s.&lt;br /&gt;
MacDonald, G. A Threefold Cord: Poems by three&lt;br /&gt;
friends. Edited by. W. Hughes. 5s.&lt;br /&gt;
Mansfield, R. Don Juan: A Play in Four Acts.&lt;br /&gt;
J. W. Bouton, New York.&lt;br /&gt;
Pascoe, Elizabeth Mary. Poems by the late William&lt;br /&gt;
Caldwell Pascoe. Edited by his daughter. Macmillan.&lt;br /&gt;
7s.&lt;br /&gt;
Sheridan, R. Brinsley. The School for Scandal. A&lt;br /&gt;
Comedy. With illustrations by Lucius liossi. Simpkin,&lt;br /&gt;
Marshall, and Co. iZ. 5s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 223 (#627) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
223&lt;br /&gt;
Sullivan, T. D. Blanaiu; and other Irish Historical anil&lt;br /&gt;
Legendary Poems from the Gaelic. Mason and Son,&lt;br /&gt;
Dublin.&lt;br /&gt;
Tomson, Graham R. A Summer Night; and other&lt;br /&gt;
Poems. With frontispiece by A. Tomsen. Methuen.&lt;br /&gt;
Law.&lt;br /&gt;
The Annual Practice, 1892. A collection of the statutes,&lt;br /&gt;
orders, and rules relating to the general practice, pro-&lt;br /&gt;
cedure, and jurisdiction of the Supreme Court, with&lt;br /&gt;
notes, forms, &amp;amp;c. By Thomas Snow, M.A., of the&lt;br /&gt;
Inner Temple, Charles Burney, B.A., and F. A. Stringer,&lt;br /&gt;
of the Central Office, Royal Courls of Justice. 2 vols.&lt;br /&gt;
Stevens, Chancery Lane. 25f.&lt;br /&gt;
Brown, Archibald. The Married Women&amp;#039;s Property&lt;br /&gt;
Acts, with copious and explanatory notes and an&lt;br /&gt;
appendix of Acts relating to married women. Sixth&lt;br /&gt;
edition. Stevens and Haynes, Bell Yard, Temple Bar.&lt;br /&gt;
Edwards, W. 1)., Barrister-at-Law. A Compendium of&lt;br /&gt;
the Law of Property in Land. Second edition. Stevens&lt;br /&gt;
and Haynes.&lt;br /&gt;
Layman, F., B.A. -The Lawyer&amp;#039;s Companion and Diary,&lt;br /&gt;
and London and Provincial Law Directory for 1892.&lt;br /&gt;
Edited by. Stevens, Chancery Lane. 5*.&lt;br /&gt;
Lelt, J. M. The Statutes of Practical Utility in the&lt;br /&gt;
Civil and Criminal Administration of Justice, passed&lt;br /&gt;
iu 54 and 55 Victoria (1891), alphabetically arranged,&lt;br /&gt;
with notes thereon and a copious index. Vol. III.,&lt;br /&gt;
Part I. Sweet and Maxwell. Paper covers. 12s.&lt;br /&gt;
Redgrave, Alexander, and Redgrave, Jasper. The&lt;br /&gt;
Factory and Workshop Acts, 1878 to 1891. With&lt;br /&gt;
introduction, copious notes, and an elaborate index.&lt;br /&gt;
Fourth edition. Shaw.&lt;br /&gt;
Russell, G. E. The Times Law Reports. Edited by.&lt;br /&gt;
Vol. VII. (1890-91). George Edward Wright.&lt;br /&gt;
The Stamp Laws, as charged by the Stamp Act, 1891.&lt;br /&gt;
Sixth edition. Waterlow Brothers and Layton. 3&raquo;.&lt;br /&gt;
Urlin, R. Denny. Law of Trustees, with the new rules&lt;br /&gt;
as to Investments and the Trustee Acts, 1888 and&lt;br /&gt;
1889. New and revised edition. Effingham Wilson.&lt;br /&gt;
is.&lt;br /&gt;
Science.&lt;br /&gt;
Bax, Cait. E. Ironside. Popular Electric Lighting;&lt;br /&gt;
with a chapter on electric motors. Illustrated. Biggs,&lt;br /&gt;
Salisbury Court, E.C. 2*.&lt;br /&gt;
Gillies, H- Cameron. The Interpretation of Disease;&lt;br /&gt;
Part I., the Meaning of Pain. David Nutt. is. net.&lt;br /&gt;
Indigestion. By George Herschell, M.D. Baillierc,&lt;br /&gt;
Tindall, and Cox.&lt;br /&gt;
Seth, Andrew, M.A. The Present Position of the Philo-&lt;br /&gt;
sophical Sciences: an Inaugural Lecture. Blackwood.&lt;br /&gt;
Paper covers. 6d.&lt;br /&gt;
Tyrrell, Walter. Nervous Exhaustion: its Causes,&lt;br /&gt;
Outcomes, and Treatment. Kegan Paul.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Metropolitan Hospitals, &amp;amp;c. Second Report from the&lt;br /&gt;
Select Committee of the House of Lords, 6s. yd. Ele-&lt;br /&gt;
mentary Schools, Attendance, &amp;amp;c. Return for London&lt;br /&gt;
and certain municipal boroughs for the year ending&lt;br /&gt;
August 3l, 1890, \d. Report by the Board of Trade&lt;br /&gt;
of operations under the Weights and Measures Acts,&lt;br /&gt;
1878 and 1889. Eyre and Spottiswoode. 3d.&lt;br /&gt;
Irish Land Commission: Return of Judicial Rents fixed&lt;br /&gt;
during June, 1891. Alexander Thorn, Dublin, is. id.&lt;br /&gt;
Reports&mdash;Friendly Societies, Industrial and Provident&lt;br /&gt;
Societies, and Trade Unions, 1890. is. 4(1. Reports&lt;br /&gt;
made to the Board of Trade in respect of the River&lt;br /&gt;
Ouse Navigation, the Kenuett and Avon Canal Navi-&lt;br /&gt;
gation, and the London and Hampshire Canal. i\&amp;lt;l-&lt;br /&gt;
East India, Manipur (No. 5). Further Correspondence.&lt;br /&gt;
Return as to Joint Stock Companies, is. 9J&amp;lt;f. Census&lt;br /&gt;
of Ireland, Part I., Vol. I. Province of Leinster.&lt;br /&gt;
No. 4. County and City of Kilkenny, is. Return&lt;br /&gt;
as to Business of the House (days occupied by Go-&lt;br /&gt;
vernment and by private members). i\d. Ecclesias-&lt;br /&gt;
tical Business Fees. 3s. 6d. Correspondence relating&lt;br /&gt;
to the despatch of expeditions against (&laquo;) the Samil&lt;br /&gt;
Clans of the Orakzai Tribe on the Miranzai Border of&lt;br /&gt;
the Kohat District; (6) the tribes of the Black Moun-&lt;br /&gt;
tain. Sd. Reports from Her Majesty&amp;#039;s Representa-&lt;br /&gt;
tives in Europe respecting assistance afforded or&lt;br /&gt;
facilities given by Foreign Governments to the Pro-&lt;br /&gt;
vision of the Industrial Population for Old Age. id.&lt;br /&gt;
Twentieth Annual Report of the Local Government&lt;br /&gt;
Hoard, 1890-91. 45.41/. Census of Ireland: Parti.,&lt;br /&gt;
Vol. I. Province of Leinster. No. 7. County of&lt;br /&gt;
Louth and County of the Town of Drogheda. Sd.&lt;br /&gt;
Appendix to the 57th Report of the Commissioners of&lt;br /&gt;
National Education iu Ireland for 1890. 4*. id. Sta-&lt;br /&gt;
tistical Report of the Health of the Navy for 1890,&lt;br /&gt;
is. 6{d. Returns as to Railway Accidents&lt;br /&gt;
during the six months ended June 3o, 1891, with&lt;br /&gt;
reports upon certain accidents inquired into. b\d.&lt;br /&gt;
Reports from Her Majesty&amp;#039;s Representatives in Europe&lt;br /&gt;
respecting Assistance afforded or Facilities Given&lt;br /&gt;
by Foreign Governments to the Provisions of the&lt;br /&gt;
Industrial Population for Old Age. (3f/.) Reports of&lt;br /&gt;
the Boards of Visitors on the Royal Military College,&lt;br /&gt;
Sandhurst {id.), and the Royal Military Academy,&lt;br /&gt;
Woolwich (ijrf.). Return as to Alien Immigration&lt;br /&gt;
from the Continent to Ports in the United Kingdom&lt;br /&gt;
during the month and ten months ended October 3i&lt;br /&gt;
last. (&pound;&amp;lt;f.) Census of Ireland, 1891&mdash;Province of&lt;br /&gt;
Leinster, County of Kildare, gd., Thom and Co.,&lt;br /&gt;
Dublin. Pauperism (England and Wales), Monthly&lt;br /&gt;
Comparative Statements. 2d. Railways, Continuous&lt;br /&gt;
Brakes. Return by the Railway Companies of the&lt;br /&gt;
United Kingdom for six months ended June 3o, 1891,&lt;br /&gt;
is. id. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 224 (#628) ############################################&lt;br /&gt;
&lt;br /&gt;
224&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
NOPS&amp;#039;&lt;br /&gt;
ELECTROTYPE AGENCY.&lt;br /&gt;
FINE AET ELECTROS.&lt;br /&gt;
We have at our disposal 2,000,000 (Two&lt;br /&gt;
Millions) of Engravings suitable for Illustrating&lt;br /&gt;
Newspapers, Hooks, Circulars, Magazines,&lt;br /&gt;
Pamphlets, Children&amp;#039;s Papers, &amp;amp;c., &amp;amp;c., and have&lt;br /&gt;
Comprehensive Indexes of Portraits and Views&lt;br /&gt;
always ready for reference.&lt;br /&gt;
We shall be glad to receive a call from any&lt;br /&gt;
one requiring Illustrations of any kind; and if&lt;br /&gt;
clients at a distance will kindly send us a list of&lt;br /&gt;
subject* they require, together with site limit,&lt;br /&gt;
a Selection of suitable Proofs will be at once&lt;br /&gt;
despatched to them.&lt;br /&gt;
Cuts found to illustrate MS. or Text.&lt;br /&gt;
Agents for the &amp;quot;Illustrated London&lt;br /&gt;
News,&amp;quot; &amp;quot;Graphic,&amp;quot; &amp;quot;Black and White,&amp;quot;&lt;br /&gt;
&amp;quot;Lady&amp;#039;s Pictorial,&amp;quot; &amp;quot;Strand Magazine,&amp;quot;&lt;br /&gt;
&amp;quot;Pictorial World,&amp;quot; Sec., and the principal&lt;br /&gt;
Foreign Illustrated Papers.&lt;br /&gt;
Telegraphic Address&mdash;&amp;quot; DEN0PS, LONDON.&amp;quot;&lt;br /&gt;
Telephone Number&mdash;1880.&lt;br /&gt;
19, LUDGATE HILL, LONDON, E.C.&lt;br /&gt;
Branches in Paris, New York, Melbourne, Ontario, and Bombay.&lt;br /&gt;
HOW SHALL I WRITE MY MANUSCRIPT?&lt;br /&gt;
t-noaaoooav-&trade;-&lt;br /&gt;
THE old-fashioned way was by quill or steel pen; the modern way is by a Typewriter. If you adopt&lt;br /&gt;
the modern way, then the success of the change depends upon the Typewriter you select. And, remember,&lt;br /&gt;
there is a great difference in Typewriters. Correct theory, substantial construction, and mechanical&lt;br /&gt;
details rendered perfect bv unlimited expenditure and three years&amp;#039; practical experience. Ease Of&lt;br /&gt;
Management, Durability, VISIBLE WRITING, Perfect Writing, Automatic&lt;br /&gt;
Line Spacing, Automatic Inking, Duplicate Keyboard, are among the qualities&lt;br /&gt;
which make every owner of ti&lt;br /&gt;
BAR-LOCK MODERN STANDARD TYPEWRITER&lt;br /&gt;
So content and satisfied. We want you to have a BAR-LOCK on Free Trial for a week&mdash;you will not&lt;br /&gt;
want to use a pen again. We supply them for Cash or by 12 Monthly Payments of &pound;1 ig*., or 24 of&lt;br /&gt;
&pound;1 is. id.&lt;br /&gt;
The BAR-LOCK was awarded the only Gold Medal at Edinburgh, 1890, and Jamaica, 1891. It is&lt;br /&gt;
used by the Sub-editor of the Times and many London and Provincial Papers. It is also in use at. the&lt;br /&gt;
offices of the Morning Post, St. Stephen&amp;#039;s Review, the Star, the Manchester Guardian, the Western&lt;br /&gt;
Morning News, the Plymouth Mercury, &amp;amp;c, &amp;amp;c.&lt;br /&gt;
Illustrated Catalog te sent Post Fkee on Application to&mdash;&lt;br /&gt;
THE TYPEWRITER COMPANY, LTD.&lt;br /&gt;
LONDON: 12 &amp;amp; 14, QUEEN VICTORIA STREET, E.C.&lt;br /&gt;
MANCHESTER: 45, Market Street. LIVERPOOL: 1, South John Street. GLASGOW: 22, Renfield Street.&lt;br /&gt;
Lohdok: Printed by Eyre and Spottiswoode, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/258/1891-12-01-The-Author-2-7.pdf</td><td>publications, The Author</td></tr><tr><td>259</td><td>https://historysoa.com/items/show/259</td><td>The Author, Vol. 02 Issue 08 (January 1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+08+%28January+1892%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 08 (January 1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1892-01-01-The-Author-2-8</td><td></td><td></td><td></td><td></td><td>225&ndash;254</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892-01-01&quot;&gt;1892-01-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>8</td><td></td><td></td><td>18920101</td><td>^Ibe Hutbor.&lt;br /&gt;
[The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 8.]&lt;br /&gt;
JANUARY&lt;br /&gt;
1892&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CO NT&lt;br /&gt;
TAGE&lt;br /&gt;
Warnings &amp;quot;9&lt;br /&gt;
Notices &amp;quot;9&lt;br /&gt;
Misprint &amp;#039;1&amp;#039;&lt;br /&gt;
The Cost of Production 333&lt;br /&gt;
American Copyright 233&lt;br /&gt;
Literary Criticism 333&lt;br /&gt;
Two Actions at Law&mdash;&lt;br /&gt;
I.&mdash;Pinnock v. Chapman and Hall 333&lt;br /&gt;
II.&mdash;The Proprietor of a Magazine v. The Proprietor of a&lt;br /&gt;
Country Paper 334&lt;br /&gt;
ENTS.&lt;br /&gt;
PASI&lt;br /&gt;
The Storyteller&amp;#039;s Night aj4&lt;br /&gt;
Notes and News 334&lt;br /&gt;
Publishing on Commission 33K&lt;br /&gt;
The Art of Fiction and the Authors of Antiquity 340&lt;br /&gt;
The Independent Theatre 343&lt;br /&gt;
Literary Rights 343&lt;br /&gt;
Death and the Lifeboat 344&lt;br /&gt;
Correspondence 34$&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 347&lt;br /&gt;
New Books and New Editions 350&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the Slate Trials&lt;br /&gt;
Committee. Edited by Jonx Macdonkll, M.A. io&amp;gt;.&lt;br /&gt;
INVESTMENTS. A List of 1,600 British, Colonial and&lt;br /&gt;
Foreign Securities dealt in upon tho London and Provincial&lt;br /&gt;
Exchanges, giving tho highest and lowest prices of each&lt;br /&gt;
particular Stock for each of the last twenty-two years, or from&lt;br /&gt;
the time of the creation of such Stock, also tho price on 30th&lt;br /&gt;
May, 1891, and the yield per cent, to the Investor. Compiled by&lt;br /&gt;
G. Brown, is. bd.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3*.&lt;br /&gt;
Contains all tho Public Acts passed during the year, with&lt;br /&gt;
Index, also Tables showing the effect of the year&amp;#039;s Legislation,&lt;br /&gt;
together with complete and classillod Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
REVISED STATUTES. (Second Revised Edition.) Royal&lt;br /&gt;
8vo. Prepared under the direction of the Statute Law&lt;br /&gt;
Revision Committee, and Edited by G. A. R. Fitzokrald,&lt;br /&gt;
Esq. Vols. I. to IV. now ready, price 71. bd. each.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By the Hon. RAi.rn Abkrcromiiy, F.R. Met.&lt;br /&gt;
Soc. IS.&lt;br /&gt;
METEOROLOGICAL INSTRUMENTS, Instructions in&lt;br /&gt;
the use of. a&laquo;, bd.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Royal Svo. Cloth, is. bd.&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACE.&lt;br /&gt;
By 8ir GEORGE Gret, K.C.B. Illustrate. Royal Svo. Cloth, $s.&lt;br /&gt;
ANCIENT HISTORY OF THE MAORI. By John&lt;br /&gt;
Wiiitk. Demy 8vo. Half Morocco. 4 vols. io&raquo;. per vol.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
Clkme.xt Reid, F.L.S., F.G S. Five Plates (48 cuts), s&laquo;. bd.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Whitaker, B.A. i&raquo;.&lt;br /&gt;
COPYRIGHT LAW REFORM: au Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill. With Extracts from tho Reportof&lt;br /&gt;
the Commission of 1878. and an Appendix containing the Berne&lt;br /&gt;
Convention and the American Copyright Bill. By J. M. Lely,&lt;br /&gt;
Esq., Barristcr-at-Law. is. bd.&lt;br /&gt;
KF.W BULLETIN, 1890. Issued by the Director of Eew&lt;br /&gt;
Gardens. 3*. iod.&lt;br /&gt;
EEW BULLETIN, 1891. Monthly, ad. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, 3s. yd.&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day. Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. SnAW-HBLLiER, Commandant Royal Military&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artistically&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood&lt;br /&gt;
Engravings, a is.&lt;br /&gt;
&amp;quot;Unique, as no earlier work exists in English dealing exhaus-&lt;br /&gt;
tively with the same subject A very important con-&lt;br /&gt;
tribution to tho history of orchestration.&amp;quot;&mdash; Athentrum.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
ScaRGILL-Bird, F.S.A. 7&raquo;.&lt;br /&gt;
&amp;quot;The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely bo&lt;br /&gt;
over-rated.&amp;quot;&mdash; Times.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, &raquo;d.&lt;br /&gt;
_ Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PURLISHERS.&lt;br /&gt;
BYRE and SPOTTISWOODK, Her Majesty&amp;#039;s Printers, tiast Harding Street, Uudon, K.l.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 226 (#630) ############################################&lt;br /&gt;
&lt;br /&gt;
226&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
MISS XI.. -V. QIX.L,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C.. and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to diilicult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
MISS -A.. JEt. LBKTTY,&lt;br /&gt;
TYPE WRITING OFFICE,&lt;br /&gt;
165, QUEEN VICTOKIA STEEET.&lt;br /&gt;
Highest Testimonials for all kinds of Work.&lt;br /&gt;
Price List on Application.&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
T Y P E - W It ITIN G OFFICE&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from if. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge. Instruction given in&lt;br /&gt;
Pitman&amp;#039;s System of Shorthand and in type-&lt;br /&gt;
writing. References kindly permitted to Walter&lt;br /&gt;
Besant, Esq.&lt;br /&gt;
VICTORIA TYPE-WRITING OFFICE.&lt;br /&gt;
(FRANCES A. COX.)&lt;br /&gt;
565, Mansion House Chambers;&lt;br /&gt;
11, Queen Victoria Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully typed. Legal and General&lt;br /&gt;
Copying.&lt;br /&gt;
PROSPECTUS ON APPLICATION.&lt;br /&gt;
AUTHORS.&mdash;The New York Bureau of Revision aids Authors in completing&lt;br /&gt;
their books; gives competent and unbiassed criticism of Prose or Verse; and offers MSS. and&lt;br /&gt;
proofs in the American Market. Address&mdash;&lt;br /&gt;
Dr. TITUS MUNSON COAN,&lt;br /&gt;
20, West lith Street, Neiv York.&lt;br /&gt;
TO LYRIC AUTHORS, LIBRETTISTS, Sc.&lt;br /&gt;
ARLY in the New Year will be issued Monthly, One Penny, &amp;quot;The Lyric Author&amp;#039;s Advertizer&lt;br /&gt;
and Composer&amp;#039;s Magazine,&amp;quot; a Mart for Lyric writers, Librettists, and Composers. Entire&lt;br /&gt;
Lyric Poems, or extracts, with the Author&amp;#039;s name and the price attached, will be inserted as&lt;br /&gt;
advertisements at a low charge, viz., 2S. per 100 words, and pro rata. No agency business&lt;br /&gt;
undertaken. The Magazine will be posted free to all the well-known composers; and, it is hoped,&lt;br /&gt;
will prove a boon to buyers and sellers. Address&mdash;&lt;br /&gt;
THE CONDUCTOR,&lt;br /&gt;
ASHMOBE BUSSAN, HOBSFOBTH, LEEDS.&lt;br /&gt;
All applications relating to Advertisements in this&lt;br /&gt;
Journal should be addressed to the Printers and&lt;br /&gt;
Publishers,&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE,&lt;br /&gt;
East Harding Street, Fetter Lane, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 227 (#631) ############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMENTS.&lt;br /&gt;
CJje J*wtetg of autfjors (finrorporatrtX&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hon. the LORD TENNYSOX, D.C.L.&lt;br /&gt;
Sib Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Bergne, K.C.M.G.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrei.l, M.P.&lt;br /&gt;
R. I). Blackmore.&lt;br /&gt;
Rev. Prof. Bonnet, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Chawfurd, C.M.G.&lt;br /&gt;
The Earl Of Desart.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
John Eric Erichben, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.D.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Prof. E. Ray Lankester, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wakr, F.L.S.&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of Pembroke and&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Mot Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
The Right Hon. the Baron Henry&lt;br /&gt;
de Worms, M.P., F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
I Edmund Gosse. J. M. Lely.&lt;br /&gt;
| H. Rider Haggard. | Sir Frederick Pollock.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4., Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can l&amp;gt;e had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Members.&lt;br /&gt;
3. The Grievances of Authors. (The Lendenhall Press.) zs. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Cot.les, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
95, Strand, W.C.) 3s.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost Of Production. In tliis work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
2s. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods of Publication. By S. Squire Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention, and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode&lt;br /&gt;
is. 6d.&lt;br /&gt;
Other works bearing on the Literary Profession will follow.&lt;br /&gt;
vol. 11. P i&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 228 (#632) ############################################&lt;br /&gt;
&lt;br /&gt;
A D VER TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are various pints to select from, broad, medinrn, and fine, every handwriting can be suited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post tree, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
MAfciE TOOO J. BAUD NtW V0&laquo;K fej%^&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are, pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Olives Wendell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Svdnky Gbumdy, Esq., says (referring to the Fountain Pen) :&mdash;&amp;quot; It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Moberly Bell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;*&amp;#039; I have used them constantly for some&lt;br /&gt;
years, and, as far ns I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
-^^^3r3&amp;gt;-cf^&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 229 (#633) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Butbor*&lt;br /&gt;
(The Organ of the Incorporated Soviety of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 8.] JANUARY i, 1892. [Price Sixpence.&lt;br /&gt;
For the Opinions ex-pressed in papers that arc&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(l.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended by&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has been refused by&lt;br /&gt;
resectable house.s, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
(8.) Never forget that, publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Linxoln&amp;#039;s Inn Fields.&lt;br /&gt;
&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE Committee have to announce with great&lt;br /&gt;
regret the resignation of the secretary, Mr. S.&lt;br /&gt;
Squire Sprigge. He finds himself unable to&lt;br /&gt;
give his whole time to the Society, and the greatly&lt;br /&gt;
increased work which has now to be done makes it&lt;br /&gt;
necessary that the secretary should henceforth&lt;br /&gt;
devote the whole of his time to that work. When&lt;br /&gt;
Mr. Sprigge became secretary three years ago, the&lt;br /&gt;
number of members was 25o. It has since trebled&lt;br /&gt;
and the work has more than trebled. This rapid&lt;br /&gt;
increase is, the Committee feel, largely due to the&lt;br /&gt;
zeal and the intelligence which Mr. Sprigge has&lt;br /&gt;
brought to the work. The kind of work is often&lt;br /&gt;
of an extremely delicate nature; authors are not&lt;br /&gt;
always in the right in their disputes; and, when&lt;br /&gt;
they are, it is not always expedient to set things&lt;br /&gt;
right by the immediate intervention of the lawyer;&lt;br /&gt;
many disputes have been amicably arranged by&lt;br /&gt;
Mr. Sprigge in interviews and by conversation; in&lt;br /&gt;
such a position as that held for three years by&lt;br /&gt;
Mr. Sprigge, enemies may be very easily made.&lt;br /&gt;
It may be said of Mr. Sprigge that he has made&lt;br /&gt;
very few, and of those few, some&mdash;the persons,&lt;br /&gt;
namely, who live by dishonest practices&mdash;are of&lt;br /&gt;
the kind whose enmity is an honour. Mr. Sprigge&lt;br /&gt;
retires at the end of March. The Committee hope&lt;br /&gt;
to appoint his successor before that date, in order&lt;br /&gt;
that he may have a little time to learn the work.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 230 (#634) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The Committee very seriously entreat members to&lt;br /&gt;
sign no agreements without submitting them,&lt;br /&gt;
confidentially, to the secretory. The points, how-&lt;br /&gt;
ever, which are most to be kept in mind are, (i)&lt;br /&gt;
what the author gives up&mdash;his copyright, his&lt;br /&gt;
American rights, his rights of translation, and, in&lt;br /&gt;
most cases, his control of his own property. (2.)&lt;br /&gt;
&amp;quot;What consideration he gets for it. (3.) What the&lt;br /&gt;
publisher proposes to reserve for himself. If a&lt;br /&gt;
royalty is offered, the author must ascertain what&lt;br /&gt;
that means, both in view of a limited and of a&lt;br /&gt;
large sale. If he is to share in profits after the&lt;br /&gt;
book has jmid its expenses, he must have it dis-&lt;br /&gt;
tinctly laid down in the agreement that expenses&lt;br /&gt;
mean actual expenses paid for production, and not&lt;br /&gt;
a fancy charge, giving the other side a fraudulent&lt;br /&gt;
profit at the outset. Also he must have something&lt;br /&gt;
to say in the matter of advertisements, remembering&lt;br /&gt;
that it is not an uncommon practice for the fraudu-&lt;br /&gt;
lent publisher to charge what he pleases under&lt;br /&gt;
this head, and to &amp;quot;spend the money&amp;quot; (!) on&lt;br /&gt;
advertising in his own periodicals or trade lists.&lt;br /&gt;
In other words, the Society earnestly and un-&lt;br /&gt;
ceasingly exhorts those who write books to take as&lt;br /&gt;
much care of their property in books as they do of&lt;br /&gt;
their property in houses, and lands, and shares. It&lt;br /&gt;
may be only a very small property, or it may be&lt;br /&gt;
large&mdash;in either event let it be guarded as carefully&lt;br /&gt;
as any other kind of property.&lt;br /&gt;
There is no subject on which everybody is so&lt;br /&gt;
willing and ready to write as on the subject of&lt;br /&gt;
publishing, and there is no subject on which there&lt;br /&gt;
prevails such extraordinary ignorance. This is&lt;br /&gt;
because the figures of one side only have been&lt;br /&gt;
accessible. Those of the other side have now been&lt;br /&gt;
presented by this Society, and anyone can ascertain&lt;br /&gt;
by the help of these figures, or by special appli-&lt;br /&gt;
cation to the secretary, what these figures are, ami&lt;br /&gt;
what they mean. To those who do know what&lt;br /&gt;
this means and why they have been so carefully&lt;br /&gt;
withheld, the ordinary article which treats of&lt;br /&gt;
publishing is a thing which would be contemptible&lt;br /&gt;
if it was not pitiful and mischievous. Let it be&lt;br /&gt;
remembered tliat the Society has a mass of pub-&lt;br /&gt;
lishers&amp;#039; accounts, printers&amp;#039; estimates, information&lt;br /&gt;
from booksellers, bookbinders, printers, advertising&lt;br /&gt;
agents, agreements and returns, which has never&lt;br /&gt;
before been collected together, and could never be&lt;br /&gt;
collected except by such a Society. It is hoped&lt;br /&gt;
that members will consult the Secretary and use&lt;br /&gt;
this knowledge freely in their own interests. It is&lt;br /&gt;
also hoped that editors will recognise, the fact that&lt;br /&gt;
no articles on publishing methods are worth the&lt;br /&gt;
paper they an; written on unless the figures on both&lt;br /&gt;
sides are attainable.&lt;br /&gt;
The recent labour agitation in the bookbinding&lt;br /&gt;
trade has resulted in the concession of an eight&lt;br /&gt;
hours&amp;#039; day with higher wages to the workmen in&lt;br /&gt;
the trade. As to the justice of the case we are not&lt;br /&gt;
called upon to speak. The working of the result&lt;br /&gt;
is that for ordinary binding an advance of &amp;quot;j\ per&lt;br /&gt;
cent, will be made on bookbinders&amp;#039; charges to pub-&lt;br /&gt;
lishers for books, and of 12 per cent, (perhaps) for&lt;br /&gt;
magazines. In other words, bookbinders say, prac-&lt;br /&gt;
tically, &amp;quot;we are already cut down as far as we can&lt;br /&gt;
go. Somebody else must lx&amp;gt;ar this burden.&amp;quot; Let&lt;br /&gt;
us see what it means. The cost of binding an&lt;br /&gt;
ordinary octavo volume ranges from ^d. to jd.&lt;br /&gt;
An advance of 7 \ per cent, adds \d. on the 4c?.,&lt;br /&gt;
and ^d. on the jd. In case of any attempt being&lt;br /&gt;
made to reduce royalties on the plea of this increase,&lt;br /&gt;
these figures should be borne in mind. It is not,&lt;br /&gt;
however, in books so much as in magaziues that&lt;br /&gt;
the difference will be felt. If the 12 per cent,&lt;br /&gt;
advance is made, it will make a difference to a&lt;br /&gt;
sixpenny magazine, perhaps all the difference.&lt;br /&gt;
Would the world be any the poorer if the sixpenny&lt;br /&gt;
magazine became a shilling magazine? The New&lt;br /&gt;
Review began at 6c?., was advanced to gd., and&lt;br /&gt;
will immediately become is. So much the better&lt;br /&gt;
for everybody.&lt;br /&gt;
On November 1st the readers of the Author,&lt;br /&gt;
and members of the Society, were invited to&lt;br /&gt;
subscribe in order to present Mr. K. U. Johnson,&lt;br /&gt;
Secretary of the International Copyright League.&lt;br /&gt;
On December 1st the Committee announced that&lt;br /&gt;
they had received enough money to carry out&lt;br /&gt;
their intentions. A silver salver has been pur-&lt;br /&gt;
chased, and will be sent to New York immediately.&lt;br /&gt;
The subscription was limited in amount, so as to&lt;br /&gt;
enlarge the number of those who might wish to&lt;br /&gt;
join. Many who would have joined were prevented&lt;br /&gt;
by the announcement that enough had been re-&lt;br /&gt;
ceived. If we had wanted more money the list&lt;br /&gt;
could have been extended indefinitely.&lt;br /&gt;
We have lost one of our earliest members. Mr&lt;br /&gt;
Egerton Warbnrton, one of the best known of.&lt;br /&gt;
Cheshire squires, was a member of the society&lt;br /&gt;
from the first. Without being a great author, he&lt;br /&gt;
was well known as the writer of excellent hunting&lt;br /&gt;
songs, and was at all times devoted to literature&lt;br /&gt;
and literary pursuits. He yvas a gentleman of&lt;br /&gt;
what is called the old school&mdash;of ancient descent&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 231 (#635) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
231&lt;br /&gt;
conservative, ami a churchman&mdash;indeed, he was one&lt;br /&gt;
of the late Beresford Hope&amp;#039;s friends&mdash;a good&lt;br /&gt;
hunting man&mdash;with all the best traditions attaching&lt;br /&gt;
to his class. Some years ago he instituted a May&lt;br /&gt;
Queen ceremony. For twenty years he was afflicted&lt;br /&gt;
with blindness.&lt;br /&gt;
Another, and a more prominent member from&lt;br /&gt;
the literary point of view, has been lost in Mr.&lt;br /&gt;
W. G. Wills. If success proves greatness, he was&lt;br /&gt;
a great dramatist. If prolific production means&lt;br /&gt;
greatness, he was great. The time has not yet&lt;br /&gt;
come for his work to be judged impartially as to its&lt;br /&gt;
place in literature. Few will forget, who ever&lt;br /&gt;
saw those pieces, &amp;quot;Oliver,&amp;quot; and &amp;quot;Charles the&lt;br /&gt;
First.&amp;quot; He possessed the first and greatest gift for&lt;br /&gt;
one who aspires to be a dramatist. He could hold&lt;br /&gt;
his audience. He has been charged with the&lt;br /&gt;
sadness of his pieces. They are lugubrious. It&lt;br /&gt;
was, however, in the nature of the subject that&lt;br /&gt;
they should be so. The man himself was far from&lt;br /&gt;
being lugubrious. His muse was tearful, but his&lt;br /&gt;
heart was light.&lt;br /&gt;
&amp;quot;We have also to regret the loss of Mr. G. T.&lt;br /&gt;
Bettany, who died of heart disease at Dulwich on&lt;br /&gt;
December 2nd. He was born at Penzance in&lt;br /&gt;
185o, and, being intended for the medical profes-&lt;br /&gt;
sion, entered Guy&amp;#039;s Hospital in 1868. After&lt;br /&gt;
graduating B.Sc. at London University with First&lt;br /&gt;
Class Honours in Geology, he proceeded to Cam-&lt;br /&gt;
bridge, where he took his B.A., coining out&lt;br /&gt;
(bracketed Third) in the First Class of the Natural&lt;br /&gt;
Science Tripos in a remarkable year, Professor&lt;br /&gt;
H. N. Martin and the late Mr. Frank Balfour&lt;br /&gt;
being respectively first and second. Air. Bettany&lt;br /&gt;
lectured for some years at Newnham and Girton&lt;br /&gt;
Colleges, and at Guy&amp;#039;s Hospital, but ultimately&lt;br /&gt;
decided to devote himself to literature. His chief&lt;br /&gt;
works are &amp;quot;The Morphology of the Skull,&amp;quot; which&lt;br /&gt;
he wrote in collaboration with Professor W. K.&lt;br /&gt;
Parker, P.B.S., &amp;quot;Eminent Doctors; their Lives and&lt;br /&gt;
their Work,&amp;quot; &amp;quot;Life of Darwin&amp;quot; (Great Writers&amp;#039;&lt;br /&gt;
Series), &amp;quot;The World&amp;#039;s Inhabitants,&amp;quot; and &amp;quot;The&lt;br /&gt;
World&amp;#039;s Religions.&amp;quot; At the time of his death he&lt;br /&gt;
was writing a &amp;quot;History of Christianity,&amp;quot; and a&lt;br /&gt;
&amp;quot;History of Guy&amp;#039;s Hospital,&amp;quot; the latter in&lt;br /&gt;
collaboration with his friend Dr. S. Weeks, F.R.S.&lt;br /&gt;
Mr. Bettany was a contributor to the Times, the&lt;br /&gt;
Atheneeum, the Contemporary Jfevieic, and &amp;quot; Dic-&lt;br /&gt;
tionary of National Biography,&amp;quot; and has, with&lt;br /&gt;
only one or two exceptions, edited more books than&lt;br /&gt;
any man living. The &amp;quot;Minerva Library of&lt;br /&gt;
Famous Books,&amp;quot; of which he was ihe originator&lt;br /&gt;
and sole editor, is now generally admitted to 1h&amp;gt;&lt;br /&gt;
the cheapest and most valuable series of cheap&lt;br /&gt;
books in existence, and has attained an enormous&lt;br /&gt;
sale, while his &amp;quot;Popular Library of Literary&lt;br /&gt;
Treasures&amp;quot; was also the means of bringing much&lt;br /&gt;
that is valuable within the reach of a very large&lt;br /&gt;
public.&lt;br /&gt;
The meaning, as between publisher and author,&lt;br /&gt;
of the so-called &amp;quot;Royalty System &amp;quot;&mdash;where there&lt;br /&gt;
is no system&mdash;was explained in the Author for&lt;br /&gt;
November 18g t. Writers are entreated, in their&lt;br /&gt;
own interests, to study the facts and figures there&lt;br /&gt;
set forth.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colles, the&lt;br /&gt;
Honorary Secretary. Mr. Colles will issue a report&lt;br /&gt;
on the financial side of the Syndicate, drawn by a&lt;br /&gt;
firm of chartered accountants, at the beginning of&lt;br /&gt;
the new year.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forwanl&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 232 (#636) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
MISPRINT.&lt;br /&gt;
The Author, December 1891, page 200, column&lt;br /&gt;
2, line 4 from bottom&mdash;&lt;br /&gt;
For &amp;quot;Again, there are no periodicals,&amp;quot; read,&lt;br /&gt;
&amp;quot;Again, there are two periodicals.&amp;quot; The&lt;br /&gt;
passage, us quoted, is unintelligible.&lt;br /&gt;
W. W. Skeat.&lt;br /&gt;
*■■*■■*&lt;br /&gt;
THE COST OF PRODUCTION.&lt;br /&gt;
ANOTHER edition of this very useful little work&lt;br /&gt;
is now ready. Those who possess the earlier&lt;br /&gt;
editions will please note that since they were&lt;br /&gt;
issued there has been a rise in compositors&amp;#039; wages,&lt;br /&gt;
which, so far as London is concerned, will affect&lt;br /&gt;
the item of composition, or setting-up, and press&lt;br /&gt;
work, or machining, to the extent of about i5 per&lt;br /&gt;
cent. It has not, we are assured, touched prices&lt;br /&gt;
in Edinburgh.&lt;br /&gt;
Those who consult the book should also bear in&lt;br /&gt;
mind that our estimates are very liberal, so us to be&lt;br /&gt;
on the safe side. A printer&amp;#039;s bill is a very elastic&lt;br /&gt;
thing, one that may be shortened as well as&lt;br /&gt;
lengthened, in a most surprising manner. For in-&lt;br /&gt;
stance, a certain piece of work required for the&lt;br /&gt;
Authors&amp;#039; Syndicate, which began by costing 364&amp;#039;. a&lt;br /&gt;
week, has now gone down to l5*., without the least&lt;br /&gt;
alteration in length. And the other day the account&lt;br /&gt;
of a book was sent in which showed the cost of&lt;br /&gt;
production considerably less than the estimate in&lt;br /&gt;
the Society&amp;#039;s book. Nor is this the only occasion&lt;br /&gt;
in which we have found the figures supplied to us&lt;br /&gt;
to have been liberal ones.&lt;br /&gt;
&lt;br /&gt;
AMERICAN COPYRIGHT.&lt;br /&gt;
I.&lt;br /&gt;
IE annual meeting of the American Oopy-&lt;br /&gt;
I right League, by the courtesy of the Executive&lt;br /&gt;
Council of the Authors&amp;#039; Club, was held at the&lt;br /&gt;
rooms of the Club, 19, West 24.th Street, on Friday&lt;br /&gt;
afternoon, Nov. 20th, Dr. Edward Eggleston, third&lt;br /&gt;
Vice-President, in the chair. On motion the&lt;br /&gt;
meeting was adjourned to a date in December, to be&lt;br /&gt;
determined by the Secretary, of which (hie notifica-&lt;br /&gt;
tion will be given. At a preliminary meeting of&lt;br /&gt;
the Executive Council of the Leagues some routine&lt;br /&gt;
business was transacted, and a committee consisting&lt;br /&gt;
of Mr. E. Stedmun, first Vice-President and acting&lt;br /&gt;
President of the League, and Mr. 11. U. Johnson,&lt;br /&gt;
Secretary, were appointed to draft resolutions on&lt;br /&gt;
the death of James Russell Lowell, late President&lt;br /&gt;
of the League, to be reported at the December&lt;br /&gt;
meeting, which will also receive rejwrts, elect&lt;br /&gt;
officers, and decide upon the future policy of the&lt;br /&gt;
League.&lt;br /&gt;
II.&lt;br /&gt;
The following is important. It is an extract&lt;br /&gt;
from a communication made to an English editor&lt;br /&gt;
by an American house :&mdash;&lt;br /&gt;
&amp;quot;In the case of the publisher of a magazine who&lt;br /&gt;
uses matter which is also copyrighted in the United&lt;br /&gt;
States, we think it very important that he should&lt;br /&gt;
secure from the author in writing his or her autho-&lt;br /&gt;
rity, not only to publish it in their magazine, but&lt;br /&gt;
also his or her authority to export it, i.e., the said&lt;br /&gt;
magazine to the United States; also to sell the same&lt;br /&gt;
in the United States. This authority should \n:&lt;br /&gt;
given in legal form, and signed in the presence of&lt;br /&gt;
two witnesses, and copies of the authority should&lt;br /&gt;
be sent over to us, so that in case questions should&lt;br /&gt;
come up here we should have positive proof that&lt;br /&gt;
the author had given his authority to import and&lt;br /&gt;
sell the publication in the United States.&amp;quot;&lt;br /&gt;
The Associated Press of New York has been&lt;br /&gt;
interviewing English publishers as to the working&lt;br /&gt;
of the Copyright Law. As reported, the general&lt;br /&gt;
opinion seems to be that none of the evils prophesied&lt;br /&gt;
for the printing trade are likely to come to pass.&lt;br /&gt;
Composition in America is twenty-five per cent, at&lt;br /&gt;
least more than it is here. American authors are&lt;br /&gt;
asking larger prices; literature which appeals to the&lt;br /&gt;
million will undoubtedly be greatly affected by the&lt;br /&gt;
Act; other literature, naturally, to a much less&lt;br /&gt;
extent. The benefit to the author who commands&lt;br /&gt;
a hearing in America will be enormous.&lt;br /&gt;
An American&amp;#039; writes to remonstrate with an&lt;br /&gt;
expression used in the Author. It described the.&lt;br /&gt;
Copyright Law as a Printer&amp;#039;s Protection Act. He&lt;br /&gt;
points out that the printers are no more protected&lt;br /&gt;
than they were before. This is quite true; the&lt;br /&gt;
expression should not have been used. We regret&lt;br /&gt;
that it was used.&mdash;Editor.&lt;br /&gt;
■ &diams;&bull;&laquo;■&diams;&lt;br /&gt;
LITERARY CRITICISM.&lt;br /&gt;
IP literary criticism may be said to flourish&lt;br /&gt;
among us at all, it certainly flourishes im-&lt;br /&gt;
mensely, for it flows through the periodical&lt;br /&gt;
press like a river that has burst its dykee. The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 233 (#637) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
233&lt;br /&gt;
quantity of it is prodigious, and it is a commodity&lt;br /&gt;
of which, however the demand may be estimated,&lt;br /&gt;
the supply will be sure to be, in any supposable&lt;br /&gt;
extremity, the last thing to fail us. What strikes&lt;br /&gt;
the observer above all, in such an affluence, is the&lt;br /&gt;
unexpected proportion the discourse uttered bears&lt;br /&gt;
to the objects discoursed of&mdash;the paucity of ex-&lt;br /&gt;
amples, of illustrations and productions, and the&lt;br /&gt;
deluge of doctrine, suspended in the void, the&lt;br /&gt;
profusion of talk, and the poverty of experiment,&lt;br /&gt;
of what one may call literary conduct.&lt;br /&gt;
This, indeed, ceases to be an anomaly as soon as&lt;br /&gt;
we look at the conditions of contemporary jour-&lt;br /&gt;
nalism. Then we see that these conditions have&lt;br /&gt;
engendered the practice of &amp;quot; reviewing &amp;quot;&mdash;a practice&lt;br /&gt;
that, in general, has nothing in common with the&lt;br /&gt;
art of criticism. Periodical literature is a huge&lt;br /&gt;
open mouth which has to be fed&mdash;a vessel of&lt;br /&gt;
immense capacity which has to be filled. It is like&lt;br /&gt;
a regular train which starts at an advertised hour,&lt;br /&gt;
but which is free to start only if every seat be&lt;br /&gt;
occupied. The seats are many, the train is ponder-&lt;br /&gt;
ously long, and hence the manufacture of dummies&lt;br /&gt;
for the seasons when there are not passengers&lt;br /&gt;
enough. A stuffed manikin is thrust into the&lt;br /&gt;
empty seat, where it makes a creditable figure till&lt;br /&gt;
the end of the journey. It looks sufficiently like a&lt;br /&gt;
passenger, and you know it is not only when you&lt;br /&gt;
perceive that it neither says anything nor gets out.&lt;br /&gt;
The guard attends to it when the train is shunted,&lt;br /&gt;
blows the cinders from its wooden face, and gives a&lt;br /&gt;
different crook to its elbow, so that it may serve&lt;br /&gt;
for another run.&lt;br /&gt;
In this way, in a well-conducted periodical, the&lt;br /&gt;
blocks of rcmplissage are the dummies of criticism&lt;br /&gt;
&mdash;the recurrent, regulated billows in the ocean of&lt;br /&gt;
talk. They have a reason for being, and the&lt;br /&gt;
situation is simpler when we perceive it. It helps&lt;br /&gt;
to explain the disproportion I just mentioned, as&lt;br /&gt;
well, in many a case, as the quality of the particular&lt;br /&gt;
discourse. It helps us to understand that the&lt;br /&gt;
&amp;quot;organs of public opinion&amp;quot; must be no less&lt;br /&gt;
copious than punctual, that publicity must main-&lt;br /&gt;
tain its high standard, that ladies and gentlemen&lt;br /&gt;
may turn an honest penny by the free expenditure&lt;br /&gt;
of ink.&lt;br /&gt;
Henby James (Philadelphia Paper).&lt;br /&gt;
&lt;br /&gt;
TWO ACTIONS AT LAW.&lt;br /&gt;
I.&lt;br /&gt;
Pinnock v. Chapman and Hall.&lt;br /&gt;
THE same number of the Times&mdash;Wednesday,&lt;br /&gt;
December 9th&mdash;contained two reports of cases,&lt;br /&gt;
Iwth of the greatest importance. The first of&lt;br /&gt;
these was Pinnock v. Chapman and Hall. This case&lt;br /&gt;
VOL. II,&lt;br /&gt;
was probably seen by all our readers, who have also&lt;br /&gt;
read the comments upon it in most of the papers.&lt;br /&gt;
Briefly, it was an action by a private person against&lt;br /&gt;
a firm of publishers for an alleged libel contained&lt;br /&gt;
in a certain book of stories. In this book the&lt;br /&gt;
plaintiff stated that he had been introduced in such&lt;br /&gt;
a manner as to make the identity impossible to be&lt;br /&gt;
doubted, and in such a way as to convey charges&lt;br /&gt;
affecting his honour. The defence set up was not&lt;br /&gt;
that a novelist has the right to place any person he&lt;br /&gt;
pleases under disguise, real or slight, but tliat the&lt;br /&gt;
plaintiff was not intended. The judge, in summing&lt;br /&gt;
up, put these two questions to the jury: (1) Did&lt;br /&gt;
the author have the plaintiff in his mind and intend&lt;br /&gt;
him when writing this story? (2) Was the tale so&lt;br /&gt;
written that those knowing the plaintiff would&lt;br /&gt;
reasonably infer that he was intended? If either&lt;br /&gt;
question was answered in the affirmative, the jury&lt;br /&gt;
would have to consider only the question of&lt;br /&gt;
damages. The jury did find an affirmative reply to&lt;br /&gt;
these questions and returned a verdict for the&lt;br /&gt;
plaintiff with 200/. damages.&lt;br /&gt;
The comments on the case mostly turned&lt;br /&gt;
on the publisher&amp;#039;s side of the question. Every-&lt;br /&gt;
body asked how a publisher could protect him-&lt;br /&gt;
self. Nobody seems to have perceived that it is&lt;br /&gt;
perfectly simple to insert 11 clause in every agree-&lt;br /&gt;
ment to the effect that the author is liable for any&lt;br /&gt;
damages or costs in fighting an action for libel.&lt;br /&gt;
Such a clause is inserted in some agreements, and&lt;br /&gt;
it is one which no author could refuse to accept.&lt;br /&gt;
With this clause, and with the additional pre-&lt;br /&gt;
caution of a careful reader&mdash;in this case the reader&lt;br /&gt;
was led to believe that the whole book was fiction&lt;br /&gt;
&mdash;there should be little danger for the publisher.&lt;br /&gt;
Of course, the author might be unable to pay the&lt;br /&gt;
damages. On that point tin; publisher would take&lt;br /&gt;
care to be informed beforehand. Some twenty years&lt;br /&gt;
ago a similar case was brought. The offending&lt;br /&gt;
author was reported at the time to have paid the&lt;br /&gt;
damages inflicted on the firm out of his own pocket.&lt;br /&gt;
If he did so his action was just and honourable.&lt;br /&gt;
The real difficulty is the novelist&amp;#039;s, not the pub-&lt;br /&gt;
lisher&amp;#039;s. Our whole gallery of fictitious characters is&lt;br /&gt;
a gallery of portraits. There is not a novelist living&lt;br /&gt;
or dead whose books are not filled with portraits&lt;br /&gt;
drawn from the life. There is not a single book of&lt;br /&gt;
any note in which there are not living characters,&lt;br /&gt;
and for the most part characters well known and&lt;br /&gt;
easy to be recognised. Fiction, like painting, must&lt;br /&gt;
have models. It will be the beginning of the end&lt;br /&gt;
for fiction when she ceases to draw from the life.&lt;br /&gt;
Now, it is easy to get a model for the studio&mdash;but&lt;br /&gt;
difficult&mdash;almost impossible&mdash;to get a model for the&lt;br /&gt;
study. AVho would consent to sit for the Marquis&lt;br /&gt;
of Steyne&mdash;for Major Pendennis&mdash;for Jos Sedley&lt;br /&gt;
&mdash;for Blanche Amory&mdash;for Ralph Nickleby&mdash;for&lt;br /&gt;
Squeers&mdash;^for the Egoist? These portraits have to&lt;br /&gt;
Q&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 234 (#638) ############################################&lt;br /&gt;
&lt;br /&gt;
234&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
bo taken surreptitiously&mdash;a line here, ft line there&mdash;&lt;br /&gt;
here the Kodak&mdash;there ft word of talk. They have&lt;br /&gt;
to be drawn with selection and discrimination.&lt;br /&gt;
Hitherto, none of these unwilling models have&lt;br /&gt;
brought their unwillingness into court. All&lt;br /&gt;
the world, perhaps, knew who was meant, but&lt;br /&gt;
the subject pretended either not to know or not&lt;br /&gt;
to care. Henceforth the novelist must l&amp;gt;e very&lt;br /&gt;
careful. If he takes from his acquaintance a&lt;br /&gt;
villain, a hypocrite, a sensualist, an egotist, a man&lt;br /&gt;
selfish, voluptuous, vain, foolish, priggish, a hum-&lt;br /&gt;
bug, a bully, a poseur&mdash;anything&mdash;he must be very&lt;br /&gt;
careful so to disguise him that the model, though&lt;br /&gt;
he may know, may have no legal cause for complaint.&lt;br /&gt;
He may transform to his canvas the mental qualities&lt;br /&gt;
of the model or the physical peculiarities or the&lt;br /&gt;
conditions and facts of the model&amp;#039;s life. But not&lt;br /&gt;
all together. Thus, if his character adorn New&lt;br /&gt;
York, transfer him to London; if he be mentally&lt;br /&gt;
humpbacked transpose the hump to a person&lt;br /&gt;
physically unlike the real man.&lt;br /&gt;
The effect is not quite so happy as the bodily&lt;br /&gt;
transfer of the whole man with all his surroundings,&lt;br /&gt;
and the conditions which have made him what he is.&lt;br /&gt;
But it is safer. The portrait of a dead man may,&lt;br /&gt;
one supposes, be shown accurately without danger of&lt;br /&gt;
legal&amp;#039;proceedings. In such a, case the painter need&lt;br /&gt;
only fear the vengeance of able-bodied sons, brothers,&lt;br /&gt;
or cousins.&lt;br /&gt;
II.&lt;br /&gt;
The Proprietor of a Magazine v. The&lt;br /&gt;
Proprietor of a Country Paper.&lt;br /&gt;
This case is also one of considerable importance,&lt;br /&gt;
because it involves some definition of the right of&lt;br /&gt;
a newspaper to copy or abridge work appearing&lt;br /&gt;
in a magazine. The defendant admitted the pub-&lt;br /&gt;
lication of an abridgment, but contended that he&lt;br /&gt;
had acted in perfect good faith; that he had&lt;br /&gt;
received a copy of the magazine containing the&lt;br /&gt;
story, and that he had believed that he had the&lt;br /&gt;
consent of the plaintiffs to publish the story. It&lt;br /&gt;
does not appear, in fact, that the defendant did&lt;br /&gt;
more than has been very often done by country&lt;br /&gt;
papers. Yet it was necessary that the powers of&lt;br /&gt;
a newspaper to reproduce magazine articles should&lt;br /&gt;
be defined. There can be no doubt that the&lt;br /&gt;
reproduction of papers or portions of papers from&lt;br /&gt;
certain magazines may materially advance their&lt;br /&gt;
popularity and increase their circulation, so that,&lt;br /&gt;
to some extent, editors should be encouraged to&lt;br /&gt;
reproduce them. But it is well to remember that&lt;br /&gt;
the copyright belongs to the man who has bought&lt;br /&gt;
it, and that copyright means the right to publish.&lt;br /&gt;
There can be no harm done so long as editors&lt;br /&gt;
recognise the necessity of getting permission to&lt;br /&gt;
reproduce, and so long as that permission is freely&lt;br /&gt;
granted, But it should not be asked, nor would&lt;br /&gt;
it be granted, in the case of stories which form the&lt;br /&gt;
most attractive part of most magazines.&lt;br /&gt;
&diams;■&raquo;■&diams;&lt;br /&gt;
THE STORYTELLER&amp;#039;S NIGHT.&lt;br /&gt;
HERE is a hint for the Authors&amp;#039; Club. At&lt;br /&gt;
the Aldiue Club, New York, they have a&lt;br /&gt;
Storyteller&amp;#039;s Night. Their last was on&lt;br /&gt;
Thursday, December 17th. Mr. Frank Stockton&lt;br /&gt;
took the chair. The storytellers were Mr. George&lt;br /&gt;
Cable, M. Paul du Chail&amp;#039;lu, Mr. Charles Dudley&lt;br /&gt;
Warner, Mr. W. Hamilton Gibsou, Mr. Will&lt;br /&gt;
Carlines, and others. One after the other they&lt;br /&gt;
stood up and told their stories, and sat down again.&lt;br /&gt;
In one respect we cannot imitate the Aldine Club.&lt;br /&gt;
Their dinner was not served till ten o&amp;#039;clock. Our&lt;br /&gt;
]&amp;gt;eople wouldn&amp;#039;t stand that. Here is Mr. Charles&lt;br /&gt;
Warner&amp;#039;s story as reported in the Critic :&mdash;&lt;br /&gt;
&amp;quot;There was once a robber in Cairo who fell from the&lt;br /&gt;
second story of a house he was trying to enter, and broke&lt;br /&gt;
his leg. He went to the Cadi aud complained. The man&amp;#039;s&lt;br /&gt;
window was badly made, and he wanted justice. The Cadi&lt;br /&gt;
said that was reasonable, and he summoned the owner of&lt;br /&gt;
the house. The owner confessed that the house was poorly&lt;br /&gt;
built, but claimed that the eaqienter was to blame, and not&lt;br /&gt;
he. This struck the Cadi as sound logic, aud he sent for&lt;br /&gt;
the carpenter. 1 The charge is, alas, too true,&amp;#039; said the&lt;br /&gt;
carpenter,&amp;#039; but the masonry was at fault and I couldn&amp;#039;t fit&lt;br /&gt;
a good window.&amp;#039;&lt;br /&gt;
&amp;quot;So the Cadi, impressed with the reasonableness of the&lt;br /&gt;
argument, sent for the mason. The mason pleaded guilty,&lt;br /&gt;
but explained that a pretty girl in a blue gown had passed&lt;br /&gt;
the building while he was at work, aud that his attention&lt;br /&gt;
had been diverted from his duty. The Cadi thereupon&lt;br /&gt;
demanded that the girl be brought before him. &amp;#039;It is true,&amp;#039;&lt;br /&gt;
she said, &amp;#039;that I am pretty, but it&amp;#039;s no fault of mine. If&lt;br /&gt;
my gown attracted the mason, the dyer should be punished&lt;br /&gt;
and not I.&amp;#039; &amp;#039;Quite true,&amp;#039; said the Cadi,&amp;#039; send for the dyer.&amp;#039;&lt;br /&gt;
The dyer was brought to the bar and pleaded guilty. That&lt;br /&gt;
settled it. The Cadi told the robber to take the guilty-&lt;br /&gt;
wretch to his hoiiBe and hang him from the door-sill, and&lt;br /&gt;
the populace rejoiced that justice had been done. Hut&lt;br /&gt;
pretty soon the crowd returned to the Cadi&amp;#039;s house, com-&lt;br /&gt;
plaining that the dyer was too long to be properly hanged&lt;br /&gt;
from his door-sill. &amp;#039;Oh, well,&amp;#039; said the Cadi, who by that&lt;br /&gt;
time was suffering with ennui,&amp;#039; go find a short dyer aud&lt;br /&gt;
hang him. Justice shall prevail.&amp;#039;&amp;quot;&lt;br /&gt;
&mdash;&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
MB. Brander Matthews, a writer of distinction&lt;br /&gt;
in the world of fiction, has just published&lt;br /&gt;
(Longmans, &amp;quot; With my Friends &amp;quot;), a dainty&lt;br /&gt;
volume of short stories idl written in collaljomtion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 235 (#639) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
235&lt;br /&gt;
His literary partners are Mr. H. S. Bunner,&lt;br /&gt;
Mr. Walter Pollock, Mr. George H. Jessop, and&lt;br /&gt;
Mr. F. Anstey. All the stories are good, but the&lt;br /&gt;
first and the third seem to nie especially good.&lt;br /&gt;
There is an introduction in which Mr. Brander&lt;br /&gt;
Matthews (without a collaborateur) treats of the&lt;br /&gt;
art and mystery of collaboration. I think that&lt;br /&gt;
this is the only essay ever written on the&lt;br /&gt;
subject; that is to say, many have written about&lt;br /&gt;
literary partners, but none 011 what is really meant&lt;br /&gt;
by a literary partnership; how men may collaborate&lt;br /&gt;
in literary work; what constitutes partnership; the&lt;br /&gt;
advantages of such partnership; its dangers and&lt;br /&gt;
disadvantages and limitations. The scanty limits&lt;br /&gt;
of the Author do not permit a summary, however&lt;br /&gt;
brief, of this valuable essay, nor do they permit&lt;br /&gt;
certain comments which one would like to make.&lt;br /&gt;
These must be reserved for another place. Mean-&lt;br /&gt;
time I beg to recommend the book to all who write&lt;br /&gt;
fiction, not only for its excellent stories but for this&lt;br /&gt;
introductory essay.&lt;br /&gt;
One point I note in this place. Mr. Brander&lt;br /&gt;
Matthews claims for collaboration an educational&lt;br /&gt;
value so far as concerns construction. &amp;quot;It&lt;br /&gt;
succeeds,&amp;quot; he says, &amp;quot;most abundantly where&lt;br /&gt;
clearness is needed, where precision, skill, and&lt;br /&gt;
logic are looked for, where we expect simplicity&lt;br /&gt;
of motive, sharpness of outline, ingenuity of&lt;br /&gt;
construction, and clearness of effect.&amp;quot; Observe&lt;br /&gt;
that these are all things which are absolutely&lt;br /&gt;
essential to the success of a drama. It is, he&lt;br /&gt;
thinks, because the habit of collaboration so&lt;br /&gt;
much obtains in France that the constructive part&lt;br /&gt;
of their work is generally so much better than with&lt;br /&gt;
us. Now, in fiction as well as the drama, all these&lt;br /&gt;
qualities are desirable. And a want of clearness in&lt;br /&gt;
outline, a want of sharpness, is one of the most&lt;br /&gt;
common faults in English fiction. If this could be&lt;br /&gt;
removed by a little collaboration, let us collaborate.&lt;br /&gt;
The reason why collaboration proves a remedy&lt;br /&gt;
for this fault is, I apprehend, that the inventor of&lt;br /&gt;
the fable&mdash;there can be two minds working upon it,&lt;br /&gt;
but there can be but one inventor&mdash;is thus enabled&lt;br /&gt;
to see his own idea projected upon another brain;&lt;br /&gt;
he sees it as it is, not as he imagines it is; he sees&lt;br /&gt;
it in the mind of another man. Why is it that the&lt;br /&gt;
unsuccessful man of letters so often cannot understand&lt;br /&gt;
his ill success? Mainly, perhaps, because he cannot&lt;br /&gt;
really see his own work; he sees the vision of it in&lt;br /&gt;
his own brain, and he cannot understand that he has&lt;br /&gt;
not transferred it to the page. With a collaborateur&lt;br /&gt;
he would have had to bring out every character,&lt;br /&gt;
every incident, every name to be discussed, arranged,&lt;br /&gt;
altered, and made presentable. Collaboration has&lt;br /&gt;
many dangers and many difficulties. One would&lt;br /&gt;
&amp;quot;ot recommend a young writer to collaborate,&lt;br /&gt;
except for quite short things, first of all; to feel&lt;br /&gt;
his way; to enter into no lasting engagements; and&lt;br /&gt;
never, whatever disputes may afterwards happen, to&lt;br /&gt;
claim more than a just half share in the work.&lt;br /&gt;
Perhaps, after all, the best form of collaboration is&lt;br /&gt;
that which has produced this volume. It is when&lt;br /&gt;
two friends, in after-dinner talk, hit upon an idea,&lt;br /&gt;
begin to turn it about, to see its possibilities, and in&lt;br /&gt;
an hour&amp;#039;s amusement actually to construct a story&lt;br /&gt;
which cither of them can write down.&lt;br /&gt;
Every great thought proves to have been antici-&lt;br /&gt;
pated by somebody else. For instance, when wo&lt;br /&gt;
talked of a school for novelists and of the possi-&lt;br /&gt;
bility of teaching those capable of learning some-&lt;br /&gt;
thing of the elements, just as rhetoric may be&lt;br /&gt;
taught to one who wishes to know how to&lt;br /&gt;
conduct an argument, we were quite ignorant&lt;br /&gt;
that there was already in the field a Professor of&lt;br /&gt;
the Art&mdash;a Literary Tutor&mdash;and that he had been&lt;br /&gt;
in practice for many years. That is, however, the&lt;br /&gt;
case. This gentleman edits a magazine&mdash;not one&lt;br /&gt;
of those, apparently, which pander to the taste of&lt;br /&gt;
the day and are read by such people as ourselves,&lt;br /&gt;
because it is not on the bookstalls. Moreover, on&lt;br /&gt;
application to the office we found it gone&mdash;the&lt;br /&gt;
people knew not whither.&lt;br /&gt;
The tuition is conducted by letter only. The&lt;br /&gt;
fees are decidedly low&mdash;thirty shillings for three&lt;br /&gt;
months and five guineas a year, and the tutor&lt;br /&gt;
offers (at least he has offered to one editor) the&lt;br /&gt;
splendid commission of half a guinea on every&lt;br /&gt;
literary pupil obtained for him. He says in his&lt;br /&gt;
prospectus that many of his former pupils have&lt;br /&gt;
now &amp;quot;ascended several steps up the ladder of&lt;br /&gt;
Fame.&amp;quot; Now, in all departments of learning,&lt;br /&gt;
the teacher must be able to show that he is&lt;br /&gt;
able to do, himself, the thing that he teaches.&lt;br /&gt;
Let us, therefore, beg all who think of getting&lt;br /&gt;
such help as that proffered by this gentle-&lt;br /&gt;
man, or others like him, ascertain that he&lt;br /&gt;
has shown himself, by his own writings, a corn-&lt;br /&gt;
latent guide. That one has never heard of him is&lt;br /&gt;
not enough to make one refuse his services or to&lt;br /&gt;
warn others against him. Let him prove his&lt;br /&gt;
competence in the only way possible, by the pro-&lt;br /&gt;
duction of his own work. If it is good work,&lt;br /&gt;
there is a possibility that he may be able to teach.&lt;br /&gt;
But that proved, the next question is whether the&lt;br /&gt;
man 1* able to teach? Meanwhile, that offer of the&lt;br /&gt;
half guinea commission does not, somehow, inspire&lt;br /&gt;
one with confidence.&lt;br /&gt;
A communication has been received from the&lt;br /&gt;
advertiser in the Daily News whose proposal was&lt;br /&gt;
commented on hi the last number of the Aut/ior&lt;br /&gt;
(i 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 236 (#640) ############################################&lt;br /&gt;
&lt;br /&gt;
236&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
under the title of &amp;quot;A Now Departure.&amp;quot; What&lt;br /&gt;
he says is practically this&mdash;which one is quite&lt;br /&gt;
ready to admit&mdash;that a literary agent, or middle-&lt;br /&gt;
man, may be very useful for an author. It&lt;br /&gt;
is quite true, and there are literary agents&lt;br /&gt;
already in existence; the advertiser would do&lt;br /&gt;
well to find out a good one and employ him.&lt;br /&gt;
He must be very careful not to employ any-&lt;br /&gt;
one not well recommended. He goes on to say&lt;br /&gt;
that &amp;quot; not a quota &amp;quot;&mdash;what is that ?&mdash;of MSS. sub-&lt;br /&gt;
mitted to publishers are ever read. My own&lt;br /&gt;
experience is that MSS. are always read by pub-&lt;br /&gt;
lishers. He therefore thinks that a literary agent&lt;br /&gt;
would read them though the publisher will not.&lt;br /&gt;
A literary agent would not read MSS.; he cannot&lt;br /&gt;
possibly do so. Ho might, as publishers do, em-&lt;br /&gt;
ploy a staff of readers, but he could not, personally,&lt;br /&gt;
read MSS. Here then is advice for this adver-&lt;br /&gt;
tiser. Withdraw your advertisement; apply to&lt;br /&gt;
the society for advice; if you employ a literary&lt;br /&gt;
agent you will have to pay him a great deid less&lt;br /&gt;
than the 25 per cent, you foolishly offer to any&lt;br /&gt;
shark who may be on the look out for prey.&lt;br /&gt;
&amp;quot;It is a part of the literary gift,&amp;quot; says a cor-&lt;br /&gt;
respondent, &amp;quot;that authors should express their&lt;br /&gt;
disagreements in the most disagreeable manner&lt;br /&gt;
possible.&amp;quot; Profound observation! It explains in&lt;br /&gt;
one short sentence the whole of the history of&lt;br /&gt;
authors and their quarrels. It also affords hope&lt;br /&gt;
to the despondent. There may be a brighter&lt;br /&gt;
future for literature, when its followers will cease to&lt;br /&gt;
scratch and claw and revile and scarify each&lt;br /&gt;
other. Manners will, some time or other, be taught.&lt;br /&gt;
Thus the natural woman, when she disagrees with&lt;br /&gt;
her friend, scratches, clapperclaws, and tears out&lt;br /&gt;
hair. One has seen the natural woman so dis-&lt;br /&gt;
playing her disagreement; the onlooker, at such a&lt;br /&gt;
moment, thinks of authors with a sigh. But the&lt;br /&gt;
blessings of civilisation are teaching the natural&lt;br /&gt;
woman a better method; you may now walk&lt;br /&gt;
about the streets for a twelvemonth without finding&lt;br /&gt;
such a natural woman. In course of time we shall&lt;br /&gt;
find our own profession educated up to the point of&lt;br /&gt;
disagreeing with politeness. The Bludyers, how-&lt;br /&gt;
ever, are a long-lived race.&lt;br /&gt;
A correspondent in the St. James&amp;#039;s Gazette&lt;br /&gt;
writing on the old grievance&mdash;far more real for&lt;br /&gt;
playwrights than for novelists&mdash;of the difficulty of&lt;br /&gt;
getting a piece produced, he makes a practical&lt;br /&gt;
suggestion. It is that the manager, like the&lt;br /&gt;
publisher, shall have a reader or a staff of readers.&lt;br /&gt;
Why not? He goes on, however, to suggest that&lt;br /&gt;
the dramatist shall pay the reader himself. Why?&lt;br /&gt;
The author does not pay the publisher&amp;#039;s reader.&lt;br /&gt;
He is part of tlie office. Why should not the&lt;br /&gt;
manager pay his reader? But the circumstances&lt;br /&gt;
are not quite similar. Editors of magazines and&lt;br /&gt;
publishers must always l&amp;gt;e bringing out new&lt;br /&gt;
things&mdash;every month for the magazines&mdash;every&lt;br /&gt;
season for the book list. The manager only&lt;br /&gt;
brings out a new thing when he is obliged. If&lt;br /&gt;
he gave the world a new play every two months&lt;br /&gt;
or so&mdash;as he could yvere it not for the present&lt;br /&gt;
lavish expense of mounting and dressing&mdash;he would&lt;br /&gt;
want a reader. As he looks for a run of twelve&lt;br /&gt;
months at least, he does not; he prefers arranging&lt;br /&gt;
for a new play with an old hand. Think of a new&lt;br /&gt;
piece every month at the Lyceum, and another at&lt;br /&gt;
the Haymarket, and another new piece at the&lt;br /&gt;
Comedy, the Prince of Wales&amp;#039;s, and all of them!&lt;br /&gt;
In ten years we shoidd have such a company of&lt;br /&gt;
dramatic authors in this country as was never&lt;br /&gt;
before known. A successful play would not then&lt;br /&gt;
be worth, as it is now, a small fortune; it would,&lt;br /&gt;
as it should, be worth what a successful novel is&lt;br /&gt;
worth, and no more. But that shoidd be quite&lt;br /&gt;
enough to stimulate hundreds of active brains.&lt;br /&gt;
And then the manager&amp;#039;s reader would be a very&lt;br /&gt;
useful person indeed.&lt;br /&gt;
Mr. Andrew Lang&amp;#039;s &amp;quot;Sign of the Ship&amp;quot; is&lt;br /&gt;
always a thing to look for&mdash; it is one of the minor&lt;br /&gt;
events of the month&mdash;though, like the delicacies of&lt;br /&gt;
the Christmas season, he does not always agree with&lt;br /&gt;
one. This month he contributes a few interesting&lt;br /&gt;
statistics concerning novels. There have been, he&lt;br /&gt;
says, 270 novels of the year, as recorded in a library&lt;br /&gt;
catalogue. As a fact, there have been many more.&lt;br /&gt;
A &amp;quot;student&amp;quot;&mdash;of fiction or of folk lore?&mdash;has&lt;br /&gt;
kindly erased 254 from this catalogue, as not to&lt;br /&gt;
he sent. Of these, about 24 had been read before;&lt;br /&gt;
of those left on the list, twelve, at least, wore experi-&lt;br /&gt;
mental. Of the whole 270, there were about forty&lt;br /&gt;
that &amp;quot; a male human being might read.&amp;quot; The rest,&lt;br /&gt;
he says, yvere all for ladies. &amp;quot;Ah !&amp;quot; he cries, &amp;quot;that&lt;br /&gt;
authors would not write, that publishers would not&lt;br /&gt;
publish, that libraries would not buy, the common,&lt;br /&gt;
mild, middle-class domestic novel any more!&amp;quot; If&lt;br /&gt;
one were obliged to read them, one would certainly&lt;br /&gt;
echo that sigh. But then, you see, one is not&lt;br /&gt;
obliged&mdash;and one does not read them. In the same&lt;br /&gt;
way as we pass a pastrycook&amp;#039;s shop, and observe the&lt;br /&gt;
masses of tarts, cakes, buns, chocolate, and confec-&lt;br /&gt;
tions of jam, one might cry, &amp;quot;Ah! that pastrycooks&lt;br /&gt;
would not make, that people would not buy, that&lt;br /&gt;
children would not eat the common, mild, domestic&lt;br /&gt;
biliousness any more!&amp;quot; Or, when one passes the&lt;br /&gt;
fragrant fried fish-shop, one might equally ejacu-&lt;br /&gt;
late, &amp;quot; Ah! that fryers would not fry, that sho[&amp;gt;s&lt;br /&gt;
would not sell, that workgirls would not eat, this&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 237 (#641) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
237&lt;br /&gt;
terrible, horrible, awful mess!&amp;quot; Or, again, when&lt;br /&gt;
one goes to an exhibition of pictures, and sees the&lt;br /&gt;
acres of wall space covered with feeble and conven-&lt;br /&gt;
tional daubs, one might cry, &amp;quot;Ah! that painters&lt;br /&gt;
would not paint, that exhibitions would not exhibit,&lt;br /&gt;
that people would not buy these mild, domestic,&lt;br /&gt;
middle-class conventional pictures any more!&amp;quot;&lt;br /&gt;
Now, let us make out what case we can for the&lt;br /&gt;
mild novel that nobody wants. In the first place,&lt;br /&gt;
does it injure the circulation of the forty which the&lt;br /&gt;
male human being can read? It may injure, to a&lt;br /&gt;
very small extent, their circulating library circula-&lt;br /&gt;
tion. That is to say, the latest work of the&lt;br /&gt;
Eminent novelist may be bought by the hundred&lt;br /&gt;
instead of the hundred and twenty, and readers&lt;br /&gt;
are made to wait a little for him, because&mdash;it is&lt;br /&gt;
rejK&amp;gt;rted&mdash;the small fry can be bought&mdash;&amp;quot; sorted&lt;br /&gt;
out &amp;quot;&mdash;at a much lower price&mdash;sometimes at five&lt;br /&gt;
shillings the three volumes. But at Smith&amp;#039;s they&lt;br /&gt;
will get, I l&amp;gt;elieve, any book that the subscriber&lt;br /&gt;
asks for. If that is the case, then the Eminent&lt;br /&gt;
one suffers not at all, however many domestic&lt;br /&gt;
novels are produced. But readers always have&lt;br /&gt;
the remedy in their own hands. They can&lt;br /&gt;
send back, by return post, the rubbish which&lt;br /&gt;
fills the box. Or, better still, they can select books&lt;br /&gt;
for themselves, and return all those which &amp;#039;are not&lt;br /&gt;
in the list. As to the cheap edition&mdash;the one-volume&lt;br /&gt;
edition&mdash;of course the mild domestic novel, which&lt;br /&gt;
never gets to that edition at all, injures nol&amp;gt;ody.&lt;br /&gt;
In fact, the whole 23oout of the 270 appear, flutter&lt;br /&gt;
about for a month or two, and then vanish for ever.&lt;br /&gt;
Their real end, which is pieces, comes to them after&lt;br /&gt;
a few seasons in the seaside circulating library.&lt;br /&gt;
Broadstairs, for instance, hath a noble, unique col-&lt;br /&gt;
lection of the novels that nobody wants. Even&lt;br /&gt;
little Llanfairfechan is not without this museum,&lt;br /&gt;
though on a smaller scale.&lt;br /&gt;
Again, there are many, very many, desperately&lt;br /&gt;
dull houses in country towns and country villages&lt;br /&gt;
where the ladies must, perforce, devote part of the&lt;br /&gt;
day to reading. I hope we have long since passed&lt;br /&gt;
the old fashioned stage of believing that one must&lt;br /&gt;
read only with a view to improving the mind.&lt;br /&gt;
Those ladies read with a view to getting out of&lt;br /&gt;
their dullness&mdash;away from themselves. They&lt;br /&gt;
therefore read novels. They read a novel in two&lt;br /&gt;
days, or three at the most, say three a week. They&lt;br /&gt;
therefore read a hundred and fifty in the year, or,&lt;br /&gt;
leaving out eight weeks for amusement, travel, and&lt;br /&gt;
other distractions, they read one hundred and&lt;br /&gt;
thirty-two novels in the year. Now, if there were&lt;br /&gt;
published none hut the forty readable by superior&lt;br /&gt;
VOL. IT.&lt;br /&gt;
man, these poor ladies would simply have nothing&lt;br /&gt;
to read, nothing to talk about, nothing to distract&lt;br /&gt;
them from the deadly petty gossip of the place, for&lt;br /&gt;
about fort)- weeks in the year. Think&mdash;oh!&lt;br /&gt;
think&mdash;What a calamity would l&amp;gt;e the suppression&lt;br /&gt;
of the Two Hundred and Thirty!&lt;br /&gt;
Again, let us acknowledge, for argument, the&lt;br /&gt;
feebleness and the conventionality of the stuff.&lt;br /&gt;
But it is intended for the distraction of minds not&lt;br /&gt;
too strong at best, and, in their hours of relaxation,&lt;br /&gt;
at their feeblest. Do these books harm anybody?&lt;br /&gt;
Indeed, no, unless feebleness of writing injures the&lt;br /&gt;
mentally weak. Do they lower, for those who read,&lt;br /&gt;
their standard of purity, of nobility? No. These&lt;br /&gt;
writers accept this standard to the best of their&lt;br /&gt;
abilities, and, for the most part, maintain it. I do&lt;br /&gt;
not profess to have read much of the work of this&lt;br /&gt;
poor company of Two Hundred and Thirty, shiver-&lt;br /&gt;
ing and trembling beneath the forefinger of scorn,&lt;br /&gt;
but I believe that if they ventured to assail our&lt;br /&gt;
morals, they would lx? instantly annihilated. There&lt;br /&gt;
is an Eye&mdash;a watchful Eye&mdash;upon the morals of the&lt;br /&gt;
novelist. In my own humble way, I have received&lt;br /&gt;
remonstrances which revealed the existence of that&lt;br /&gt;
Eye. Once&mdash;only once&mdash;I suffered&mdash;nay, encou-&lt;br /&gt;
raged&mdash;a sailor to kiss a girl in a summer house&mdash;&lt;br /&gt;
only a kiss, nothing more, but it was wrong&mdash;it&lt;br /&gt;
was sinful, and I heard of it. &amp;quot;I thought,&amp;quot; wrote&lt;br /&gt;
the indignant moralist, &amp;quot; that your lxwks were safe&lt;br /&gt;
reading for my daughter. Most providentially I&lt;br /&gt;
looked into that one called &amp;#039;The World went very-&lt;br /&gt;
well then&amp;#039; before placing it in my child&amp;#039;s hands.&lt;br /&gt;
I can only say&mdash;may God grant you repentance&lt;br /&gt;
and forgive you!&amp;quot; If this wholesome watchfulness&lt;br /&gt;
is kept upon the male novelist, how much more&lt;br /&gt;
upon the artist of the other sex!&lt;br /&gt;
Again, there are about thirty or forty ladies who,&lt;br /&gt;
by writing these domestic novels for other ladies,&lt;br /&gt;
manage to make a little income, varying from fifty&lt;br /&gt;
to a hundred pounds a year, bringing out one&lt;br /&gt;
every year. The libraries take three or four&lt;br /&gt;
hundred copies of each. The publishers make&mdash;&lt;br /&gt;
say, a hundred pounds to a hundred and fifty&lt;br /&gt;
pounds by each work. Are we to deprive these&lt;br /&gt;
ladies of their income? It is of vital importance&lt;br /&gt;
to them. If we have no pity on the poor ladies,&lt;br /&gt;
shall we not find one tear for the innocent&lt;br /&gt;
publisher?&lt;br /&gt;
Or, if this company of Two Hundred and Thirty&lt;br /&gt;
were annihilated, think what would happen to the&lt;br /&gt;
R&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 238 (#642) ############################################&lt;br /&gt;
&lt;br /&gt;
238&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
young gentlemen who write papers for the thought-&lt;br /&gt;
ful magazines on the Decay of Fiction! Magazines&lt;br /&gt;
have got to be filled, as Mr. Henry James has&lt;br /&gt;
pointed out. What so easy to write as an article&lt;br /&gt;
on the Worthlessness of Modern Fiction! The&lt;br /&gt;
editors like the subject. Anybody who can write&lt;br /&gt;
at all, whether he knows anything about, fiction&lt;br /&gt;
or not, whether he is capable, of writing or&lt;br /&gt;
inventing the smallest anecdote, thinks he can&lt;br /&gt;
write an article upon it. If we were to approach&lt;br /&gt;
the editor with an article on the Fried Fish craving&lt;br /&gt;
which seems so deplorably on the increase in&lt;br /&gt;
certain cpiarters, he would not take it. I am sure&lt;br /&gt;
he would not. But an article on novels? Why,&lt;br /&gt;
he takes at least three every year, and sometimes&lt;br /&gt;
more. And then there are the weekly reviews.&lt;br /&gt;
The novels find employment in their pages for many&lt;br /&gt;
eminent hands. And there are the daily papers.&lt;br /&gt;
The reviewer of novels finds in their columns con-&lt;br /&gt;
stant and remunerative occupation. And the writer&lt;br /&gt;
of the literary letter. He has hardly anything to talk&lt;br /&gt;
about but, novels and novelists. There is also the&lt;br /&gt;
writer of the paragraphs&mdash;what would he do without&lt;br /&gt;
his novelists? Indeed, when we think of the re-&lt;br /&gt;
viewers alone, we shrink in terror from a measure of&lt;br /&gt;
suppression which would abolish their chief source&lt;br /&gt;
of income. &amp;quot;Strike,&amp;quot; we hear them cry, &amp;quot; strike&lt;br /&gt;
at church and constitution; abolish the House of&lt;br /&gt;
Lords; suppress the House of Commons; but leave,&lt;br /&gt;
oh! leave us this company of Two Hundred and&lt;br /&gt;
Thirty.&amp;quot; Put all together, the libraries, the&lt;br /&gt;
publishers, the publishers&amp;#039; readers, the advertise-&lt;br /&gt;
ment columns, the reviewers, the thoughtful young&lt;br /&gt;
gentlemen of the Higher criticism who write on&lt;br /&gt;
Decay, the printers, the lx&amp;gt;okbinders, the paper&lt;br /&gt;
makers, the artists, and the authors, and consider&lt;br /&gt;
what would be meant by abolishing this poor&lt;br /&gt;
Company. No. Let us rather say,&amp;quot; Go on&mdash;goon&mdash;&lt;br /&gt;
ye Two Hundred and Thirty. Go on writing as&lt;br /&gt;
long as the people go on reading. When some other&lt;br /&gt;
amusement is found, as attractive, as ready to hand,&lt;br /&gt;
as cheap as reading, perhaps there will be no longer&lt;br /&gt;
any demand for you. When you cease to write,&lt;br /&gt;
then we&mdash;your reviewers&mdash;cease to flourish. Go&lt;br /&gt;
on. But we reserve, meantime, the right to scoff&lt;br /&gt;
and sneer at you whenever there is nothing else&lt;br /&gt;
to write about, and whether we read you, or whether&lt;br /&gt;
we do not. Indeed, we never intend to read you.&lt;br /&gt;
Your function, next to pleasing the girls who read&lt;br /&gt;
you, is to furnish subject for contemptuous writing&lt;br /&gt;
for those who do not read you.&amp;quot;&lt;br /&gt;
There is only one thing more to be said. Out&lt;br /&gt;
of the Two Hundred and Thirty, at least eighty are&lt;br /&gt;
authors who pay for the production of their books.&lt;br /&gt;
And then, because the library catalogue by no&lt;br /&gt;
means exhausts the list of new novels, there is&lt;br /&gt;
probably another eighty or more also paid for by&lt;br /&gt;
the authors which never even get into the libraries&lt;br /&gt;
at all.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
PUBLISHING ON COMMISSION.&lt;br /&gt;
i. General Literature. 2. Medical Literature.&lt;br /&gt;
OUR first impulse at the office of the Society&lt;br /&gt;
of Authors, on hearing from an author that&lt;br /&gt;
he intends to bring out a book at his own&lt;br /&gt;
expense, is to dissuade him from his project, for&lt;br /&gt;
it is our general experience that these undertaking*&lt;br /&gt;
end in disappointment. Accordinglv, wo publish&lt;br /&gt;
a warning every month, urging a young author&lt;br /&gt;
never, never to pay for production. But although&lt;br /&gt;
we make it a rule to dissuade young authors from&lt;br /&gt;
publishing in this way, we have never lost sight of&lt;br /&gt;
the fact that in certain special cases it may be fo&lt;br /&gt;
the author&amp;#039;s advantage to bear the cost of production&lt;br /&gt;
himself.&lt;br /&gt;
For instance, let us suppose that an author has n&lt;br /&gt;
book for which a quick sale can bo expected in&lt;br /&gt;
certain quarters, owing to bis own personal efforts&lt;br /&gt;
or private; influence, or both. This is not a very&lt;br /&gt;
rare state of affairs. His public is a ready-made one&lt;br /&gt;
and does not require to be approached through any&lt;br /&gt;
special channels, or with any publishing wiles. He&lt;br /&gt;
is more or less in the position of a man who has a&lt;br /&gt;
certain number of subscriptions guaranteed to him&lt;br /&gt;
for his work; he am get at his public himself, am!&lt;br /&gt;
does not want any assistance. Such a man hail&lt;br /&gt;
l&amp;gt;etter publish upon commission. He runs no risk&lt;br /&gt;
and his pecuniary returns will be greatest in this&lt;br /&gt;
way.&lt;br /&gt;
Take, again, the ease of an author whose chosen&lt;br /&gt;
subject precludes him from ever achieving real&lt;br /&gt;
popularity. His work may be a valuable contri-&lt;br /&gt;
bution to literature of the highest kind, and a useful&lt;br /&gt;
addition to the world&amp;#039;s store of knowledge. There&lt;br /&gt;
would be good grounds for recommending the&lt;br /&gt;
owner of such a work to produce it at his own&lt;br /&gt;
expense, but we should warn him of the probability&lt;br /&gt;
that much of his money would be sunk, and that&lt;br /&gt;
he would have to take out his reward in glory for&lt;br /&gt;
ever. It is true that many such books are pub-&lt;br /&gt;
lished from time to time at the cost of learnea&lt;br /&gt;
societies, while a few are published on the time-&lt;br /&gt;
honoured subscription method, but an author is not&lt;br /&gt;
always so fortunate as to find either societies or&lt;br /&gt;
individuals, who are ready to pay his printer&amp;#039;s bill.&lt;br /&gt;
It often happens that these books, thoroughly&lt;br /&gt;
valuable work as they may be, are left to find their&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 239 (#643) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
239&lt;br /&gt;
way to the public through the author or not nt all.&lt;br /&gt;
If the author does not expect anything else, but is&lt;br /&gt;
satisfied to lose money in making his name, and&lt;br /&gt;
spreading the knowledge he has gained for the&lt;br /&gt;
good of his fellow-man, it is most right that he&lt;br /&gt;
should publish at his own expense. No one asks&lt;br /&gt;
tliiit the author&amp;#039;s reputation should be made at the&lt;br /&gt;
expense of the publisher&amp;#039;s purse. All the Society&lt;br /&gt;
does in such eases is to say: &amp;quot;Publish by all&lt;br /&gt;
means, but put yourself in honourable hands, so&lt;br /&gt;
that you may not be cheated over the accounts,&lt;br /&gt;
and do not anticipate large profits.&amp;quot;&lt;br /&gt;
But besides these classes of books there is&lt;br /&gt;
another, where, the author&amp;#039;s resolve to publish at&lt;br /&gt;
his own expense can be justified by sensible and&lt;br /&gt;
practical reasons, although the result may be a&lt;br /&gt;
pecuniary loss to him. This is the position in&lt;br /&gt;
the publication of certain medical books.&lt;br /&gt;
All purely medical books may be said to belong&lt;br /&gt;
to one of three classes :&mdash;&lt;br /&gt;
(1.) Works of general medical reference.&lt;br /&gt;
(2.) Books written in one of the popular series.&lt;br /&gt;
(3.) Monographs on special medical subjects.&lt;br /&gt;
To the first class belong the historic medical&lt;br /&gt;
works. They generally remain the property of&lt;br /&gt;
their publishers, though it is not unknown for the&lt;br /&gt;
copyright to have been held by the author, editor,&lt;br /&gt;
or compiler. There is a steady annual sale for&lt;br /&gt;
these books to the, medical profession, to the general&lt;br /&gt;
public, to students, and to hospital and general&lt;br /&gt;
libraries; and the new editions, as they are issued,&lt;br /&gt;
are brought up to date by the author, or, in case of&lt;br /&gt;
his death, by the most fitting person whom the&lt;br /&gt;
owner of the copyright can secure for the purpose.&lt;br /&gt;
The price at which they are, sold is, as a rule, by no&lt;br /&gt;
means a popular one, so that many of these books&lt;br /&gt;
an&amp;#039;^aluable pecuniary properties. And this is very&lt;br /&gt;
^Jtting, for most of them are monuments of industry&lt;br /&gt;
and research.&lt;br /&gt;
The books of the second class&mdash;those written as&lt;br /&gt;
parts of a scries&mdash;have the double value, to their&lt;br /&gt;
author, always possessed by books written for a&lt;br /&gt;
scries, i.e., they bring him in some money and&lt;br /&gt;
Wime reputation. The author&amp;#039;s name becomes&lt;br /&gt;
widely known, for these books always sell largely.&lt;br /&gt;
The good ones sell the bad ones, and the popular&lt;br /&gt;
prices suit the purse of a great many people. Every&lt;br /&gt;
copy of every book contains an advertisement of the&lt;br /&gt;
rest of the series. Again, as it is widely believed&mdash;&lt;br /&gt;
a very justifiable belief&mdash;that the best available men&lt;br /&gt;
for the different subjects are always desired to write&lt;br /&gt;
these series, the public spread of a doctor&amp;#039;s name&lt;br /&gt;
attached to one of the books is directly or indirectly&lt;br /&gt;
so good for him, that the small fee received for&lt;br /&gt;
writing the book is counterbalanced thereby. The&lt;br /&gt;
pay and the fame should be, and doubtless are,&lt;br /&gt;
self-compensating and self-arranging. The more&lt;br /&gt;
the author was the favourably-known man in&lt;br /&gt;
VOL. 11.&lt;br /&gt;
connexion with his subject, the higher will be his&lt;br /&gt;
price, and the less his desire or necessity for&lt;br /&gt;
advertisement; the less known he is, the cheaper&lt;br /&gt;
would he sell his work, and the more good would&lt;br /&gt;
he expect to get from the publicity.&lt;br /&gt;
Or it may be that a doctor is approached by the&lt;br /&gt;
owner of one of these series, and is asked for a&lt;br /&gt;
work on a special subject at a certain figure,* and&lt;br /&gt;
is told that the sum named is the sum that is to be&lt;br /&gt;
paid to all the authors of all the monographs.&lt;br /&gt;
There is here no question of sticking out for a&lt;br /&gt;
higher price. If the scientist wants the notoriety&lt;br /&gt;
and the lucre he will exchange his brainwork for&lt;br /&gt;
them. If he is not tempted, the proprietor will&lt;br /&gt;
easily find some other person equally fitted for the&lt;br /&gt;
task to undertake it at the suggested price.&lt;br /&gt;
But it is of the third class, the monographs on&lt;br /&gt;
special subjects, that we particularly wish to speak,&lt;br /&gt;
l)ecause they appear to occupy a unique position&lt;br /&gt;
in publishing. Most often the work is written by&lt;br /&gt;
a man who is not yet widely known, in the hopes&lt;br /&gt;
of becoming widely known. It is thus in a way&lt;br /&gt;
an advertisement pure and simple, an expression,&lt;br /&gt;
however, for which a few words of explanation&lt;br /&gt;
will be necessary. But the first point to be noted&lt;br /&gt;
is that it may l&amp;gt;e a very good book, and, as a&lt;br /&gt;
matter of fact, it generally is a very good book.&lt;br /&gt;
If mere excellence would sell a medical work, so that&lt;br /&gt;
there should be a pecuniary profit upon it, many&lt;br /&gt;
of these works would l&amp;gt;c worth more to the&lt;br /&gt;
publishers than those written under contract. But,&lt;br /&gt;
alas! mere excellence will not by itself achieve so&lt;br /&gt;
desirable an object. For the public to which a&lt;br /&gt;
purely medical book is sold is a very small one,&lt;br /&gt;
though it be one, with whom excellence would have&lt;br /&gt;
due weight. And here, of course, conies in the&lt;br /&gt;
great difference between the publication on com-&lt;br /&gt;
mission of the medical work, and the same&lt;br /&gt;
proceeding, when applied to the ordinary novel.&lt;br /&gt;
Both acts may be looked upon as an act of adver-&lt;br /&gt;
tisement, but the novel addressed to a very large&lt;br /&gt;
and uncritical public may sell to great jiecuniary&lt;br /&gt;
advantage, although it be exceedingly bad, while the&lt;br /&gt;
treatise, being of interest only to a small and&lt;br /&gt;
thoughtful body, cannot ever realise a profit for its&lt;br /&gt;
author, though it be an exceedingly good and&lt;br /&gt;
valuable work. So far is this true, that we make&lt;br /&gt;
bold to say that if Professor Koch&amp;#039;s discovery had&lt;br /&gt;
been a trustworthy or perhaps, it is more correct&lt;br /&gt;
to .say a complete and conclusive piece of work,&lt;br /&gt;
and he had embodied the results of his researches&lt;br /&gt;
in a book, whoever published the book would have&lt;br /&gt;
lost money by the transaction. Details of elaborate&lt;br /&gt;
experiments, with figures, numbers, illustrations,&lt;br /&gt;
* Fifty pounds down, and another fifty pounds towards&lt;br /&gt;
the cost of illustration, is the offer made by the proprietor&lt;br /&gt;
of one of these series to his authors.&lt;br /&gt;
S&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 240 (#644) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
foot-notes, side-note, and cross-references cannot be&lt;br /&gt;
printed with the ease and cheapness characteristic&lt;br /&gt;
of the production of a &amp;quot; yellow-back.&amp;quot; And when&lt;br /&gt;
the expensive book, containing within its pages&lt;br /&gt;
priceless and authentic information as to one of&lt;br /&gt;
the scourges of humanity is ready for sale, who is&lt;br /&gt;
going to buy it? A suffering public&mdash;of course&lt;br /&gt;
not. It is not written for them. If it were&lt;br /&gt;
written for them it would not have been worth&lt;br /&gt;
writing. The whole medical profession? Cer-&lt;br /&gt;
tainly not. Doctors are not rich people, and those&lt;br /&gt;
books cost so much to produce, that some sub-&lt;br /&gt;
stantial price must be put upon them, while the&lt;br /&gt;
practical use to the rank and file of the medical&lt;br /&gt;
profession of an elaborate scientific monograph is&lt;br /&gt;
very small. &amp;quot;Who buys the work, then? A few&lt;br /&gt;
savants, a few professors, and a few libraries.&lt;br /&gt;
But from these sources the knowledge contained in&lt;br /&gt;
the work is disseminated in lectures, comments, re-&lt;br /&gt;
views, and scientific articles, so that the book becomes&lt;br /&gt;
broadly useful to an enormous public, who could&lt;br /&gt;
have gained nothing, however, by buying it for them-&lt;br /&gt;
selves. The good to the public is obtained, but&mdash;to&lt;br /&gt;
put it flippantly&mdash;where does the author come in?&lt;br /&gt;
This way, for there is no especial disinterested-&lt;br /&gt;
ness about the medical author. Public recog-&lt;br /&gt;
nition by his fellows as the author of a valuable&lt;br /&gt;
work is a reward that may at any time prove as&lt;br /&gt;
substantial to his pocket as it is grateful to&lt;br /&gt;
his self-esteem. Upon such recognition follow&lt;br /&gt;
appointments, upon appointments pupils, upon&lt;br /&gt;
these lectureships, upon lectureships practices, and&lt;br /&gt;
upon these legitimate notoriety, with its substantial&lt;br /&gt;
results. This, of course, is the rosy future for the&lt;br /&gt;
author of the medical book published upon com-&lt;br /&gt;
mission. That it actually occurs often is not&lt;br /&gt;
suggested, but some part of the programme is&lt;br /&gt;
carried out in a fair proportion of eases. Com-&lt;br /&gt;
paratively speaking, this sort of success is as often&lt;br /&gt;
met with among medical authors, as is a large&lt;br /&gt;
pecuniary success among the producers of fiction&lt;br /&gt;
upon commission.&lt;br /&gt;
In taking as an imaginary case a work by Koch,&lt;br /&gt;
it may be said that here the author had previously&lt;br /&gt;
obtained the very things which it is suggested are&lt;br /&gt;
the medical author&amp;#039;s sole reward. This is so. That&lt;br /&gt;
case was selected merely to point out the unsalc-&lt;br /&gt;
ability of medical books. If a work by a great&lt;br /&gt;
man on a subject of world-wide urgency cannot&lt;br /&gt;
pay its way, how can pecuniary profits be expected&lt;br /&gt;
for the more specialistic work of a less known&lt;br /&gt;
man? That is the question it was desired to&lt;br /&gt;
raise.&lt;br /&gt;
It is true there is no substantial reward to come&lt;br /&gt;
to the von- great physician who writes a purely&lt;br /&gt;
medical book. He is one of the authors who ha.s&lt;br /&gt;
to take out his reward in fame. In this Society&lt;br /&gt;
we have always insisted that literary property ought.&lt;br /&gt;
to receive some tangible recognition, but there are&lt;br /&gt;
cases when in the natural course of events this is&lt;br /&gt;
not forthcoming. And this is so here. Let it l&amp;gt;e&lt;br /&gt;
remembered, however, that in no very far-fetched&lt;br /&gt;
way, the successful and distinguished physician cam&lt;br /&gt;
be supposed to have been prepaid for his work. His&lt;br /&gt;
practice and his appointments have made it possible&lt;br /&gt;
for him to acquire the necessary information, and&lt;br /&gt;
he owes it to his world-wide reputation that he&lt;br /&gt;
should make his discoveries public.&lt;br /&gt;
In speaking of &amp;quot;advertisement&amp;quot; it must he&lt;br /&gt;
understood that no reproach is intended by the&lt;br /&gt;
word. Such a medical book as we have referred&lt;br /&gt;
to is only intended to justify its author&amp;#039;s position,&lt;br /&gt;
or enchance his reputation among his fellows. It&lt;br /&gt;
is not an appeal to the public to come to him and&lt;br /&gt;
be healed, and the Royal College of Physicians can&lt;br /&gt;
be trusted to see that no one whose conduct seemed&lt;br /&gt;
to be o[&amp;gt;en to this interpretation, attains to a position&lt;br /&gt;
of professional authority, whatever may be his&lt;br /&gt;
public repute. There are those who have chosen&lt;br /&gt;
to rely upon public opinion only, and to these&mdash;still&lt;br /&gt;
without reproach&mdash;the word advertisement applies&lt;br /&gt;
in its full sense.&lt;br /&gt;
&lt;br /&gt;
THE ABT OF FICTION AND THE AUTHORS&lt;br /&gt;
OF ANTIQUITY.&lt;br /&gt;
THE majority of mankind have resolved to&lt;br /&gt;
believe that there is no such thing as an &amp;quot;art&lt;br /&gt;
of romance,&amp;quot; and the novelist, in the opinion&lt;br /&gt;
of the greater part of his fellow creatures, is merely&lt;br /&gt;
a man who, being too idle, or, more likely, too great&lt;br /&gt;
a fool to do anything else, wastes his time&mdash;probablv&lt;br /&gt;
worth nothing&mdash;and pens, ink, and paper&mdash;which&lt;br /&gt;
cost something&mdash;in writing at random &amp;quot;anything&lt;br /&gt;
that comes into his head.&amp;quot; Human lieings are&lt;br /&gt;
slow to correct received opinions, and probably&lt;br /&gt;
society must be left to enjoy this error, amongst,&lt;br /&gt;
a great many others, for a very long time to come.&lt;br /&gt;
Meanwhile the &amp;quot;scribbler&amp;quot; of &amp;quot;trashy novels,&amp;quot;&lt;br /&gt;
whilst turning over the pages of his masters, the&lt;br /&gt;
great authors of all ages, observes with delight that&lt;br /&gt;
the writers of antiquity were well acquainted with&lt;br /&gt;
all the canons of his art. The classical authors&lt;br /&gt;
were themselves guided by these same canons in&lt;br /&gt;
the composition of their immortal works; their&lt;br /&gt;
writings abound with allusions to them; and in&lt;br /&gt;
works upon authorship, of a purely didactic kind,&lt;br /&gt;
they expound these fundamental rules of construc-&lt;br /&gt;
tion with all their familiar force and precision.&lt;br /&gt;
Indeed, it would be easy to compile from&lt;br /&gt;
Aristotle&amp;#039;s Poetics and Horace&amp;#039;s Epistle to the&lt;br /&gt;
Pisones, a code of maxims comprehending almost all&lt;br /&gt;
that the beginner in fiction has to learn, and a great&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 241 (#645) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
deal more than writers long engaged upon this&lt;br /&gt;
difficult art are always happy enough to be able to&lt;br /&gt;
remember. Aspirants after literary or dramatic&lt;br /&gt;
fame will scarcely find anywhere manuals of equal&lt;br /&gt;
value for their guidance; and whilst consulting&lt;br /&gt;
them may assure themselves that they are in the&lt;br /&gt;
very best company. Anyone who pleases may&lt;br /&gt;
convince himself that Fielding had been reading&lt;br /&gt;
Aristotle&amp;#039;s Poetics when he wrote the second&lt;br /&gt;
chapter of the third book of Joseph Andrews, his&lt;br /&gt;
first novel.&lt;br /&gt;
But, to offer some evidence of an assertion that&lt;br /&gt;
will certainly seem startling to a good many&lt;br /&gt;
people.&lt;br /&gt;
In the first place the authors of antiquity were&lt;br /&gt;
fully convinced that the composition of any kind&lt;br /&gt;
of &amp;quot;history &amp;quot;* was an art that could be taught, and&lt;br /&gt;
ought to be learned. It seems odd that anyone&lt;br /&gt;
can be found to dispute the fact, one who knew,&lt;br /&gt;
and whom everyone knows, having written, pretty&lt;br /&gt;
nearly two thousand years ago,&lt;br /&gt;
Kgo nec stadium sine divite vena&lt;br /&gt;
Nec rude quid possit video ingenium; altering sic&lt;br /&gt;
Altera poscit opem res, et conjuntt amiee.f&lt;br /&gt;
But what is talent and what is art, the majority&lt;br /&gt;
do not concern themselves to discover, and, in&lt;br /&gt;
consequence, starting from some vague misappre-&lt;br /&gt;
hension of both, they easily arrive at all sorts&lt;br /&gt;
of absurd conclusions. Lucian, however, in his&lt;br /&gt;
interesting work &amp;quot;How History should be written&amp;quot;&lt;br /&gt;
(chap. 33), deals with this very point at some&lt;br /&gt;
length, and what he says is in substance this:&mdash;&lt;br /&gt;
&amp;quot;The author should have these two principal&lt;br /&gt;
tilings to start with, intelligence and descriptive&lt;br /&gt;
power. The former is a thing that cannot be&lt;br /&gt;
taught, a natural gift; but the power of description&lt;br /&gt;
must be acquired by much exercise, and by continuous&lt;br /&gt;
labour, and by emulation of the ancients. The&lt;br /&gt;
former, then, is not a matter of art, and here there&lt;br /&gt;
is no need of &amp;#039;advice from me. For this little book&lt;br /&gt;
of mine does not profess to make people clever and&lt;br /&gt;
quick who are not so by nature. It would be a&lt;br /&gt;
valuable book, or rather the most valuable of all&lt;br /&gt;
books, if it could effect transmutations and transfor-&lt;br /&gt;
mations of that sort But where then&lt;br /&gt;
is the use of art and advice? Not to create abilities&lt;br /&gt;
where they already exist, but to show the right way&lt;br /&gt;
to use them So, pray, let no one look&lt;br /&gt;
askance at me if I profess to have discovered an art&lt;br /&gt;
in so great and difficult a matter. For I do not&lt;br /&gt;
say that I can make an author of anyone you&lt;br /&gt;
please; but that I can show a man, who is naturally&lt;br /&gt;
intelligent, and who is well versed in literature,&lt;br /&gt;
certain right ways by which he may more rapidly&lt;br /&gt;
and more easily attain to a certain success.&amp;quot;&lt;br /&gt;
* Novels are histories. &amp;quot;We have properly enough entitled&lt;br /&gt;
this our work a history.&amp;quot; Fielding. &amp;quot;Tom Jones,&amp;quot;&lt;br /&gt;
book 2, chap. 1., and passim throughout the same work.&lt;br /&gt;
t Horace. Ars poetica, 409.&lt;br /&gt;
Now the distinction between ability and artistic&lt;br /&gt;
power could hardly be better explained than in this&lt;br /&gt;
passage.&lt;br /&gt;
Again, in the forty-eighth chapter of the same&lt;br /&gt;
work, Lucian insists upon the importance of&lt;br /&gt;
working from a scenario, a matter about which even&lt;br /&gt;
a great many authors are sceptical. Here is what&lt;br /&gt;
W says:&mdash;&lt;br /&gt;
&amp;quot;When the author has gathered all together, or&lt;br /&gt;
the greater part, first of all he should weave a sort&lt;br /&gt;
of memorandum, ami make a kind of corpus,&lt;br /&gt;
without any adornments, or any joining together&lt;br /&gt;
of the various parts. Afterwards, when he hits&lt;br /&gt;
further introduced arrangement, he should add&lt;br /&gt;
ornament, and then set forth his book, with art,&lt;br /&gt;
and reflection, and finished style.&amp;quot;&lt;br /&gt;
But we may turn to a writer greater than&lt;br /&gt;
Lucian.&lt;br /&gt;
Aristotle&amp;#039;s work on poetics brims with suggestions&lt;br /&gt;
of the highest value. The only difficulty is to select&lt;br /&gt;
one or two passages amidst so great an embarras&lt;br /&gt;
des richesses. Aristotle addresses himself more&lt;br /&gt;
particularly to the tragic dramatist and the epic&lt;br /&gt;
poet; but as both of these must have a story, what&lt;br /&gt;
he has to say about the &amp;quot; mythos &amp;quot; is equally useful&lt;br /&gt;
to the novelist. And it is worth while to notice&mdash;&lt;br /&gt;
considering some opinions that have been expressed&lt;br /&gt;
in late years&mdash;that Aristotle sets the highest value&lt;br /&gt;
upon the story. &amp;quot;The story,&amp;quot; he says, &amp;quot;is the&lt;br /&gt;
beginning, and, so to say, the soul of the&lt;br /&gt;
tragedy.&amp;quot;* Whilst in the twenty-fourth chapter&lt;br /&gt;
of his work, he observes, &amp;quot;narrative art is above&lt;br /&gt;
the others.&amp;quot; This is the sort of remark that brings&lt;br /&gt;
the heart of the &amp;quot; trashy novelist &amp;quot; into his mouth.&lt;br /&gt;
But to return to the story. A story, Aristotle&lt;br /&gt;
declares, should be &amp;quot;a whole and perfect action,&lt;br /&gt;
having a certain length.&amp;quot;! Next he explains what&lt;br /&gt;
he means by &amp;quot;a whole &amp;quot;&mdash;something that has a&lt;br /&gt;
beginning, and a middle, and an end. The&lt;br /&gt;
beginning is that which does not of necessity result&lt;br /&gt;
from something else. But after it something else&lt;br /&gt;
naturally follows. The middle is that which both&lt;br /&gt;
succeeds in consequence of something and leads&lt;br /&gt;
to something else. And the end is that which&lt;br /&gt;
naturally follows, &amp;quot;either of necessity or in all&lt;br /&gt;
probability,&amp;quot; but after which nothing further neces-&lt;br /&gt;
sarily ensues. Therefore &amp;quot;those who would put&lt;br /&gt;
stories together well, must neither begin acci-&lt;br /&gt;
dentally anywhere nor end accidently anywhere.&amp;quot;&lt;br /&gt;
Aristotle is always brief to obscurity, but every&lt;br /&gt;
writer who has discovered with Jean Paul Richter&lt;br /&gt;
that, &amp;quot;es gibt in der ganzen entdeckten Welt&lt;br /&gt;
keine verdammtere Arbeit als einen ersten Secktor&lt;br /&gt;
zu schreiben,&amp;quot; will feel that the Stagyrite is a&lt;br /&gt;
friend in need in having, at any rate, something to&lt;br /&gt;
say about where the story ought to begin.&lt;br /&gt;
* Aristotle, Poetica. Chapter 5.&lt;br /&gt;
t Aristotle, Poetica. Chapter 7.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 242 (#646) ############################################&lt;br /&gt;
&lt;br /&gt;
242&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Respecting length, Aristotle&amp;#039;s rule is that the&lt;br /&gt;
story should he of such a length that the whole&lt;br /&gt;
may be conveniently carried in the memory. He&lt;br /&gt;
considers that &amp;quot; taking into consideration the nature&lt;br /&gt;
of the action related in the story, the longer tale,&lt;br /&gt;
provided it be connectedly clear from end to end,&lt;br /&gt;
will be the better. So that we may sav, giving&lt;br /&gt;
a simple rule, that a sufficient length is that which&lt;br /&gt;
affords room for the successive incidents which&lt;br /&gt;
effect in some necessary or probable manner the&lt;br /&gt;
change of the fortunes of the diameters from happy&lt;br /&gt;
to sad or sad to happy.&amp;quot;*&lt;br /&gt;
And these great writers were practical. It is at&lt;br /&gt;
this very point that Aristotle pauses to add that in&lt;br /&gt;
the question of length the habits and requirements&lt;br /&gt;
of the public must not lie overlooked.&lt;br /&gt;
Aristotle must not detain us longer, for to leave&lt;br /&gt;
Horace unquoted would not be pardonable. At&lt;br /&gt;
the same time to adduce passages from the familiar&lt;br /&gt;
&amp;quot;De arte pnetica&amp;quot; is almost an impertinence.&lt;br /&gt;
Some interesting lines occur, however, in the&lt;br /&gt;
second epistle of the second book, respecting the&lt;br /&gt;
great art of &amp;quot; cutting &amp;quot; :&mdash;&lt;br /&gt;
At qui legitimum cupiet fecisse poema,&lt;br /&gt;
Cum tabulis animum censoris sumet honest!;&lt;br /&gt;
Audebit, quscumque parum splendoris habebunt&lt;br /&gt;
Kt sine ponders enint et honors indigna fercntur,&lt;br /&gt;
Verba movere loco, quamvis invita reccdant&lt;br /&gt;
Et versentur adhuc intra penetralia Vesta:;&lt;br /&gt;
The novelist cannot exist who does not feel the&lt;br /&gt;
force of the last two lines. How often the very&lt;br /&gt;
passage that lias to be cut out, the incident, the&lt;br /&gt;
morsel of word painting, the author&amp;#039;s philosophic&lt;br /&gt;
reflection is emphatically something &amp;quot;most un-&lt;br /&gt;
willing to quit its place.&amp;quot; How often it is some-&lt;br /&gt;
thing that has dwelt by the hearth-fire of the&lt;br /&gt;
author&amp;#039;s thought, and has haunted his imagination&lt;br /&gt;
from the day when he commenced his tale. But,&lt;br /&gt;
&amp;quot;sed nunc non erat his locus,&amp;quot; and the favourite&lt;br /&gt;
passage must go.&lt;br /&gt;
Which suggests another of Aristotle&amp;#039;s maxims,&lt;br /&gt;
&amp;quot;Whatsoever, whether introduced or not, makes&lt;br /&gt;
no difference in the storv, is no part of the storv.&amp;quot;&lt;br /&gt;
Such are a few passages only out of works&lt;br /&gt;
abounding with suggestive remarks of the greatest&lt;br /&gt;
value. Anyone who will open them may find for&lt;br /&gt;
himself paragraphs that will appear to him more&lt;br /&gt;
helpful than the half-a-dozen brief extracts here&lt;br /&gt;
offered. But these liave been selected as an&lt;br /&gt;
evidence that the construction of a story was&lt;br /&gt;
regarded as an art by the great writers of&lt;br /&gt;
antiquity, and one whose principles they did not&lt;br /&gt;
think unworthy of their serious attention.&lt;br /&gt;
H. C.&lt;br /&gt;
* Aristotle, l&amp;#039;oetica, Chapter 7. &diams;&amp;lt;*&bull;-*&lt;br /&gt;
THE INDEPENDENT THEATRE.&lt;br /&gt;
ONE of the most interesting examples of the&lt;br /&gt;
intellectual activity of our time is the revived&lt;br /&gt;
interest among the public in the present con-&lt;br /&gt;
dition of the English Drama. An enthusiastic num-&lt;br /&gt;
ber of gentlemen, following the example of Berlin&lt;br /&gt;
and Paris, have lately banded themselves together,&lt;br /&gt;
under the title of the Independent Theatres&lt;br /&gt;
Society&mdash;a society whose motives have been much&lt;br /&gt;
canvassed. If, from the point of view of subscrip-&lt;br /&gt;
tions, there is much to be desired, they have a hard&lt;br /&gt;
fighter in Mr. George Moore and an enthusiastic&lt;br /&gt;
helmsman in Mr. G. T. Grein, to guide their ship&lt;br /&gt;
through the waves of criticism. Among the many&lt;br /&gt;
changes which they are anxious to bring about is&lt;br /&gt;
the introduction, on the English stage, of the&lt;br /&gt;
Literarv Drama. It is not the place here to dis-&lt;br /&gt;
cuss the vexed question of actor and author and&lt;br /&gt;
stage manager&mdash;the fitness of &amp;quot;ghosts&amp;quot; for public&lt;br /&gt;
representation or the evils of the &amp;quot;star&amp;quot; system&lt;br /&gt;
prevailing in England and America, and the supe-&lt;br /&gt;
riority of the French conventions of the Comedie&lt;br /&gt;
Francaise. Suffice it to say, that the Independent&lt;br /&gt;
Theatre Society hold strong views on all these&lt;br /&gt;
subjects. I shall confine myself to the Literary&lt;br /&gt;
Drama, the possibilities of which Mr. H. D.&lt;br /&gt;
Traill, in the December number of the New&lt;br /&gt;
Review, has so skilfully criticised. The Inde-&lt;br /&gt;
pendents have been abused and misrepresented, as&lt;br /&gt;
founders of all new movements have been in the&lt;br /&gt;
world&amp;#039;s history. All the penalties of success&lt;br /&gt;
promise to be theirs, and if they take themselves&lt;br /&gt;
a little too seriously, it is a fault on the right side.&lt;br /&gt;
They are accused, among other things, of trying&lt;br /&gt;
to crush healthy English Drama by introducing&lt;br /&gt;
Norwegian and French varieties. It should be&lt;br /&gt;
remembered, however, that it was owing to the&lt;br /&gt;
efforts of Mr. J. T. Grein that the &amp;quot;Profligate&amp;quot;&lt;br /&gt;
and the &amp;quot; Middleman&amp;quot; were performed in Holland&lt;br /&gt;
and Germany with great success. If I understand&lt;br /&gt;
them aright, they are only anxious to expel provin-&lt;br /&gt;
cialism from the stage, whether in Germany,&lt;br /&gt;
England, or Holland, or any country. Their&lt;br /&gt;
admirable performance of &amp;quot;Therese Baquin&amp;quot; is,&lt;br /&gt;
perhaps, the best answer to their critics. In&lt;br /&gt;
England, though there are many capable dramatists,&lt;br /&gt;
many capable actors, and very comfortable theatres,&lt;br /&gt;
and a public of moderate intelligence, there is,&lt;br /&gt;
practically, no such thing as a &amp;quot; Literary Drama.&amp;quot;&lt;br /&gt;
There are hundreds of plays we are always glad&lt;br /&gt;
to see, but, with the exception of Mr. Pinero&amp;#039;s and&lt;br /&gt;
Mr. Gilbert&amp;#039;s, not many that we care to read. The&lt;br /&gt;
poetical drama is dead, Mr. George Moore admits.&lt;br /&gt;
Save a few instances, as the &amp;quot;White Pilgrim&amp;quot; of&lt;br /&gt;
Mr. Hermann Merivale, and a few others, the&lt;br /&gt;
modern poetical drama is a very gloomy affair. So&lt;br /&gt;
that witnessing n modern play, we are unable to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 243 (#647) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
243&lt;br /&gt;
experience that pleasure which Shakes])eare or&lt;br /&gt;
Moliere on the stage give to some people. We&lt;br /&gt;
may be thrilled by dramatic situation, psychological&lt;br /&gt;
analysis, tine acting, stage management (whether&lt;br /&gt;
of the author or actor kind) but we do not feel the&lt;br /&gt;
intellectual excitement that literature alone can&lt;br /&gt;
give. In French or Norwegian plays, we do ex-&lt;br /&gt;
perience this feeling, even when the dramas are not-&lt;br /&gt;
poetical; so let us make the experiment in England.&lt;br /&gt;
That is all the Independent Theatre ask. Surely&lt;br /&gt;
it is not a very terrible request. They may be&lt;br /&gt;
asking the impossible&mdash;asking too much of the&lt;br /&gt;
drama&mdash;or, at any rate, of the English Drama.&lt;br /&gt;
Perhaps they are. Mr. Traill is certainly of that&lt;br /&gt;
opinion. It may be as absurd as asking art critics&lt;br /&gt;
to tell us what they mean, or architects to build us&lt;br /&gt;
houses that we can live in. Monstrous requests&lt;br /&gt;
that no one in his senses would think of making.&lt;br /&gt;
Still, it is an interesting experiment. And, after&lt;br /&gt;
all, it is the duty of art to be unable to answer&lt;br /&gt;
silly questions.&lt;br /&gt;
However delightful it may be to witness the plays&lt;br /&gt;
of Mr. Henry Arthur Jones and Mr. Pinero at our&lt;br /&gt;
leading London houses, there are moments when&lt;br /&gt;
at a second-rate theatre I am fain to believe that&lt;br /&gt;
the only legitimate English Drama is the Drury&lt;br /&gt;
Lane Pantomime, as interpreted by those incompar-&lt;br /&gt;
able artists, Mr. Herbert Campbell and Mr. Harry&lt;br /&gt;
Nicholls.&lt;br /&gt;
To inquire for a moment into the objection to a&lt;br /&gt;
Literary Drama. Mr. H. D. Traill does not meet&lt;br /&gt;
the pioneers of the new drama with the stale old&lt;br /&gt;
phrase of &amp;quot;Shakespeare is good enough for me,&amp;quot;&lt;br /&gt;
used by persons so thoroughly convinced of the&lt;br /&gt;
merits of &amp;quot;Hamlet&amp;quot; as a play, that they would&lt;br /&gt;
have dramatists imitating all Shakespeare&amp;#039;s faults,&lt;br /&gt;
even if they cannot approach him in merit. Mr.&lt;br /&gt;
Traill points out how very few of Shakespeare&amp;#039;s&lt;br /&gt;
plays have survived the stage, and how when he is&lt;br /&gt;
dramatic (very seldom, Mr. Traill thinks) he is&lt;br /&gt;
never literary&mdash; in short, that as plays for the present&lt;br /&gt;
requirements of the stage they are failures, because&lt;br /&gt;
of their literary quality. This opinion the of one&lt;br /&gt;
whose sympathies would lean rather towards literary&lt;br /&gt;
excellence than dramatic achievement. And he&lt;br /&gt;
continues, after exploding the hopes of returning&lt;br /&gt;
to the conventions of Elizabethan and Greek&lt;br /&gt;
dramas (owing to the altered conditions of the&lt;br /&gt;
stage), to- show that &amp;quot;The School for Scandal&amp;quot;&lt;br /&gt;
and &amp;quot;She stoops to conquer&amp;quot; are not played&lt;br /&gt;
because they possess the imperishable quality of&lt;br /&gt;
literary excellence, it is for the story, the situation,&lt;br /&gt;
and the opportunity for the actors. And Mr. Tree,&lt;br /&gt;
who has had&amp;#039;practical experience from the dramatic&lt;br /&gt;
side, as Mr. Traill from the literary side, in his&lt;br /&gt;
lecture to the Playgoers&amp;#039; Club, endorses every word.&lt;br /&gt;
&amp;quot;The first duty of a player is that he should be&lt;br /&gt;
actable, in fact, dramatic,&amp;quot; said Mr. Tree, and again&lt;br /&gt;
&amp;quot;by all means let the drama be literary, but first let&lt;br /&gt;
it be dramatic. The drama has a literature of its&lt;br /&gt;
own.&amp;quot; Mr. Tree might have adopted Mr. Whistler&amp;#039;s&lt;br /&gt;
immortal principle, &amp;quot;That art is art. Mathematics&lt;br /&gt;
are mathematics,&amp;quot; by saying &amp;quot;Drama is drama&lt;br /&gt;
and literature is literature.&amp;quot;&lt;br /&gt;
Mr. Tree&amp;#039;s inimitable acting,and Messrs. Stevenson&lt;br /&gt;
and Henley&amp;#039;s brilliant dialogue did not make &amp;quot;Beau&lt;br /&gt;
Austin &amp;quot; a good acting play, any more than his more&lt;br /&gt;
wonderful impersonation of the &amp;quot; Village Priest,&amp;quot; or&lt;br /&gt;
Mr. Sydney Grundv&amp;#039;s splendidly written adaptation&lt;br /&gt;
make that drama anything but a silly caricature&lt;br /&gt;
of a Sacrament in the Catholic Church. Yet the&lt;br /&gt;
&amp;quot;Village Priest&amp;quot; was dramatic, &amp;quot;Beau Austin&amp;quot;&lt;br /&gt;
was not. Both had the literary quality, and failed&lt;br /&gt;
in spite of it, the other succeeded in spite of the&lt;br /&gt;
violation of fuct and probability. So there is in reality&lt;br /&gt;
as much reason on the side of Mr. Tree as there is&lt;br /&gt;
rhyme on the side of the advocates of literary or&lt;br /&gt;
poetic drama. There is only one unfair criticism&lt;br /&gt;
of the Independents, and Hamlet&amp;#039;s unfortunate&lt;br /&gt;
remark about the mirror and nature cannot fairly&lt;br /&gt;
be quoted against them, but rather for them. It&lt;br /&gt;
may or may not be right to put the Whitcchapel&lt;br /&gt;
murders on the stage, or to dramatize divorce&lt;br /&gt;
proceedings, but to say &amp;quot;How unnatural!&amp;quot; is&lt;br /&gt;
ridiculous. If the mirror is advocated, we must&lt;br /&gt;
not blame it for reflecting unpleasant images. If&lt;br /&gt;
Mr. Tree brings us nearer to the angels, the&lt;br /&gt;
Independents can humble us by reminding us&lt;br /&gt;
what we once were. Mr. Mathew Arnold rather&lt;br /&gt;
contemplates the more ardent reformers when he said&lt;br /&gt;
our drama was the most contemptible in Europe ; but&lt;br /&gt;
that is hardly true at the present moment, and the&lt;br /&gt;
future must be exciting even if is not literary;&lt;br /&gt;
whether we are content with the Shakespearean past&lt;br /&gt;
and the Pineroan present, as Mr. Tree bids us be,&lt;br /&gt;
or go to Norway for subject, and to France for a&lt;br /&gt;
convention with the Independent Theatre, or remain&lt;br /&gt;
interested spectators of the scene with Mr. H. D.&lt;br /&gt;
Traill in the pages of the New Review.&lt;br /&gt;
L. F.&lt;br /&gt;
■ &diams;&bull;&raquo;■&diams; ■&lt;br /&gt;
LITERARY RIGHTS.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;\\J E have living minds who have done their&lt;br /&gt;
WW duty to their own age and posterity.&lt;br /&gt;
Such men complain not of the age, but of&lt;br /&gt;
an anomalous injustice in the laws. They com-&lt;br /&gt;
plain that authors are deprived of a perpetual&lt;br /&gt;
property in the produce of their own labours, when&lt;br /&gt;
all other persons enjoy it as an indefeasible and&lt;br /&gt;
acknowledged right; and they ask, upon what&lt;br /&gt;
principle, with what equity, or under what pre-&lt;br /&gt;
tence of public good, they are subjected to this&lt;br /&gt;
injurious enactments? Is it because their labour is&lt;br /&gt;
so light, the endowments which are required for it&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 244 (#648) ############################################&lt;br /&gt;
&lt;br /&gt;
244&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
so common, the attainments so cheaply and easily&lt;br /&gt;
acquired, and the present remuneration in all cases&lt;br /&gt;
so adequate, so ample, and so certain? The Act is&lt;br /&gt;
so curiously injurious in its operation that it bears&lt;br /&gt;
with most hardship upon the best works. For&lt;br /&gt;
l&amp;gt;ooks of great immediate popularity have their run,&lt;br /&gt;
and come to a dead stop; the hardship is upon&lt;br /&gt;
those which win their way slowly and difficultly,&lt;br /&gt;
but keep the field at last. In such cases, when the&lt;br /&gt;
copyright, as by the existing law departs from the&lt;br /&gt;
author&amp;#039;s family at his death, or at the end of 28&lt;br /&gt;
years from the first publication of every work (if&lt;br /&gt;
he dies before the expiration of that term), his&lt;br /&gt;
representatives are deprived of their property just&lt;br /&gt;
as it would begin to prove a valuable inheritance.&lt;br /&gt;
The last descendants of Milton died in poverty.&lt;br /&gt;
The descendants of Shakspeare are living in&lt;br /&gt;
poverty, and in the lowest condition of life. Is&lt;br /&gt;
this just to these individuals? Is it grateful to the&lt;br /&gt;
memory of those who are the pride and boast of&lt;br /&gt;
their country? Is it honourable or becoming to&lt;br /&gt;
us, as a nation, holding the name of Shaks[&amp;gt;eare&lt;br /&gt;
and Milton in veneration? To have placed the&lt;br /&gt;
descendants of Shakspeare and Milton in respect-&lt;br /&gt;
ability and comfort, simple justice was all that was&lt;br /&gt;
required; only that they should have possessed&lt;br /&gt;
the perpetual copyright of their ancestor&amp;#039;s works&mdash;&lt;br /&gt;
only that they should not have been deprived of&lt;br /&gt;
their proper inheritance. Believing, as I do, that&lt;br /&gt;
if society continues to improve, no injustice will&lt;br /&gt;
long be permitted to continue after it has been&lt;br /&gt;
fairly exposed, and is clearly apprehended, I cannot&lt;br /&gt;
but believe that a time must come, when the rights&lt;br /&gt;
of literature will be acknowledged, and its wrongs&lt;br /&gt;
redressed; and that those authors hereafter who&lt;br /&gt;
shall deserve well of posterity, will have no cause&lt;br /&gt;
to reproach themselves for having sacrificed the&lt;br /&gt;
interests of their children when they disregarded&lt;br /&gt;
the pursuit of fortune for themselves.&amp;quot;&lt;br /&gt;
SOUTHEY.&lt;br /&gt;
If.&lt;br /&gt;
&amp;quot;Fortune has rarely condescended to be the&lt;br /&gt;
companion of genius; the dunce finds a hundred&lt;br /&gt;
roads to her palace; there is but one open, and that&lt;br /&gt;
a very indifferent one, for men of letters. Why&lt;br /&gt;
should we not erect an asylum for venerable genius,&lt;br /&gt;
as we do for the brave and helpless part of our&lt;br /&gt;
citizens? When even fame will not protect the&lt;br /&gt;
man of genius from famine, charity ought. Nor&lt;br /&gt;
should such an act l&amp;gt;e considered as a debt incurred&lt;br /&gt;
by the helpless member, but a tribute we pay to&lt;br /&gt;
genius. Even in these enlightened times such&lt;br /&gt;
have lived in obscurity, while their reputation was&lt;br /&gt;
widely spread; and have perished in poverty, while&lt;br /&gt;
their works were enriching the booksellers.&amp;quot;&lt;br /&gt;
D&amp;#039;Israeli.&lt;br /&gt;
No artist recognises any standard of lxjauty, but&lt;br /&gt;
that which is suggested by his own temperament.&lt;br /&gt;
The artist seeks to realise in a certain material his&lt;br /&gt;
immaterial idea of beauty, and thus to transform&lt;br /&gt;
an idea with an ideal. This is the way an artist&lt;br /&gt;
makes things. That is why an artist makes things.&lt;br /&gt;
The artist has no other object in making things.&lt;br /&gt;
Oscar Wh.de.&lt;br /&gt;
(From a letter to the Pall Mall Gazette.)&lt;br /&gt;
■&mdash;■ &mdash;&lt;br /&gt;
DEATH AND THE LIFEBOAT.&lt;br /&gt;
From the German ofRvv. Otterlich.&lt;br /&gt;
I stood without a ruined nave,&lt;br /&gt;
Whose mossed and ivied luxury&lt;br /&gt;
Was fed from many a circling grave:&lt;br /&gt;
Below me lay a still dull sea.&lt;br /&gt;
Then brightly grey the midnight grew;&lt;br /&gt;
I felt a Spirit pass me by;&lt;br /&gt;
Upon my cheek the breath he drew&lt;br /&gt;
Fell ill a chill and lingering sigh.&lt;br /&gt;
And straight the ivy overhead&lt;br /&gt;
Dropped withering on the withering turf;&lt;br /&gt;
And angrily the sea of lead&lt;br /&gt;
Curled up to break in milky surf.&lt;br /&gt;
For Death stood by the shattered fane,&lt;br /&gt;
Stood on his thick-sewn ground&mdash;a King;&lt;br /&gt;
His robes a shroud, his gems the train&lt;br /&gt;
Of death-worms on it slumbering.&lt;br /&gt;
What sound fulls on my shuddering ear?&lt;br /&gt;
A suppliant shot from off the deep;&lt;br /&gt;
Death laughs: his worms awake and rear&lt;br /&gt;
A hissing crest and o&amp;#039;er him creep.&lt;br /&gt;
Death turned, and with a jaunty trip&lt;br /&gt;
Passed through the shrinking grass, to reach&lt;br /&gt;
The sea, where on a mastless ship&lt;br /&gt;
Plunged headlong towards the sucking beach.&lt;br /&gt;
He came to the wave-smitten shore:&lt;br /&gt;
Hearts brave for rescue were afloat:&lt;br /&gt;
Is there not room for one heart more?&lt;br /&gt;
Death stepped into the bobbing boat.&lt;br /&gt;
I screamed. He heard and smiled reply&lt;br /&gt;
Then touched the tiller with his hand;&lt;br /&gt;
And lo! there lay before my eye&lt;br /&gt;
A waste of waves, a strip of sand.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 245 (#649) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
245&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
Reading Unions.&lt;br /&gt;
WHILE reading in the last issue of the&lt;br /&gt;
Author a paragraph on Reading Guilds, it&lt;br /&gt;
occurred to me that a programme of a&lt;br /&gt;
Heading Circle which we started a year or two ago&lt;br /&gt;
might prove of interest.&lt;br /&gt;
Rules.&lt;br /&gt;
I. That the Society shall be called the &amp;quot; Sesame&lt;br /&gt;
Reading Circle.&amp;quot;&lt;br /&gt;
II. That its aim shall be to promote, by the&lt;br /&gt;
method of association, careful and thoughtful read-&lt;br /&gt;
ing, and the study of good literature; to approach&lt;br /&gt;
the subject under consideration in an inquiring&lt;br /&gt;
spirit, and to avoid, as far as possible, all dogmatic&lt;br /&gt;
opinions and personal expressions.&lt;br /&gt;
III. The Circle shall consist of i3 members, one&lt;br /&gt;
of whom shall be chosen as secretary. The execu-&lt;br /&gt;
tive committee shall consist of three members, of&lt;br /&gt;
which the secretary shall he one.&lt;br /&gt;
IV. At the general meeting of the Circle the&lt;br /&gt;
books to be studied during the next reading term&lt;br /&gt;
sliall be chosen. To each member shall be allotted&lt;br /&gt;
a work which he shall study, and upon which he&lt;br /&gt;
shall write an essay during the first two months.&lt;br /&gt;
The essays shall then be handed to the secretary,&lt;br /&gt;
who will redistribute them. Each memher shall&lt;br /&gt;
then read the book corresponding to the essay he&lt;br /&gt;
has received, and appending a statement that he&lt;br /&gt;
has perused both book and paper, he shall proceed&lt;br /&gt;
to criticise the subject and add his comments&lt;br /&gt;
thereon. A similar course shall be adopted at the&lt;br /&gt;
end of each successive period of six weeks. Each&lt;br /&gt;
period shall be understood to expire on the 14th,&lt;br /&gt;
or the last day of the month, as the case may be.&lt;br /&gt;
V. Each essay shall be retained by the writer of&lt;br /&gt;
it, together with the critiques, at the end of the&lt;br /&gt;
reading term. It shall be accessible to anv of the&lt;br /&gt;
members.&lt;br /&gt;
VI. If a member fail to read the allotted works&lt;br /&gt;
on two occasions during the reading term without&lt;br /&gt;
giving adequate reasons, he forfeits membership,&lt;br /&gt;
and his place shall be filled by a new member&lt;br /&gt;
chosen by the committee.&lt;br /&gt;
VII. A business meeting shall be held at the end&lt;br /&gt;
of the term.&lt;br /&gt;
X.&lt;br /&gt;
II.&lt;br /&gt;
The Generosity of the Religious Society.&lt;br /&gt;
In the December number of the Author there&lt;br /&gt;
was a paragraph on the generosity of a religious&lt;br /&gt;
society, and in the October number another on the&lt;br /&gt;
honourable conduct of a religious society. By&lt;br /&gt;
mistake the two paragraphs were supposed to refer&lt;br /&gt;
to the same author. They were different authors.&lt;br /&gt;
It is the same melancholy story, however, with&lt;br /&gt;
both. The publishing company, under the guise of&lt;br /&gt;
religion, buys up work for ten, twenty, thirty&lt;br /&gt;
pounds, out of which it means to make hundreds,&lt;br /&gt;
and knows that it will make hundreds.&lt;br /&gt;
III.&lt;br /&gt;
The Authobs&amp;#039; Club.&lt;br /&gt;
I read the announcement of the projected&lt;br /&gt;
&amp;quot;Authors&amp;#039; Club&amp;quot; with the warmest satisfaction.&lt;br /&gt;
As is stated in the Author, the Athenteum is the&lt;br /&gt;
only literary club pure and simple&mdash;though, perhaps,&lt;br /&gt;
the word &amp;quot; simple&amp;quot; is scarcely the correct descrip-&lt;br /&gt;
tion of that august institution&mdash;admittance to which&lt;br /&gt;
by the ordinary literary man is as difficult as admit-&lt;br /&gt;
tance to the Marlborough. In the November&lt;br /&gt;
number of the Century are an article and illustra-&lt;br /&gt;
tions describing the new Players&amp;#039; Club of New&lt;br /&gt;
York, founded by Edwin Booth. We can scarcely&lt;br /&gt;
hope to vie with the magnificence of this club, but&lt;br /&gt;
I think we should endeavour to emulate its solid&lt;br /&gt;
comfort. In addition to the usual dining, drawing,&lt;br /&gt;
and smoking rooms there should be a cosy library&lt;br /&gt;
in which the literary man from the country may&lt;br /&gt;
find a corner&mdash;like those in the National Liberal&mdash;&lt;br /&gt;
where he can, undisturbed, write his copy and&lt;br /&gt;
correct his proofs. For the best of all reasons the&lt;br /&gt;
tariff must not be an expensive one; and I would&lt;br /&gt;
suggest, with all deference, that the country&lt;br /&gt;
subscription should not be more than two guineas.&lt;br /&gt;
If pictures are wanted for the walls, and they&lt;br /&gt;
should be wanted, I am convinced that they would&lt;br /&gt;
be readily offered either as loans or gifts, portraits&lt;br /&gt;
of living and departed authors, scenes from their&lt;br /&gt;
lives or works, would be forthcoming from many&lt;br /&gt;
literary men who for years have l&amp;gt;een longing for&lt;br /&gt;
some central spot in the great city in which they&lt;br /&gt;
could feel &amp;quot;at home.&amp;quot; If well-known men would,&lt;br /&gt;
from time to time, recount their experiences or read&lt;br /&gt;
papers on their calling so much the better. What&lt;br /&gt;
is wanted is a comfortable, artistically arranged&lt;br /&gt;
club, where the London author can meet and&lt;br /&gt;
welcome his fellow laliourer from the country, and&lt;br /&gt;
strengthen that union of hearts and brains which&lt;br /&gt;
has too long been neglected by the profession&lt;br /&gt;
which needs it more than any other.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 246 (#650) ############################################&lt;br /&gt;
&lt;br /&gt;
246&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
In conclusion, may I express a hope that all the&lt;br /&gt;
shares&mdash;it is, I believe, intended to make it a joint&lt;br /&gt;
stock affair&mdash;will be held by literary men. If a&lt;br /&gt;
man holds only one share of &pound;1, &pound;2, or &pound;5, as the&lt;br /&gt;
case may be, he must necessarily feel a personal&lt;br /&gt;
interest in the venture, and it is this personal&lt;br /&gt;
interest which will tend to make the club the&lt;br /&gt;
success we all heartily wish it.&lt;br /&gt;
c. o.&lt;br /&gt;
IV.&lt;br /&gt;
&amp;#039;A member of the Society signing himself &amp;quot;Iota-&lt;br /&gt;
Subseript&amp;quot; asks a question as to publishers&amp;#039; liabilities&lt;br /&gt;
under certain cases. Will he Ik; kind enough to&lt;br /&gt;
send his name? It is manifestly impossible to&lt;br /&gt;
answer anonymous questions.&lt;br /&gt;
V.&lt;br /&gt;
The Bookman on Royalties.&lt;br /&gt;
Sib,&lt;br /&gt;
If words have any meaning, the Editor of the&lt;br /&gt;
Bookman did, on his own showing, accept a very&lt;br /&gt;
important statement that a royalty of a penny in&lt;br /&gt;
the shilling yields as much to the author as to the&lt;br /&gt;
publisher. There is not a word of correction or&lt;br /&gt;
of contradiction. The note which he quoted&lt;br /&gt;
does endorse the statement, because it does not&lt;br /&gt;
contradict it.&lt;br /&gt;
Your obedient servant,&lt;br /&gt;
A Constant Reader.&lt;br /&gt;
[Other communications have been received from&lt;br /&gt;
readers, all to the same effect, and none contrary to&lt;br /&gt;
this.&mdash;Editor.]&lt;br /&gt;
VI.&lt;br /&gt;
The Editor of the Bookman (Dr. Robertson&lt;br /&gt;
Nicoll) sends the following communication. It&lt;br /&gt;
does not touch the real point at issue, which was&lt;br /&gt;
that he printed, without a word of correction or&lt;br /&gt;
contradiction, the statement that a royalty of one&lt;br /&gt;
penny in the shilling gives the author as much as&lt;br /&gt;
it gives the publisher, and is a fair royalty.&lt;br /&gt;
To the Editor of the Author.&lt;br /&gt;
Sir,&mdash;&lt;br /&gt;
A very few words will suffice in answer to&lt;br /&gt;
your notes on my letter.&lt;br /&gt;
1. As you have printed my own words, I confi-&lt;br /&gt;
dently leave it to your readers to decide whether I&lt;br /&gt;
&amp;quot;advocated on a six-shilling book a profit of &pound;75&lt;br /&gt;
to the author, and to the publisher of &pound;3o5,&amp;quot; or&lt;br /&gt;
whether the statement was not as I styled it, and&lt;br /&gt;
style it again, as gross a misrepresentation as can&lt;br /&gt;
possibly be imagined.&lt;br /&gt;
2. We are all much indebted to you for formu-&lt;br /&gt;
lating a system of publishing on royalties easily&lt;br /&gt;
understood and remembered. It is stated in two&lt;br /&gt;
propositions :&mdash;&lt;br /&gt;
(1.) &amp;quot;Whether the book is a shilling lxx&amp;gt;k or a&lt;br /&gt;
six-shilling book, the proportion is the&lt;br /&gt;
same.&amp;quot; That is, upon all books, irre-&lt;br /&gt;
spective of their price and size, the same&lt;br /&gt;
percentage should l&amp;gt;e paid as royalty.&lt;br /&gt;
(2.) &amp;quot;Why should well-known writers receive&lt;br /&gt;
more than beginners on a royalty?&amp;quot;&lt;br /&gt;
That is, all writers, known or unknown,&lt;br /&gt;
should receive the same percentage as&lt;br /&gt;
royalty.&lt;br /&gt;
(3.) The only point remaining to be settled is,&lt;br /&gt;
what should be the percentage? Ob-&lt;br /&gt;
viously, the highest royalty any writer is&lt;br /&gt;
receiving. It remains therefore, to find&lt;br /&gt;
out that, and the whole business of&lt;br /&gt;
publishing is simpler than A.B.C.&lt;br /&gt;
Whenever I receive the name and&lt;br /&gt;
address of any publisher who conducts&lt;br /&gt;
his business on these principles, or of&lt;br /&gt;
any person willing to invest a shilling in&lt;br /&gt;
any business so conducted, I am ready to&lt;br /&gt;
discuss the matter. Of the extraordinary&lt;br /&gt;
statement that thirty or so (!) is the&lt;br /&gt;
average number of press copies, I say&lt;br /&gt;
nothing.&lt;br /&gt;
3. I did not ask you who wrote the article on&lt;br /&gt;
the Bookman. I asked by what right the author&lt;br /&gt;
of the article used the words &amp;quot;As a society of&lt;br /&gt;
lwokmen and bookwomen, we,&amp;quot; &amp;lt;fcc. The answer&lt;br /&gt;
is, By no right. No one has the slightest authority&lt;br /&gt;
to pose as the spokesman of our society. More&lt;br /&gt;
especially should such action be avoided when it is&lt;br /&gt;
remembered that we do not elect our own com-&lt;br /&gt;
mittee, that no opportunity is given us for private&lt;br /&gt;
conference, and that our opinions are notoriously&lt;br /&gt;
divergent on many points. By throwing the&lt;br /&gt;
Author open for free discussion, some good might&lt;br /&gt;
be done.&lt;br /&gt;
I am, Sir, your obedient Servant,&lt;br /&gt;
The Editor of the Bookman.&lt;br /&gt;
Here are two or three simple notes :&mdash;&lt;br /&gt;
1. A royalty of a penny in the shilling applied&lt;br /&gt;
to a six-shilling book does produce the astonishing&lt;br /&gt;
result quoted in my notes. He who maintains that&lt;br /&gt;
to be a fair royalty does advocate this astonishing&lt;br /&gt;
result.&lt;br /&gt;
2. The proportion of a penny in the shilling is&lt;br /&gt;
certainly the same applied to any lxx&amp;gt;k at any&lt;br /&gt;
price. How can it be otherwise?&lt;br /&gt;
3. I certainly cannot understand why there&lt;br /&gt;
should be one royalty for the widely popular and&lt;br /&gt;
another for the less popular. I exclude the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 247 (#651) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
347&lt;br /&gt;
question of risk, because the publishers seldom&lt;br /&gt;
take any risk. If of two books at the same price&lt;br /&gt;
one sells ten thousand and the other two thousand,&lt;br /&gt;
both authors should be paid in proportion to their&lt;br /&gt;
circulation.&lt;br /&gt;
4. What percentage should be paid? Not neces-&lt;br /&gt;
sarily what the highest-paid author receives, because&lt;br /&gt;
an author may for special reasons receive special&lt;br /&gt;
terms, but that percentage which may be adopted&lt;br /&gt;
as just and fair both for author and publisher, fully&lt;br /&gt;
recognizing the services of the latter and the rights&lt;br /&gt;
of the former. No greater service can be rendered&lt;br /&gt;
to literature than to further the adoption of such a&lt;br /&gt;
plan. We hare paved the way for it by learning&lt;br /&gt;
and publishing what has hitherto been concealed&mdash;&lt;br /&gt;
viz., the cost of production and the profits of pub-&lt;br /&gt;
lishers on the various systems of publication now&lt;br /&gt;
current.&lt;br /&gt;
5. The number of press copies is about &amp;quot; thirty,&lt;br /&gt;
or so.&amp;quot; We do not, at this office, s]&amp;gt;eak of pub-&lt;br /&gt;
lishers&amp;#039; methods as they might be, or as we imagine&lt;br /&gt;
them to be, but as they are. &amp;quot;About thirty, or so,&amp;quot;&lt;br /&gt;
is a fair statement of the general practice in sending&lt;br /&gt;
out books of serious literature&mdash;jicrhaps in little&lt;br /&gt;
story books a greater liberality may be found worth&lt;br /&gt;
while. For instance, there are nine London dailies;&lt;br /&gt;
about a dozen weeklies, and about a dozen great&lt;br /&gt;
provincial papers exhaust the list. People may&lt;br /&gt;
send as many copies as they please, but it is the&lt;br /&gt;
usual practice of the trade not to waste good lwoks&lt;br /&gt;
on papers which have no weight.&lt;br /&gt;
6. No one has ever in the Author jwsed as the&lt;br /&gt;
spokesman of the Society. But the writer of the&lt;br /&gt;
notice which has so greatly exercised the editor of&lt;br /&gt;
the Bookman is surely not pretending to be the&lt;br /&gt;
spokesman of the Society when he used the simple&lt;br /&gt;
and harmless words, &amp;quot; Asa Society of bookmen, and&lt;br /&gt;
l&amp;gt;ookwomen, we would earnestly invite our new&lt;br /&gt;
friend to consider that literature has many sides,&lt;br /&gt;
that there are many readers, and many books and&lt;br /&gt;
standards, and many ideals of excellence and of&lt;br /&gt;
style.&amp;quot; The &amp;quot; direct question &amp;quot; of the last number&lt;br /&gt;
referred to notes signed by the writer.&lt;br /&gt;
7. What kind of &amp;quot; private conference &amp;quot; does the&lt;br /&gt;
editor of the Bookman desire? He has made&lt;br /&gt;
no proposal for any conference of members. Such&lt;br /&gt;
a conference might be extremely interesting, and&lt;br /&gt;
most useful, provided the meeting was conducted&lt;br /&gt;
in the spirit of mutual courtesy and friendliness.&lt;br /&gt;
8. I, as the editor of the Author, have always&lt;br /&gt;
thought the columns open for discussion. There is&lt;br /&gt;
correspondence every month. Does not the inser-&lt;br /&gt;
tions of Dr. NicolFs letters prove that the paper is&lt;br /&gt;
o[X&amp;#039;n to discussion? But no more correspondence&lt;br /&gt;
on this subject can be inserted.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
MR. George Meredith&amp;#039;s new volume of verso&lt;br /&gt;
is called &amp;quot;Modern Love: a Reprint, to-&lt;br /&gt;
gether with the Sage Enamoured ami the&lt;br /&gt;
Honest Lady.&amp;quot; Macmillau &amp;amp; Co. are the English&lt;br /&gt;
publishers.&lt;br /&gt;
Mr. Lecky&amp;#039;s &amp;quot;History of England&amp;quot; is to be&lt;br /&gt;
issued in a cheaper edition in monthly volumes&lt;br /&gt;
(Longmans), twelve in number.&lt;br /&gt;
Some of Mr. Andrew Lang&amp;#039;s books are to be&lt;br /&gt;
re-issued in a half-crown form. It is a great pity&lt;br /&gt;
that the many admirers of this writer can only&lt;br /&gt;
procure complete editions of his works by painfully&lt;br /&gt;
toiling through publishers&amp;#039; lists. No writer of the&lt;br /&gt;
day, unless it is Thomas Hardy, is so scattered.&lt;br /&gt;
There is a library somewhere in a garden; the&lt;br /&gt;
casement windows stand wide open; outside there&lt;br /&gt;
are flowers of the old fashioned kinds,&mdash;gilliflowers,&lt;br /&gt;
sweet william, ragged robin, bachelors&amp;#039; buttons,&lt;br /&gt;
stocks, pinks, mignonette&mdash;each blooming in her&lt;br /&gt;
season; the rose spray Haps in at the window;&lt;br /&gt;
there are Japanese vases; the room is lined with&lt;br /&gt;
books; the table is covered with books; there is&lt;br /&gt;
no litter of books such as one finds in a place&lt;br /&gt;
when a student is searching and investigating; in&lt;br /&gt;
this library the lwoks are arranged neatly and&lt;br /&gt;
in order; many of them are old and shabby, but&lt;br /&gt;
not for that reason held in lesser honour. It is a&lt;br /&gt;
silent library; the silence is like that which one&lt;br /&gt;
feels in an ancient almshouse beside a busy road;&lt;br /&gt;
outside, in the road, is the sound of hoofs and&lt;br /&gt;
wheels; within is peace. In this library there is&lt;br /&gt;
silence; outside, the bees hum and the birds sing,&lt;br /&gt;
the branches rustle, the scythe mows down the&lt;br /&gt;
grass; but their noise is best heard within. &amp;quot;My&lt;br /&gt;
library,&amp;quot; says the happy owner of this place, &amp;quot; is&lt;br /&gt;
the identical library in which Christian Mentzelius&lt;br /&gt;
was at work when he heard the male bookworm&lt;br /&gt;
flap his wings and crow like a cock in calling to&lt;br /&gt;
his mate. Come with me round the room. Let&lt;br /&gt;
me show you some of my books. Nothing that a&lt;br /&gt;
book lover likes so much as to show and talk about,&lt;br /&gt;
as his books. Oh! I am no buyer of scarce books&lt;br /&gt;
because they are scarce. Mine are here for read-&lt;br /&gt;
ing. I will read bits of them to you if you like&lt;br /&gt;
to sit an hour with me. Here are the works of&lt;br /&gt;
George Wither. Do you know that poet? Here&lt;br /&gt;
is Gerard&amp;#039;s &amp;#039;Herbal.&amp;#039; Do you know Lady Win-&lt;br /&gt;
chelsea? Do you know Amasia? Do you&lt;br /&gt;
know Christopher Smart? Sit down, my friend,&lt;br /&gt;
and listen. The air that steals through the case-&lt;br /&gt;
ment this hot afternoon is fragrant; that chair&lt;br /&gt;
invites you to rest. So you shall listen and I will&lt;br /&gt;
talk.&amp;quot; Fortunately, the talk has been taken down.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 248 (#652) ############################################&lt;br /&gt;
&lt;br /&gt;
248&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
and everybody can hear it, because it is on Mr.&lt;br /&gt;
Heinemann&amp;#039;s list, and he generously allows anyone&lt;br /&gt;
to become the possessor of &amp;quot;Gossip in a Library&amp;quot;&lt;br /&gt;
■who pays the toll and uses the name of the author,&lt;br /&gt;
Mr. Edmund Gosse, in such a way as to show that&lt;br /&gt;
he can be trusted with the book, and that he has&lt;br /&gt;
a feeling for a Library. In a more civilised world&lt;br /&gt;
we shall liave to pass examinations before we are&lt;br /&gt;
allowed to possess books of this kind or of that.&lt;br /&gt;
Not only will ignorant persons have to surrender&lt;br /&gt;
treasures of classical learning or of science, but&lt;br /&gt;
literature itself will have its stages, and every man&lt;br /&gt;
shall belong each to his own level, and shall have&lt;br /&gt;
the books corresponding to his degree, but with the&lt;br /&gt;
power of passing the examination for a higher&lt;br /&gt;
degree.&lt;br /&gt;
Mr. Robert Louis Stevenson and Mr. Rider&lt;br /&gt;
Haggard will contribute the serials for the Illus-&lt;br /&gt;
trated London News of 1892. There will also lie&lt;br /&gt;
occasional short stories. The literary department&lt;br /&gt;
of the paper shows a considerable increase in&lt;br /&gt;
activity under the editorship of Mr. Clement&lt;br /&gt;
Shorter.&lt;br /&gt;
Mr. James Sully has nearly ready a new work&lt;br /&gt;
on Psychology. It is said to aim at meeting the&lt;br /&gt;
special wants of those who desire a more complete&lt;br /&gt;
presentment of the results of the recent ramii&amp;#039;orm&lt;br /&gt;
developments of the science than was possible in&lt;br /&gt;
his earlier and more elementary work on the subject.&lt;br /&gt;
The new treatise will be in two volumes, and will&lt;br /&gt;
be published in January.&lt;br /&gt;
Mr. &amp;quot;William Black has made arrangements with&lt;br /&gt;
Sampson Low and Co. for an entirely new edition&lt;br /&gt;
of his novels in twenty-five monthly volumes. The&lt;br /&gt;
novels will be carefully revised by Mr. Black.&lt;br /&gt;
The first to appear will be &amp;quot; A Daughter of Heth.&amp;quot;&lt;br /&gt;
A sister of Mr. Rudyard Kipling has joined the&lt;br /&gt;
band of story tellers. May her brother&amp;#039;s fortune&lt;br /&gt;
and his genius be hers as well!&lt;br /&gt;
The &amp;quot; Whitefriars Library of Wit and Humour&amp;quot;&lt;br /&gt;
seems to attract good writers. With the names of&lt;br /&gt;
Messrs. Andrew Lang, Arthur a Becket, Barry&lt;br /&gt;
Pain, Justin McCarthy, and Walter Pollock already&lt;br /&gt;
on the title page or promised, then; should be&lt;br /&gt;
hardly any stronger series in the market.&lt;br /&gt;
The lwok of the month is Austin Dobson&amp;#039;s&lt;br /&gt;
&amp;quot;Hogarth,&amp;quot; a book as beautifully written as we&lt;br /&gt;
have a right to expect of Mr. Dobson, and as&lt;br /&gt;
beautifully got up and illustrated as the subject&lt;br /&gt;
demands.&lt;br /&gt;
Mrs. Cashel Hoey, the best translator living, has&lt;br /&gt;
finished her version of Robida&amp;#039;s &amp;quot;Centuries of&lt;br /&gt;
Toilette&amp;quot; (Sampson Low and Co.). It is a book&lt;br /&gt;
which all ladies who wish to understand anything&lt;br /&gt;
more about dress than the fashion plate of the day-&lt;br /&gt;
must certainly possess.&lt;br /&gt;
Sir Edwin Arnold seems to have fairly &amp;quot; caught&amp;quot;&lt;br /&gt;
the American public, if not the English as well,&lt;br /&gt;
by his &amp;quot;Japonica&amp;quot; (London: Osgood and Mell-&lt;br /&gt;
vaine). This is what the New York Critic savs of&lt;br /&gt;
it:&mdash;&lt;br /&gt;
&amp;quot;It is hard to decide between penman and&lt;br /&gt;
draughtsman in praising this dainty work of art.&lt;br /&gt;
Never before have we seen so happy a marriage of&lt;br /&gt;
pen and brush. Of the author of &amp;#039;The Light of&lt;br /&gt;
Asia&amp;#039; we know, and know favourably, as an inter-&lt;br /&gt;
preter of Japanese aesthetics; but, fascinating as&lt;br /&gt;
are his word-pictures, we must award equal praise&lt;br /&gt;
to the artist who has brought Japan before our&lt;br /&gt;
eyes bv his wonderfully accurate and deeply svnqia-&lt;br /&gt;
thetic drawings. With only ink, and no colours&lt;br /&gt;
such as flush the sky and ocean, and all surfaces in&lt;br /&gt;
Japan, or deepen in nook and shadow, Mr. Robert&lt;br /&gt;
Blum has achieved wonders. As a lady may be&lt;br /&gt;
handsome, and enthrall a man&amp;#039;s heart bv her&lt;br /&gt;
expression, even though her face lack colour, so&lt;br /&gt;
Mr. Blum&amp;#039;s pictures have the rich charm of repro-&lt;br /&gt;
ducing Japan&amp;#039;s witchery of form and grace. Sir&lt;br /&gt;
Edwin is in his happiest vein and humour while&lt;br /&gt;
discoursing of the country, the jwople, their ways,&lt;br /&gt;
and their thoughts. To him Japan is the Land i&amp;gt;f&lt;br /&gt;
Great Peace, gentle manners, pleasing thoughts,&lt;br /&gt;
fair morals, and exquisite conceits. He seems a&lt;br /&gt;
veritable child in exuberance of enjoyment, and&lt;br /&gt;
has reached that land, so rarely entered by the&lt;br /&gt;
middle aged, which is behind the looking-glass.&lt;br /&gt;
A fascinating freak of geography and ethnology&lt;br /&gt;
is this country to him, and no less fascinatingly&lt;br /&gt;
freakish are its people. After hearing what all the&lt;br /&gt;
literary, scientific, theological, and other critics say&lt;br /&gt;
of them, this English knight of the pen is still the&lt;br /&gt;
lover. &amp;#039;My own opinion is,&amp;#039; he declares with that&lt;br /&gt;
solid assurance which belongs to the lover who&lt;br /&gt;
imagines his vision to be crystal, clear, and scienti-&lt;br /&gt;
fically achromatic, &amp;#039;that the central characteristic&lt;br /&gt;
of the Japanese is self-respect, and that their&lt;br /&gt;
patience, their fearlessness, their quietism, their&lt;br /&gt;
resignation, and a large proportion of their other&lt;br /&gt;
virtues, have root in this deep and universal&lt;br /&gt;
quality.&amp;#039;&amp;quot;&lt;br /&gt;
There are notable papers in the new volume of&lt;br /&gt;
the &amp;quot; Dictionary of Biography,&amp;quot; especially Dr. Gur-&lt;br /&gt;
nett on Edward Irving, Mr. T. R. Gardiner on&lt;br /&gt;
James I., Mr. Leslie Stephen on Lord Jeffrey, the&lt;br /&gt;
Rev. William Hunt on King John, and Mr. Regi-&lt;br /&gt;
nald Lane Poole on John of Salisbury.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 249 (#653) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
249&lt;br /&gt;
Just before his death, says the New York Critic,&lt;br /&gt;
James Parton expressed his views on the earnings&lt;br /&gt;
of authors in the following words: &amp;quot;An indus-&lt;br /&gt;
trious writer, by a legitimate exercise of his calling,&lt;br /&gt;
that is, never writing advertisements or trash for&lt;br /&gt;
the snke of pay, can just exist, no more. By a&lt;br /&gt;
compromise, not dishonourable, though exaspe-&lt;br /&gt;
rating, he can average during the best years $7,000&lt;br /&gt;
to &sect;8,000 a year. But no man should enter the&lt;br /&gt;
literary life unless he has a fortune, or can live&lt;br /&gt;
contentedly on $2,000 a year. The best way is to&lt;br /&gt;
make a fortune first and write afterward.&amp;quot;&lt;br /&gt;
Mr. Henry Cresswell has in the press a new&lt;br /&gt;
novel, in three volumes, entitled &amp;quot; Fairest of Three,&amp;quot;&lt;br /&gt;
which will be published by Messrs. Hurst and&lt;br /&gt;
Blaekett this month. If this novel prove as clever&lt;br /&gt;
and entertaining as &amp;quot; The Hermits of Crizebeck,&amp;quot;&lt;br /&gt;
considerable popularity may be foretold for it.&lt;br /&gt;
&amp;quot;Lester the Loyalist:&amp;#039; is one of the most&lt;br /&gt;
beautiful books we have seen for a long time. It&lt;br /&gt;
was printed in Japan, in one of the styles pre-&lt;br /&gt;
scribed by their etiquette for the printing of&lt;br /&gt;
poetry. It was manufactured entirely by Japanese.&lt;br /&gt;
The only difference is that the lines are printed&lt;br /&gt;
horizontally, as in English, instead of vertically.&lt;br /&gt;
The letterpress is a poem by Douglas Sladen,&lt;br /&gt;
author of &amp;quot;Australian Lyrics,&amp;quot; &amp;quot;The Spanish&lt;br /&gt;
Armada,&amp;quot; &amp;amp;c. It is called a &amp;quot;Romance on the&lt;br /&gt;
Founding of Canada,&amp;quot; and is in hexameter verse.&lt;br /&gt;
The publishers are Griffith, Farran, and Co.&lt;br /&gt;
In &amp;quot; Great Pan Lives&amp;quot; (London: Luzac and Co.)&lt;br /&gt;
&amp;quot;Clelia&amp;quot; offers a paraphrase of Shakespeare&amp;#039;s&lt;br /&gt;
Sonnets, and proffers an answer to the question,&lt;br /&gt;
&amp;quot;Who and what is the &amp;#039;Lovely Boy&amp;#039; of the&lt;br /&gt;
Sonnets?&amp;quot; The answer takes the form of a&lt;br /&gt;
genealogy, beginning with &amp;quot;Beauty All,&amp;quot; and&lt;br /&gt;
ending with &amp;quot;Will Shakespeare.&amp;quot; It is one more&lt;br /&gt;
book added to the literature of the Sonnets, and&lt;br /&gt;
may be left to those who have studied the subject.&lt;br /&gt;
A &amp;quot;Winter Cruise in Summer Seas,&amp;quot; by Charles&lt;br /&gt;
G. Atchison (Sampson Low and Co.) is a chatty,&lt;br /&gt;
pleasant book, descriptive of a voyage on board one&lt;br /&gt;
of the Royal Mail Steam Packets to the Brazils,&lt;br /&gt;
Buenos Ayres, and other places. Anyone who&lt;br /&gt;
wants to take a holiday of two months, and does&lt;br /&gt;
not know where and how to spend his time, will&lt;br /&gt;
do well to study this book. Those who would like&lt;br /&gt;
to spend a holiday of two months, but cannot get&lt;br /&gt;
the leave or the money, would do well to read&lt;br /&gt;
this book.&lt;br /&gt;
The &amp;quot; Merchant&amp;#039;s Children,&amp;quot; by Eleanor Stred-&lt;br /&gt;
der (T. Nelson and Sons), is a story for the young&lt;br /&gt;
on life in China. It is a little book to be&lt;br /&gt;
recommended.&lt;br /&gt;
Mr. E. A. Reynolds Ball has written the article&lt;br /&gt;
on Naples in Messrs. CasselPs magnificent fine art&lt;br /&gt;
publication &amp;quot;The Picturesque Mediterranean,&amp;quot;&lt;br /&gt;
2 vols., price &pound;4 4*., which has recently been&lt;br /&gt;
published.&lt;br /&gt;
The latest addition to the &amp;quot; Adventure Series&amp;quot;&lt;br /&gt;
is the story of the &amp;quot; Life and Exploits of Theodore&lt;br /&gt;
Kolokotrones,&amp;quot; the Greek hero. Tt is translated&lt;br /&gt;
from the Greek by Mrs. Edmonds, author of&lt;br /&gt;
&amp;quot;Greek Lays,&amp;quot; &amp;amp;c. The translator has written an&lt;br /&gt;
introduction and furnished explanatory notes. A&lt;br /&gt;
preface has been added by M. Gennadius, Greek&lt;br /&gt;
envoy to our Court.&lt;br /&gt;
Messrs. Cassell &amp;amp; Co. will bring out in January a&lt;br /&gt;
collection of Mr. Egerton Castle&amp;#039;s shorter stories&lt;br /&gt;
under the title of &amp;quot; La Bella and others.&amp;quot; It is to&lt;br /&gt;
be hoped that the volume will include &amp;quot;A Para-&lt;br /&gt;
graph in the Globe,&amp;quot; which appeared a few years&lt;br /&gt;
ago in Remington&amp;#039;s Christmas Annual, and was not&lt;br /&gt;
only one of the best Christmas stories of its year, but&lt;br /&gt;
one of the best of its kind in English. Our litera-&lt;br /&gt;
ture is by no means rich in good short stories,&lt;br /&gt;
though Mr. Louis Stevenson, Mr. Andrew Lang,&lt;br /&gt;
Mr. Pollock and others have set us such admirable&lt;br /&gt;
examples, and this one of Mr. Castle&amp;#039;s was worthy&lt;br /&gt;
of Balzac himself in his fantastic vein.&lt;br /&gt;
Mr. Howells&amp;#039; daughter, Miss Mildred Howells,&lt;br /&gt;
has entered the field of literature, as a poem in the&lt;br /&gt;
November St. Nicholas shows. It is entitled&lt;br /&gt;
&amp;quot;Romance,&amp;quot; and conveys some of the fancies of&lt;br /&gt;
young dreamers.&lt;br /&gt;
Mr. G. A. Henty has written for the new volume&lt;br /&gt;
of Young England a serial story of seafaring&lt;br /&gt;
life in the last century, entitled &amp;quot;In the Grip of&lt;br /&gt;
the Press Gang.&amp;quot; The other serials which will&lt;br /&gt;
appear in this magazine are &amp;quot;Beneath the Sur-&lt;br /&gt;
face,&amp;quot; by Sarah Tytler, and &amp;quot; The Golden Lion,&amp;quot; a&lt;br /&gt;
romance of Elizabethan days, by Robert Leighton,&lt;br /&gt;
author of &amp;quot; the Pilots of Pomona.&amp;quot;&amp;#039;&lt;br /&gt;
&amp;quot;Charles Kingsley: the Story of his Life&amp;quot; is&lt;br /&gt;
the title of an article to be contributed by Mr.&lt;br /&gt;
Mackenzie Bell to an early number of the new&lt;br /&gt;
series of the Welcome Hour.&lt;br /&gt;
&amp;quot;Hypocrites,&amp;quot; the serial story by Mr. Hugh&lt;br /&gt;
Coleman Davidson, which is now appearing in&lt;br /&gt;
Hearth and Home, will be published early in the&lt;br /&gt;
new year by Messrs. Sampson Low &amp;amp; Co. It will&lt;br /&gt;
be illustrated by Rene.&lt;br /&gt;
Two very interesting papers on Burmese life and&lt;br /&gt;
manners which have recently appeared in the&lt;br /&gt;
Globe were written by Mr. Henry Charles Moore.&lt;br /&gt;
They are chapters from a projwsed work on&lt;br /&gt;
Burmah.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 250 (#654) ############################################&lt;br /&gt;
&lt;br /&gt;
250 THE AUTHOR.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Alexander, Wm., D.D., D.C.L. Verbum Crucis: being&lt;br /&gt;
Ten Sermons on the Mystery and the Words of the&lt;br /&gt;
Cross, to which are added some other sermons preached&lt;br /&gt;
on public occasions. Preachers of the Age Series.&lt;br /&gt;
Sampson Low. 3s. 6d.&lt;br /&gt;
Beet, J. A., D.T). The Firm Foundation of the Christian&lt;br /&gt;
Faith: a Handbook of Christian Evidences, for Sunday&lt;br /&gt;
School Teachers. Wegleyan Methodist Sunday School&lt;br /&gt;
Union, Ludgate Circus Buildings, E.C. is.&lt;br /&gt;
Denney, Rev. James. The Epistles to the Thessalonians.&lt;br /&gt;
Volume of the Expositor Bible. Hodder and Stough-&lt;br /&gt;
ton. 7s. 6d.&lt;br /&gt;
Duff, Archibald, M.A., LL.D. Old Testament Theology;&lt;br /&gt;
or, the History of Hebrew Religion from the year&lt;br /&gt;
800 B.C. to 640 B.C. A. and C. Black.&lt;br /&gt;
Ellicott, C. J., D.D. Christus Comprobator; or, the&lt;br /&gt;
Testimony of Christ to the Old Testament. Seven&lt;br /&gt;
addresses. Society for Promoting Christian Knowledge.&lt;br /&gt;
Fife, E. G., M.U. Analysis of Theology, Natural and&lt;br /&gt;
Revealed: an Essay Contrasting the Pretensions of&lt;br /&gt;
Religion aud Atheism to Scientific Truth. Williams&lt;br /&gt;
and Norgate.&lt;br /&gt;
Mabtineau, James. Home Prayers, with two services for&lt;br /&gt;
public worship. Longmans. 3s. 6d.&lt;br /&gt;
Maurice, F. D. Sermons preached in Lincoln&amp;#039;s Inn&lt;br /&gt;
Chapel. Vol. III. (of VI.). New edition. Mac-&lt;br /&gt;
millan. 3s. 6d.&lt;br /&gt;
Stannard, Rev. J. T. The Divine Humanity, and other&lt;br /&gt;
Sermons. Edited by the Rev. John Hunter. Maclc-&lt;br /&gt;
hose, Glasgow.&lt;br /&gt;
Stanton, V. H., D.I). The Place of Authority in Matters&lt;br /&gt;
of Religious Belief. Longmans. 6s.&lt;br /&gt;
Vaughan, C. J., D.D. Sermons, preached in the Parish&lt;br /&gt;
Church of Doucaster. New edition. Mac mil lan.&lt;br /&gt;
1 os. 6d.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Adams, Henry. Historical Essays. Fisher Unwin.&lt;br /&gt;
7J. 6d.&lt;br /&gt;
&mdash; History of the United States of America during&lt;br /&gt;
the first Administration of James Madison. Volumes 5&lt;br /&gt;
and 6. G. P. Putnam&amp;#039;s Sons. 9s. each.&lt;br /&gt;
Broglie, Due de. Memoirs of the Prince de Tallyrand.&lt;br /&gt;
Edited, with a preface and notes, by the. Translated&lt;br /&gt;
by Mrs. Angus Hall. Volume IV., with a portrait.&lt;br /&gt;
Griffith, Farran.&lt;br /&gt;
Browning, Oscar, M.A. Dante, his Life and Writings,&lt;br /&gt;
and Goethe, his Life and Writings. Volumes of the&lt;br /&gt;
Dilettante Library, enlarged from articles in the&lt;br /&gt;
&amp;quot;Encyclopaedia Britannica.&amp;quot; Swan Sonnenschein.&lt;br /&gt;
Clinch, George. Mayfair and Beigravia, being an&lt;br /&gt;
Historical Account of the Parish of St. George, Han-&lt;br /&gt;
over Square. With illustrations. True-love aud&lt;br /&gt;
Shirley. 1 2s.&lt;br /&gt;
Goulburn, E. M., M.D. John William Burgon, late&lt;br /&gt;
Dean of Chichester: a Biography, with Extracts from&lt;br /&gt;
his Letters and Early Journals. Two vols., with&lt;br /&gt;
portraits. John Murray. 14s.&lt;br /&gt;
Graham, P. Anderson. Nature in Books: Some Studies&lt;br /&gt;
in Biography. Methuen and Co.&lt;br /&gt;
The History of the Popes, from the Close of the Middle&lt;br /&gt;
Ages. Drawn from the secret archives of the Vatican&lt;br /&gt;
and other original sources, from the German of Dr.&lt;br /&gt;
Ludwig Pastor, Professor of History in the University&lt;br /&gt;
of Innsbruck. Edited by Frederick Ignatius Antrobus,&lt;br /&gt;
of the Oratory, with an introduction by Cardinal&lt;br /&gt;
Manning. Two vols. John Hodges, Agar Street,&lt;br /&gt;
Charing Cross. 12s.&lt;br /&gt;
&amp;quot;Jehu Junior.&amp;quot; The &amp;quot; Vanity Fair &amp;quot; Album&mdash;a Show of&lt;br /&gt;
Sovereigns, Statesmen, Judges, and Men of the Day,&lt;br /&gt;
with biographical and critical notices by. Vol. 23.&lt;br /&gt;
1S91. Vanity Fair Office, 181, Strand.&lt;br /&gt;
Lounsbury, T. R. Studies in Chaucer: His Life and&lt;br /&gt;
Writings. 3 vols. Osgood, M&amp;#039;llvaine. 42s.&lt;br /&gt;
Palmer, A. H. The Life and Letters of Samuel Palmer,&lt;br /&gt;
painter and etcher. Written and edited by. Illus-&lt;br /&gt;
trated. Seelcy.&lt;br /&gt;
Puschman, Dr. Tiieodor. A History of Medical Educa-&lt;br /&gt;
tion, from the most remote to the most recent times.&lt;br /&gt;
Translated and edited by Evan H. Hare. H. K. Lewis.&lt;br /&gt;
Gowcr Street.&lt;br /&gt;
Selby, Charles. Events to be Remembered in the History&lt;br /&gt;
of England. 28th edition, with additions. Crosby&lt;br /&gt;
Lockwood.&lt;br /&gt;
Stebbing, Wm., M.A. Sir Walter Ralegh: a Biography.&lt;br /&gt;
With a frontispiece. Clarendon Press. 1 os. 6d.&lt;br /&gt;
Symes, J. E., M.A. The French Revolution, 1789-1795.&lt;br /&gt;
With map of France. University Extension Series.&lt;br /&gt;
Methuen. 2s. 6d.&lt;br /&gt;
Trebutien, G. S. Journal of Maurice de Guerin. With a&lt;br /&gt;
Biographical and Literary Memoir by Sainte-Beuve.&lt;br /&gt;
Translated from the 20th French edition by Jessie P.&lt;br /&gt;
Frothiugham. Edited by Chatto and Windus. 2*. 6d.&lt;br /&gt;
Waylen, James. The House of Cromwell and the Story&lt;br /&gt;
of Dunkirk : a Genealogical History of the Descendants&lt;br /&gt;
of the Protector, with Anecdotes aud Letters. Illus-&lt;br /&gt;
trated with engravings, portraits, and plans. Eliot&lt;br /&gt;
Stock. 1 os. bd.&lt;br /&gt;
Wicksteed, P. H., M.A. Four lectures on Heiurik Ibsen,&lt;br /&gt;
dealing chiefly with his Metrical Works. The Dilettante.&lt;br /&gt;
Library. Swan Sonnenschein.&lt;br /&gt;
Fiction.&lt;br /&gt;
Black, William. A Daughter of Heth. New aud revised&lt;br /&gt;
edition, with portrait and preface by the author.&lt;br /&gt;
Sampson Low. 2s. 6d.&lt;br /&gt;
Burnett, F. Hodgson. Children I have known, and&lt;br /&gt;
Giovanni and the Other. Stories. Osgood, M&amp;#039;llvaine.&lt;br /&gt;
6s.&lt;br /&gt;
Campbell, Sir G. The Romance of the Ruby. Illustrated.&lt;br /&gt;
Beeton&amp;#039;s Christmas Annual; containing also an&lt;br /&gt;
original musical faroe by R. Andre. Ward, Lock,&lt;br /&gt;
Bowden.&lt;br /&gt;
Cardklla, G. A King&amp;#039;s Daughter. A Novel. 3 vols.&lt;br /&gt;
Swan Sonneschein.&lt;br /&gt;
CoixODi. C. The Story of a Puppet: or, The Adventures&lt;br /&gt;
of Pinocchio. Translated from the Italian by M. A.&lt;br /&gt;
Murray. Illustrated. Fisher Unwin. is. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 251 (#655) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Conan Doyle, A. A Study in Scarlet. A new edition,&lt;br /&gt;
with illustrations by George Hutchinson. Ward, Lock,&lt;br /&gt;
Bowden. 3s. 6d.&lt;br /&gt;
Ccshino, Paul. Cut with His Own Diamond. A Novel in&lt;br /&gt;
3 vols. Blackwood.&lt;br /&gt;
Dowlino, Richakd. A Baffling Quest. A Novel. 3 vols.&lt;br /&gt;
Ward and Downey.&lt;br /&gt;
Eckknstein, Lisa. The Little Princess and the Great&lt;br /&gt;
Plot. Illustrated by Dudley Heath. And Tales from&lt;br /&gt;
the Mabinogion. Kdited by Meta E. Williams. Vo-&lt;br /&gt;
lumes of the Children&amp;#039;s Library. Fisher Unwin.&lt;br /&gt;
2s. 6d. each.&lt;br /&gt;
Fonblanque, Albany de. Jcdwood Justice. A Novel.&lt;br /&gt;
3 vols. Bentley.&lt;br /&gt;
Francillon, R. E. Gods and Heroes: or, the Kingdom&lt;br /&gt;
of Jupiter. Illustrated. Blackwood.&lt;br /&gt;
Gray, Annabel. Through Rifted Clouds. A Novel in&lt;br /&gt;
a vols. Eden, Remington.&lt;br /&gt;
Green, F. G. Dean&amp;#039;s Fairy Book. A Companion to the&lt;br /&gt;
Doyle Fairy Book. With illustrations. Edited by.&lt;br /&gt;
Dean, Fleet Street.&lt;br /&gt;
Hardy, Thomas. Tess of the D&amp;#039;Urbervilles. 3 vols.&lt;br /&gt;
Osgood, M&amp;#039;llvainc. 3is. 6d.&lt;br /&gt;
Hocking, Silas K. For Light and Liberty. With&lt;br /&gt;
original illustrations. F. Wanie. is. 6d.&lt;br /&gt;
Humphreys, Jennett. Some Little Britons in Brittany: a&lt;br /&gt;
Seaside Story. Sampson Low. 2S. 6d.&lt;br /&gt;
Hutchinson, Horace G. Mr. Batter&amp;#039;s Pedigree: or,&lt;br /&gt;
Experiences of a Tenderfoot. Illustrated by George&lt;br /&gt;
Hutchinson. Whitefriars Library. Henry. 3s. 6d.&lt;br /&gt;
Hutchinson, Rev. H. N. The Story of the Hills: a&lt;br /&gt;
Popular Account of Mountains and how they were made.&lt;br /&gt;
Seeley.&lt;br /&gt;
Jones, C. A. A Modern Red Riding Hood. Frederick&lt;br /&gt;
Warne. 3s. 6d.&lt;br /&gt;
Kennedy, Patrick. Legendary Fictions of the Irish Celts.&lt;br /&gt;
Collected and narrated by. Macmillan. 3s. 6d.&lt;br /&gt;
Larder, Alfred. A Sinner&amp;#039;s Sentence. 3 vols. Chatto&lt;br /&gt;
and Windus.&lt;br /&gt;
Lawrence, Boyle, and Cadett, Herbert. Fin-de-&lt;br /&gt;
Siecle Stories. Biggs, Salisbury Court, Fleet Street.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Leake, A. J. de Courcy. Ad Finem Esto Fidelis, and&lt;br /&gt;
Scaffold or Ferry. Eden, Remington.&lt;br /&gt;
Linton, W. J. The F&amp;#039;lower and the Star, and other Stories&lt;br /&gt;
for Children. Written and illustrated by. Lawrence&lt;br /&gt;
and Bullen.&lt;br /&gt;
Lucas, Annie. Love&amp;#039;s Victory: a tale of Dursley Mine.&lt;br /&gt;
Home Words Office, Paternoster Square, is. 6d.&lt;br /&gt;
Lynch, L. L. A Slender Clue: a Detective Story. Ward,&lt;br /&gt;
Lock, Bowden.&lt;br /&gt;
Martius, &amp;quot;I Will Repay.&amp;quot; Eden Remington.&lt;br /&gt;
Peard, Frances M. The Baroness. A Novel, 2 vols.&lt;br /&gt;
Bentley and Son.&lt;br /&gt;
The Abbot&amp;#039;s Bridge. National Society&amp;#039;s Deposi-&lt;br /&gt;
tory. 3s. 6d.&lt;br /&gt;
Pinkerton, T. A. A New Saint&amp;#039;s Tragedy. A Novel.&lt;br /&gt;
2 vols. Swan Sonnenschein.&lt;br /&gt;
Ritchie, Anne Thackeray. The Fairy Tales of Madame&lt;br /&gt;
D&amp;#039;Aulnoy. Newly done into English, with an intro-&lt;br /&gt;
duction by. Illustrated by Clinton Peters. Lawrence&lt;br /&gt;
and Bullen.&lt;br /&gt;
Stacpoole, W. H. The Three Boots. Dean, Fleet&lt;br /&gt;
Street.&lt;br /&gt;
Stock, Lady Gertrude. A Wasted Life and MairM.&lt;br /&gt;
3 vols. Hurst and Blackctt.&lt;br /&gt;
Stoker, Bram. The Snake&amp;#039;s Pass. New and cheaper&lt;br /&gt;
edition. Sampson Low. 3s. 6d.&lt;br /&gt;
Varty-Smith, A. A. Matthew Tindale. A Novel in&lt;br /&gt;
3 vols. Bentley.&lt;br /&gt;
Verney, Lady. Essays and Tales. Simpkin, Marshall.&lt;br /&gt;
Yorke, Curtis. A Romance of Modem London, a&lt;br /&gt;
Novel. 3 vols. F. V. White.&lt;br /&gt;
General Literature.&lt;br /&gt;
Aitchison, C. C. A Winter Cruise in Summer Seas: a&lt;br /&gt;
Two Months&amp;#039; Voyage to Buenos Aires and back.&lt;br /&gt;
Illustrated with photographs and sketches. Sampson&lt;br /&gt;
Low.&lt;br /&gt;
Allen, Grant. Falling in Love: with other Essays on&lt;br /&gt;
more Exact Branches of Science. A new edition.&lt;br /&gt;
Smith, Elder.&lt;br /&gt;
Bates, Fanny B. Between the Lights: Thoughts for the&lt;br /&gt;
Quiet Hours. Arranged by. Third Edition. Burnet,&lt;br /&gt;
Henrietta Street, Strand.&lt;br /&gt;
Bell, Ernest, M.A. Handbook of Athletic Sports.&lt;br /&gt;
Edited by. Vol. IV. Illustrated. George Bell.&lt;br /&gt;
3s.6rf. *&lt;br /&gt;
Bishop, Mrs. Journeys in Persia and Kurdistan: in-&lt;br /&gt;
cluding a Summer in the Upper Karum Region, and a&lt;br /&gt;
Visit to the Nestorian Rajahs. 2 vols. With portrait,&lt;br /&gt;
map, and illustrations. John Murray. 245.&lt;br /&gt;
Bolton, S. K. Famous Artists. Nelson and Sons.&lt;br /&gt;
Bonvalot, G. Across Thibet: being a translation of &amp;quot; De&lt;br /&gt;
Paris au Tonkin a travers le Tibet inconnu.&amp;quot; With&lt;br /&gt;
illustrations from photographs taken by Prince Henry&lt;br /&gt;
of Orleans, and map of route. Translated by C. B.&lt;br /&gt;
Pitman. 2 vols. With illustrations. Cassell. 3is.&lt;br /&gt;
Calmore, Alfred C. Practical Play-writing, and the&lt;br /&gt;
Cost of Production. With an introduction by W.&lt;br /&gt;
Davenport Adams. Arrowsmith. is.&lt;br /&gt;
Christian, John. Behar Proverbs. Classified, arranged,&lt;br /&gt;
and translated into English, with notes, appendix, and&lt;br /&gt;
indexes. Kegan Paul.&lt;br /&gt;
Cook, Charles. The Prisons of the World. With Stories&lt;br /&gt;
of Crime, Criminals, and Convicts. With an intro-&lt;br /&gt;
duction by C. H. Spurgeon. Second edition. Morgan&lt;br /&gt;
and Scott, Paternoster Buildings. 2s. 6d.&lt;br /&gt;
Corballis, J. H. Forty-five Years of Sport. Edited by&lt;br /&gt;
Arthur T. Fisher, major, late 21st Hussars. Bentley.&lt;br /&gt;
Dixon, Edward T. An Essay on Reasoning. Deighton&lt;br /&gt;
Bell, Cambridge.&lt;br /&gt;
Eardlet-Wilmot, Capt. S., R.N. The Development of&lt;br /&gt;
Navies during the. last half century. With illustra-&lt;br /&gt;
tions. Seeley.&lt;br /&gt;
Earl, Ethel. Dinners in Miniature. Reprinted from the&lt;br /&gt;
Queen. Chapman and Hall. zs. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 252 (#656) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Elm hirst, Capt. P. (&amp;quot; Brooksby&amp;quot;). Foxhound, Forest,&lt;br /&gt;
and Prairie. Illustrated, Eoutledge.&lt;br /&gt;
Gambier-Parry, Major. The Combat with Suffering.&lt;br /&gt;
John Murray. Paper covers. 3s. 6d.&lt;br /&gt;
Gkli., Hon. Mrs. Lyttleton. The Cloud of Witness. A&lt;br /&gt;
daily sequence of great thoughts from many minds,&lt;br /&gt;
following the Christian seasons. With a prefatory&lt;br /&gt;
note by the Archbishop of Canterbury. Cloth extra,&lt;br /&gt;
3s. 6d.: also an edition on Oxford India paper, cloth&lt;br /&gt;
guilt, 6s. 6d. London, Henry Frowdc, Oxford Univer-&lt;br /&gt;
sity Press Warehouse.&lt;br /&gt;
Goosestep. Splay-feet Splashings in Divers Places. The&lt;br /&gt;
Leadenhall Press. 3&laquo;. 6d.&lt;br /&gt;
Gosse, Edmund. Gossip in a Library. William Heine-&lt;br /&gt;
mann. js. 6d.&lt;br /&gt;
Hamerton, Philip G. The Portfolio: an artistic periodi-&lt;br /&gt;
cal. Edited by. Seeley.&lt;br /&gt;
The Present State of the Fine Arts in France.&lt;br /&gt;
With illustrations. Seeley.&lt;br /&gt;
Ha/.ell&amp;#039;s Annual for 1891&mdash;Revised to November 10,&lt;br /&gt;
1891. Seventh year of issue. Hazell, Watson, and&lt;br /&gt;
Viney, Creed Lane, Ludgate Hill.&lt;br /&gt;
Henderson, W. J. Preludes and Studies: Musical Themes&lt;br /&gt;
of the day. Longmans. 6*.&lt;br /&gt;
Hoffman, Prof. Home Gymnastics, for Youug and Old.&lt;br /&gt;
With illustrations. Routledge.&lt;br /&gt;
Howells, W. D. Venetian Life. With illustrations&lt;br /&gt;
from original water colours. In 2 vols. Longmans.&lt;br /&gt;
21*.&lt;br /&gt;
Irving, Washington. The Alhambra. 2 vols. Darro&lt;br /&gt;
edition. G. P. Putnam&amp;#039;s Sons. iSi.&lt;br /&gt;
Junker, Dr. Wilhelm. Travels in Africa during the&lt;br /&gt;
years 1879&mdash;1883. By. Translated from the German&lt;br /&gt;
by A. H. Keane, F.R.G.S. Illustrated. Chapman and&lt;br /&gt;
Hall. 2i&laquo;.&lt;br /&gt;
Jusserand, J. J. English Wayfaring Life in the Middle&lt;br /&gt;
Ages (14 Century). Translated from the French by&lt;br /&gt;
Lucy Toulmin Smith. Illustrated. Fourth edition.&lt;br /&gt;
Fisher Unwin.&lt;br /&gt;
Kebbel, T. E. The Old and New English Country Life.&lt;br /&gt;
Blackwood.&lt;br /&gt;
Kennan, George. Siberia and the Exile System. 2 vols.&lt;br /&gt;
Osgood, M&amp;#039;llvaine. 32s.&lt;br /&gt;
Millican, Albert. Travels and Adventures of an Orchid&lt;br /&gt;
Hunter. Illustrated. Cassell. 12s. 6d.&lt;br /&gt;
Mitchell, Kate. The Gentlewoman&amp;#039;s Book of Hygiene.&lt;br /&gt;
Victoria Library. Henry. 6*.&lt;br /&gt;
Morison, Jeanie. Of &amp;quot;Fifine at the Fair,&amp;quot; &amp;quot;Christmas&lt;br /&gt;
Day and Easter Ev&amp;lt;&amp;gt;,&amp;quot; and other of Mr. Browning&amp;#039;s&lt;br /&gt;
Poems. Blackwood.&lt;br /&gt;
Morris, W. B. Ireland and Saint Patrick. Bums and&lt;br /&gt;
Oatcs.&lt;br /&gt;
Mulhall, M. G. The Dictionary of Statistics. Rout-&lt;br /&gt;
ledge.&lt;br /&gt;
Neil, James, M.A. Pictured Palestine. With Illustra-&lt;br /&gt;
tions. Nisbet, Berners Street. 7*. 6d.&lt;br /&gt;
Norman, Henry. The Real Japan: Studies of Con-&lt;br /&gt;
temporary Japanese Manners, Morals, Administration,&lt;br /&gt;
and Politics. Fisher Unwin. 10*. 6d.&lt;br /&gt;
Oliphant, F. R., B.A. Note of a Pilgrimage to Jerusalem&lt;br /&gt;
and the Holy Land. Blackwood.&lt;br /&gt;
Oliphant, Mrs. Jerusalem: its History and Hope. With&lt;br /&gt;
engravings from drawings by Hamilton Aide, and&lt;br /&gt;
photographs by F. M. Good. Macmillan. 211.&lt;br /&gt;
O&amp;#039;Reilly, Mrs. &amp;quot;Much Land to be Possessed,&amp;quot; and&lt;br /&gt;
other sketches. Vickers-Wood, Churton Street.&lt;br /&gt;
Priestley, Eliza. Hygiene under Difficulties. Allmau,&lt;br /&gt;
New Oxford Street, W.C.&lt;br /&gt;
Prince, ^Elian. Of Joyous Garb. New edition. E. W.&lt;br /&gt;
Allen, Ave Maria Lane.&lt;br /&gt;
Pyle, Howard. Men of Iron. Illustrated. Osgood,&lt;br /&gt;
M&amp;#039;llvaine. ys. Cd.&lt;br /&gt;
Rees, J. D., CLE. The Duke of Clarence and Avondale&lt;br /&gt;
in Southern India. With a Narrative of Elephant-&lt;br /&gt;
catching in Mysore by G. P. Sanderson. With map,&lt;br /&gt;
portraits, and illustrations. Kegan Paul.&lt;br /&gt;
Rigby, Cuthbert. From Midsummer to Martinmas: a&lt;br /&gt;
West Cumberland Idyl. With illustrations. George&lt;br /&gt;
Allen, London and Orpington.&lt;br /&gt;
Rodd, Rennell. The Customs and Lore of Modern&lt;br /&gt;
Greece. With illustrations by Tristram Ellis. David&lt;br /&gt;
Stott.&lt;br /&gt;
Rubinstein, Anton. A Conversation on Music. Trans-&lt;br /&gt;
lated for the author by Mrs. John P. Morgan.&lt;br /&gt;
Augener. Paper covers.&lt;br /&gt;
Sterne, Laurence. A Sentimental Journey through&lt;br /&gt;
France and Italy. Illustrated by Stanley L. Wood.&lt;br /&gt;
Aldine edition. Pickering and Chutto. 6s.&lt;br /&gt;
Vinogradoff, Paul. Villaiiiage in England. Essays in&lt;br /&gt;
English Mediieval History. Clarendon Press. 16s.&lt;br /&gt;
Warren, Mrs. The Ladies&amp;#039; Treasury for 1891 : a House-&lt;br /&gt;
hold Magazine. Edited by. Illustrated. Benirose,&lt;br /&gt;
Old Bailey.&lt;br /&gt;
Whittaker, T. P. Barker&amp;#039;s Facts and Figures for the&lt;br /&gt;
year 1892, with census and election supplements.&lt;br /&gt;
Edited by F. Warne. 1*.&lt;br /&gt;
Whittaker, Thomas. Brighter England and the Way&lt;br /&gt;
to it. With frontispiece. Hodder and Stoughton.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Educational.&lt;br /&gt;
Alexandrow, F. A New Practical and Easy Method of&lt;br /&gt;
Learning the Russian Language, after the system of&lt;br /&gt;
Mathias Meissner. Sixth improved and corrected&lt;br /&gt;
edition. Franz Thimm, Brook Street, W.&lt;br /&gt;
Arnold Forster, H. O. This World of Ours. Intro-&lt;br /&gt;
ductory Lessons to the Study of Geography. Illus-&lt;br /&gt;
trated. Cassell. 3s. 6d.&lt;br /&gt;
Beames, John. Grammar of the Bengali Language 1&lt;br /&gt;
Literary and Colloquial. Clarendon Press. 4*. 6d.&lt;br /&gt;
Chambers&amp;#039;s New Historical Readers. (1)&lt;br /&gt;
English History Easy Stories (9&amp;lt;f.); (2) Simple&lt;br /&gt;
Stories (9&amp;lt;f.); (3) Stories from Early History (is.);&lt;br /&gt;
(4) Stories and Biographies (is. id.); (5) The Tudor&lt;br /&gt;
Period (is. 4a1.); (6) The Stuart Period (is. 6d.);&lt;br /&gt;
(7) The Hanoverian Period (is. 6&amp;lt;f.). W. and R.&lt;br /&gt;
Chambers.&lt;br /&gt;
Harrison, Jane E. Introductory Studies in Greek Art.&lt;br /&gt;
With map and illustrations. Second edition. Fisher&lt;br /&gt;
Unwin. 7s. 6d.&lt;br /&gt;
Holmes, G. A. The Academic Manual of the Rudiments&lt;br /&gt;
of Music. Weekes, Hanover Street, W. is.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 253 (#657) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
253&lt;br /&gt;
Holmes, G. A. Macmillan&amp;#039;s History Headers: Stories and&lt;br /&gt;
Tales from early English History. A reading book&lt;br /&gt;
for Standard III. Macmillan. is.&lt;br /&gt;
Palmer, E. Davidson. Manual of Voice-Training (with&lt;br /&gt;
a complete course of exercises). Joseph Williams,&lt;br /&gt;
Herners Street. Paper covers, zs.&lt;br /&gt;
Ranken, George. The Federal Geography of British&lt;br /&gt;
Australasia. With maps. Sampson Low.&lt;br /&gt;
&amp;#039;Royal Atlas of Modern Geography. Part II.&lt;br /&gt;
W. and A. K. Johnson. Paper covers.&lt;br /&gt;
Schofield, Dr. A. T. Physiology for Schools, in three&lt;br /&gt;
stages. Stage I. Cassell. Cloth 61I., paper Sd.&lt;br /&gt;
Scott-Keltie, J. The Worldwide Atlas of modern Geo-&lt;br /&gt;
graphy, political and physical, with an introduction.&lt;br /&gt;
W. and A. K. Johnson. 73. 6d.&lt;br /&gt;
Smith, Charles, M.A. Arithmetic for Schools. Cam-&lt;br /&gt;
bridge University Press.&lt;br /&gt;
Smith, E. Singleton. Historica Prima r a class-book of&lt;br /&gt;
English history for junior forms of schools. James&lt;br /&gt;
Parker.&lt;br /&gt;
Webb, H. J., Ph.D. Elementary Agriculture: a Text-book&lt;br /&gt;
specially adapted to the requirements of the Science and&lt;br /&gt;
Art Department and other elementary examinations.&lt;br /&gt;
Longmans, is. 6d.&lt;br /&gt;
Whitfield, E. fi., M.A. French Commercial Dialogues,&lt;br /&gt;
with Notes for Advanced Pupils. Edited, after Thuni&lt;br /&gt;
and Drucker, by. Hachette and Co.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Dennis, G. R., and Dennis, John. The Poetical Works&lt;br /&gt;
of Alexander Pope. A new edition in three volumes,&lt;br /&gt;
revised by. With a Memoir by. 3 vols. Aldiue&lt;br /&gt;
edition. George Bell.&lt;br /&gt;
Dale, Philip, and Havilland, Cyril. Voices from&lt;br /&gt;
Australia. Verses. Swan Sonnenschein.&lt;br /&gt;
Foster, Will. The Fallen City and other Poems.&lt;br /&gt;
Blackwood.&lt;br /&gt;
Guinness, H. G., D.D. The City of the Seven Hills. A&lt;br /&gt;
Poem. James Nisbet. 5*.&lt;br /&gt;
Hughes, Thomas, Q.C. The Poetical Works of James&lt;br /&gt;
Russell Lowell. With an Introduction by. Mac-&lt;br /&gt;
millan. 75. 6d.&lt;br /&gt;
Morris, William. Poems by the Way. Reeves and&lt;br /&gt;
Turner.&lt;br /&gt;
Powis, T. J. Poems. With Portrait. Kegan Paul.&lt;br /&gt;
Quillinan, Edward. Poems. With a Memoir by&lt;br /&gt;
William Johnston. Middleton, Old Mill Bridge&amp;quot;,&lt;br /&gt;
Ambleside. Paper covers.&lt;br /&gt;
Sheila. Sketches from Nature. A Book of Verses.&lt;br /&gt;
Kegan Paul.&lt;br /&gt;
Spenser, Edmund. Daphuaida and other Poems. Cas-&lt;br /&gt;
sell&amp;#039;s National Library. Cloth, 6d.&lt;br /&gt;
Law.&lt;br /&gt;
Addison, C. G. A Treatise on the Law of Contracts.&lt;br /&gt;
Ninth edition, by Horace Smith, Bencher of the Inner&lt;br /&gt;
Temple, Metropolitan Magistrate, assisted by A. P.&lt;br /&gt;
Perceval Keep, M.A., of the Midland Circuit. Stevens,&lt;br /&gt;
Chancery Lane.&lt;br /&gt;
Hamlyn, Clarence. A Manual of Theatrical Law, con-&lt;br /&gt;
taining Chapters on Theatrical Licensing. Music, and&lt;br /&gt;
Dancing generally, and on Dramatic Copyright. Of&lt;br /&gt;
the Middle Temple. Waterlow.&lt;br /&gt;
Haycraft, T. W. Law of Innkeepers and the Licensing&lt;br /&gt;
Acts. Effingham Wilson. i&raquo;. 6d.&lt;br /&gt;
Lawrance, G. W. Precedents of Deeds of Arrangement&lt;br /&gt;
between Debtors and their Creditors. Fourth edition.&lt;br /&gt;
By H. A. Smith, M.A., LL.B., of the Middle Temple.&lt;br /&gt;
Stevens, Chancery Lane. 7*. 6d.&lt;br /&gt;
Palmer, F. B. The Shareholders&amp;#039; and Directors&amp;#039; Legal&lt;br /&gt;
Companion. Twelfth edition. Stevens, Chancery Lane.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Tyssen, Amherst D., D.C.L. The New Law of Charitable&lt;br /&gt;
Bequests: being an Account of the Mortmain and&lt;br /&gt;
Charitable Uses Act, 1891. Clowes. Paper covers.&lt;br /&gt;
1*. 6d.&lt;br /&gt;
Science.&lt;br /&gt;
Althaus, J., M.D. The Pathology and Prevention of&lt;br /&gt;
Influenza. Longmans, is.&lt;br /&gt;
Ball, Sir Robert. The Cause of an Ice Age. &amp;quot;Modern&lt;br /&gt;
Science&amp;quot; Series. Edited by Sir John Lubbock, M.P.&lt;br /&gt;
Kegan Paul.&lt;br /&gt;
Dutton, Thomas. Indigestion Clearly Explained, Treated,&lt;br /&gt;
and Dieted, with Special Remarks on Gout, Rheuma-&lt;br /&gt;
tism, and Obesity, and Chapter on Rearing of Infants.&lt;br /&gt;
H. Kimpton, High Holborn, W.C.&lt;br /&gt;
Kennedy, S. The Cancer Controversy: Mattei v. the&lt;br /&gt;
Knife. With Epitome of Mattei Treatment of Cancer&lt;br /&gt;
and General Diseases. David Stott. is. net.&lt;br /&gt;
Scientific Mysteries: a Collection of Simple and Effec-&lt;br /&gt;
tive Experiments Illustrating Chemical, Physical, and&lt;br /&gt;
Optical Wonders. Chemist mid Dniygist, Cannon&lt;br /&gt;
Street, E.G. is.&lt;br /&gt;
Scott, Alexander. An Introduction to Chemical Theory.&lt;br /&gt;
A. and C. Black.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Returns of Local Taxation in Ireland for the year 1890.&lt;br /&gt;
5d. Irish Land Commission. Return of Judicial&lt;br /&gt;
Rents fixed during July. is. Reports from Her&lt;br /&gt;
Majesty&amp;#039;s Consuls respecting the Working of Cargoes&lt;br /&gt;
on Sundays in Foreign Ports. Part II. America.&lt;br /&gt;
i\d. Historical Manuscripts Commission. 12th&lt;br /&gt;
Report. Appendix, Part V.&mdash;The MSS. of the Duke&lt;br /&gt;
of Rutland, K.G., preserved at Belvoir Castle. Vol. II.&lt;br /&gt;
{is.). Navy.&mdash;Seagoing War Ships return (Jrf.).&lt;br /&gt;
Return relating to Postmen&amp;#039;s Pay in 188S and as fixed&lt;br /&gt;
in August, 1891 (.2d.). Returns relating to all&lt;br /&gt;
Authorised Gas Undertakings in the United Kingdom,&lt;br /&gt;
belonging to Local Authorities for the year ended&lt;br /&gt;
March 25, 1891 (4-d.), and other than those of Local&lt;br /&gt;
Authorities for the year ended December 3i, 1890,&lt;br /&gt;
S{d. Turkey. No. 6 (1891). Further correspon-&lt;br /&gt;
dence respecting Affairs in the East. 6d. 46th Annual&lt;br /&gt;
Report of the Board of Supervision for the Relief of&lt;br /&gt;
the Poor and of Public Health in Scotland, 1890-91,&lt;br /&gt;
is. id.; Return as to Drunkenness in Scotland during&lt;br /&gt;
1890, id.; Census of Ireland, Part 1., Vol. I., Province&lt;br /&gt;
of Leinster, No. 12, County of Wicklow, gd. Report&lt;br /&gt;
to the Board of Trade on the Relation of Wages in&lt;br /&gt;
Certain Industries to the Cost of Production, u. yd.&lt;br /&gt;
Kyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 254 (#658) ############################################&lt;br /&gt;
&lt;br /&gt;
254&lt;br /&gt;
A D VER TI SEME NTS.&lt;br /&gt;
&lt;br /&gt;
ELECTROTYPES OF&lt;br /&gt;
ENGRAVINGS&lt;br /&gt;
FOR SALE.&lt;br /&gt;
THE attention of Authors, Publishers, an&amp;lt;l&lt;br /&gt;
others is directed to the large and varied&lt;br /&gt;
Collection of Engravings in the possession of Cassfll&lt;br /&gt;
and Company, Limited, from which they offer&lt;br /&gt;
Electros for Sale. The Collection embraces every&lt;br /&gt;
class of subject &mdash; History, Topography, Natural History,&lt;br /&gt;
Scientific, Figure Subjects, &amp;amp;c, Ac., produced by the best&lt;br /&gt;
Artists and Engravers.&lt;br /&gt;
Call and examine this Collection, or apply for&lt;br /&gt;
specimens, giving full particulars of the subjects and&lt;br /&gt;
sizes required to&mdash;&lt;br /&gt;
CASSELL &amp;amp; COMPANY, LIMITED,&lt;br /&gt;
LA BELLE SAUVAGE, LUDGATE HILL, E.C.&lt;br /&gt;
HOW SHALL I WRITE MY MANUSCRIPT?&lt;br /&gt;
&mdash;oaaoooaaa .&lt;br /&gt;
THE old-fashioned way was by quill or steel pen; the modern way is by a Typewriter. If you adopt&lt;br /&gt;
the modern way, then the success of the change depends upon the Typewriter you select. And, remember,&lt;br /&gt;
there is a great difference in Typewriters. Correct theory, substantial construction, and mechanical&lt;br /&gt;
details rendered perfect by unlimited expenditure and three years&amp;#039; practical experience. Ease Of&lt;br /&gt;
Management, Durability, VISIBLE WRITING, Perfect Writing, Automatic&lt;br /&gt;
Line Spacing, Automatic Inking, Duplicate Keyboard, we among the qualities&lt;br /&gt;
which make every owner of a&lt;br /&gt;
BAR-LOCK MODERN STANDARD TYPEWRITER&lt;br /&gt;
So content and satisfied. We want you to have a BAR-LOCK on Free Trial for a week&mdash;you will not&lt;br /&gt;
want to use a pen again. We supply them for Cash or by 12 Monthly Payments of &pound;1 ig*., or 24 of&lt;br /&gt;
&pound;1 is. 8&amp;lt;/.&lt;br /&gt;
The BAR-LOCK was awarded the only Gold Medal at Edinburgh, 1890, and Jamaica, 1891. It is&lt;br /&gt;
used by the Sub-editor of the Times and many London and Provincial Papers. It is also in use at the&lt;br /&gt;
offices of the Morning Post, St. Step/ten&amp;#039;s Review, the Star, the Manchester Guardian, the Western&lt;br /&gt;
Morning News, the Plymouth Mercury, &amp;amp;c, &amp;amp;c.&lt;br /&gt;
Illustrated Catalogue sent Post Free on Application to&mdash;&lt;br /&gt;
THE TYPEWRITER COMPANY, LTD.&lt;br /&gt;
LONDON: 12 &amp;amp; 14, QUEEN VICTORIA STREET, E.C.&lt;br /&gt;
MANCHESTER: 45, Market Street. LIVERPOOL: 1, South John Street. GLASGOW: 22, Renfield Street.&lt;br /&gt;
IiOKDOK: Printed by Etke and Spottibwoode, Printers to the Queen&amp;#039;s most Excellent Majeity.</td><td>https://historysoa.com/files/original/5/259/1892-01-01-The-Author-2-8.pdf</td><td>publications, The Author</td></tr><tr><td>260</td><td>https://historysoa.com/items/show/260</td><td>The Author, Vol. 02 Issue 09 (February 1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+09+%28February+1892%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 09 (February 1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1892-02-01-The-Author-2-9</td><td></td><td></td><td></td><td></td><td>255&ndash;294</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892-02-01&quot;&gt;1892-02-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>9</td><td></td><td></td><td>18920201</td><td>^Ibe Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 9.]&lt;br /&gt;
FEBRUARY i, 1892.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGB&lt;br /&gt;
&bull; &amp;#039;SI&lt;br /&gt;
&bull; &raquo;57&lt;br /&gt;
Warnings&lt;br /&gt;
Notices ,&lt;br /&gt;
On Literary Property&mdash;&lt;br /&gt;
I.&mdash;Author and Editor 359&lt;br /&gt;
II.&mdash;An Instructive Caso 259&lt;br /&gt;
III. &mdash;American Rights 260&lt;br /&gt;
IV. &mdash;The Literary Fraud 360&lt;br /&gt;
V.&mdash;Sale of Copyright 261&lt;br /&gt;
VI.&mdash;Return of MSB 161&lt;br /&gt;
VII.&mdash;A new Device 262&lt;br /&gt;
Gossip in a Library. By Edmund Gosse 362&lt;br /&gt;
A Hint for British Museum Readers 364&lt;br /&gt;
The Day shall Como 264&lt;br /&gt;
Notes from Paris 365&lt;br /&gt;
Like the Authors ..366&lt;br /&gt;
A Magnificent Story 368&lt;br /&gt;
Notes and News. By Walter Besant 369&lt;br /&gt;
&amp;quot;Eric and Robert&amp;quot; 373&lt;br /&gt;
Criticism and Fiction 374&lt;br /&gt;
Oxford, and the English School 376&lt;br /&gt;
To Busy Men in Good Positions 377&lt;br /&gt;
Burns and Scottish Poetry 377&lt;br /&gt;
Periodical Lists of Continental Books 378&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I.&mdash;Illustration jg,&lt;br /&gt;
II.&mdash;The new American Society 383&lt;br /&gt;
III.&mdash;Press copies 383&lt;br /&gt;
IV&mdash;The Mild Domestic Novel .&amp;#039;38,&lt;br /&gt;
V.-How?&lt;br /&gt;
VI.&mdash;Gerald Massey js|&lt;br /&gt;
From the Papers&mdash;&lt;br /&gt;
I.&mdash;Modem Poets , 33,&lt;br /&gt;
II.&mdash;Names and Work .&amp;quot;384&lt;br /&gt;
III.&mdash;Copyright in Lectures asj&lt;br /&gt;
IV.&mdash;A New Terror&lt;br /&gt;
385&lt;br /&gt;
V.&mdash;Literature and the State ag&amp;lt;&lt;br /&gt;
VI.&mdash;The Commonest Delusions 386&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; a86&lt;br /&gt;
New Books and New Editions 288&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the State Trials&lt;br /&gt;
Committee. Edited by Jons Macdohell, M.A. 10*.&lt;br /&gt;
INVESTMENTS. A List of 1,600 British, Colonial and&lt;br /&gt;
Foreign Securities dealt in upon the London and Provincial&lt;br /&gt;
Exchanges, giving the highest and lowest prices of each&lt;br /&gt;
particular Stock for each of the last twenty-two years, or from&lt;br /&gt;
the time of the creation of such Stock, also the price onjoth&lt;br /&gt;
May, i89i,and the yield percent, to the Investor. Compiled by&lt;br /&gt;
G. Brown. i&raquo;. 6d.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3*.&lt;br /&gt;
Contains all the Public Acts passed during the year, with&lt;br /&gt;
Index, also Tables showing the effect of the year&amp;#039;s IiCgislation,&lt;br /&gt;
together with complete and classified Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
REVISED STATUTES. (Second Revised Edition.) Royal&lt;br /&gt;
8vo. Prepared under the direction of the Statute I*w&lt;br /&gt;
Revision Committeo. and Edited by G. A. R. Fitzgerald,&lt;br /&gt;
Esq. Vols. I. to IV. now ready, price 7&raquo;. M. each.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By the Hon. Ralph Abercromby, F.R. Met.&lt;br /&gt;
METEOROLOGICAL INSTRUMENTS, Instructions in&lt;br /&gt;
the use of. 3t. bd.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Royal 8vo. Cloth, &laquo;. bd.&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OP THE NEW ZEALAND RACE.&lt;br /&gt;
By Sir George Grey, K.C.B. Illustrated. Royal 8vo. Cloth, s&raquo;.&lt;br /&gt;
ANCIENT HISTORY OF THE MAORI. By John&lt;br /&gt;
White. Demy8vo. Half Morocco. 4 vols, ica.jpervol.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By&lt;br /&gt;
(&amp;#039;1 I&amp;#039;M km Re-ID, F.L.8.. F.G.S. Five Plates (48 cuts), s&raquo;. bd.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Whitakbb, B.A. is.&lt;br /&gt;
COPYRIGHT LAW REFORM: an Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill. With Extracts from the Reportof&lt;br /&gt;
the Commission of 1878, and an Appendix containing the Berne&lt;br /&gt;
Convention and the American Copyright Bill. By J. M. Lely,&lt;br /&gt;
Esq., Barrister-at-Law. i&raquo;. bd.&lt;br /&gt;
KEVV BULLETIN, 1890.&lt;br /&gt;
Gardens, it. tod.&lt;br /&gt;
KEW BULLETIN,&lt;br /&gt;
Issued by the Director of Kew&lt;br /&gt;
Monthly, 2d. Appendices, 2d.&lt;br /&gt;
each. Annual Subscription, including postage, j*. ad&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition&lt;br /&gt;
Compiled by Capt. Day, Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. Shaw-Hellikb, Commandant Roval Military&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artisticallv&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood&lt;br /&gt;
Engravings. 31J.&lt;br /&gt;
&amp;quot;Unique, as no earlier work exists in English dealing exhaus-&lt;br /&gt;
tively with the same subject A very important con-&lt;br /&gt;
tribution to the history of orchestration.&amp;quot;&mdash;Athenaum.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. Bv S R&lt;br /&gt;
Scarcill-Bibd. F.S.A. is.&lt;br /&gt;
&amp;#039;The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely be&lt;br /&gt;
er-rated.&amp;quot;&mdash; Times.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
. Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
accompany Order.&lt;br /&gt;
GOVERNMENT AND GENERAL PUBLISHERS.&lt;br /&gt;
EYRE and SPOTTISHOODE, Hrr Majesty&amp;#039;s Printers, East Harding Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 256 (#660) ############################################&lt;br /&gt;
&lt;br /&gt;
256 ADVERTISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swan&amp;quot; is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are various points to select from, broad, medinm, and fine, every handwriting can be snited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post tree, is only 10s. 6d.&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Eucyclopajdia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will Outwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Da. Oliver Wendell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grundy, Esq., says (referring to the Fountain Pen) :&mdash;&amp;quot; It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Moberly Bell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used&amp;#039; them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
S3, OHEAPSIDB, LOKTDOKT.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 257 (#661) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe H u t b o t\&lt;br /&gt;
{The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 9.] FEBRUARY 1, 1892. [Price Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that are&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible.&amp;quot; They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended by&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
(8.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
■&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE Annual Report of the Society has been&lt;br /&gt;
delayed for the universal reason of universal&lt;br /&gt;
delay&mdash;the influenza stops the way. The&lt;br /&gt;
accounts could not be drawn up for the auditor.&lt;br /&gt;
As soon as possible this will now be done, and the&lt;br /&gt;
Report will then be issued.&lt;br /&gt;
The First Report of the Authors&amp;#039; Syndicate,&lt;br /&gt;
which is a branch, though an independent branch,&lt;br /&gt;
of the Society, will be issued at the same time as&lt;br /&gt;
the Report of the Society. It will be found to&lt;br /&gt;
show a vigorous and a promising record of the&lt;br /&gt;
first year&amp;#039;s work.&lt;br /&gt;
On Thursday, January 28th, the Committee pro-&lt;br /&gt;
ceeded to elect a secretary in place of Mr. S. S.&lt;br /&gt;
Sprigge, resigned. Their choice fell upon Mr. G.&lt;br /&gt;
Herbert Thring, M.A., formerly of Hertford&lt;br /&gt;
College, Oxford. Mr. Thring is a son of the late&lt;br /&gt;
head master of Uppingham. He is a passed&lt;br /&gt;
solicitor, and is not unacquainted with the work&lt;br /&gt;
of the Society. He enters upon his duties at&lt;br /&gt;
the end of March. The Committee desire to express&lt;br /&gt;
their thanks to the gentlemen who offered their&lt;br /&gt;
services. That the post should have attracted&lt;br /&gt;
candidates of such marked ability is a gratifying&lt;br /&gt;
proof of the position now held by the Society.&lt;br /&gt;
T 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 258 (#662) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Cardinal Manning was one of the first Vice-&lt;br /&gt;
Presidents of the Society of Authors. He attended&lt;br /&gt;
at several of the earlier meetings, and always took&lt;br /&gt;
a lively interest in the welfare of the Society. It&lt;br /&gt;
was, indeed, the adhesion of men such as our illus-&lt;br /&gt;
trious President, the Cardinal, and others, men&lt;br /&gt;
whose position commanded respect, which gave the&lt;br /&gt;
Society at the outset a claim to attention which a&lt;br /&gt;
mere gathering of well-known literary men might&lt;br /&gt;
have failed to command. Such is the situation of&lt;br /&gt;
literature in this country. In America, on the other&lt;br /&gt;
hand, a gathering of literary men would command&lt;br /&gt;
the most widespread and the most respectful&lt;br /&gt;
attention.&lt;br /&gt;
Our readers will be sorry to learn that for the&lt;br /&gt;
last two months Mr. R. U. Johnson, the secretary&lt;br /&gt;
of the Copyright League in New York, has been&lt;br /&gt;
dangerously ill with typhoid fever. Mr. Johnson&lt;br /&gt;
is still unable to write or communicate in any way&lt;br /&gt;
with his English friends, and it is even believed that&lt;br /&gt;
he is still unaware of the gift which the authors of&lt;br /&gt;
this country have presented to him. We are happy&lt;br /&gt;
to say, however, that as we go to press we receive&lt;br /&gt;
from Mr. Gilder, the Editor of the Century Maga-&lt;br /&gt;
zine, a telegram, which states that Mr. Johnson is&lt;br /&gt;
now convalescent, and is believed to be out of all&lt;br /&gt;
danger.&lt;br /&gt;
Mr. Rudyard Kipling has been elected a member&lt;br /&gt;
of the Council.&lt;br /&gt;
An American Society of Authors has been&lt;br /&gt;
founded. Its President is Mr. Richard H. Clarke,&lt;br /&gt;
LL.D., its Executive Council consists of the&lt;br /&gt;
Rev. Dr. Alfred H. Moment, Rev. Edward&lt;br /&gt;
P. Ingersoll, Mr. J. Fairfax McLaughlin, and&lt;br /&gt;
Mr. C. B. Lewis. Its secretary is Mrs. Katherine&lt;br /&gt;
Hodges. The prospectus begins with an extract&lt;br /&gt;
from a letter written by Mr. G. W. Smalley to the&lt;br /&gt;
New York Tribune, a copy of which has already&lt;br /&gt;
appeared in this journal. The five points which&lt;br /&gt;
are put forward as the objects of the Association&lt;br /&gt;
are as follows :&mdash;&lt;br /&gt;
1. To promote acquaintance and sociality&lt;br /&gt;
among authors.&lt;br /&gt;
2. To secure a clear understanding of the&lt;br /&gt;
position and rights of authors in literary&lt;br /&gt;
property.&lt;br /&gt;
3. To furnish information as to copyright laws,&lt;br /&gt;
methods of publishing and form of contract.&lt;br /&gt;
4. To assist authors in gaining accurate in-&lt;br /&gt;
formation as to the true value of their&lt;br /&gt;
productions, and, when necessary, to secure&lt;br /&gt;
that value.&lt;br /&gt;
5. To endeavour to elevate American literature.&lt;br /&gt;
We do not know yet how the Association has&lt;br /&gt;
l&amp;gt;een taken up in the way of membership; we have&lt;br /&gt;
invited the committee to forward news as to their&lt;br /&gt;
progress. We wish them every possible success,&lt;br /&gt;
and we hope to publish from time to time reports&lt;br /&gt;
of a triumphal inarch.&lt;br /&gt;
At the Committee meeting of January 2 8th the&lt;br /&gt;
following resolution was unanimously passed:&lt;br /&gt;
&amp;quot;That this Committee welcome with great satis-&lt;br /&gt;
faction the foundation of the American Society of&lt;br /&gt;
Authors, and that the secretary is instructed to&lt;br /&gt;
furnish all information and help in its power&lt;br /&gt;
to the sister Association.&amp;quot;&lt;br /&gt;
The meaning, as between publisher and author,&lt;br /&gt;
of the so-called &amp;quot;Royalty System &amp;quot;&mdash;where there&lt;br /&gt;
is no system&mdash;was explained in the Author for&lt;br /&gt;
November 1891. Writers are entreated, in their&lt;br /&gt;
own interests, to study the facts and figures there&lt;br /&gt;
set forth.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colles, the&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 259 (#663) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
259&lt;br /&gt;
ON LITERARY PROPERTY.&lt;br /&gt;
I.&lt;br /&gt;
Authok and Editor.&lt;br /&gt;
WITHIN what period has an author a right&lt;br /&gt;
to have unused manuscript returned to&lt;br /&gt;
him? Has he any right to have it&lt;br /&gt;
returned to him at all? If it should be lost, has&lt;br /&gt;
he any right to compensation? These are questions&lt;br /&gt;
as difficult as they are important. To return an&lt;br /&gt;
exactly accurate reply to them is impossible, but an&lt;br /&gt;
endeavour must be made to return an approxi-&lt;br /&gt;
mately correct one.&lt;br /&gt;
And, first, a wide distinction must be drawn&lt;br /&gt;
between cases subject to special agreement and&lt;br /&gt;
cases not so subject. In a large number of&lt;br /&gt;
magazines the editor prints in each issue the terms&lt;br /&gt;
on which he is prepared to receive manuscript,&lt;br /&gt;
intimating that &amp;quot;he cannot undertake to return&lt;br /&gt;
rejected communications,&amp;quot; or the like. Out of the&lt;br /&gt;
four corners of such agreements there is no escape,&lt;br /&gt;
but they should be clearly printed and easily to&lt;br /&gt;
find. They are, as a rule, however, not only&lt;br /&gt;
clumsily worded, but incomplete. For instance,&lt;br /&gt;
they do not state the latest day at which manu-&lt;br /&gt;
script must be sent in order to ensure insertion in&lt;br /&gt;
the next issue of a montldy magazine. It is believed&lt;br /&gt;
that the 8th of each mouth is almost universally the&lt;br /&gt;
latest day. Numerous contributions being strictly&lt;br /&gt;
topical, all authors should be put on their guard&lt;br /&gt;
on this point, and thus saved much useless &amp;quot; writing&lt;br /&gt;
up to date.&amp;quot; It is submitted that all topical&lt;br /&gt;
contributions which arrive after this fatal 8 th&lt;br /&gt;
should be returned to the author forthwith.&lt;br /&gt;
But how about contributions not topical? It is&lt;br /&gt;
notorious that some editors will keep such for&lt;br /&gt;
many months, and, perhaps, eventually allow them&lt;br /&gt;
to be wasted. On this point I confidently submit&lt;br /&gt;
that no editor has a right to retain manuscript on&lt;br /&gt;
the chance that room may eventually be found for&lt;br /&gt;
it. As for corrected proofs which after all do not&lt;br /&gt;
appear, or what is called &amp;quot;over matter,&amp;quot; the right&lt;br /&gt;
of the author to be paid for such is, or should be,&lt;br /&gt;
beyond dispute.&lt;br /&gt;
But where there is no notification in a magazine&lt;br /&gt;
as to terms on which contributions may be sent,&lt;br /&gt;
what are the relations between publisher and&lt;br /&gt;
contributor? Some would say that the publisher&lt;br /&gt;
solicits manuscript from all the world, and is&lt;br /&gt;
bound to have all manuscript attended to, and&lt;br /&gt;
either accepted or returned. It is greatly doubted&lt;br /&gt;
whether this view will hold water, aud in 1884&lt;br /&gt;
the late Mr. Justice Williams, in an action brought&lt;br /&gt;
unsuccessfully against Sir Augustus (then Mr.)&lt;br /&gt;
Harris by a dramatic author for compensation for&lt;br /&gt;
a lost play, laid down the law in terms which show&lt;br /&gt;
that he did not share such a view, and non-suited&lt;br /&gt;
the dramatic author. All things considered, and&lt;br /&gt;
especially looking (1) to the excess of the supply&lt;br /&gt;
of contributions over the demand for them, and&lt;br /&gt;
(2) to the great risk of the same subject being&lt;br /&gt;
selected for treatment by many more contributors&lt;br /&gt;
than one, authors should surely either not contri-&lt;br /&gt;
bute at all to magazines containing no special&lt;br /&gt;
notifications as to handling of manuscript, or&lt;br /&gt;
else make such terms for themselves by special&lt;br /&gt;
agreement.&lt;br /&gt;
A word as to remuneration. Whether rightly&lt;br /&gt;
or wrongly, no magazine throughout the civilised&lt;br /&gt;
world has as yet publicly notified any fixed scale.&lt;br /&gt;
It need hardly be pointed out that the author&lt;br /&gt;
has a right to be paid for each contribution accord-&lt;br /&gt;
ing to its value&mdash;unless, indeed, the contribution&lt;br /&gt;
be put in the form of a letter, when it is supposed&lt;br /&gt;
that merely to insert is sufficiently to remunerate&mdash;&lt;br /&gt;
and that a &amp;quot;scale pay,&amp;quot; though in nine cases out&lt;br /&gt;
of ten it ought to be accepted as fair, is not&lt;br /&gt;
conclusively adequate. Much less would a publisher&lt;br /&gt;
have any ground to stand upon who, after inserting&lt;br /&gt;
a contribution, should venture to tell an uathor&lt;br /&gt;
that the magazine is being run gratuitously. Such&lt;br /&gt;
treatment should l&amp;gt;e met forthwith by a writ for&lt;br /&gt;
the amount claimed.&lt;br /&gt;
So much for magazines. Now for books. Here&lt;br /&gt;
there can be no special agreement by public notifi-&lt;br /&gt;
cation, but there is always opportunity for an author&lt;br /&gt;
to make a special agreement when delivering his&lt;br /&gt;
manuscript for consideration by the reader. What&lt;br /&gt;
form should this special agreement take? So&lt;br /&gt;
varying are the subjects and the sizes of manuscripts&lt;br /&gt;
that of course no general rule can be laid down.&lt;br /&gt;
It would perhaps, however, be reasonable to stipulate&lt;br /&gt;
for a limit of three months&amp;#039; detention of manuscript&lt;br /&gt;
in all ordinary cases. But why should not the&lt;br /&gt;
Authors&amp;#039; Society draw up a sort of scale for&lt;br /&gt;
publishers to agree to? And why should not a&lt;br /&gt;
reasonable demurrage become payable by publisher to&lt;br /&gt;
author after a reasonable period of detention? And&lt;br /&gt;
why should not an author submit copies of the same&lt;br /&gt;
manuscript, or offers to write on the same subject,&lt;br /&gt;
simultaneously to several publishers, with the view&lt;br /&gt;
of closing with the highest bidder for his work?&lt;br /&gt;
II.&lt;br /&gt;
An Instructive Case.&lt;br /&gt;
A.B. is one of those pcisons who are wholly&lt;br /&gt;
unfitted either by education, or by special study, or&lt;br /&gt;
by natural powers, or by acquired powers, to write&lt;br /&gt;
a single word for the furtherance or help or solace&lt;br /&gt;
of his fellow creatures.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 260 (#664) ############################################&lt;br /&gt;
&lt;br /&gt;
260&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
He is also one of those persons who become&lt;br /&gt;
possessed of a single idea, generally a wrong idea,&lt;br /&gt;
based upon misunderstanding, and impossible for&lt;br /&gt;
anyone to conceive or to cherish who had any real&lt;br /&gt;
knowledge of any subjects with which it may be&lt;br /&gt;
concerned. Some of these persons write letters to&lt;br /&gt;
the papers; now and then the letters get inserted.&lt;br /&gt;
Then they are happy and look for the conversion&lt;br /&gt;
of the world to their own opinions. Less frequently&lt;br /&gt;
they write a book.&lt;br /&gt;
A.B. wrote a book. It was a long and dreary&lt;br /&gt;
MS. on an absurd and ridiculous subject; a book&lt;br /&gt;
which any publisher with the least regard for&lt;br /&gt;
literature would, without hesitation, refuse; a book&lt;br /&gt;
which nobody would buy ; a book which ought never&lt;br /&gt;
to have been published.&lt;br /&gt;
Having written his book, A.B. sent it to pub-&lt;br /&gt;
lishers. The extent of the travels of that MS. is&lt;br /&gt;
unknown. At last a firm offered to publish it for&lt;br /&gt;
him if he would pay the whole cost. So far, the&lt;br /&gt;
only objection to the proceedings is that the book&lt;br /&gt;
should never have seen the light.&lt;br /&gt;
They appended an estimate. The printing,&lt;br /&gt;
machinery, and paper, they said, would cost, for 750&lt;br /&gt;
copies, so much. They would recommend adver-&lt;br /&gt;
tising to the extent of so much. The binding of&lt;br /&gt;
25o copies&mdash;to begin with&mdash;would cost so much.&lt;br /&gt;
They also stated that they should charge a&lt;br /&gt;
publishing fee and a commission on sales.&lt;br /&gt;
The author accepted the terms without question&lt;br /&gt;
or examination.&lt;br /&gt;
The book came out and the accounts came in.&lt;br /&gt;
The printing, machinery, and paper, set down&lt;br /&gt;
according to the estimate which the author had&lt;br /&gt;
accepted, was about &pound;3o more than they cost.&lt;br /&gt;
The binding was set down at a quarter more&lt;br /&gt;
than it cost.&lt;br /&gt;
The advertisements &amp;quot;in papers, lists, and cir-&lt;br /&gt;
culars&amp;quot; were charged double the stipulated sum.&lt;br /&gt;
No details were rendered, and it is clear from the&lt;br /&gt;
wording that a good part of the money had been&lt;br /&gt;
charged for advertising in the firm&amp;#039;s own lists.&lt;br /&gt;
The &amp;quot; publishing fee&amp;quot; was not forgotten.&lt;br /&gt;
There were next to no returns.&lt;br /&gt;
In other words, this firm took up a perfectly&lt;br /&gt;
worthless book, knowing that it was perfectly&lt;br /&gt;
worthless, in order to make out of it (1) a trifling&lt;br /&gt;
publishing fee, (2) a trifling commission, and (3) the&lt;br /&gt;
by no means trifling sum of &pound;5o or &pound;60 by fraud.&lt;br /&gt;
This was not a little unknown firm: it was a&lt;br /&gt;
large firm which advertises a long list.&lt;br /&gt;
In the face of one single fact, such as the above,&lt;br /&gt;
is there not ample justification for the existence of&lt;br /&gt;
this Society? Should not the knowledge that the&lt;br /&gt;
Society has dozens of such cases in its possession&lt;br /&gt;
prompt all authors to ask its assistance, if only to&lt;br /&gt;
be kept out of the hands of such a firm as this?&lt;br /&gt;
III.&lt;br /&gt;
The Value of American Rights.&lt;br /&gt;
This is the day for warning authors&mdash;it is done&lt;br /&gt;
very seriously by the disinterested brethren who&lt;br /&gt;
manage literary affairs&mdash;not to expect too much&lt;br /&gt;
from American rights. Let us not expect too&lt;br /&gt;
much; let us wait and watch; meantime, we will&lt;br /&gt;
keep these American rights, whatever they are&lt;br /&gt;
worth, in our own hands, and not let the dis-&lt;br /&gt;
interested brother have them at all. An article on&lt;br /&gt;
the subject in an American journal states that most&lt;br /&gt;
authors&mdash;all those who are not yet in a position to&lt;br /&gt;
dictate their conditions&mdash;are compelled to accept a&lt;br /&gt;
ten per cent, royalty. A few, he says, can command&lt;br /&gt;
a twenty per cent, royalty. Now, we have not&lt;br /&gt;
yet got behind those figures; we do not quite know&lt;br /&gt;
what they mean, in America, to publisher as well as&lt;br /&gt;
to author. Therefore, let us for the present say&lt;br /&gt;
nothing, but make the best arrangement possible.&lt;br /&gt;
The cost of production and of advertising does not,&lt;br /&gt;
it is said, follow the same law of proportion to the&lt;br /&gt;
price as in this country. The writer who is quoted&lt;br /&gt;
gives us, however, one or two useful pieces of&lt;br /&gt;
information. A work by a tolerably well-known&lt;br /&gt;
writer which sells 3,ooo copies does well. Often&lt;br /&gt;
a publisher is satisfied with a sale of 2,000 copies.&lt;br /&gt;
At a fifteen per cent, royalty on a price of one&lt;br /&gt;
dollar and a half, the author would get, on a sale&lt;br /&gt;
of 3,ooo copies, the sum of &pound;i35. In this country,&lt;br /&gt;
on the same sale of a 6s. book, and with the same&lt;br /&gt;
rate of royalty, the publisher would net about &pound;2 70,&lt;br /&gt;
that is to say, publisher: author :: 2 : 1 on that&lt;br /&gt;
scale. On a larger sale it may become a pro-&lt;br /&gt;
portion of 3:i. The American writer goes on&lt;br /&gt;
to say that he numbers among his friends two&lt;br /&gt;
well-known and successful writers, whose income&lt;br /&gt;
from literature is not equal to that of an ordinary&lt;br /&gt;
clerk in a prosperous business house.&lt;br /&gt;
IV.&lt;br /&gt;
The Literahy Fraud.&lt;br /&gt;
&amp;quot;What protection has an editor against the man&lt;br /&gt;
who sends him old and stolen papers as his own?&lt;br /&gt;
None, except the police court; and it is really&lt;br /&gt;
wonderful, considering the impunity with which the&lt;br /&gt;
thing may generally be done, that it is not done&lt;br /&gt;
oftener. In the States, it appears, the trick is much&lt;br /&gt;
more common than here. The Harpers are&lt;br /&gt;
reported to be resolved upon ferreting out and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 261 (#665) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
bringing to justice this class of offenders. There&lt;br /&gt;
is more than one way of trickery. A man may&lt;br /&gt;
stoal a paper from an old, or translate one from&lt;br /&gt;
a foreign, magazine, and pass it off as his own.&lt;br /&gt;
This, one imagines, is what is commonly done.&lt;br /&gt;
If an obscure magazine is chosen, the chances&lt;br /&gt;
of detection are very slight. Of course, if a&lt;br /&gt;
man stole from old numbers of the Cornhill,&lt;br /&gt;
or Temple Bar, he would be found out at&lt;br /&gt;
once. Another plan is for a writer to offer&lt;br /&gt;
an editor work done, sold, and published years&lt;br /&gt;
before. A third is to sell the same thing to two or&lt;br /&gt;
more different magazines. The exposure of the&lt;br /&gt;
criminal&amp;#039;s name is something, but in this, as in every&lt;br /&gt;
other infringement of literary property, the courts&lt;br /&gt;
of law are the only real preventive.&lt;br /&gt;
V.&lt;br /&gt;
The Sale op Copyright.&lt;br /&gt;
If a man sells his copyright to a publisher, can&lt;br /&gt;
the publisher do what he likes with the manu-&lt;br /&gt;
scripts? I hear everyone say at once&mdash;certainly.&lt;br /&gt;
Softly! Can he mutilate the work? Surely that&lt;br /&gt;
might be to the author&amp;#039;s detriment. Can he burn&lt;br /&gt;
it? That also might damage the author. For an&lt;br /&gt;
author is paid in two ways&mdash;by money and bv&lt;br /&gt;
repute. If he is only to obtain his money pay-&lt;br /&gt;
ments, they should be proportionately large where&lt;br /&gt;
he is going to be done out of his fame. The matter&lt;br /&gt;
is one for legal exposition, which is invited. The&lt;br /&gt;
case is put in the form of a story in this paper.&lt;br /&gt;
VI.&lt;br /&gt;
The Return of MSS.&lt;br /&gt;
The following notices have been extracted from&lt;br /&gt;
the January numbers of the magazines mentioned,&lt;br /&gt;
and if aspiring contributors would read them they&lt;br /&gt;
would spare themselves a great deal of disappoint-&lt;br /&gt;
ment. A large number are silent as to their&lt;br /&gt;
practice with regard to the return of manuscripts, and&lt;br /&gt;
in a still larger number of cases their bark is worse&lt;br /&gt;
than their bite. Among these must be included&lt;br /&gt;
the Quarterly Review, Edinburgh Review, Con-&lt;br /&gt;
temporary Review, Blackwood&amp;#039;s Magazine, and&lt;br /&gt;
Cornhill Magazine :&mdash;&lt;br /&gt;
The Law Quarterly Review:&lt;br /&gt;
&amp;quot;It seems convenient to repeat, in a conspicuous&lt;br /&gt;
place, that it is not desirable to send manuscript&lt;br /&gt;
on approval without previous communication&lt;br /&gt;
with the Editor, except in very special circum-&lt;br /&gt;
stances; and that the Editor, except as afore-&lt;br /&gt;
said, cannot be in any way answerable for&lt;br /&gt;
manuscripts so sent.&lt;br /&gt;
The Editor cannot undertake the return or&lt;br /&gt;
safe custody of manuscripts sent to him with-&lt;br /&gt;
out previous communication.&amp;quot;&lt;br /&gt;
The Nineteenth Century:&lt;br /&gt;
&amp;quot;The Editor of the Nineteenth Century cannot&lt;br /&gt;
undertake to return unaccepted manuscripts.&amp;quot;&lt;br /&gt;
The National Review:&lt;br /&gt;
&amp;quot;Correspondents are requested to write their&lt;br /&gt;
name and address on their manuscripts. Post-&lt;br /&gt;
age stamps must be sent at the same time if&lt;br /&gt;
they wish their manuscripts to be returned in&lt;br /&gt;
case of rejection.&amp;quot;&lt;br /&gt;
The New Review:&lt;br /&gt;
&amp;quot;The Editor of this Review does not undertake&lt;br /&gt;
to return any manuscripts.&amp;quot;&lt;br /&gt;
The Fortnightly Review:&lt;br /&gt;
&amp;quot;The Editor of this Review cannot undertake to&lt;br /&gt;
return any manuscripts.&amp;quot;&lt;br /&gt;
Temple Bar:&lt;br /&gt;
&amp;quot;Every manuscript should bear the name and ad-&lt;br /&gt;
dress of the writer (not necessarily for publica-&lt;br /&gt;
tion) and be accompanied by postage stamps for&lt;br /&gt;
its return in ease of non-acceptance. Every&lt;br /&gt;
care will be taken, but the Editor and publishers&lt;br /&gt;
cannot be responsible for accidental loss, &amp;amp;e.&lt;br /&gt;
&laquo; # &bull; # Poetry. From the large number&lt;br /&gt;
of pieces received every month, it is impossible&lt;br /&gt;
to return them. A copy should be kept, as&lt;br /&gt;
rejected pieces are destroyed.&amp;quot;&lt;br /&gt;
Longmans&amp;#039; Magazine:&lt;br /&gt;
&amp;quot;A stamped addressed envelope should accom-&lt;br /&gt;
pany the manuscript if the writer wishes it to&lt;br /&gt;
be returned in case of non-acceptance. The&lt;br /&gt;
Editor can in no case hold himself responsible&lt;br /&gt;
for accidental loss.&amp;quot;&lt;br /&gt;
Macmillan&amp;#039;s Magazine:&lt;br /&gt;
&amp;quot;Every manuscript should bear the name and&lt;br /&gt;
address of the writer, and be accompanied by the&lt;br /&gt;
necessary postage stamps for its return in case&lt;br /&gt;
of non-acceptance. Every endeavour will be&lt;br /&gt;
made to send back unaccepted articles, but&lt;br /&gt;
the Editor cannot guarantee their safe return.&lt;br /&gt;
There is no rule in this magazine entitling a&lt;br /&gt;
contributor to the publication of his signature.&lt;br /&gt;
This and all other kindred matters rest solely&lt;br /&gt;
on the Editor&amp;#039;s discretion.&amp;quot;&lt;br /&gt;
&amp;quot;We shall give further editorial announcements&lt;br /&gt;
next month.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 262 (#666) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
VII.&lt;br /&gt;
A New Device.&lt;br /&gt;
&amp;quot;The wily publisher has lately adopted a new device for&lt;br /&gt;
fleecing his secular victim that may be recommended to the&lt;br /&gt;
notice of the Author. The wretch has taken to sending&lt;br /&gt;
the author all the unfavourable reviews that appear of his&lt;br /&gt;
immortal work, and suppressing the favourable ones. The&lt;br /&gt;
result is, or is expected to be, that the author supposes his&lt;br /&gt;
work to be a failure, and, when the time of submitting&lt;br /&gt;
accounts arrives, either expects no cheque or is delighted&lt;br /&gt;
with one of a most modest amount.&amp;quot;&lt;br /&gt;
The above is from the Athenceum (Jan. 2,&lt;br /&gt;
1892). The adjective &amp;quot;wily &amp;quot; affixed to the word&lt;br /&gt;
&amp;quot;publisher&amp;quot; probably means that the whole&lt;br /&gt;
paragraph is an elaborate joke. &amp;quot;Secular victim&amp;quot;&lt;br /&gt;
is a good phrase&mdash;also part of the recondite and&lt;br /&gt;
cryptic joke. If it is not a joke, then somebody&lt;br /&gt;
has been deliberately thieving, and ought to be&lt;br /&gt;
tried in a criminal court. But when was it&lt;br /&gt;
expected that a publisher should collect and send&lt;br /&gt;
to an author all the notices of his book? Authors&lt;br /&gt;
in their younger days have sometimes favourable&lt;br /&gt;
notices sent them by their publisher to promote&lt;br /&gt;
confidence, and always have unfavourable notices&lt;br /&gt;
sent them&mdash;to promote despondency&mdash;by private&lt;br /&gt;
friends. One would like to know more about the&lt;br /&gt;
origin of this paragraph. It looks as if it had teen&lt;br /&gt;
communicated by some publisher who had been rashly&lt;br /&gt;
accused of the thing by a suspicious author. If not&lt;br /&gt;
that, then it is the suspicion, probably unfounded by&lt;br /&gt;
examination into the facts, of a suspicious author,&lt;br /&gt;
communicated by him to the Athenceum. If that&lt;br /&gt;
is so, his remedy is easy. He has only to send a&lt;br /&gt;
chartered accountant to audit that publisher&amp;#039;s&lt;br /&gt;
accounts. If the publisher is an honest man he&lt;br /&gt;
cannot possibly refuse. If he does refuse, there is&lt;br /&gt;
another step possible, and very easy, which will&lt;br /&gt;
overrule that refusal.&lt;br /&gt;
&lt;br /&gt;
GOSSIP IN A. LIBRARY.&lt;br /&gt;
&amp;quot;Dbvden&amp;#039;s Fables.&lt;br /&gt;
&amp;quot;Fables, Ancient and Modern. Translated into&lt;br /&gt;
verse from Homer, Ovid, Boccace, and Chaucer.&lt;br /&gt;
With original Poems. By Mr. Dryden. London:&lt;br /&gt;
Printed for Jacob Tonson, within Gray&amp;#039;s Inn&lt;br /&gt;
Gate, nea t Gray&amp;#039;s Inn Lane. MDCC.&amp;quot;&lt;br /&gt;
This is an elephant among books, and makes us&lt;br /&gt;
sigh as we lift it. At the close of the seventeenth&lt;br /&gt;
century the British public grew more and more to&lt;br /&gt;
address the poets in the words of Armado in Love&amp;#039;s&lt;br /&gt;
Labour&amp;#039;s Lost: &amp;quot;Devise, wit; write, pen; for I&lt;br /&gt;
am for whole volumes in folio.&amp;quot; Until that time&lt;br /&gt;
these grandiose forms, properly dedicated to the&lt;br /&gt;
theologians and the philosophers, had been com-&lt;br /&gt;
monly eschewed by the poets until they came to&lt;br /&gt;
collect in a final shape their works (&amp;quot; that is to say,&lt;br /&gt;
their plays&amp;quot;). The volumes in which the famous&lt;br /&gt;
lyrical poets of the middle of the century made&lt;br /&gt;
their appearance were delightfully exiguous. A&lt;br /&gt;
young dreamer of dreams might carry his Lovelace&lt;br /&gt;
or his Crashaw next to his heart without any fatal&lt;br /&gt;
injury to the elegance of his doublet; the first&lt;br /&gt;
edition of Waller, slipped into the pocket of his&lt;br /&gt;
cloak, would add nothing appreciable to its weight.&lt;br /&gt;
But, as the century closed, books of verse became&lt;br /&gt;
steadily taller, and, above all, there came in this&lt;br /&gt;
taste for folios. It was the enterprise of Jacob&lt;br /&gt;
Tonson that first encouraged this latter fancy.&lt;br /&gt;
One of his earliest ventures, as a young man of&lt;br /&gt;
five and twenty, had been Dryden&amp;#039;s Absolom and&lt;br /&gt;
Achitophel, which he brought out, in defiance of&lt;br /&gt;
all precedent, as a thin stitched folio pamphlet.&lt;br /&gt;
He was immediately imitated, and this form, incon-&lt;br /&gt;
venient as it seems to us, became the one generally&lt;br /&gt;
chosen for the first appearance of occasional poetry.&lt;br /&gt;
But among the enormous books of verse with which&lt;br /&gt;
the century closes the one before us was the hugest,&lt;br /&gt;
as it was the last.&lt;br /&gt;
It was published, it is believed, in the month of&lt;br /&gt;
November 1699, and therefore less than six months&lt;br /&gt;
before the death of Dryden. The noble poet, worn&lt;br /&gt;
out at last in his unequal struggle with misfortune,&lt;br /&gt;
succumbed at length to a cluster of ailments which&lt;br /&gt;
had tormented him all through the winter. His&lt;br /&gt;
surgeon offered him the chance of prolonged life&lt;br /&gt;
if he would submit to an operation, but Dryden&lt;br /&gt;
refused. He told Mr. Hobbes, as Ward reports&lt;br /&gt;
in his London Spy, &amp;quot;that he was an old man, and&lt;br /&gt;
had not long to live by course of nature, and there-&lt;br /&gt;
fore did not care to part with one limb, at such an&lt;br /&gt;
age, to preserve an uncomfortable life on the rest.&amp;quot;&lt;br /&gt;
And so, on the 1 st of May, 1700, he died, calmly&lt;br /&gt;
and resignedly, &amp;quot;taking of his friends,&amp;quot; says one&lt;br /&gt;
of those who were with him, &amp;quot;so tender and&lt;br /&gt;
obliging a farewell as none but he himself could&lt;br /&gt;
have expressed.&amp;quot; This tall folio, then, possesses&lt;br /&gt;
a singular interest as the final message of this great&lt;br /&gt;
poet to the world in which he had fought, and&lt;br /&gt;
laboured, and fallen, and persevered, for seventy&lt;br /&gt;
arduous years, the last crop from this gnarled and&lt;br /&gt;
broken but still richly fruitful tree.&lt;br /&gt;
If the Fables showed signs of a mental decay&lt;br /&gt;
responding to the physical, they would still awaken&lt;br /&gt;
our interest and demand our respect. In those&lt;br /&gt;
days a gigantic book of this kind was not rapidly&lt;br /&gt;
worked off nor readily circulated. If, indeed,&lt;br /&gt;
certain copies were subscribed in November, it must&lt;br /&gt;
have been nearer Easter before some country clients&lt;br /&gt;
of Tonson received the ponderous packet. Life&lt;br /&gt;
went upon leisurely wheels in rural places then,&lt;br /&gt;
and many a fine lady and lettered squire may have&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 263 (#667) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
263&lt;br /&gt;
seen the ominous paragraph in the Postboy:&lt;br /&gt;
&mdash;&amp;quot; John Dryden, Esq., the famous poet, lies a-&lt;br /&gt;
dying,&amp;quot;&mdash;before they had mastered the contents&lt;br /&gt;
of their last purchase. All their lives through&lt;br /&gt;
such readers would have awaited the utterances&lt;br /&gt;
of the one great writer of the age with the same&lt;br /&gt;
certainty with which they awaited the changes of&lt;br /&gt;
the seasons. That winter would follow autumn&lt;br /&gt;
seemed not more inevitable than that Mr. Dryden&lt;br /&gt;
would oblige the town, as he had obliged it since&lt;br /&gt;
the earliest memories of man, with an ode or a&lt;br /&gt;
satire, a tragedy or a translation. And now he&lt;br /&gt;
&amp;quot;lies a-dying!&amp;quot; With what zest, with what&lt;br /&gt;
melancholy eagerness, would they turn to his new&lt;br /&gt;
volume.&lt;br /&gt;
Nor would there be any possibility of disappoint-&lt;br /&gt;
ment to a reader of that day. To compare the&lt;br /&gt;
pleasure given by this folio to its immediate readers,&lt;br /&gt;
we have to think of the reception proposed for the&lt;br /&gt;
second Childe Harold or for the Idyls of the&lt;br /&gt;
King. In spite of the insolence of his controversial&lt;br /&gt;
opponents, Dryden was now to the world at large&lt;br /&gt;
what Byron was in 1816, or Tennyson in 1864,&lt;br /&gt;
that is to say, a writer intimately in sympathy with&lt;br /&gt;
his public, of uncontested mastery, perfectly sure to&lt;br /&gt;
provide exactly what his readers would wish to&lt;br /&gt;
receive. The only doubt admissible was, whether&lt;br /&gt;
disease of body and old age had reduced the creative&lt;br /&gt;
and executive gifts. A glance at the folio would&lt;br /&gt;
remove this fear. Never had Dryden written, in&lt;br /&gt;
his own way, with a more brilliant force; never&lt;br /&gt;
had his powers of narration been so pictorial, his&lt;br /&gt;
artistic resources so completely under his control.&lt;br /&gt;
Never till now had he shown what fire was hidden&lt;br /&gt;
under the lids of those &amp;quot; sleepy eyes.&amp;quot; The? chorus&lt;br /&gt;
of critical praise rang out louder and clearer than&lt;br /&gt;
ever before, and the laurels weighed down the&lt;br /&gt;
weary body as it passed to its long sleep between&lt;br /&gt;
the dust of Chaucer and of Cowley.&lt;br /&gt;
The impression produced by this particular&lt;br /&gt;
volume was not destined to be ephemeral. A&lt;br /&gt;
hundred years after its publication, one of its most&lt;br /&gt;
important sections could still be placed by so&lt;br /&gt;
influential a critic as George Ellis &amp;quot; on the very&lt;br /&gt;
topmost shelf of English poetry.&amp;quot; Later still,&lt;br /&gt;
Mr. Saintsbury has called the Fables &amp;quot;the&lt;br /&gt;
most brilliantly successful of all Dryden&amp;#039;s poetical&lt;br /&gt;
experiments.&amp;quot; It is therefore here, if anywhere,&lt;br /&gt;
that we may attempt to solve the question why the&lt;br /&gt;
admitted masterpiece of one who is acknowledged&lt;br /&gt;
to Ik? one of the greatest of the English poets, is no&lt;br /&gt;
longer widely read or enthusiastically enjoyed. I&lt;br /&gt;
know no problem more difficult to solve, none more&lt;br /&gt;
embarrassing to our critical pretensions. It is of&lt;br /&gt;
no use to affirm that the Fables are enjoyed as&lt;br /&gt;
much as The Fairy Queen, let us say, or as&lt;br /&gt;
Prometheus Unbound, because? it is matter of&lt;br /&gt;
common experience that this is not so. It is of i&lt;br /&gt;
VOL. 11,&lt;br /&gt;
equally little use to affirm that, therefore, Dryden&lt;br /&gt;
must be a poet of a rank inferior to Spenser or&lt;br /&gt;
Shelley, because it is easily demonstrable that he is&lt;br /&gt;
quite as prominent a figure as either in our literary&lt;br /&gt;
history. Let us, first of all, see what this volume&lt;br /&gt;
really contains, a feat not to be achieved, even in&lt;br /&gt;
Mr. Saintsbury&amp;#039;s splendid (but alas! unfinished)&lt;br /&gt;
resuscitation of Sir Walter, except in the original&lt;br /&gt;
issue. The edition of 1700 consists of a prose&lt;br /&gt;
dedication, a long critical preface, a poem addressed&lt;br /&gt;
to the Duchess of Ormonde, a paraphrase from&lt;br /&gt;
Chaucer, an Epistle to John Dryden of Chester-&lt;br /&gt;
ton, a translation from Ovid, a paraphrase from&lt;br /&gt;
Boccaccio, three more pieces out of Ovid, the first&lt;br /&gt;
Iwok of the &amp;quot;Iliad,&amp;quot; successive paraphrases from&lt;br /&gt;
Chaucer, Boeeaeeio, Ovid, and Chaucer again, the&lt;br /&gt;
ode called &amp;quot; Alexander&amp;#039;s Feast,&amp;quot; five more pieces of&lt;br /&gt;
Ovid and Chaucer, an original poem to the memory&lt;br /&gt;
of a Fair Maiden Lady, and a paraphrase from&lt;br /&gt;
Boccaccio, all since distributed to various chambers&lt;br /&gt;
in the complicated works of John Dryden. Of all&lt;br /&gt;
these, one, and one alone, is familiar to every&lt;br /&gt;
educated person, the &amp;quot; Alexander&amp;#039;s Feast.&amp;quot; Most&lt;br /&gt;
literary men luive read or know they ought to have&lt;br /&gt;
read the poem to the Duchess of Ormonde, and, of&lt;br /&gt;
the paraphrases, &amp;quot; Palamon and Arcite,&amp;quot; &amp;quot; Theodore&lt;br /&gt;
and Honoria,&amp;quot; and &amp;quot; Cymon and Iphigenia.&amp;quot; The&lt;br /&gt;
rest is familiar only to those few who read every-&lt;br /&gt;
thing in the English literature of the past. Let us&lt;br /&gt;
quote a passage from what lies outside the selected&lt;br /&gt;
pieces I have named. Here is a description of a&lt;br /&gt;
delicate young girl, who died at the very threshold&lt;br /&gt;
of her life :&mdash;&lt;br /&gt;
So faultless was the frame, as if the whole&lt;br /&gt;
Had been an emanation of the soul,&lt;br /&gt;
Which her own inward symmetry revealed,&lt;br /&gt;
And like a picture shown, in glass annealed j&lt;br /&gt;
Or like the sun eclipsed, with shaded light,&lt;br /&gt;
Too piercing, else, to be sustained by sight.&lt;br /&gt;
Kach thought was visible that rolled within,&lt;br /&gt;
As through a crystal case the figured hours are seen j&lt;br /&gt;
And heaven did this transparent veil provide,&lt;br /&gt;
Because she hail no guilty thoughts to hide.&lt;br /&gt;
Here is a courtly and cordial piece of compli-&lt;br /&gt;
ment :&mdash;&lt;br /&gt;
No porter guards the passage of your door,&lt;br /&gt;
To admit the wealthy, and exclude the poor;&lt;br /&gt;
For God, who gives the richos, gave the heart,&lt;br /&gt;
To sanctify the whole, by giving part;&lt;br /&gt;
Heaven, who foresaw the will, the means has wrought,&lt;br /&gt;
And to the second son a blessing brought;&lt;br /&gt;
The first-begotten had his father&amp;#039;s share,&lt;br /&gt;
But you, like Jacob, are Rebecca&amp;#039;s heir.&lt;br /&gt;
Each of these passages suffers by excision, for&lt;br /&gt;
Dryden&amp;#039;s beauties are those of sustained substance&lt;br /&gt;
and extended form, so that to judge his poetry&lt;br /&gt;
by a fragment is almost like trying to appreciate a&lt;br /&gt;
marble Venus by examining one of her broken&lt;br /&gt;
lingers. Yet which of the essential qualities of&lt;br /&gt;
U&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 264 (#668) ############################################&lt;br /&gt;
&lt;br /&gt;
264&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
poetry is missing even in these brief quotations?&lt;br /&gt;
Here are elevation of thought, felicity of expression,&lt;br /&gt;
life approached from the dignified and imaginative&lt;br /&gt;
side, versification that is as strong and as buoyant as&lt;br /&gt;
a wave. What is wanted? The wilful modern&lt;br /&gt;
reader says,&mdash;the charm of Spenser and of Shelley.&lt;br /&gt;
What the particular charm is which seems&lt;br /&gt;
lacking, not merely in Drydcn, but to a still&lt;br /&gt;
greater degree in Pope, is, I think, mainly a&lt;br /&gt;
technical one. It is not romantic subject, for&lt;br /&gt;
nothing in English poetry is more romantic than&lt;br /&gt;
&amp;quot;Theodore andHonoria&amp;quot;; it is not sweetness of&lt;br /&gt;
verse-music, for the whole of this huge folio is&lt;br /&gt;
ringing with a sober and majestic melody. It is&lt;br /&gt;
rather the lack of preciousness in the details, the&lt;br /&gt;
wide sweeps of the brush precluding all minute&lt;br /&gt;
foreground work, the absence of pre-Raphaclite&lt;br /&gt;
touches, which disappoint us in this manly body of&lt;br /&gt;
poctrv. Wc expect, in our age, to have the entire&lt;br /&gt;
canvas covered with delicate handicraft, and we&lt;br /&gt;
find that where the painting poets of the Eliza-&lt;br /&gt;
bethan age succeed their pictures have the same&lt;br /&gt;
peculiarity. In Dryden&amp;#039;s age a great effect was&lt;br /&gt;
sought for, a poetical bravura, bold sweeping lines&lt;br /&gt;
of narrative. It was expected that poetry should&lt;br /&gt;
be seen from a distance, not pored over with a lens,&lt;br /&gt;
as we treat our favourites. Doubtless our con-&lt;br /&gt;
ception of the art gives us a more varied and a more&lt;br /&gt;
vivid pleasure, but a perusal of this folio, Dryden&amp;#039;s&lt;br /&gt;
farewell gift to his country, may serve to remind&lt;br /&gt;
us that the other, the simpler, plainer art also&lt;br /&gt;
exists. Our taste should be catholic, and to those&lt;br /&gt;
who would insist on our preferring one style to&lt;br /&gt;
another, and putting Marlowe in a class above&lt;br /&gt;
Drydcn, we may reply&mdash;&lt;br /&gt;
&amp;quot;Kach heaven&amp;#039;s alternate beauty well displays.&amp;quot;&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
A HINT FOR BRITISH MUSEUM&lt;br /&gt;
READERS.&lt;br /&gt;
ON the 13th of July last, a register, open to&lt;br /&gt;
the public, was placed in the hall just at the&lt;br /&gt;
entrance of the Reading Room of the&lt;br /&gt;
Dibliotheque Nationale in Paris, the object of&lt;br /&gt;
which is explained in the following notice placed&lt;br /&gt;
against the wall beside the register: &amp;quot;Conforme-&lt;br /&gt;
ment an desir cxprime par des lecteurs, le present&lt;br /&gt;
registre est mis a leur disposition pour l&amp;#039;inscription&lt;br /&gt;
des deinandes on des offres de collaboration (re-&lt;br /&gt;
cherches, copies, dessins, etc.) portant sur les&lt;br /&gt;
collections de la Bibliotheqne Nationale. L&amp;#039;ad-&lt;br /&gt;
ministration demeure absolument ctnmgere mix&lt;br /&gt;
indications contemiei dans ce registre.&amp;quot; Up to&lt;br /&gt;
the present date (January 6) 109 pages of the&lt;br /&gt;
register have been filled, or an average of nearly&lt;br /&gt;
four entries per day, the nature and variety of&lt;br /&gt;
which are quite interesting. It is to be noted&lt;br /&gt;
that nearly all the entries are by ladies and gentle-&lt;br /&gt;
men who seek literary employment, not by i&amp;gt;ersoiis&lt;br /&gt;
in search of assistants. There are a few investi-&lt;br /&gt;
gators in foreign countries who sent their names&lt;br /&gt;
to lie entered for the purpose of finding co-workers,&lt;br /&gt;
chiefly for gathering statistics. The numl&amp;gt;er of&lt;br /&gt;
languages in which researches are proposed to be&lt;br /&gt;
made, or lessons given, is astonishing. Let . me&lt;br /&gt;
quote a few specimens of the entries, namely :&mdash;&lt;br /&gt;
Demande recherches historiqnes, scientifiques, et&lt;br /&gt;
techniques .... recherches en tons genres,&lt;br /&gt;
transcriptions, documents de la noblesse, etc.&lt;br /&gt;
. a faire des copies et a mettre des&lt;br /&gt;
manuscrits au net .... a se mettre en rapport&lt;br /&gt;
avec personnes s&amp;#039;occupant de la question juive&lt;br /&gt;
. a faire traductions de russe en francnis,&lt;br /&gt;
lecons et copies .... des travaux qnelconqiies&lt;br /&gt;
(prix ties doux) .... s&amp;#039;oecupe de recherches&lt;br /&gt;
heraldique .... desire donner des lecons&lt;br /&gt;
d&amp;#039;anglais .... voyagerait avec une faniille on&lt;br /&gt;
une. personne senle .... preceptorat on&lt;br /&gt;
emploi de secretaire .... offre de vendre le&lt;br /&gt;
manuscrit d&amp;#039;un roman .... collabomteiir&lt;br /&gt;
avec petit capital pour fonder un journal ....&lt;br /&gt;
place ile comptable .... ecritnres diverses&lt;br /&gt;
. a changer conversation de francais contre&lt;br /&gt;
conversation d&amp;#039;allemand .... place de redac-&lt;br /&gt;
teur .... lemons de coniptabilite ....&lt;br /&gt;
lecons de violin et de piano .... apprentisage&lt;br /&gt;
d&amp;#039;un metier artistique .... place de gerant&lt;br /&gt;
. . . . place de garde champetre.&lt;br /&gt;
The supply in all these fields of labour is enor-&lt;br /&gt;
mously greater than the demand. Would such a&lt;br /&gt;
condition be materially different in the British&lt;br /&gt;
Museum&mdash;in England, where education is not so&lt;br /&gt;
free as in France? I doubt that there would l&amp;gt;e&lt;br /&gt;
much difference. The fact is that we live in an&lt;br /&gt;
age of research, and that the business is vastly&lt;br /&gt;
overdone. An age of research is followed by a&lt;br /&gt;
period of destruction, and the question of the&lt;br /&gt;
XXth Century is, Can we utilize the results of our&lt;br /&gt;
researches for the purpose of saving civilization&lt;br /&gt;
from collapse?&lt;br /&gt;
C. S.&lt;br /&gt;
&lt;br /&gt;
THE DAY SHALL COME.&lt;br /&gt;
The day shall come&mdash;surely as time rolls by&mdash;&lt;br /&gt;
When true strong souls to heights of God will&lt;br /&gt;
reach&mdash;&lt;br /&gt;
Aye, kiss His feet and hearken to His speech,&lt;br /&gt;
The distance vanquished between earth and sky;&lt;br /&gt;
As they draw nigh to Him, will He draw nigh&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 265 (#669) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
265&lt;br /&gt;
To them, and bend His face a little down&lt;br /&gt;
That glory from His eyes their beads may crown,&lt;br /&gt;
Their hearts may strengthen to sueh tension high,&lt;br /&gt;
But sometimes, too, I think that now and then,&lt;br /&gt;
(Leaving some garment, lest they lonely cry,&lt;br /&gt;
For them to hold, so, peaceful, childlike lie)&lt;br /&gt;
God will withdraw a little from these men;&lt;br /&gt;
And in far reaches out of ken and sight&lt;br /&gt;
Will live awhile in awful lonely light.&lt;br /&gt;
Sidney Caxton.&lt;br /&gt;
&lt;br /&gt;
NOTES PROM PARIS.&lt;br /&gt;
ICALLED at Dr. Blanche&amp;#039;s this afternoon to&lt;br /&gt;
hear the latest news of Guy de Maupassant.&lt;br /&gt;
He is only allowed to see very few people,&lt;br /&gt;
amongst these being his publisher, M. Ollendorff,&lt;br /&gt;
who visits him every day. De Maupassant, I&lt;br /&gt;
was glad to hear, is very much better. His&lt;br /&gt;
wound is healed, and he is very much calmer. A&lt;br /&gt;
dav or two ago he expressed a desire to resume the&lt;br /&gt;
writing of his novel, so tragically interrupted, but&lt;br /&gt;
yielded to the advice that it would be better for him,&lt;br /&gt;
as for the work, to rest a little longer. He is,&lt;br /&gt;
hovever, allowed to write letters to his friends, anil&lt;br /&gt;
one, which I saw yesterday, certainly showed no&lt;br /&gt;
signs of having been penned by a man whose&lt;br /&gt;
intellect is in any way deranged.&lt;br /&gt;
His new novel &amp;quot;La Debacle &amp;quot; is killing Emilo&lt;br /&gt;
Zola. Usually delighting in his work, he is loud&lt;br /&gt;
in complaint at the enormity of his task. &amp;quot;I&lt;br /&gt;
do not think that I would ever have begun it, had&lt;br /&gt;
I known. . .&amp;quot; he said to me. Still he is making&lt;br /&gt;
progress, and is now well on with the second part&lt;br /&gt;
of the book, which, composed of eight chapters, is&lt;br /&gt;
entirely taken up with a description of the battle of&lt;br /&gt;
Sedan. He hopes to have it finished by the end&lt;br /&gt;
of April.&lt;br /&gt;
I called on Zola the other day on a very dis-&lt;br /&gt;
agreeable errand. It was to ask him to put Ins&lt;br /&gt;
autograph in a birthday book. This book belonged&lt;br /&gt;
to a friend who is an ardent collector of autographs,&lt;br /&gt;
and also a great admirer of the chief of the&lt;br /&gt;
naturalist school. To oblige my friend I did what&lt;br /&gt;
I would not have done for myself. Still, I did not&lt;br /&gt;
care to face M. Zola with the request. I feared an&lt;br /&gt;
&amp;quot;Et tu, Brute,&amp;quot; but sent up, as ambassador, a note&lt;br /&gt;
in which I explained my purpose. Zola came&lt;br /&gt;
running downstairs, cordial as usual, and had me&lt;br /&gt;
up to his study. &amp;quot;Have you the instrument&lt;br /&gt;
of torture with you ?&amp;quot; he asked. Then opposite&lt;br /&gt;
April 2nd, wrote his laborious signature. &amp;quot;I hate&lt;br /&gt;
giving autographs,&amp;quot; he said, &amp;quot;when the request&lt;br /&gt;
reeks of coininereiality. I am constantly receiving&lt;br /&gt;
circulars, chiefly from America, but never answer&lt;br /&gt;
them.&amp;quot;&lt;br /&gt;
That birthday book contained the last signature&lt;br /&gt;
Victor Hugo ever wrote. I obtained it a few davs&lt;br /&gt;
before his death. It was pathetically feeble and&lt;br /&gt;
illegible.&lt;br /&gt;
An amiable eccentric is travelling in the south of&lt;br /&gt;
France as Paul Bourget. He has allowed himself&lt;br /&gt;
to be interviewed several times on various literary&lt;br /&gt;
subjects. Bourget published a letter putting people&lt;br /&gt;
on their guard against him, as it was thought he&lt;br /&gt;
might be a swindler. But it appears all that he&lt;br /&gt;
seeks to obtain by his false pretences is the&lt;br /&gt;
satisfaction of vanity. He pays his bills anil&lt;br /&gt;
behaves properly. Bourget ought to seek him out.&lt;br /&gt;
He should be worth analysing.&lt;br /&gt;
The last meeting of the Societe des Gens de Lettres&lt;br /&gt;
was held on Sunday, the 17th, at the Hotel Conti-&lt;br /&gt;
nental. Two hundred and ten members attended.&lt;br /&gt;
M. Zola presided. The meeting was a lively one. It&lt;br /&gt;
was divided as to the question whether the old system&lt;br /&gt;
of admitting members on the rejwrt of a rapporteur,&lt;br /&gt;
elected by the committee, should lie maintained, or&lt;br /&gt;
whether Article 5 should be modified so that in&lt;br /&gt;
future the claims of every would-be member should&lt;br /&gt;
1&laquo; examined by a special committee of three, who,&lt;br /&gt;
after writing three several reports, should elect a&lt;br /&gt;
rapporteur to make a final report on the admissi-&lt;br /&gt;
bility of the candidate. The old system was main-&lt;br /&gt;
tained by a large majority. The next meeting will&lt;br /&gt;
be held on the 3oth of the month.&lt;br /&gt;
I have seen M. Rodin&amp;#039;s rough model of the&lt;br /&gt;
statue of Balzac, which is to be erected in Paris by&lt;br /&gt;
public subscription. It premises a remarkable&lt;br /&gt;
work of art. Balzac is represented in the monkish&lt;br /&gt;
dressing-gown which he used to wear when writing,&lt;br /&gt;
and which, it will be remembered, was always kept&lt;br /&gt;
spotlessly white. The face is an excellent likeness,&lt;br /&gt;
and the pose bespeaks the wonderful vitality and&lt;br /&gt;
energy of the Goliath of the pen. Rodin is staking&lt;br /&gt;
his great reputation on this work.&lt;br /&gt;
Is &amp;quot; avid &amp;quot; English? It is an adjective that I&lt;br /&gt;
should often have had a use for, but the dictionaries&lt;br /&gt;
ignored it. Of late I have seen it frequently used,&lt;br /&gt;
as recently as last Sunday by a man of no less&lt;br /&gt;
U 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 266 (#670) ############################################&lt;br /&gt;
&lt;br /&gt;
266&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
authority than T. P. O&amp;#039;Connor in one of his&lt;br /&gt;
masterly reviews in the Sunday Sun; and I am&lt;br /&gt;
anxious to know quo warranto. In France the&lt;br /&gt;
Academy settles the y randes and the yetites&lt;br /&gt;
entrees of words into the national vocabulary: in&lt;br /&gt;
Germany the Kaiser decides in these matters, but&lt;br /&gt;
who or what in England? Is the Englishman&lt;br /&gt;
inde|&amp;gt;endent, of an official Word-Mint, or is it&lt;br /&gt;
coining to invent words? There are many words&lt;br /&gt;
which, like &amp;quot;avid,&amp;quot; seem tout indiques, and I am&lt;br /&gt;
curious whether a writer incurs n charge of lesS-&lt;br /&gt;
lanyuc in introducing them as occasion warrants.&lt;br /&gt;
Oscar Wilde&amp;#039;s &amp;quot; Salome &amp;quot; is to be produced at the&lt;br /&gt;
Theatre d&amp;#039;Art here next month. It is in one act&lt;br /&gt;
and in prose, a highly poetical dramatization of the&lt;br /&gt;
story of John the Baptist. Oscar Wilde wrote in&lt;br /&gt;
French from the beginning. It is very much ad-&lt;br /&gt;
mired by those who have read it, and the production&lt;br /&gt;
of a French play of considerable literal&amp;#039;)&amp;#039; pretension&lt;br /&gt;
is being eagerly looked forward to by artistic&lt;br /&gt;
Paris.&lt;br /&gt;
Robert H. Shehakd.&lt;br /&gt;
Paris, January 20th, 1892.&lt;br /&gt;
&diams;■&amp;gt;&bull;-&diams;&lt;br /&gt;
LIKE THE AUTHORS, or A REFORMED&lt;br /&gt;
PROFESSION.&lt;br /&gt;
&amp;quot;TTTATT a minute,&amp;quot; said the man at the table,&lt;br /&gt;
VV looking up. &amp;quot;Sit down. Take a pipe.&lt;br /&gt;
* T I shall not be long.&amp;quot;&lt;br /&gt;
His visitor took a chair&mdash;there were only two in&lt;br /&gt;
the garret&mdash;and sat down. It was a cold day in&lt;br /&gt;
January, but there was no tire. The man writing&lt;br /&gt;
at the table had a rug wrapped round his legs.&lt;br /&gt;
The furniture was scanty and shabby.&lt;br /&gt;
Presently the writing man collected his papers,&lt;br /&gt;
numbered them, and looked over the last two or&lt;br /&gt;
three pages in his hand.&lt;br /&gt;
&amp;quot;There !&amp;quot; he cried, &amp;quot;It is finished, and now I&lt;br /&gt;
think that old humbug Sir George will sit up and&lt;br /&gt;
look round about.&amp;quot;&lt;br /&gt;
&amp;quot;Oh! they are all made to sit up every week,&amp;quot;&lt;br /&gt;
said the other wearily. &amp;quot;What good does it do?&amp;quot;&lt;br /&gt;
&amp;quot;I&amp;#039;ve shown that he knows no law; I&amp;#039;ve shown&lt;br /&gt;
that he never did know any law; that his&lt;br /&gt;
eloquence is twopenny froth; that he is a hack&lt;br /&gt;
and a . . . .&amp;quot;&lt;br /&gt;
&amp;quot;That will do. You have written one of the&lt;br /&gt;
usual beastly things, I suppose. What good will&lt;br /&gt;
it do if it is true? Besides, you know that it&lt;br /&gt;
isn&amp;#039;t true, or only half true. He is what circum-&lt;br /&gt;
stances have made him.&amp;quot;&lt;br /&gt;
&amp;quot;It will mean a few guineas in my pocket to&lt;br /&gt;
begin with.&amp;quot;&lt;br /&gt;
&amp;quot;And to end with. Nobody will think anything&lt;br /&gt;
the better of you, or any the worse of Sir&lt;br /&gt;
George, for your article, or a dozen articles like&lt;br /&gt;
it. Never a number of any magazine comes&lt;br /&gt;
out in which there is not some article by &raquo;&lt;br /&gt;
clever young fellow like yourself&amp;quot;&mdash;the speaker&lt;br /&gt;
was at least eight-and-t went v, and his friend was&lt;br /&gt;
perhaps three years younger&mdash;&amp;quot; 011 the Decay of&lt;br /&gt;
the Legal Profession. The magazines must be&lt;br /&gt;
filled somehow. Formerly it was the Decay of&lt;br /&gt;
Literature, and the pipers were filled by the&lt;br /&gt;
young men who wanted to show their superiority&lt;br /&gt;
bv down-crving favourite authors. I was looking&lt;br /&gt;
the other day at some magazines of 1892. How-&lt;br /&gt;
stale and dull they were&mdash;the articles written by&lt;br /&gt;
the men of the Higher Criticism, as they called&lt;br /&gt;
themselves! And how dead and forgotten are the&lt;br /&gt;
writers of those papers! I think people got tired&lt;br /&gt;
of the thing, if they ever liked it, which one cannot&lt;br /&gt;
believe. Fortunately the reform of the professions&lt;br /&gt;
and the destruction of our old corporations set us&lt;br /&gt;
free to abuse each other. Well, we have got our&lt;br /&gt;
liberty, and the result . . . .&amp;quot; He looked&lt;br /&gt;
about the emptv garret. His eye fell upon the&lt;br /&gt;
empty fireplace and his friend&amp;#039;s shabby coat. He&lt;br /&gt;
stopped and sighed.&lt;br /&gt;
&amp;quot;Yes,&amp;quot; cried the other hotly, &amp;quot;we have our&lt;br /&gt;
liberty and we use it. What? Why should&lt;br /&gt;
we remain in silence when such a humbug as old&lt;br /&gt;
Sir George keeps all the business to himself?&lt;br /&gt;
Humbug or not he is fifty years of age; it is time&lt;br /&gt;
for him lo retire in favour of the younger men.&amp;quot;&lt;br /&gt;
&amp;quot;Quite so. Envy of success; jealousy of age;&lt;br /&gt;
but Sir George is a great advocate; juries think so.&amp;quot;&lt;br /&gt;
&amp;quot;What do juries know altout law? But you&lt;br /&gt;
are always carping at things as they are. I don&amp;#039;t&lt;br /&gt;
believe they were ever any better. Why should&lt;br /&gt;
not barristers, physicians, preachers&mdash;everybody&mdash;&lt;br /&gt;
criticise each other just as literary men have always&lt;br /&gt;
done?&amp;quot;&lt;br /&gt;
&amp;quot;Rather, why should authors have been allowed&lt;br /&gt;
to set the evil example of knifing each other?&lt;br /&gt;
Bemeinber that the best men&mdash;even the second-&lt;br /&gt;
rate men&mdash;have seldom, if ever, done it. The&lt;br /&gt;
personal abuse, the misrepresentations, the envious&lt;br /&gt;
sneers that went on under the name of literary&lt;br /&gt;
criticism, all this was done by men who notoriously&lt;br /&gt;
had created or invented nothing, and were jealous&lt;br /&gt;
of the men who had. The pipers which filled up&lt;br /&gt;
the monthly magazines fifty years ago with lamen-&lt;br /&gt;
tations 011 the Decay of Art and Literature were&lt;br /&gt;
not the work of the craftsmen, but of the men who&lt;br /&gt;
wished to be taken as critics. Their papers were&lt;br /&gt;
sometimes accepted by editors because they could&lt;br /&gt;
be had for the asking and at a prettv low figure,&lt;br /&gt;
and because they filled up his paper. Nolwdy&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 267 (#671) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
wanted them; nobody read them; they hud no&lt;br /&gt;
influence; the things they cried down went on&lt;br /&gt;
flourishing just the same. Nobody whs hurt by&lt;br /&gt;
them, except the profession of letters. That was&lt;br /&gt;
very much hurt, I suppose; it was made contemp-&lt;br /&gt;
tible as far as it. can be made contemptible. What&lt;br /&gt;
could the world, as then constituted, when pro-&lt;br /&gt;
fessions were guilds, think of a calling in which&lt;br /&gt;
every man&amp;#039;s hand was turned against his neighbour,&lt;br /&gt;
and abuse, depreciation, envy, and spitefulness were&lt;br /&gt;
suffered without rebuke or power of remedy, except&lt;br /&gt;
action for libel?&amp;quot;&lt;br /&gt;
&amp;quot;By which you would infer that we our-&lt;br /&gt;
selves&amp;quot;&lt;br /&gt;
&amp;quot;Let us see. Fifty years ago the profession of&lt;br /&gt;
the law was a closely guarded corporation. Those&lt;br /&gt;
who belonged to it were governed by laws; if they&lt;br /&gt;
broke those laws they were liable to be disbarred.&lt;br /&gt;
For instance, they could not canvass, tout, adver-&lt;br /&gt;
tise, or beg for work; tliey could not bargain with&lt;br /&gt;
solicitors; they could not haggle and be beaten&lt;br /&gt;
down; they could not sue for fees; they could&lt;br /&gt;
not attack each other, as authors did&mdash;and as von&lt;br /&gt;
do&mdash;had your grandfather written that paper in&lt;br /&gt;
your hands he would have been most certainly&lt;br /&gt;
disbarred. In fact, fifty years ago a barrister was,&lt;br /&gt;
before all, a gentleman, according to the good old&lt;br /&gt;
meaning of the word.&amp;quot;&lt;br /&gt;
&amp;quot;Whatever has happened, we have our liberty.&lt;br /&gt;
Freedom before all!&amp;quot;&lt;br /&gt;
&amp;quot;Freedom? Look out of window. Who is&lt;br /&gt;
that great fat man swelling along like a turkey cock?&lt;br /&gt;
A rich solicitor, is he not? He is to us what the&lt;br /&gt;
publisher was to the author. He lavs the money;&lt;br /&gt;
he gives out the work; he pays us. Formerly he&lt;br /&gt;
paid ns at rates fixed by ourselves. We sat here&lt;br /&gt;
and the work came to us. Now his chambers&mdash;&lt;br /&gt;
that man has got a whole set of stairs in Stone&lt;br /&gt;
Buildings&mdash;are besieged by barristers waiting to&lt;br /&gt;
receive the work, begging for it, humbly receiving&lt;br /&gt;
what he will give, hoping for his generosity.&lt;br /&gt;
&amp;quot;Look at that fellow taking off his hat in the&lt;br /&gt;
court. He is a great lawyer&mdash;a great scholar&mdash;&lt;br /&gt;
a man of immense powers. Yet he has to take off&lt;br /&gt;
his hat to the solicitor who has got the money, and&lt;br /&gt;
he has to so himself to the man&amp;#039;s chambers to ask&lt;br /&gt;
for work.&amp;quot;&lt;br /&gt;
&amp;quot;Our liberty&mdash;Our liberty &amp;quot;&mdash;said the other man&lt;br /&gt;
more feebly.&lt;br /&gt;
&amp;quot;Your liberty! stuff and rubbish! wc had your&lt;br /&gt;
liberty and we threw it away ; we were indepen-&lt;br /&gt;
dent, and we made ourselves slaves. We imitated&lt;br /&gt;
the authors&mdash;we cut the painter and east the boat&lt;br /&gt;
adrift. Lil&amp;gt;erty is only to be achieved by combina-&lt;br /&gt;
tion. As authors were fifty years ago, afraid of&lt;br /&gt;
publishers, dependent on their so-called &amp;#039;gene-&lt;br /&gt;
rosity,&amp;#039; snarling at each other, so are we now,&lt;br /&gt;
because we have destroyed our corporation. That&lt;br /&gt;
splendid great hall, over there; it is used, you&lt;br /&gt;
know very well, by the solicitors for their banquets&lt;br /&gt;
&mdash;they sometimes ask us to sit down with them&mdash;&lt;br /&gt;
it was ours once; the library next to the hall&mdash;ours&lt;br /&gt;
&mdash;but we threw all away when we destroyed our&lt;br /&gt;
corporation. As for the physicians, you know what&lt;br /&gt;
they are now&mdash;think of what they were fifty years&lt;br /&gt;
ago.&lt;br /&gt;
&bull;&amp;#039; Do you mean to say that we are not to speak&lt;br /&gt;
the truth when a humbug .&amp;quot;&lt;br /&gt;
&amp;quot;My dear fellow, reflect. Why should you speak&lt;br /&gt;
the truth? How do you know that it is the truth?&lt;br /&gt;
Have you shown that you could do any l&amp;gt;etter?&lt;br /&gt;
Have you shown that you can do anything at all?&lt;br /&gt;
Who constituted you a judge? Why should (he&lt;br /&gt;
world accept your verdict? How much envy is there&lt;br /&gt;
in this paper that you have written, and how much&lt;br /&gt;
pure love of justice and yearning after excellence?&lt;br /&gt;
How much knowledge of law&mdash;principles of criti-&lt;br /&gt;
cism&mdash;do you show in this article of yours?&amp;quot;&lt;br /&gt;
The other hung his head. &amp;quot;They all do it,&amp;quot; he&lt;br /&gt;
said; &amp;quot;my dear fellow, I should starve if it were&lt;br /&gt;
not for the chance of making a little money this&lt;br /&gt;
way.&amp;quot;&lt;br /&gt;
&amp;quot;Well, it is a bad way. In the old times,&lt;br /&gt;
before the men and women of letters saw a way to&lt;br /&gt;
combine, and to regidate the former license, the&lt;br /&gt;
same kind of talk went on about criticism and the&lt;br /&gt;
pricking of wind bags. Every little prig who&lt;br /&gt;
offered his precious contribution was allowed&lt;br /&gt;
to pad out the pages of the magazines with the&lt;br /&gt;
newest jargon al&amp;gt;out Art, and with his crude and&lt;br /&gt;
impudent judgment on men he never even took the&lt;br /&gt;
trouble to read. They were just like you, my dear&lt;br /&gt;
l&amp;gt;oy. They had never been tried; nobody knew&lt;br /&gt;
whether they could do anything or not. Mostly&lt;br /&gt;
they could do nothing. Mostly they no more&lt;br /&gt;
had the critical than the creative faculty. In&lt;br /&gt;
fact, the former is much the rarer of the two. And&lt;br /&gt;
they were mostly consumed with spite and envy.&lt;br /&gt;
Just like you, my dear lwy. Now you have got&lt;br /&gt;
your knife into Sir George. That was the way&lt;br /&gt;
the would-be man of letters generally began.&lt;br /&gt;
You do not tell us, you sec, because you do not&lt;br /&gt;
know, what you would do if you were in Sir&lt;br /&gt;
George&amp;#039;s place. He has to convince the jury; to&lt;br /&gt;
please his employer the solicitor; to win his case.&lt;br /&gt;
What is the use of saying that he knows no law?&lt;br /&gt;
He has to win his case. What is the use of saying&lt;br /&gt;
that he plays to the gallery? He has to win his&lt;br /&gt;
case.&amp;quot;&lt;br /&gt;
&amp;quot;Is there to Ik&amp;#039; no criticism at all, then?&amp;quot;&lt;br /&gt;
&amp;quot;Let us distinguish. A man in practice desires&lt;br /&gt;
the favourable judgment of his employers, the&lt;br /&gt;
solicitors. That is all the criticism he wishes,&lt;br /&gt;
Most of your criticism is directed, and intended,&lt;br /&gt;
to prejudice him in the eyes of his employers,&lt;br /&gt;
Next, he desires to be thought a persuader cf&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 268 (#672) ############################################&lt;br /&gt;
&lt;br /&gt;
268&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
juries. If the world accepts Lim as such, he is, to&lt;br /&gt;
a certain extent, independent of the solicitors,&lt;br /&gt;
because they must employ him. Therefore a great&lt;br /&gt;
part of your criticism is intended to prejudice him&lt;br /&gt;
in the eyes of the; world. If a man is jwpular von&lt;br /&gt;
deride the -world for liking him&mdash;just us the&lt;br /&gt;
unsuccessful and the. untried writer used to do.&lt;br /&gt;
You invent a thousand reasons why the world&lt;br /&gt;
should despise him. But there is only one reason&mdash;&lt;br /&gt;
envy. You want to take his place. That is,&lt;br /&gt;
while you are young. At your present age you&lt;br /&gt;
hate the men who have got on, because you wish to&lt;br /&gt;
be in their place. When you grow old you will&lt;br /&gt;
hate them worse, because you have failed to get on.&lt;br /&gt;
That is about the sum of vour criticism, my dear&lt;br /&gt;
friend.&amp;quot;&lt;br /&gt;
The other man did not reply. There was no&lt;br /&gt;
reply possible, because it was all true. &amp;quot;When all&lt;br /&gt;
is said,&amp;quot; the speaker continued, &amp;quot;wo remain the&lt;br /&gt;
slaves of the solicitors; we belong to the men who&lt;br /&gt;
have money and can give out the work; we have&lt;br /&gt;
to take what they choose to dole out we have no&lt;br /&gt;
protection against them. They have cut our fees&lt;br /&gt;
down to vanishing point; they have found out a&lt;br /&gt;
thousand ways to rob us and beat us down. If we&lt;br /&gt;
grumble they put on men like yourself, my dear&lt;br /&gt;
Jack, hard up, envious, and j&amp;gt;erhaps incompetent&mdash;&lt;br /&gt;
which is not like yourself&mdash;to call attention to our&lt;br /&gt;
sordid and money grubbing spirit when we ought&lt;br /&gt;
to be contented with the honour and the. glory of&lt;br /&gt;
the spouting. These hacks talk about the dignity&lt;br /&gt;
of the profession, and ask if law is to be measured&lt;br /&gt;
by the guineas it will bring in. We are in rags,&lt;br /&gt;
and our miseries and our helplessness bring upon&lt;br /&gt;
us the contempt of the world. Why, men are&lt;br /&gt;
ashamed to call themselves barristers, just as they&lt;br /&gt;
were formerly ashamed to call themselves authors,&lt;br /&gt;
l&amp;gt;ecause they were so helpless, and so poor, and so&lt;br /&gt;
very much sat upon and robbed!&amp;quot;&lt;br /&gt;
&amp;quot;There are too many of us,&amp;quot; said the other.&lt;br /&gt;
&amp;quot;Yes, we have abolished examinations, you see.&lt;br /&gt;
Well&mdash;we live in garrets, like this j solicitors live&lt;br /&gt;
in stately clubs; they have robbed us of all the&lt;br /&gt;
good things that used to be ours. They are now&lt;br /&gt;
Chancellors, Law Officers, Judges, Masters, Re-&lt;br /&gt;
corders&mdash;everything. Why? Because, for the sake&lt;br /&gt;
of the miserable freedom which you prize so much&lt;br /&gt;
&mdash;the power of hating and deriding and abusing&lt;br /&gt;
each other, we have given up the independence&lt;br /&gt;
which was ours by combination and ours by disci-&lt;br /&gt;
pline.&amp;quot;&lt;br /&gt;
There was a step on the stair and a knock at the&lt;br /&gt;
door. A man marched in with his hat on, fussy&lt;br /&gt;
and important.&lt;br /&gt;
&amp;quot;Messrs. Vellum and Sheepshanks,&amp;quot; he said,&lt;br /&gt;
pulling out a bundle of papers, &amp;quot; Mr. Sheepshanks&lt;br /&gt;
sends compliments and brief. You must call to-&lt;br /&gt;
morrow morning at u.3o, when he will see you.&lt;br /&gt;
Case set down for hearing. Documents in the case.&lt;br /&gt;
Junior counsel, brief endorsed four-and-six. With&lt;br /&gt;
you, Sir George. Here you are&mdash;want your money-&lt;br /&gt;
down, I suppose, like all of &amp;#039;em. Got sixpence&lt;br /&gt;
change?&amp;quot;&lt;br /&gt;
He threw the papers and the silver on the table&lt;br /&gt;
and marched out again, slamming the door behind&lt;br /&gt;
him.&lt;br /&gt;
&amp;quot;There!&amp;quot; cried the young lawyer, jumping up,&lt;br /&gt;
&amp;quot;My chance has come at last.&amp;quot;&lt;br /&gt;
&amp;quot;It used to come, fifty years ago, with a little&lt;br /&gt;
more respect to counsel. And the fee! Four-and-six!&lt;br /&gt;
Good Heavens! To what are we reduced? Well,&lt;br /&gt;
it may be your chance. Meantime, this precious&lt;br /&gt;
article! Will you add one more name to the long&lt;br /&gt;
list of envious and malignant articles written by the&lt;br /&gt;
young and the unsuccessful against their elders&lt;br /&gt;
and their betters?&lt;br /&gt;
&amp;quot;Let me keep it,&amp;quot; he said. &amp;quot;If the case leads&lt;br /&gt;
to others I will tear it up. If not . . . .&amp;quot;&lt;br /&gt;
&amp;quot;And as for me,&amp;quot; said the other, &amp;quot; I shall go on&lt;br /&gt;
with the impossible task of trying to persuade this&lt;br /&gt;
scattered company of barristers to unite, to associate&lt;br /&gt;
once more, and to return to the old order. The&lt;br /&gt;
older men cannot; it is too late for them. They&lt;br /&gt;
have been too long accustomed to fight, every man&lt;br /&gt;
for his own hand. They cannot understand the&lt;br /&gt;
independence of the former order; senility to&lt;br /&gt;
solicitors is in their blood; they have grown up&lt;br /&gt;
to think it the finest thing in the world to slate and&lt;br /&gt;
scarify each other. But with the young men it&lt;br /&gt;
may be different. Jack, tear up this filthy rag,&amp;quot;&lt;br /&gt;
&mdash;he chucked the article into the empty fireplace&mdash;&lt;br /&gt;
&amp;quot;and join me. Let us work together, let us try to&lt;br /&gt;
restore the Inns of Court, let us try to bring back&lt;br /&gt;
the old order, the old discipline, and the former&lt;br /&gt;
independence.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
A MAGNIFICENT STORY.*&lt;br /&gt;
EVERYONE has been reading &amp;quot;Tess of the&lt;br /&gt;
D&amp;#039;Urbervilles,&amp;quot; and Mr. Hardy&amp;#039;s splendidly&lt;br /&gt;
pathetic story has cominanded the outspoken&lt;br /&gt;
praise of all competent to judge of its merits. It&lt;br /&gt;
is a curious comment upon the attitude of the&lt;br /&gt;
English reader&mdash;for this, of course, dictates the&lt;br /&gt;
attitude of the editor who caters for him--that it&lt;br /&gt;
should have been thought expedient to mutilate&lt;br /&gt;
this perfectly restrained and delicate book in its&lt;br /&gt;
original production lest it should give offence. To&lt;br /&gt;
us it seems that if blind people will walk ulwut,&lt;br /&gt;
they must take the chance of bruising their shins&lt;br /&gt;
* Tess of the D&amp;#039;Urbervilles, a pure woman, faithfully&lt;br /&gt;
presented by Thoma9 Hardy. 3 vols. Osgood, Mcllvnine,&lt;br /&gt;
&amp;amp; Co.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 269 (#673) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
ngiiinst stumbling blocks. The world is to the&lt;br /&gt;
clear-eyed.&lt;br /&gt;
&amp;quot;Teas of the D&amp;#039;Urbervilles&amp;quot; is the faithful pre-&lt;br /&gt;
sentation of a pure woman. This is on the title&lt;br /&gt;
page, where it was easy to put it&mdash;the printer&lt;br /&gt;
could have done it&mdash;but it is also in the text,&lt;br /&gt;
where not another living writer could have put it,&lt;br /&gt;
under the difficulties which Mr. Hardy has created&lt;br /&gt;
for himself, that he might move us to admiration&lt;br /&gt;
by overcoming them. For Tess is twice a guilty&lt;br /&gt;
lover. As a child she is deceived by a man, and&lt;br /&gt;
as a woman she is sacrificed to circumstances, but&lt;br /&gt;
throughout her terrible story there is no doubt&lt;br /&gt;
whatever that she loathes the sin that has lost her,&lt;br /&gt;
that she is an absolutely pure woman faithfully&lt;br /&gt;
presented. She starts as a healthy hoyden, soon&lt;br /&gt;
to be a dishonoured mother, and she ends on the&lt;br /&gt;
gallows, the mad murderess of her paramour, but&lt;br /&gt;
from end to end she shows no trace of levity, no&lt;br /&gt;
smear of sensuality. There is but one passionate&lt;br /&gt;
time for her&mdash;her brief life as a bride.&lt;br /&gt;
The story depends wholly upon the method of&lt;br /&gt;
its telling. Throughout her misery Tess is always&lt;br /&gt;
within a few feet of happiness, throughout her sin&lt;br /&gt;
she is always within a few feet of virtue. She&lt;br /&gt;
walks to her doom along one of two parallel piths.&lt;br /&gt;
The other, separated from her by only a little&lt;br /&gt;
hedge, would conduct her to happiness. She never&lt;br /&gt;
sees over the hedge. Her first lover would have&lt;br /&gt;
married her had she &amp;quot;resisted him longer. Her&lt;br /&gt;
mother placed her in his power, and ignorance&lt;br /&gt;
completed her ruin. But she is not ruined for&lt;br /&gt;
ever. She lives down her fault. She is betrothed&lt;br /&gt;
to the man she loves. Surely now she is on the&lt;br /&gt;
other path! No. The man who married her&lt;br /&gt;
would have lived out a life of happiness with her,&lt;br /&gt;
if she had told him all her story before their&lt;br /&gt;
marriage, or told him nothing afterwards. Her&lt;br /&gt;
mother prevented the first course, her honour&lt;br /&gt;
prevented the second, and at once she is back on&lt;br /&gt;
her path of sorrow. She could have kept her&lt;br /&gt;
husband by her side if she had put out her&lt;br /&gt;
seductive powers. Her delicacy prevented her&lt;br /&gt;
from doing this, so his delicacy urged him to&lt;br /&gt;
desert her. She has one more chance. Her&lt;br /&gt;
husband&amp;#039;s parents would have helped her had she&lt;br /&gt;
appealed to them. She starts to do so, and a&lt;br /&gt;
trivial accident prevents her from accomplishing&lt;br /&gt;
her purpose. Once again she was on the path to&lt;br /&gt;
happiness, and once again she is forced away&lt;br /&gt;
to her allotted track. The pretty generosity of&lt;br /&gt;
Marian and Izz Huett might have saved her, but&lt;br /&gt;
it was not to be. With complete fidelity to his&lt;br /&gt;
conception of the girl and to his knowledge of life,&lt;br /&gt;
the author hurries her to her doom. She has&lt;br /&gt;
never known how near she has been to happiness.&lt;br /&gt;
Tragedy is not the caterwauling of a Princess&lt;br /&gt;
in a burlesque castle, and sensation is not a&lt;br /&gt;
question of undiscovered crime. For those who&lt;br /&gt;
can understand it this book is most tragic and&lt;br /&gt;
most sensational, but it is not a book for house-&lt;br /&gt;
maids.&lt;br /&gt;
Tess is a very simple creature. She luis very&lt;br /&gt;
little reasoning power and no religious convictions&lt;br /&gt;
whatever. Therefore, stayed neither from within&lt;br /&gt;
nor from without, she easily falls a victim to cir-&lt;br /&gt;
cumstances, and her cruel fate becomes logical.&lt;br /&gt;
But she is a pure woman.&lt;br /&gt;
Mr. Hardy justifies his title by his book. Read&lt;br /&gt;
it and see that the book justifies our title.&lt;br /&gt;
It is a magnificent story.&lt;br /&gt;
&raquo;■&laquo;■&diams;&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
NO English paper, so far as I have seen, has&lt;br /&gt;
noticed the very remarkable case brought&lt;br /&gt;
before the Sydney Court, under Sir Frederick&lt;br /&gt;
Darley, a few weeks ago. It was in the New York&lt;br /&gt;
Nation that I saw the note upon it, which will be&lt;br /&gt;
found in another part of this paper. A certain firm&lt;br /&gt;
of Australian publishers had brought out a book&lt;br /&gt;
called &amp;quot;Australian Men of Mark.&amp;quot; The judge&lt;br /&gt;
ruled that all contracts entered into on account&lt;br /&gt;
of the book should be null and void, because it did&lt;br /&gt;
not contain biographies of men really remarkable,&lt;br /&gt;
but only of local importance. The Nation calls&lt;br /&gt;
attention to certain dangers rising out of such a&lt;br /&gt;
judgment. Others may be suggested. Thus,&lt;br /&gt;
&amp;quot;Claribel: a Romance of the Day.&amp;quot; (3 vols.&lt;br /&gt;
Washington Jones. 1892.) What is to prevent&lt;br /&gt;
a judge from ruling that the publisher is not bound&lt;br /&gt;
to give the author any of the royalties stipulated&lt;br /&gt;
for on the ground that there is nothing romantic&lt;br /&gt;
in the book at all? Again, what is to prevent a&lt;br /&gt;
judge from ruling that the publisher of a periodical&lt;br /&gt;
called Noble Thoughts is not entitled to claim his&lt;br /&gt;
rights because the Thoughts, in the opinion of the&lt;br /&gt;
judge, are not all Noble, or that he who guides&lt;br /&gt;
Little-Bits can enforce no claim )&amp;gt;ecause the&lt;br /&gt;
&amp;quot;Bits &amp;quot; are not &amp;quot; Little,&amp;quot; or that the Spectator does&lt;br /&gt;
not spec tale and therefore has no rights? What&lt;br /&gt;
with the decision in the Piunock case and this&lt;br /&gt;
of the Sydney judge the law, as regards both&lt;br /&gt;
author and publisher, is becoming confused and&lt;br /&gt;
miscellaneous.&lt;br /&gt;
The foundation of the American Society of&lt;br /&gt;
Authors should prove an event of the highest&lt;br /&gt;
importance to American literature. Elsewhere will&lt;br /&gt;
be seen a longer notice of this event. It is hoped&lt;br /&gt;
tliat they may follow our leading in certain&lt;br /&gt;
particulars, viz., in the accumulation of all the facts&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 270 (#674) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
connected with the management of literary property,&lt;br /&gt;
the reform of the law as regards literary property,&lt;br /&gt;
the creation of jealousy and suspicion as regards&lt;br /&gt;
literary property. It is also hoped that they will&lt;br /&gt;
show us an example in public spirit, clearness of&lt;br /&gt;
action and union. Not to move too quickly, but to&lt;br /&gt;
he always moving, has been our aim. There are&lt;br /&gt;
some who think we do not move quickly enough.&lt;br /&gt;
There are others who cry out to us that we are&lt;br /&gt;
moving far too quickly. It. is neither helpless&lt;br /&gt;
crying nor a wrathful strike that is wanted; it is&lt;br /&gt;
steady increasing education and creation of public&lt;br /&gt;
opinion, and the publication of the actual facts.&lt;br /&gt;
There is one point in which I hope that the new&lt;br /&gt;
American Society may be distinguished over our&lt;br /&gt;
own. I hope that we shall hear that the whole&lt;br /&gt;
body of honourable publishers have joined in&lt;br /&gt;
support of the Society. In this country they&lt;br /&gt;
have not. Partly, of course, it is the difference&lt;br /&gt;
between a trade and a profession, that the former&lt;br /&gt;
is not careful and jealous about its name and&lt;br /&gt;
honour, and the latter is. What a barrister&lt;br /&gt;
cannot do if he wishes to remain a barrister is&lt;br /&gt;
well known. What a publisher can do and remain&lt;br /&gt;
a publisher should be by this time very well known&lt;br /&gt;
to our readers. Yet one might have expected that&lt;br /&gt;
personal considerations, self-respect, dignity, even&lt;br /&gt;
self-interest, should have caused those publishers&lt;br /&gt;
who have given these hostages to fortune would have&lt;br /&gt;
pressed forward to the support of an association&lt;br /&gt;
whose principal object is the protection of property&lt;br /&gt;
against those who live by pillage of that property.&lt;br /&gt;
The case of the State and men of letters has&lt;br /&gt;
been summed up by Mr. Earl Hodgson in the&lt;br /&gt;
National Review. The spirit of the paper we&lt;br /&gt;
cannot but commend. To begin with, Mr. Hodgson&lt;br /&gt;
treats the question of the exclusion of literature&lt;br /&gt;
from national recognition quite seriously, which is&lt;br /&gt;
the first thing wanted j in fact, it is the only thing&lt;br /&gt;
wanted. That the question is serious is the one&lt;br /&gt;
tiling asked for. The proper answer will follow&lt;br /&gt;
Very naturally. Mr. Hodgson, however, goes&lt;br /&gt;
wrong at the outset by asking whether there is&lt;br /&gt;
among literary men such a desire for titles that the&lt;br /&gt;
Patronage Secretary of the Treasury would be&lt;br /&gt;
&amp;quot;justified in ignoring the custom that the brewing&lt;br /&gt;
interest has a practical monopoly of new peerages.&amp;quot;&lt;br /&gt;
And he points to the fact that men of letters have&lt;br /&gt;
not come forward to complain that they have not&lt;br /&gt;
received the titles which are freely given to everybody&lt;br /&gt;
else. How should a man complain almut himself?&lt;br /&gt;
It would make him on the spot ridiculous for ever.&lt;br /&gt;
Even I, from my humble corner, when I began to&lt;br /&gt;
speak on the subject, did so in the full knowledge&lt;br /&gt;
of the cheap sneer that woidd certainly follow. A&lt;br /&gt;
man of letters, asked if he would like a title&mdash;&lt;br /&gt;
asked if he considers the withholding of national&lt;br /&gt;
recognition from literature a scandal&mdash;must put&lt;br /&gt;
the question aside or fence with it. Can a poet&lt;br /&gt;
write in reply that he ought to have been a K.C.B.&lt;br /&gt;
long ago? Of course he cannot. Mr. Lecky&lt;br /&gt;
expressed this very well when he said that it is&lt;br /&gt;
hardly for literary men to take the initiative in&lt;br /&gt;
asking for distinctions. Most of the objections&lt;br /&gt;
advanced by men of letters take the form of fear&lt;br /&gt;
that the wrong men would be distinguished. But&lt;br /&gt;
that objection applies to all professions. Some, as&lt;br /&gt;
Lord Selborne, write the conventional talk about&lt;br /&gt;
the &amp;quot;greatest honour of literary men is the power&lt;br /&gt;
they exercise over the minds of men &amp;quot;&mdash;a phrase&lt;br /&gt;
which may be used of lawyers, artists!, engineers,&lt;br /&gt;
physicians, architects&mdash;all the liberal professions.&lt;br /&gt;
Lord Selborne, observe, docs not object to the&lt;br /&gt;
conferring of distinction upon lawyers. The only&lt;br /&gt;
serious objection hitherto advanced is that literature&lt;br /&gt;
should have a special order of distinction, and at&lt;br /&gt;
present there is none. Certainly one would not&lt;br /&gt;
wish that literary men should be knighted&mdash;a&lt;br /&gt;
distinction pour rire when we consider the men&lt;br /&gt;
who arc thus decorated. What, then, is Mr.&lt;br /&gt;
Hodgson&amp;#039;s solution of the question? He says that&lt;br /&gt;
the answer is only matter of time. No class will&lt;br /&gt;
ever have titular distinctions conferred upon its&lt;br /&gt;
prominent members merely l&amp;gt;ecause it demands&lt;br /&gt;
recognition. Yet it is inevitable that the distinctions&lt;br /&gt;
will come to men of letters by-and-byc.&lt;br /&gt;
There is to be, at last, a selection from the old&lt;br /&gt;
and, to me, familiar pages of the Athenian Oracle.&lt;br /&gt;
Mr. John Underbill has made the selection;&lt;br /&gt;
Mr. Walter Scott will publish it. The book is&lt;br /&gt;
simply invaluable to everyone who wishes to study&lt;br /&gt;
the mind of the middle class at the beginning of tlic&lt;br /&gt;
last century. The thing cannot Ihj found anywhere&lt;br /&gt;
else in its entirety. Some of it is in Pepys. If&lt;br /&gt;
we had the whole of Pepys without any omissions,&lt;br /&gt;
we should doubtless find a great deal more, because&lt;br /&gt;
Pepys was not at the outset in the very l&amp;gt;cst&lt;br /&gt;
society. &amp;quot;For my own part,&amp;quot; he writes, &amp;quot; I never&lt;br /&gt;
did think my own family anything considerable-&lt;br /&gt;
There is some of it in Defoe, but then Defoe was &laquo;&lt;br /&gt;
strong self-contained man, whose ideas were very&lt;br /&gt;
far in advance of his friends. Besides, Defoe was&lt;br /&gt;
a Bohemian, and Defoe was a Dissenter. There W&lt;br /&gt;
none of it in Tom Brown and Ned Ward, for the&lt;br /&gt;
bourgeois mind has always been rojmtablc *D&amp;quot;&lt;br /&gt;
decorous, if dull. There is very little of it i&raquo;&lt;br /&gt;
Essayists, because Addison &amp;amp; Co., though &amp;#039;hey&lt;br /&gt;
might sit beside the smug cit at the coffee-house,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 271 (#675) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
27 r&lt;br /&gt;
did not go homo with him and sit with his wife and&lt;br /&gt;
daughters. The Athenian Oracle, with its succes-&lt;br /&gt;
sor, the British Apollo, is the only place where the&lt;br /&gt;
middle mind stands revealed.&lt;br /&gt;
&amp;quot;God save the mark!&amp;quot; What does it mean?&lt;br /&gt;
The words are now used at random; as often as not&lt;br /&gt;
they mean nothing, unless it is a mild depreciation.&lt;br /&gt;
&amp;quot;He calls himself a poet&mdash;Ciod save the mark!&amp;quot;&lt;br /&gt;
There has been a little talk in the New York&lt;br /&gt;
Nation on the origin of the phrase. It occurs, with&lt;br /&gt;
its identical &amp;quot;God bless the mark !&amp;quot;, four times&lt;br /&gt;
in Shakespeare. It has been conjectured to refer to&lt;br /&gt;
the mark in archery, or to the cross instead of&lt;br /&gt;
signature. But the explanation explains nothing.&lt;br /&gt;
Now, one of the four places is in Itomeo and&lt;br /&gt;
Juliet, where the Nurse says: &amp;quot;I saw the wound,&lt;br /&gt;
I saw it with mine eyes&mdash;God save the mark !&mdash;&lt;br /&gt;
here on his manly breast.&amp;quot; She touches her own&lt;br /&gt;
breast while she speaks. The writer in the Nation,&lt;br /&gt;
Mr. W. Hand Browne, thus comments on the&lt;br /&gt;
passage and the phrase:&lt;br /&gt;
&amp;quot;We know that in superstitions times men believed&lt;br /&gt;
that they lived in a perpetual beleagnerment of&lt;br /&gt;
malignant powers or demons, always on the watch&lt;br /&gt;
to harm them in body or soul; and a careless act,&lt;br /&gt;
word, or gesture might give a disastrous opening.&lt;br /&gt;
Against such mishaps Christians were taught that&lt;br /&gt;
the handiest prophylactic was the sign of the cross,&lt;br /&gt;
which put all demons at once to flight. So I con-&lt;br /&gt;
ceive that when the Nurse touches her breast she&lt;br /&gt;
makes a cross upon it&mdash;&amp;#039; God save (he mark!&amp;#039;&lt;br /&gt;
being equivalent to &amp;#039;God protect from harm the&lt;br /&gt;
place I now cross&amp;#039;; and this custom I surmise to&lt;br /&gt;
have given origin to the phrase. As the English&lt;br /&gt;
gave up the habit of crossing themselves, the&lt;br /&gt;
original significance was gradually forgotten, until&lt;br /&gt;
the phrase was used much as writers and speakers&lt;br /&gt;
of the present day occasionally use it, without any&lt;br /&gt;
idea of what it means or what they mean by it.&lt;br /&gt;
&amp;quot;A curious passage in Petronius seems to support&lt;br /&gt;
this view, and indeed gave me the notion of this&lt;br /&gt;
explanation. Trimalchio is telling a story of&lt;br /&gt;
witches veiling around a house in which a youth&lt;br /&gt;
lias just died. One of the family, a bold Cappa-&lt;br /&gt;
docian, draws his sword, rushes out of the house,&lt;br /&gt;
&amp;#039;et mulierem, tanquam hoc loco (salrum sit quod&lt;br /&gt;
tango), medium trajecit.&amp;#039; Here Trimalchio evi-&lt;br /&gt;
dently touches his own or his neighbour&amp;#039;s body to&lt;br /&gt;
indicate the spot where the witch was pierced, and&lt;br /&gt;
uses at the same time a protective, or avermucine,&lt;br /&gt;
formula to avert possible mischief.&amp;quot;&lt;br /&gt;
In another page will be found part of an address&lt;br /&gt;
by Mr. Andrew Lang on Burns and Scottish&lt;br /&gt;
poetry, filled with patriotic pride in the great and&lt;br /&gt;
vol. n&lt;br /&gt;
noble literature that is purely Scottish, on which&lt;br /&gt;
nobody can&mdash;or does&mdash;speak so well as Mr. Lang&lt;br /&gt;
himself. But is it the case, as he thinks, that the&lt;br /&gt;
age is not &amp;quot; ending in song &amp;quot;? Only yesterday we&lt;br /&gt;
were all asking each other where was the poet under&lt;br /&gt;
forty? It had become a commonplace to lament&lt;br /&gt;
that poetry attracts no longer the keener spirits.&lt;br /&gt;
One worries through a good many commonplaces&lt;br /&gt;
in the course of this pilgrimage; they are born;&lt;br /&gt;
they live; they die. Sometimes they are nearly&lt;br /&gt;
true, and die only when the conditions change;&lt;br /&gt;
sometimes they are only half true; sometimes they&lt;br /&gt;
present a small fraction of the truth. The history&lt;br /&gt;
of the commonplace has yet to be written. Of this&lt;br /&gt;
one commonplace, at least, I hope we shall hear no&lt;br /&gt;
more. Mr. Traill, himself a poet of no mean repute,&lt;br /&gt;
has shattered it. He enumerates sixty poets&mdash;real&lt;br /&gt;
poets&mdash;to whom the title cannot be refused; sixty,&lt;br /&gt;
not including himself, purposely omitted, the author&lt;br /&gt;
of &amp;quot;Ioniea,&amp;quot; Dr. W. C. Bennett, and Mr. Gerald&lt;br /&gt;
Massey, accidentally omitted. There is going to&lt;br /&gt;
be a fresh outburst of song, if I read the&lt;br /&gt;
signs aright. They are the signs of serious&lt;br /&gt;
attempt of serious reception, of awakening love&lt;br /&gt;
for verse, of improved form. In America, if&lt;br /&gt;
study and practice and perseverance can make&lt;br /&gt;
poets, there ought to be many poets already.&lt;br /&gt;
Mr. Howells, the parochial, I believe, claims all&lt;br /&gt;
the leading poets of the age for his own&lt;br /&gt;
parish. This is an age which, I venture to think,&lt;br /&gt;
will end with the warbling of multitudinous&lt;br /&gt;
songsters. The whole world will be a tuneful&lt;br /&gt;
choir, and each bosky grove will be melodious.&lt;br /&gt;
Whether there will be any great poet among them&lt;br /&gt;
all, 1 know not; but I am fond of listening to&lt;br /&gt;
songs, and I shall listen with the greatest pleasure.&lt;br /&gt;
We may expect before long a great invasion&lt;br /&gt;
of American literature. It must come, in fact,&lt;br /&gt;
unless the American papers are far more kindly&lt;br /&gt;
to their writers than our own. The invasion will,&lt;br /&gt;
I suppose, ruin us all. Who can stand up&lt;br /&gt;
against such writers as Paul Hamilton Hayne,&lt;br /&gt;
&amp;quot;greatest of all southern poets,&amp;quot; Celia Thaxter,&lt;br /&gt;
J. T. Turbridge, Mrs. Helen Hunt Jackson, Mrs.&lt;br /&gt;
Henson, Miss Edith Thomas, and Miss Helen Gray&lt;br /&gt;
Cone, of whom we read that they have very often&lt;br /&gt;
surpassed the remaining lines of Sappho, Danske&lt;br /&gt;
Dandridge, &amp;quot;the West Virginia poetess,&amp;quot; Miss&lt;br /&gt;
Malt Crim, the &amp;quot;new southern novelist,&amp;quot; Lafcndio&lt;br /&gt;
Ilearn, and others who are revealed to us in the&lt;br /&gt;
pages of the American journals? Seriously, how-&lt;br /&gt;
ever, there is a great, a vast, increase in the United&lt;br /&gt;
States of literary endeavour of all kinds, and they&lt;br /&gt;
are attempting excellence with a newly born, but&lt;br /&gt;
much fuller, recognition of form and style than we&lt;br /&gt;
see in this country. If study and perseverance can&lt;br /&gt;
X&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 272 (#676) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
make poets, novelists, and dramatists, then will&lt;br /&gt;
the United States speedily lead the way; the&lt;br /&gt;
whole country, from highest to lowest, is full of&lt;br /&gt;
respect for literary achievement; there is the&lt;br /&gt;
stimulus of the highest national honours&mdash;such&lt;br /&gt;
as the representation of the Republic at the courts&lt;br /&gt;
of St. James&amp;#039;s and Berlin; there are, available&lt;br /&gt;
for literary art of every kind, inexhaustible&lt;br /&gt;
materials within their own frontiers; it seems to&lt;br /&gt;
me almost safe to prophecy an outburst before&lt;br /&gt;
long of genius in the United States such as we&lt;br /&gt;
ourselves have not seen since the time of Elizabeth.&lt;br /&gt;
All the conditions are favourable&mdash;encouragement,&lt;br /&gt;
honour, ambition, study, confidence, materials&mdash;&lt;br /&gt;
everything is there waiting for natural aptitude or&lt;br /&gt;
genius, and this will not be long before it shows&lt;br /&gt;
itself in a full and flowing Hood.&lt;br /&gt;
The book of the month&mdash;i.e., the book which&lt;br /&gt;
lias attracted the greatest interest, during the month&lt;br /&gt;
&mdash;is undoubtedly Mrs. Humphrey Ward&amp;#039;s &amp;quot;David&lt;br /&gt;
Grieve.&amp;quot; There will be great diversity of opinion&lt;br /&gt;
as to the place in literature which this work will&lt;br /&gt;
occupy. Meantime, apart from opinions as to the&lt;br /&gt;
development of mind here portrayed, there can be&lt;br /&gt;
no doubt that the judgment of the Times, in&lt;br /&gt;
reviewing the work, was sound when it pronounced&lt;br /&gt;
the novel to l&amp;gt;e impressive. No other adjective&lt;br /&gt;
could so completely sum up the book.&lt;br /&gt;
One would like&mdash;this has nothing to do with the&lt;br /&gt;
worth of the book&mdash;that the people who talk so&lt;br /&gt;
glibly .about writing to a three-volume length on&lt;br /&gt;
the assumption that all three-volume novels are&lt;br /&gt;
of the same length, would kindly consider this&lt;br /&gt;
three-volume novel as to length. It is very nearly&lt;br /&gt;
twice as long as the ordinary novel. Of course&lt;br /&gt;
the cry about Procrustean length belongs to that&lt;br /&gt;
prattling bird the parrot, but it is seldom that its&lt;br /&gt;
absurdity is so readily noted as here.&lt;br /&gt;
Walteb Bksant.&lt;br /&gt;
&lt;br /&gt;
ERIC AND ROBERT, OR REVENGE IS&lt;br /&gt;
SWEET.&lt;br /&gt;
ILIKE these old titles. Out on your &amp;quot;Some&lt;br /&gt;
Ideas and their Exegesis,&amp;quot; a plague on your&lt;br /&gt;
&amp;quot;Developmental Evidences,&amp;quot; your &amp;quot;From&lt;br /&gt;
Prig to Prime Minister,&amp;quot; your &amp;quot;From Bookmaker&lt;br /&gt;
to Bishop.&amp;quot; Under such a title as I have chosen&lt;br /&gt;
all can guess what sort of story they may expect.&lt;br /&gt;
Eric and Robert were at school together. They&lt;br /&gt;
were neighbours at home, and so far friends at&lt;br /&gt;
school, that they walked together and talked to-&lt;br /&gt;
gether more than a little, although they did not&lt;br /&gt;
like each other much. I knew them both, and it&lt;br /&gt;
always seemed to me that they kept up consider-&lt;br /&gt;
able semblance of friendship, and some of its&lt;br /&gt;
practice, because each distrusted the other; but I&lt;br /&gt;
may have wronged them, and |K&amp;gt;ssibly they were a.s&lt;br /&gt;
fond of each other as school friends usually are.&lt;br /&gt;
This, at least, was notorious&mdash;they were desperately&lt;br /&gt;
jealous of each other. And circumstances gave&lt;br /&gt;
them cause, for circumstances constantly pitted&lt;br /&gt;
them against each other. Robert, the son of an&lt;br /&gt;
officer in Her Majesty&amp;#039;s Army, would occasionally&lt;br /&gt;
adopt a condescending tone towards Erie, the son&lt;br /&gt;
of a solicitor. Eric, the sou of a thriving business-&lt;br /&gt;
man, would at times show an obtrusive symjiathy&lt;br /&gt;
for Robert, the son of an impecunious half-pay&lt;br /&gt;
major. When Eric got a scholarship, for which&lt;br /&gt;
Robert had competed, Robert congratulated him&lt;br /&gt;
with a long face. When Robert was selected to&lt;br /&gt;
represent their school at cricket, in the place that&lt;br /&gt;
Eric had confidently expected for himself, Eric&amp;#039;s&lt;br /&gt;
interest in the national game waned, and he took&lt;br /&gt;
to lawn-tennis.&lt;br /&gt;
Both entered the same University, but availing&lt;br /&gt;
themselves of the increased liberties of college life,&lt;br /&gt;
they took different courses and saw little of each&lt;br /&gt;
other. And this was the easier that they had&lt;br /&gt;
but few common friends. If a man knew Eric he&lt;br /&gt;
somehow did not care to meet Robert. If a man&lt;br /&gt;
was on confidential terms with Robert he would&lt;br /&gt;
get an impression that Eric was rather a person to&lt;br /&gt;
be avoided. But they remained &amp;quot;Eric&amp;quot; and&lt;br /&gt;
&amp;quot;Robert&amp;quot;&amp;#039; to each other. The University worked&lt;br /&gt;
changes upon them. Eric grew idle, but read&lt;br /&gt;
promiscuously, and adopted a didactic and critical&lt;br /&gt;
tone. Robert grew diligent and became bitten&lt;br /&gt;
with Orientalism. The result of this was to make&lt;br /&gt;
him the only examinee in certain unpronounceable&lt;br /&gt;
dialects, while it took seven savants to examine&lt;br /&gt;
him. With a not unnatural generosity they&lt;br /&gt;
awarded him a first-class in the tripos.&lt;br /&gt;
It was about this period in their lives that the&lt;br /&gt;
affair with Edith took place. I can say but little&lt;br /&gt;
about it, for I know but little. Probably Edith&lt;br /&gt;
would have married Robert, if Eric had not&lt;br /&gt;
interfered. Probably she would have then married&lt;br /&gt;
Eric, if Robert had shown a proper dignity and&lt;br /&gt;
taken his refusal as final. He continued, as Eric&lt;br /&gt;
said, to pester the girl. Now, she was a peaceful&lt;br /&gt;
lass, and for the sake of peace she married the local&lt;br /&gt;
brewer.&lt;br /&gt;
With a University career and the regulation&lt;br /&gt;
love affair brought to their definite conclusions, each&lt;br /&gt;
young man felt that the business of life was now&lt;br /&gt;
before him. Robert took pupils in the Cashmere&lt;br /&gt;
dialects and began to make a reputation for himself&lt;br /&gt;
as a Numismatist. His Oriental studies bad&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 273 (#677) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
273&lt;br /&gt;
infused a certain enthusiasm into a school-boy&lt;br /&gt;
trick of coin-collecting, and had thrown over it a&lt;br /&gt;
glamour of classic learning. At two or three public&lt;br /&gt;
sides he gave the highest prices on record. From&lt;br /&gt;
the newspaper notoriety which he thus acquired to&lt;br /&gt;
public recognition as an expert in his subject was&lt;br /&gt;
but a short step. Next came rumours of his for-&lt;br /&gt;
tunate bargains. The British Museum cut Robert&amp;#039;s&lt;br /&gt;
own records, by giving him more for certain coveted&lt;br /&gt;
bits of metal than he had given himself. Then the&lt;br /&gt;
museums of New York and Melbourne followed&lt;br /&gt;
suit, and in course of time he acquired a second&lt;br /&gt;
reputation, as big as the first, by the sales from his&lt;br /&gt;
collection. He was chosen with acclaim the&lt;br /&gt;
Librarian and Curator of the New Institute of a&lt;br /&gt;
northern town, became a serious candidate for&lt;br /&gt;
election to the Royal Society, and was believed to&lt;br /&gt;
be writing an exhaustive book on the enthralling&lt;br /&gt;
hobby that he had made his own, and lifted into the&lt;br /&gt;
position of a science.&lt;br /&gt;
Meanwhile, Eric had also fallen upon his legs.&lt;br /&gt;
Shortly after leaving college he had entered a well-&lt;br /&gt;
known publishing firm, and as time went on he&lt;br /&gt;
became the presiding genius of the business. He&lt;br /&gt;
was very modern. He republished certain Eliza-&lt;br /&gt;
bethans&amp;#039; poetry in numbered copies on hand-made&lt;br /&gt;
paper. He ran a serious magazine, entitled &amp;quot; The&lt;br /&gt;
Mirror of Contemporary Thought,&amp;quot; to which he&lt;br /&gt;
obtained contributions from an archbishop, a prize-&lt;br /&gt;
lighter, and Mr. Gladstone. Of course he had his&lt;br /&gt;
series. It was called the Victorian series, and&lt;br /&gt;
consisted of little manuals stuffed with home-truths&lt;br /&gt;
about the Great People of the reign. It had a&lt;br /&gt;
certain vogue, chiefly among the little people of the&lt;br /&gt;
reign, but that is a very respectable public to&lt;br /&gt;
appeal to.&lt;br /&gt;
Soon after the establishment of &amp;quot; The Mirror of&lt;br /&gt;
Contemporary Thought,&amp;quot; there were hints in various&lt;br /&gt;
literary periodicals that the coming book of re-&lt;br /&gt;
search&mdash;a book from which amusement and artistic&lt;br /&gt;
pleasure were to be derived as well as mere infor-&lt;br /&gt;
mation&mdash;was Robert&amp;#039;s Manual of Numismatics.&lt;br /&gt;
With an impartial spirit, hardly to be too highly&lt;br /&gt;
commended in these log-rolling days, Erie lent the&lt;br /&gt;
pages of his review to Mr. Mortimer Watson, who&lt;br /&gt;
essayed, firstly, to dispose of Numismatics as a&lt;br /&gt;
science for ever, and, secondly, to indicate that&lt;br /&gt;
Robert&amp;#039;s Numismatics presented that foolish science&lt;br /&gt;
in a more contemptible light than it had ever pre-&lt;br /&gt;
viously appeared. Mr. Watson was thorough and&lt;br /&gt;
his work was very creditable, for he only had three&lt;br /&gt;
little stray articles from Robert&amp;#039;s pen and a few&lt;br /&gt;
annotated catalogues to guide him to his conclu-&lt;br /&gt;
sions, but those who read the article could scarcely&lt;br /&gt;
fail to see that Robert was a vicious, ignorant, and&lt;br /&gt;
pretentious man. Eric said in more quarters than&lt;br /&gt;
one that he was deeply sorry that Robert should&lt;br /&gt;
have been exposed.&lt;br /&gt;
It was about this time that Eric came on for&lt;br /&gt;
election at Robert&amp;#039;s club. Robert was so busy in&lt;br /&gt;
the matter, that more might have been expected&lt;br /&gt;
from his efforts in behalf of his old friend, than&lt;br /&gt;
actually came of them. Eric was not elected; and&lt;br /&gt;
Robert said in more quarters than one that he was&lt;br /&gt;
deeply sorry that Eric should not have been more&lt;br /&gt;
fortunate. To his inner self each owned that he&lt;br /&gt;
hated the other.&lt;br /&gt;
The position between them would have been&lt;br /&gt;
clearer to all of us, had not Robert&amp;#039;s appointment&lt;br /&gt;
kept him far from London. As they never met, a&lt;br /&gt;
formal agreement not to meet seemed superfluous&lt;br /&gt;
to both. Yet, oddly to say, at the very time when&lt;br /&gt;
it seemed most clear to us all that they could never&lt;br /&gt;
pretend to friendship again, business brought about&lt;br /&gt;
a rapproehement. Eric wrote to Robert and asked&lt;br /&gt;
him if he would give him the publication of the&lt;br /&gt;
book, allusion to which lind appeared in the papers.&lt;br /&gt;
He would like so much to publish it, he said, iirstly&lt;br /&gt;
because he felt sure that it would be a good book,&lt;br /&gt;
one&mdash;not to make too great a pretence to disin-&lt;br /&gt;
terestedness&mdash;that would bring him in a certain&lt;br /&gt;
amount of money; and, secondly, because he wished&lt;br /&gt;
to dissociate himself for ever from Mr. Mortimer&lt;br /&gt;
Watson&amp;#039;s vile attack on Robert. &amp;quot;Why should&lt;br /&gt;
not Robert,&amp;quot; he asked, &amp;quot;run up to town, dine, and&lt;br /&gt;
talk the matter over?&amp;quot;&lt;br /&gt;
So they dined and they talked, and they jHirtcd&lt;br /&gt;
dissatisfied with each other. For Robert had been&lt;br /&gt;
exacting; of this there could be no shadow of doubt.&lt;br /&gt;
He had also been exasperating. He had spoken of&lt;br /&gt;
his book as the only work that had ever l&amp;gt;een done&lt;br /&gt;
on the subject that could be worthy of serious&lt;br /&gt;
consideration. He boasted that it would not only&lt;br /&gt;
open to him the exclusive portals of the Royal&lt;br /&gt;
Society, but that it would cause him to be quoted&lt;br /&gt;
as a pioneer in Numismatic circles for ever.&lt;br /&gt;
&amp;quot;It has taken me ten years to write, sir, and&lt;br /&gt;
two more to illustrate,&amp;quot; said he, banging the table,&lt;br /&gt;
&amp;quot;but it will pay me with ten lifetimes of fame.&lt;br /&gt;
The book is unique.&amp;quot; Eric listened to these&lt;br /&gt;
gasconnades without interrupting. The next day-&lt;br /&gt;
lie made Robert an offer for his book. It was&lt;br /&gt;
accepted. It was boundlessly generous&mdash;at any&lt;br /&gt;
rate by comparison with the offers that had been&lt;br /&gt;
made by other publishers. The brief conditions&lt;br /&gt;
were that Robert was to deliver the MS. by a&lt;br /&gt;
certain date, and that he was to assign absolutely&lt;br /&gt;
ami for ever all his rights in the book to Eric, in&lt;br /&gt;
return for a thousand pounds.&lt;br /&gt;
&bull; * &bull; &bull;&lt;br /&gt;
On the morning of the day upon which the&lt;br /&gt;
MS. was to be delivered Robert received a letter&lt;br /&gt;
from Eric, laudably anxious to keep his share of&lt;br /&gt;
the contract, reminding him that the work was due&lt;br /&gt;
and hoping that Robert would bring the original&lt;br /&gt;
illustrations, and leave their reproduction to him,&lt;br /&gt;
X 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 274 (#678) ############################################&lt;br /&gt;
&lt;br /&gt;
274&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
as he could make bettor arrangements for their&lt;br /&gt;
reproduction than the author.&lt;br /&gt;
&amp;quot;Fidgetty fool!&amp;quot; said Robert, who had already&lt;br /&gt;
tied up the illustrations, and into whose mind no&lt;br /&gt;
idea of interfering in the details of publication had&lt;br /&gt;
ever entered. &amp;quot;Fidgetty fool !&amp;quot; he repeated.&lt;br /&gt;
Suddenly a thought occurred to him that made&lt;br /&gt;
him shiver. &amp;quot;Oh! that&amp;#039;s it, is it? That&amp;#039;s why&lt;br /&gt;
you pay a thousand pounds,&amp;quot; said he, and sitting&lt;br /&gt;
down he telegraphed to Eric that the work could&lt;br /&gt;
not be ready for a day or two. He spent those&lt;br /&gt;
days, assisted by his pupils, in making rough imi-&lt;br /&gt;
tations and tracings of all the original illustrations&lt;br /&gt;
in his work, while he sent the text to be type-&lt;br /&gt;
written. Two more days saw him in London,&lt;br /&gt;
with a parcel in each hand, one containing the&lt;br /&gt;
original illustrations and the type-written text, the&lt;br /&gt;
other the rough imitations of the. pictures and&lt;br /&gt;
the original MS. The first parcel he left with a&lt;br /&gt;
well-known publisher, asking for an appointment&lt;br /&gt;
later on in the day, and the second he took with&lt;br /&gt;
him to Eric. Eric was very white, and received&lt;br /&gt;
him affectionately. Kobert spoke in friendly tone,&lt;br /&gt;
but, with the greed of authors, suggested business,&lt;br /&gt;
putting his parcel on Eric&amp;#039;s desk.&lt;br /&gt;
&amp;quot;I am quite ready for you,&amp;quot; said that excellent&lt;br /&gt;
publisher, &amp;quot; Here is the agreement for your signat lire,&lt;br /&gt;
assigning to me all your rights in your work, on&lt;br /&gt;
consideration of my giving you a thousand pounds,&lt;br /&gt;
and here is a cheque for that sum.&amp;quot;&lt;br /&gt;
Robert looked at the cheque.&lt;br /&gt;
&amp;quot;When shall you bring the book out?&amp;quot; he&lt;br /&gt;
asked.&lt;br /&gt;
Eric had in the meantime untied the parcel, and&lt;br /&gt;
was running his eye hastily over the MS. He&lt;br /&gt;
seemed satisfied with the perusal.&lt;br /&gt;
&amp;quot;I can tell you at once what I am going to do&lt;br /&gt;
with it,&amp;quot; he said, &amp;quot; but I wish first to put it in&lt;br /&gt;
safety,&amp;quot; and he walked into a little room behind&lt;br /&gt;
the ollice, carrying the precious MS.&lt;br /&gt;
&amp;quot;This is a joke,&amp;quot; said Robert, and, staid Orient-&lt;br /&gt;
alist as he was, he actually capered. And then&lt;br /&gt;
there was the sound of fire-irons from Eric&amp;#039;s retreat,&lt;br /&gt;
whereat he capered again, and with more nbandon.&lt;br /&gt;
Eric came back in two or three minutes and his&lt;br /&gt;
face was now a vivid crimson.&lt;br /&gt;
&amp;quot;As I have bought your book right-out,&amp;quot; he&lt;br /&gt;
said, &amp;quot; of course I can do what I like with it.&amp;quot;&lt;br /&gt;
&amp;quot;Of course,&amp;quot; said Robert.&lt;br /&gt;
&amp;quot;Well,&amp;quot; said Eric, &amp;quot; I have paid you, and I have&lt;br /&gt;
burnt your book.&amp;quot;&lt;br /&gt;
Said Robert, &amp;quot;You&amp;#039;ve burnt the work of my&lt;br /&gt;
life?&amp;quot; Then he added, after a moment&amp;#039;s silence,&lt;br /&gt;
&amp;quot;Aren&amp;#039;t you afraid that I shall kill you?&amp;quot;&lt;br /&gt;
&amp;quot;No,&amp;quot; said Eric, putting his hand in the drawer&lt;br /&gt;
of his desk, whence a click immediately proceeded.&lt;br /&gt;
&amp;quot;Melodrama ?&amp;quot; said Robert.&lt;br /&gt;
&amp;quot;Oh no! Tragedy,&amp;quot; said Eric, &amp;quot; It&amp;#039;s loaded.&amp;quot;&lt;br /&gt;
&amp;quot;I suppose you really have burnt it,&amp;quot; said&lt;br /&gt;
Robert.&lt;br /&gt;
&amp;quot;I hope so,&amp;quot; said Erie.&lt;br /&gt;
&amp;quot;Are you sorry ?&amp;quot; said Robert, looking at the&lt;br /&gt;
cheque.&lt;br /&gt;
&amp;quot;Not in the least,&amp;quot; said Eric.&lt;br /&gt;
&amp;quot;Then there&amp;#039;s nothing more to be said?&amp;quot;&lt;br /&gt;
&amp;quot;Nothing.&amp;quot;&lt;br /&gt;
Robert cashed the cheque. He then went to&lt;br /&gt;
the publishers with whom he had left the other&lt;br /&gt;
parcel.&lt;br /&gt;
&amp;quot;Print it regardless of expense,&amp;quot; he said. &amp;lt;: I&lt;br /&gt;
am prepared to spend a thousand pounds, if&lt;br /&gt;
necessary, on its production and advertisement.&amp;quot;&lt;br /&gt;
* &bull; * &bull;&lt;br /&gt;
Six weeks afterwards the book appeared, and in&lt;br /&gt;
a short preface Robert bore eloquent testimony&lt;br /&gt;
to the generosity of Eric, who had crowned a life-&lt;br /&gt;
long affection by an act of splendid munificence, in&lt;br /&gt;
making a noble contribution to the cost of his old&lt;br /&gt;
friend&amp;#039;s work.&lt;br /&gt;
Eric wrote a letter to the publishers, threatening&lt;br /&gt;
to take proceedings to restrain them from publishing&lt;br /&gt;
the book, but Robert pointed out that he had&lt;br /&gt;
better, for the sake of his own reputation, keep&lt;br /&gt;
quite quiet. &amp;quot;About the burning of the thing,&amp;quot; he&lt;br /&gt;
said, &amp;quot;I don&amp;#039;t know that people would think so&lt;br /&gt;
much. After all, many would say it was only&lt;br /&gt;
a MS., meaning that it was only two shillings&amp;#039;&lt;br /&gt;
worth of paper. And many more would consider&lt;br /&gt;
your malice so ingenious, so mediaeval, so pic-&lt;br /&gt;
turesque, that they would almost forgive it, even&lt;br /&gt;
though the author did not. What no one would&lt;br /&gt;
ever forgive you, if the matter came out, is the fact&lt;br /&gt;
that you were fooled. My dear old schoolfellow,&lt;br /&gt;
my open-handed patron, dry up.&amp;quot;&lt;br /&gt;
And, as the reporters say, proceedings then&lt;br /&gt;
terminated.&lt;br /&gt;
O. J.&lt;br /&gt;
*~~-+&lt;br /&gt;
&amp;quot;CRITICISM AND FICTION.&amp;quot;&lt;br /&gt;
THIS little book, written by Mr. W. D.&lt;br /&gt;
Howells, and published in London by&lt;br /&gt;
Messrs. Osgood and Co., seems to have&lt;br /&gt;
received much less attention from the English&lt;br /&gt;
papers than it deserves. For to sum up, at the&lt;br /&gt;
outset, it is a book helpful to the novelist of everv&lt;br /&gt;
age and of every degree; it is suggestive, en-&lt;br /&gt;
couraging, kindly; it is full of wise saws; it is&lt;br /&gt;
admirably written, and abounds with unexpected&lt;br /&gt;
happinesses in phrase and word. For English&lt;br /&gt;
readers, however, everything that Mr. Howells&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 275 (#679) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
2/5&lt;br /&gt;
writes is marred l&amp;gt;y that anti-English warp of his&lt;br /&gt;
mind which amounts to an actual craze. He belongs&lt;br /&gt;
to the irreconcileablcs; his ancestors kicked ours out&lt;br /&gt;
of America after we had spent immense treasures&lt;br /&gt;
and thousands of lives in making their home secure&lt;br /&gt;
from foreign invasion; he, with the other American&lt;br /&gt;
irreconcileables, can never forgive us for the&lt;br /&gt;
benefits we conferred upon his forefathers and for&lt;br /&gt;
the gratitude with which these benefits were repaid.&lt;br /&gt;
Consequently, he cannot allow any good thing,&lt;br /&gt;
whether in literature or in anything else, to&lt;br /&gt;
England or Englishmen. Then he is afflicted with&lt;br /&gt;
a most pestilent self-consciousness, which compels&lt;br /&gt;
him to be perpetually measuring himself, or some&lt;br /&gt;
immortal genius of his own country, with&lt;br /&gt;
Thackeray and Dickens. Indeed, when you have&lt;br /&gt;
cut down Thackeray by a head and shoulders and&lt;br /&gt;
deprived Dickens of his legs, Mr. Howells and tliat&lt;br /&gt;
other immortal do really stand much about the same&lt;br /&gt;
height with these two Britons. In this little volume,&lt;br /&gt;
for instance, the English writer is continually&lt;br /&gt;
spoken of with open or veiled contempt, while&lt;br /&gt;
Mr. Howells&amp;#039;s warm heart and real admiration are&lt;br /&gt;
reserved for that world-widely known lady, Mrs.&lt;br /&gt;
Rose Terry Cooke, who &amp;quot;now carries the art of&lt;br /&gt;
story telling to its highest&amp;quot; (page 169), or to that&lt;br /&gt;
other illustrious favourite of the Muses, Miss Jewett,&lt;br /&gt;
whose sketches are &amp;quot;perfectly satisfying.&amp;quot; For&lt;br /&gt;
this singular feature in Mr. Howells&amp;#039;s criticism, and&lt;br /&gt;
for one or two other points, which need not be&lt;br /&gt;
pointed out here, a writer of his own country&mdash;one&lt;br /&gt;
of those whom he has not measured beside&lt;br /&gt;
Thackeray&mdash;compared Mr. Howells, as u critic, to&lt;br /&gt;
a socialist in a dress coat, pretending that he did&lt;br /&gt;
not know the taste of beer.&lt;br /&gt;
It is, besides, a parochial method, and must&lt;br /&gt;
make people on the other side laugh, while it makes&lt;br /&gt;
]&amp;gt;eoplc on this side a little irritated and a great deal&lt;br /&gt;
contemptuous. It is unfortunate when such a&lt;br /&gt;
form of madness is allowed to appear in such a&lt;br /&gt;
book as the one before us. We all have our&lt;br /&gt;
weaknesses and our crazes. These cannot be&lt;br /&gt;
helped; but when they would injure the quality of&lt;br /&gt;
work, they should be kept carefully apart and&lt;br /&gt;
bestowed upon some other piece of work. Now, in&lt;br /&gt;
a well-known case&mdash;a leading case&mdash;quoted by a&lt;br /&gt;
tenth-rate writer named Charles Dickens&mdash;far, far&lt;br /&gt;
below Rose Terry Cooke, and not to be compared&lt;br /&gt;
with Miss Jewett&mdash;there was a man who used to&lt;br /&gt;
get mixed al&amp;gt;out Charles the Blessed Martyr. It&lt;br /&gt;
was arranged by his friends that this man should&lt;br /&gt;
keep two desks whenever he sat down to write; one&lt;br /&gt;
for his thoughts concerning King Charles, the other&lt;br /&gt;
for the work in hand. This settled, he got on very&lt;br /&gt;
well indeed. If Mr. Howells had only kept two&lt;br /&gt;
desks, one for England, English institutions, and&lt;br /&gt;
English literature, and the other for his own&lt;br /&gt;
prope r work, how delightful this book might have&lt;br /&gt;
l&amp;gt;een! For instance, that little passage on page&lt;br /&gt;
125 clearly belongs to the other desk :&mdash;&lt;br /&gt;
&amp;quot;There can belittle question that many refine-&lt;br /&gt;
ments of thought and spirit which every American&lt;br /&gt;
is sensible of in the fiction of this continent, are&lt;br /&gt;
necessarily lost upon our good kin beyond seas,&lt;br /&gt;
whose thumb-fingered apprehension requires some-&lt;br /&gt;
thing gross and palpable for its assurance of reality.&lt;br /&gt;
This is not their fault, and I am not sure that it is&lt;br /&gt;
wholly their misfortune: they are made so as not&lt;br /&gt;
to miss what they do not find, and they are simply&lt;br /&gt;
content without those subtleties of life and character&lt;br /&gt;
which it gives us so keen a pleasure to have noted&lt;br /&gt;
in literature. If they perceive them at all it is as&lt;br /&gt;
something vague and diaphanous, something that&lt;br /&gt;
filmilv wavers before their sense and teases them,&lt;br /&gt;
much as the beings of an invisible world might&lt;br /&gt;
mock one of our material frame by intimations of&lt;br /&gt;
their presence. It is with reason, therefore, on the&lt;br /&gt;
part of an Englishman, that Mr. Henley complains&lt;br /&gt;
of our fiction as a shadow-land, though we find&lt;br /&gt;
more and more in it the faithful report of our life,&lt;br /&gt;
its motives and emotions, and all the comparatively&lt;br /&gt;
etherealizcd passions and ideals that influence it.&amp;quot;&lt;br /&gt;
This little trouble about Charles the Martyr&lt;br /&gt;
apart, the book is as good a treatise on the Art of&lt;br /&gt;
Fiction as has ever appeared; written in a perfectly&lt;br /&gt;
clear style by a man who knows what he means.&lt;br /&gt;
There is nothing woolly in his utterances. He lets&lt;br /&gt;
us see clearly what he means. He is intelligible.&lt;br /&gt;
The young novelist could do nothing better than to&lt;br /&gt;
buy and study the book. Beneath the parochial&lt;br /&gt;
view there is wisdom and there is guidance.&lt;br /&gt;
The author has forgotten the index and the&lt;br /&gt;
table of contents, so that, though the work is&lt;br /&gt;
divided into chapters, which are not even headed,&lt;br /&gt;
there is nothing to guide the reader. This is a&lt;br /&gt;
singular omission for so practised a hand.&lt;br /&gt;
Let us justify our appreciation of this little work&lt;br /&gt;
by two or three extracts&mdash;for our limited space&mdash;&lt;br /&gt;
perhaps as much as should be taken from so small&lt;br /&gt;
a volume.&lt;br /&gt;
What is Guxirs.&lt;br /&gt;
&amp;quot;In fact, the whole belief in &amp;#039;genius&amp;#039; seems to&lt;br /&gt;
me rather a mischievous superstition, and if not&lt;br /&gt;
mischievous always, still always a superstition.&lt;br /&gt;
From the account of those who talk about it,&lt;br /&gt;
&amp;#039;genius&amp;#039; appears to be the attribute of a sort of&lt;br /&gt;
very potent and admirable prodigy, which God&lt;br /&gt;
has created out of the common for the astonishment&lt;br /&gt;
and confusion of the rest of us poor human beings.&lt;br /&gt;
But do they really believe it? Do they mean&lt;br /&gt;
anything more or less than the Mastery which&lt;br /&gt;
comes to any man according to his powers and&lt;br /&gt;
diligence in any direction? If not, why not have&lt;br /&gt;
an end of the superstition which has caused our&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 276 (#680) ############################################&lt;br /&gt;
&lt;br /&gt;
2j6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
race to go on so long writing and reading of the&lt;br /&gt;
difference between talent and genius? It is within&lt;br /&gt;
the memory of middle-aged men that the Maelstrom&lt;br /&gt;
existed in the belief of the geographers, but we&lt;br /&gt;
now get on perfectly well without it; and why&lt;br /&gt;
should we still suffer under the notion of &amp;#039;genius,&amp;#039;&lt;br /&gt;
which keeps so many ]&amp;gt;oor little authorlings trem-&lt;br /&gt;
bling in question whether thev have it, or have onlv&lt;br /&gt;
&amp;#039;talent&amp;#039;?&amp;quot;&lt;br /&gt;
On Standards.&lt;br /&gt;
&amp;quot;If I were authorised to address any word&lt;br /&gt;
directly to our novelists, I should say, Do not&lt;br /&gt;
trouble yourselves about standards or ideals, but&lt;br /&gt;
try to be faithful and natural: remember that there&lt;br /&gt;
is no greatness, no beauty, which does not come&lt;br /&gt;
from truth to your own knowledge of tilings; and&lt;br /&gt;
keep on working, even if yoiu- work is not long&lt;br /&gt;
remembered.&amp;quot;&lt;br /&gt;
Fiction, Present and Future.&lt;br /&gt;
&amp;quot;Fiction is now a finer art than it has ever been&lt;br /&gt;
hitherto, and more nearly meets the requirements&lt;br /&gt;
of the infallible standard. I have hopes of real&lt;br /&gt;
usefulness in it, because it is at last building on&lt;br /&gt;
the only sure foundation; but I am by no means&lt;br /&gt;
certain that it will be the ultimate literary form, or&lt;br /&gt;
will remain as important as we believe it is destined&lt;br /&gt;
to become. Oi: the contrary, it is quite imaginable&lt;br /&gt;
that when the great mass of readers, now sunk in&lt;br /&gt;
the foolish joys of mere fable, shall be lifted to an&lt;br /&gt;
interest in the meaning of things through the&lt;br /&gt;
faithful portrayal of life in fiction, then fiction the&lt;br /&gt;
most faithful may be superseded by a still more&lt;br /&gt;
faithful form of contemporaneous history.&amp;quot;&lt;br /&gt;
&diams;■&raquo;■&diams; &mdash;&lt;br /&gt;
OXFOED AND THE ENGLISH SCHOOL.&lt;br /&gt;
(From an article by Mr. F. York Powell in the&lt;br /&gt;
Educational Review, by permission of the Editor.)&lt;br /&gt;
MP HE Hebdomadal Council (which alone lias&lt;br /&gt;
I the power of initiating University legislation&lt;br /&gt;
at Oxford) has rejected, by a division of 10&lt;br /&gt;
to 9 the proposal to introduce a &amp;quot;statute&amp;quot; for the&lt;br /&gt;
establishment of a final school of English language&lt;br /&gt;
and literature.&lt;br /&gt;
The University has, by this extraordinary&lt;br /&gt;
decision, been prevented from discussing and&lt;br /&gt;
deciding a question of the utmost importance. Yet&lt;br /&gt;
the memorial which Council was thus replying to&lt;br /&gt;
was one of the most weighty that has been before&lt;br /&gt;
it for years&mdash;no less than 108 persons, comprising&lt;br /&gt;
nearly every Master of Arts interested in or really&lt;br /&gt;
qualified to give an opinion u]K)ii the brandies of&lt;br /&gt;
knowledge for which thev desired to secure the ad-&lt;br /&gt;
vantages of University patronage and organisation.&lt;br /&gt;
No reason was given by Council for the rejection&lt;br /&gt;
of the memorial, and naturally, because the memorial&lt;br /&gt;
was rejected bv a combination of persons for various&lt;br /&gt;
reasons and very different motives.&lt;br /&gt;
It will be remembered that on a big division of&lt;br /&gt;
94 to 94. in Convocation, the regular Parliament of&lt;br /&gt;
the University only a few months ago, the casting&lt;br /&gt;
vote alone decided against a final school of modern&lt;br /&gt;
language and literature. According, therefore, to&lt;br /&gt;
all constitutional ideas, the present denial of discus-&lt;br /&gt;
sion to a project neither so ambitions nor so novel as&lt;br /&gt;
a complete modern literature and language school can&lt;br /&gt;
onlv be regarded as a cunning, but not very credit-&lt;br /&gt;
able, attempt to burke a measure which would mast&lt;br /&gt;
probably have been carried had the University&lt;br /&gt;
assembly been allowed to vote iqioii it.&lt;br /&gt;
The real opposition comes from two bodies of&lt;br /&gt;
persons who believe that their interests are at stake,&lt;br /&gt;
and who will therefore fight bitterly. The first&lt;br /&gt;
an&amp;#039; those who think the beloved &amp;quot;college system&amp;quot;&lt;br /&gt;
will be compromised by the demands for instruction&lt;br /&gt;
which can onlv be met by the creation of fresh&lt;br /&gt;
college lecturers (to which course, for various&lt;br /&gt;
reasons, they are opposed), or by allowing their&lt;br /&gt;
pupils to go to University officials for instruction&mdash;&lt;br /&gt;
a natural proceeding one would have thought, but&lt;br /&gt;
a proceeding they very cordially dislike. The&lt;br /&gt;
boarding-school interest, as it has been called, is&lt;br /&gt;
therefore against the new school.&lt;br /&gt;
Their companions are persons to whom the&lt;br /&gt;
college is less important, but to whom the very&lt;br /&gt;
name of philology is a word of fear. They detest&lt;br /&gt;
a science thev wot not of; thev are too old or too&lt;br /&gt;
obstinate to look into the matter for themselves;&lt;br /&gt;
but they are firmly persuaded that philology spells&lt;br /&gt;
ruin, and that the proposed school for English&lt;br /&gt;
literature and language would be nothing more&lt;br /&gt;
than a mask for the insidious advances of new gram-&lt;br /&gt;
marians and phoneticians upon an ancient and&lt;br /&gt;
respectable University. This race of opponents&lt;br /&gt;
will die out, and that before long; their number&lt;br /&gt;
lessens rapidly every year.&lt;br /&gt;
Next come the eccentric people who vote against&lt;br /&gt;
a school of literature because &amp;quot;you can&amp;#039;t examine&lt;br /&gt;
in literature,&amp;quot; and therefore, in order to prevent&lt;br /&gt;
people trying the experiment, cast out the whole&lt;br /&gt;
project. Of course, most of the very people who&lt;br /&gt;
use this argument are examining every year in&lt;br /&gt;
Greek and llonian literature without difficulty.&lt;br /&gt;
We may leave them to be converted by facts&lt;br /&gt;
(as they possibly will be), or to persist in their&lt;br /&gt;
Partingtonian position.&lt;br /&gt;
Lastly, among the opponents of the teaching of&lt;br /&gt;
English at Oxford comes that well-known and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 277 (#681) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Z77&lt;br /&gt;
not unloved type, the Oxford paradoxist. When&lt;br /&gt;
lie says literature is such a beautiful thing that he&lt;br /&gt;
cannot vote for encouraging anyone to learn or&lt;br /&gt;
teach English literature, that it is really too beautiful&lt;br /&gt;
for use, one knows he will probably go home&lt;br /&gt;
contentedly to his college and lecture on Homer&lt;br /&gt;
or Euripides or Lucretius or Juvenal, who have&lt;br /&gt;
managed to survive some centuries of hard use&lt;br /&gt;
in .schools and places where they teach. The&lt;br /&gt;
paradoxist is, at least, amusing and disinterested.&lt;br /&gt;
To sum up the situation. It is the wrongly&lt;br /&gt;
called &amp;quot;college interest&amp;quot; and the foes of philology&lt;br /&gt;
that really stop the way at Oxford. Their opposi-&lt;br /&gt;
tion must be counted upon and fought down.&lt;br /&gt;
This need not take very long.&lt;br /&gt;
A final school of English language and literature&lt;br /&gt;
is needed by teachers of all grades and by learners&lt;br /&gt;
of nil classes in this country. The University&lt;br /&gt;
needs it as much as any place in England. A&lt;br /&gt;
reasonable demand supported both inside ami&lt;br /&gt;
outside the University must soon be granted.&lt;br /&gt;
&diams;&bull;&raquo;&bull;&diams;&lt;br /&gt;
TO &amp;quot;BUSY MEN IN GOOD POSITIONS.&amp;quot;&lt;br /&gt;
THERE is si bookseller, librarian, and pub-&lt;br /&gt;
lisher, who seems, if the slang may be&lt;br /&gt;
pardoned, to &amp;quot;have got a soft thing on.&amp;quot;&lt;br /&gt;
Tbc following remarks will not, it is hoped, spoil&lt;br /&gt;
his market.&lt;br /&gt;
An eminent and popular novelist, a really&lt;br /&gt;
eminent novelist, and a really popular novelist,&lt;br /&gt;
whose work is valuable as well as good, received&lt;br /&gt;
a request from this gentleman that he would do&lt;br /&gt;
a tiny volume for him. The subject mentioned was&lt;br /&gt;
one on which the novelist had special knowledge,&lt;br /&gt;
and this, as the publisher allowed, had dictated&lt;br /&gt;
tlie choice of author. A most reasonable dictation!&lt;br /&gt;
Fifteen guineas were offered for 2,5oo words. A&lt;br /&gt;
most reasonable proposal! And a specimen &amp;quot;tiny&lt;br /&gt;
volume&amp;quot; was enclosed. Undoubtedly this volume&lt;br /&gt;
was tiny, and so was the type in which it was&lt;br /&gt;
printed. In fact, it contained 25,ooo words&lt;br /&gt;
instead of 2,5oo.&lt;br /&gt;
The novelist wrote to ask for an explanation.&lt;br /&gt;
Was the wage offered for the larger number of&lt;br /&gt;
words contained in the &amp;quot;tiny volume,&amp;quot; or for the&lt;br /&gt;
smaller number of words suggested in the letter?&lt;br /&gt;
The publisher allowed that it was the larger&lt;br /&gt;
amount that he required, &amp;quot;and the copyright for his&lt;br /&gt;
little series.&amp;quot;&lt;br /&gt;
The novelist in expressing his inability to&lt;br /&gt;
comply with the publisher&amp;#039;s request, took the&lt;br /&gt;
opportunity to point out that it was hardly a&lt;br /&gt;
compliment to him to have l&amp;gt;een selected as a&lt;br /&gt;
specialist upon a subject, and then invited to work&lt;br /&gt;
for six weeks or more at the rate of seven and six-&lt;br /&gt;
pence a day or less. He also pointed out that, in&lt;br /&gt;
his opinion, if cheap books could not be produced&lt;br /&gt;
without sweating the author, they had better not&lt;br /&gt;
be produced at all.&lt;br /&gt;
The publisher was hurt. He answered and&lt;br /&gt;
said that all he wanted was a sketchy thing that&lt;br /&gt;
could have been put clown in a week. But, O&lt;br /&gt;
man of business, why apply to a good workman&lt;br /&gt;
if you wanted bad work? He also said that half&lt;br /&gt;
the number of words mentioned would have&lt;br /&gt;
satisfied him. But, again, O man of business,&lt;br /&gt;
why enclose a s|&amp;gt;ecimen of work, if you do not&lt;br /&gt;
want an article similar to the specimen? And in&lt;br /&gt;
justification of his proposal, and in repudiation of&lt;br /&gt;
the author&amp;#039;s remark aliout sweating, he said &amp;quot;the&lt;br /&gt;
sum I offer is double what I was asked for by&lt;br /&gt;
the specialist who wrote my other stories ....&lt;br /&gt;
he is a busy man in a good position.&amp;quot;&lt;br /&gt;
Now, a word of adv ice to this &amp;quot;busy man in&lt;br /&gt;
a good position&amp;quot; on the chance that it may catch&lt;br /&gt;
his eye, and the advice applies to all who,&lt;br /&gt;
ignorant of the value of their work, or con-&lt;br /&gt;
temptuous of its money returns, accept the first&lt;br /&gt;
mean offer that is made to them. Quadruple your&lt;br /&gt;
price. Why divert proper pay from those who want&lt;br /&gt;
it? Why put money in the publisher&amp;#039;s pocket&lt;br /&gt;
which he ought not to have? If you want to&lt;br /&gt;
give money away, why not take from the publisher&lt;br /&gt;
your legitimate pay, so that you may dictate for&lt;br /&gt;
yourself the direction in which your alms shall go?&lt;br /&gt;
Of money, Sir, you may lje indifferent, but you&lt;br /&gt;
should not be indifferent to the power of doing good.&lt;br /&gt;
BURNS AND SCOTTISH POETRY,&lt;br /&gt;
&amp;quot;nPHEY were not a people of one poet only,&lt;br /&gt;
I though that was an impression which some&lt;br /&gt;
tried to give to the world. They neglected&lt;br /&gt;
Lindsay and Dunbar. If using poetry for school-&lt;br /&gt;
books were not the best way to disgust children&lt;br /&gt;
with poetry, he could wisli that Dunbar and Lindsay&lt;br /&gt;
were read in Scottish schools as Chaucer was used&lt;br /&gt;
in English education. The ballads might certainly&lt;br /&gt;
be so read, for nothing could spoil &amp;#039;Kinmont&lt;br /&gt;
Willie &amp;#039; and &amp;#039;Jamie Tclfer of the Fair Dodhead.&amp;#039;&lt;br /&gt;
There was not such a body of ballad poetry so&lt;br /&gt;
noble, so pathetic, so spirited, so weird in any lan-&lt;br /&gt;
guage in the world As for the songs&mdash;&lt;br /&gt;
humorous, amorous, Jacobite&mdash;songs by ladies who,&lt;br /&gt;
perhaps, sang only once; by peasants whose names&lt;br /&gt;
are forgotten, but whose strains are immortal, be&lt;br /&gt;
did not think it was too characteristic to Bay that&lt;br /&gt;
no country, except perhaps France and England in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 278 (#682) ############################################&lt;br /&gt;
&lt;br /&gt;
27S&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the Elizabethan age, bad their equals. They&lt;br /&gt;
might make a Scottish anthology which, considering&lt;br /&gt;
that they had but five, centuries to choose from, and&lt;br /&gt;
the Greeks had near 2,000, would rival that of&lt;br /&gt;
Greece&mdash;would be the golden treasury of the&lt;br /&gt;
North. They bad but to listen a moment, in this&lt;br /&gt;
din of an age which was not ending in songs, and&lt;br /&gt;
they beard those sweet, piercing, and melancholy&lt;br /&gt;
notes from the dead years, eclioes of the horns&lt;br /&gt;
blown in raids and reivings; echoes of the shep-&lt;br /&gt;
herd&amp;#039;s pipe, of the wedding festival, of the dirge&lt;br /&gt;
and (lie lament; minstrel Burns grieving for&mdash;&lt;br /&gt;
&amp;#039;Many a place in evil case,&lt;br /&gt;
&amp;#039;Where bhthc folk kenned no sorrow;&lt;br /&gt;
&amp;#039;Of Humes that dwelt in Leader braes,&lt;br /&gt;
&amp;#039;And Scotts that dwelt in Yarrow.&amp;#039;&lt;br /&gt;
Tradition wailing for&mdash;&lt;br /&gt;
_&amp;#039; The flowers o1 the forest arc a&amp;#039;wede awa&amp;#039;.&amp;#039;&lt;br /&gt;
As to the greatest of till, it was needless to speak.&lt;br /&gt;
In the Odyssey the returned wanderer tells one of&lt;br /&gt;
bis people that be was come, and &amp;#039;no other&lt;br /&gt;
Odysseus will come again for ever.&amp;#039; No other&lt;br /&gt;
Homer, no other Shakespeare, they might have&lt;br /&gt;
said, would come again, but both came together in&lt;br /&gt;
Walter Scott. Verily they were not a people of&lt;br /&gt;
one lonely poet, though in one Nature combined&lt;br /&gt;
many of the voices of the past, much of the music&lt;br /&gt;
of the future, in the good, the generous, the tender,&lt;br /&gt;
the kindly, the homely, the impassioned Burns, the&lt;br /&gt;
brightest of our lyrists, the most human of our&lt;br /&gt;
satirists, the most perfervid of the perfervid Scots.&lt;br /&gt;
They sometimes lamented that be fell on evil days&lt;br /&gt;
and evil tongues, they regretted his narrow fortunes,&lt;br /&gt;
thev blushed for till the reward that bis country&lt;br /&gt;
gave him. But the Maker and the Master of poets&lt;br /&gt;
knew best, perhaps, what was fitting, and, had&lt;br /&gt;
Burns not been lwrn to labour and poverty, be&lt;br /&gt;
could not have been the poet of poverty and labour.&lt;br /&gt;
As to his later profession, in the life of Mr. Joseph&lt;br /&gt;
Train&mdash;himself a writer of verse spirited and&lt;br /&gt;
sincere&mdash;they learned how happy and bow bene-&lt;br /&gt;
ficent, how valuable to letters and to society the&lt;br /&gt;
life of a Galloway ganger might be. Had Burns&lt;br /&gt;
been living to-day, would the world that lay around&lt;br /&gt;
him have been so lit to inspire him with song?&lt;br /&gt;
The mirth, the sport, the tradition are &amp;#039;a&amp;#039;wede&lt;br /&gt;
nwaY London would inevitably have sucked him&lt;br /&gt;
into its dingy and disastrous Corrievreckan. He&lt;br /&gt;
would have buttered at the. door of the theatre, be&lt;br /&gt;
might have scribbled articles for the Press and&lt;br /&gt;
drunk in Fleet Street, and contributed verses to&lt;br /&gt;
the magazines. His magnificent genius would luivo&lt;br /&gt;
licen frittered away in the struggle for life. He&lt;br /&gt;
was not happy; no man with bis passionate nature&lt;br /&gt;
could be happy; few men of genius, indeed, have&lt;br /&gt;
been happy, &amp;#039;even as mortals count happiness.&amp;#039;&lt;br /&gt;
They might not be more miserable than others, but&lt;br /&gt;
oue heard more of it. Whoever represents hu-&lt;br /&gt;
manity, as Burns represents it, whoever was to utter&lt;br /&gt;
its voice, as Burns utters it, must know its sufferings&lt;br /&gt;
in his own heart, and endure them in bis own life.&lt;br /&gt;
Some bear them belter, as Virgil&mdash;&lt;br /&gt;
&amp;#039;For gently comes the world to those&lt;br /&gt;
&amp;#039;That are cast in gentle mould.&amp;#039;&lt;br /&gt;
Some carry them more fiercely, as Burns, but&lt;br /&gt;
endure them all must, who would utter their com-&lt;br /&gt;
plaint. In the Scottish phrase they were not there&lt;br /&gt;
as &amp;#039;doon-heartit loons&amp;#039; to &amp;#039;make a poor mouth&amp;#039;&lt;br /&gt;
over Burns, nor greatly to blame the world for its&lt;br /&gt;
treatment of him. He bad received what lie would&lt;br /&gt;
have valued more than wealth, or ease, or inglorious&lt;br /&gt;
life: lie had added renown to the country lie. loved,&lt;br /&gt;
anil for himself had gained that immortal garland,&lt;br /&gt;
which was not to lie run for without dust and&lt;br /&gt;
sweat.&amp;quot;&mdash;From an Address by Mr. Andrew Lang,&lt;br /&gt;
reported by the Times of January 26th, 1892.&lt;br /&gt;
PERIODICAL LISTS OF NEW BOOKS AND&lt;br /&gt;
NEW EDITIONS PUBLISHED ON&lt;br /&gt;
THE CONTINENT.&lt;br /&gt;
THE Author has from its commencement&lt;br /&gt;
contained a monthly list of English &amp;quot;New&lt;br /&gt;
Books and New Editions,&amp;quot; and if the writer&lt;br /&gt;
of these lines may judge from bis own experience,&lt;br /&gt;
this list must have been found convenient and&lt;br /&gt;
helpful, in different ways, by a great many authors,&lt;br /&gt;
who will not need to be here reminded how useful&lt;br /&gt;
the catalogue of &amp;quot;New Books mid New Editions&amp;quot;&lt;br /&gt;
has on occasions proved, or how much labour of&lt;br /&gt;
searching it lias sometimes saved them. The nim&lt;br /&gt;
of the present article is to inform those authors&lt;br /&gt;
who, having found this English list of use, would&lt;br /&gt;
like to be provided with a similar periodical register&lt;br /&gt;
of new publications in such European languages&lt;br /&gt;
as they may happen to read, where they may&lt;br /&gt;
procure regular periodical announcements of new&lt;br /&gt;
books and new editions published in most of the&lt;br /&gt;
countries of the continent.&lt;br /&gt;
A word, in parenthesis, 011 the use of biblio-&lt;br /&gt;
graphies and carefully compiled catalogues. The&lt;br /&gt;
great assistance afforded by such publications to&lt;br /&gt;
workers in every department of literature is so well&lt;br /&gt;
understood by all who have served their apprentice-&lt;br /&gt;
ship to letters, that experienced authors will probably&lt;br /&gt;
consider any allusion to the subject superfluous.&lt;br /&gt;
The case, however, is not quite the same with begin-&lt;br /&gt;
ners. The literary tyro is generally ceasing to be a&lt;br /&gt;
tyro when be wakes up to a consciousness of the&lt;br /&gt;
enormous number of books that have, been already&lt;br /&gt;
written and are at the present moment being&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 279 (#683) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
279&lt;br /&gt;
written, and when ho realises that what other&lt;br /&gt;
people are writing is n matter of importance to&lt;br /&gt;
everyone who writes. Then he hegins to see that&lt;br /&gt;
bibliographies and catalogues are indispensable to&lt;br /&gt;
some, guides for many, and useful to all. No&lt;br /&gt;
scientific work can l&amp;gt;e done without the assistance&lt;br /&gt;
of bibliographies; no solid acquaintance with the&lt;br /&gt;
belles-lettres of any language can exist apart from&lt;br /&gt;
them. They save the beginner from undertaking&lt;br /&gt;
work that has been already done. They discover&lt;br /&gt;
to those engaged in increasing the sum of human&lt;br /&gt;
knowledge the firm foundations already laid, upon&lt;br /&gt;
Which others may securely build. They keep the&lt;br /&gt;
busy contemporary author informed of all that is&lt;br /&gt;
going on in the wide world of letters around him.&lt;br /&gt;
This last service is especially performed by such&lt;br /&gt;
periodical lists as appear in each number of the&lt;br /&gt;
Author, anil in the works about to be mentioned&lt;br /&gt;
below, and it is therefore hoped that the information&lt;br /&gt;
here offered may be found of service to many. If&lt;br /&gt;
it l&amp;gt;e found so, the following list may appear again,&lt;br /&gt;
augmented, the compiler trusts, in a manner that&lt;br /&gt;
will render the record less imperfect than it now&lt;br /&gt;
necessarily is, in consequence of the small literary&lt;br /&gt;
enterprise at present existing in many parts of the&lt;br /&gt;
continent.&lt;br /&gt;
In offering this list of periodical announcements&lt;br /&gt;
of continental publications to the readers of the&lt;br /&gt;
Author, the compiler begs to call their attention to&lt;br /&gt;
the following points.&lt;br /&gt;
The catalogues and bibliographies here enume-&lt;br /&gt;
rated are not all of the same character. Some&lt;br /&gt;
arc official publications, sonic trade circulars of&lt;br /&gt;
various booksellers&amp;#039; unions, some simply announce-&lt;br /&gt;
ments of new books sent out by leading houses for&lt;br /&gt;
the convenience of their customers. Some are much&lt;br /&gt;
more trustworthy than others. Some mention&lt;br /&gt;
every publication that has appeared within a given&lt;br /&gt;
period, so far as that is possible. Others record&lt;br /&gt;
only the, books thought likely to be popular.&lt;br /&gt;
The list is sadly imperfect. A good deal of&lt;br /&gt;
trouble has been taken to obtain as far as possible&lt;br /&gt;
bibliographies of each country, and the list is as&lt;br /&gt;
complete as it has been found possible to make it.&lt;br /&gt;
Unfortunately, several countries and several modern&lt;br /&gt;
literatures have, at the present date, no regular&lt;br /&gt;
{K&amp;gt;riodical announcements of new publications.&lt;br /&gt;
This incidentally throws some interesting light&lt;br /&gt;
upon the present literary activity and inactivity&lt;br /&gt;
of certain countries. Thus Wallachia has a brave&lt;br /&gt;
little monthly &amp;quot;catalogue&amp;quot; of new publications,&lt;br /&gt;
Portugal none, ltussia and Poland have good&lt;br /&gt;
monthly lists, and Bohemian books appear in the&lt;br /&gt;
Austrian Booksellers&amp;#039; Correspondence. Put regular&lt;br /&gt;
announcements of works in the other Slavonic&lt;br /&gt;
languages are, just at present, lacking. Both the&lt;br /&gt;
Slovansky Katalog, which contained all Slavonic&lt;br /&gt;
literatures except Itussian, and the quarterly&lt;br /&gt;
Anzeiger fitr Slavische IJtemtur, which contained&lt;br /&gt;
works in all the Slavonic languages, have ceased&lt;br /&gt;
to appear. Something that would take their place&lt;br /&gt;
is a desideratum with Slavonic scholars. The&lt;br /&gt;
literatures of the most unini]&amp;gt;ortant European&lt;br /&gt;
languages, whose few publications are carefully&lt;br /&gt;
recorded in learned periodicals, supported by&lt;br /&gt;
scholars interested in special studies, are in better&lt;br /&gt;
case than the literatures of Portugal, Servia, and&lt;br /&gt;
Bulgaria.&lt;br /&gt;
It has seemed, as a general rule, best to give&lt;br /&gt;
the titles and addresses in the language of the&lt;br /&gt;
periodical, and the rest of the information in&lt;br /&gt;
English. In some cases a few notes, in square&lt;br /&gt;
brackets, have been added, conveying information&lt;br /&gt;
which appeared useful but was not contained in&lt;br /&gt;
the periodical itself.&lt;br /&gt;
The prices named arc those announced as the&lt;br /&gt;
prices of the periodicals at the places of publication.&lt;br /&gt;
Many mention a second higher price charged&lt;br /&gt;
abroad or in the provinces. But in any case the&lt;br /&gt;
purchaser in London will expect to \my considerably&lt;br /&gt;
more. In the case of gratuitously circulated cata-&lt;br /&gt;
logues too much reliance must not be placed&lt;br /&gt;
upon receiving them, even when the postage is&lt;br /&gt;
lor wan led.&lt;br /&gt;
Most of the catalogues here named may l&amp;gt;e seen&lt;br /&gt;
at Mr. D. Nutt&amp;#039;s, 270, Strand. Bound volumes&lt;br /&gt;
(not current numbers) of those marked * will be&lt;br /&gt;
found in the British Museum Beading Boom.&lt;br /&gt;
Press BB.B.&lt;br /&gt;
Continental Literature in General.&lt;br /&gt;
Monthly list of new books published in Germany,&lt;br /&gt;
France, England, America, Italy, Spain, Scandi-&lt;br /&gt;
navia, Bussia, and other countries. London : David&lt;br /&gt;
Nutt, 270, Strand. [Annual subscription, is. A&lt;br /&gt;
catalogue of selected works of a very handy sort.&lt;br /&gt;
It may be fairly said to contain all recent foreign&lt;br /&gt;
books of any real and general importance.]&lt;br /&gt;
Scandinavia.&lt;br /&gt;
Nordisk Boghandletertidende. Editor: E. Jes-&lt;br /&gt;
persen. Published by the &amp;quot; Boghandlerforeningen.&amp;quot;&lt;br /&gt;
Copenhagen. Quarterly subscription, y5 ore&lt;br /&gt;
[equal al&amp;gt;out lod. Published every Friday. Con-&lt;br /&gt;
tains Danish, Norse, and Swedish publications].&lt;br /&gt;
Germany.&lt;br /&gt;
Allgemeine Bibliographic fiir Deutschlaud. A&lt;br /&gt;
weekly catalogue of all novelties in the German&lt;br /&gt;
l&amp;gt;ook trade. Leipzic: J. C. Hinricbs. [Animal&lt;br /&gt;
subscription, 7 marks 5o.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 280 (#684) ############################################&lt;br /&gt;
&lt;br /&gt;
z8o&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Monutlickes Verzeichniss der Neuigkeiten und&lt;br /&gt;
Fortsetzungen des Deutschen Buchhandels. [Same&lt;br /&gt;
publisher. The contents are the .same as those of&lt;br /&gt;
the &amp;quot; Allgemeine Bibliographic,&amp;quot; but alphabetically&lt;br /&gt;
arranged under authors&amp;#039; names. This catalogue&lt;br /&gt;
is supplied only to subscribers to the &amp;quot;Borsenblatt&lt;br /&gt;
fiir den Deutschen Buchlmndel.&amp;quot;]&lt;br /&gt;
Vierteljahrs-Catalog aller neuen Erscheinungen&lt;br /&gt;
im Felde der Literatur in Deutschland. Wissen-&lt;br /&gt;
schaftlich geordnct. [Same publishers. A quar-&lt;br /&gt;
terly compendium of the contents of the &amp;quot;Allge-&lt;br /&gt;
meine Bibliographic&amp;quot; Annual subscription, 9&lt;br /&gt;
marks.]&lt;br /&gt;
&bull;Verzeichniss der neu erschienen und neuauf-&lt;br /&gt;
gelegten Biicher, Landkarten, etc. [Same pub-&lt;br /&gt;
lishers. Appears half-yearly, and contains a&lt;br /&gt;
Subject Index, as well as complete bibliography&lt;br /&gt;
of the German publications of the previous .six&lt;br /&gt;
months. Price of the volume (bound) varies;&lt;br /&gt;
about 6 marks.]&lt;br /&gt;
The following bibliography may also b? found&lt;br /&gt;
useful to scholars :&mdash;&lt;br /&gt;
Bibliographischer Monatsbericht iiber neu&lt;br /&gt;
crschieuene Schul-und Universitiitsschriftcn.&lt;br /&gt;
(Dissertationen. &mdash; Programmabhandlongen. &mdash;&lt;br /&gt;
Habilitationsschriften, etc.) Leipsic. Gustav&lt;br /&gt;
Fock, publisher. [Appears monthly. Annual&lt;br /&gt;
subscription, 2 marks. Contains Classical&lt;br /&gt;
Philology and Antiquities, Orientalia, Theology,&lt;br /&gt;
Philosophy, Educational works, History and&lt;br /&gt;
cognate subjects, Law, Political Economy,&amp;#039; Medi-&lt;br /&gt;
cine, Natural Sciences, Exact Sciences, Chemistry.]&lt;br /&gt;
Holland.&lt;br /&gt;
Nederlandsche Bibliographic. Catalogue of new&lt;br /&gt;
books, maps, etc. published in the Netherland and&lt;br /&gt;
its foreign possessions. The Hague. Mart in us&lt;br /&gt;
Nijhoff, publisher. [Apj&amp;gt;ears monthly. Annual&lt;br /&gt;
subscription, 1 florin.]&lt;br /&gt;
Belgium.&lt;br /&gt;
&diams;Bibliographic de Belgique. Journal officiel de&lt;br /&gt;
la librarie paraissant le ier et le i5 de chaqne inois.&lt;br /&gt;
A. Manceaux, editeur. Bue des Trois-Tetes,&lt;br /&gt;
12, Bruxelles. Abonnement annuel 4 francs.&lt;br /&gt;
[Contains French, Flemish, and &amp;quot;Walloon publi-&lt;br /&gt;
cations. An annual index of authors&amp;#039; names.]&lt;br /&gt;
.France.&lt;br /&gt;
Bibliographic de la France Journal general de&lt;br /&gt;
l&amp;#039;imprimerie et de la librairie. Publid sur les&lt;br /&gt;
Documents fournis jwir le Ministere de l&amp;#039;Intericur.&lt;br /&gt;
Paraissant tous les Samedis. Au Cercle de la&lt;br /&gt;
librairie, boulevard Saint Germain, 117. Paris.&lt;br /&gt;
Abonnement: un an, 20 francs. [Annual indexes.&lt;br /&gt;
Alphabetical index of titles. Alphabetical index&lt;br /&gt;
of authors. Alphabetical index of new periodicals.&lt;br /&gt;
&amp;quot;Table systematique,&amp;quot; arranged under subject&lt;br /&gt;
headings. This publication is the queen of&lt;br /&gt;
periodical bibliographies.]&lt;br /&gt;
Catalogue mensuel de la Librairie Francaise.&lt;br /&gt;
Publisher, K. Nilsson. 8, Rue d&amp;#039;Alger. Paris.&lt;br /&gt;
[Api&amp;gt;ears monthly and contains the principal works&lt;br /&gt;
published in France, and in the French language&lt;br /&gt;
in other countries. Annual subscription, 2 francs 5o.&lt;br /&gt;
An alphabetical list of authors is published at the&lt;br /&gt;
end of the year. Price, 2 francs.]&lt;br /&gt;
Switzerland.&lt;br /&gt;
&bull;Bibliographic et chronique litteraire de la Suisse.&lt;br /&gt;
Parait un fois par inois. Editeur, H. Georg.&lt;br /&gt;
Bale. Prix par an, 4 francs. [Contains French,&lt;br /&gt;
German, and Italian publications, and has a short&lt;br /&gt;
annual index of authors&amp;#039; names.]&lt;br /&gt;
Italy.&lt;br /&gt;
&bull;Giornale della Libreria della tipografia e delle&lt;br /&gt;
urti e Industrie aflini. Published by the Associa-&lt;br /&gt;
zionc Tipografico-Libraria Italiana. Milan. Via&lt;br /&gt;
S. Giuseppe. No. 5. Published every Sunday.&lt;br /&gt;
Annual subscription, 6 lire = 6 francs. The&lt;br /&gt;
Bibliographia Italiana is published every fortnight,&lt;br /&gt;
and not sold separately, but with the above journal.&lt;br /&gt;
Annual subscription, 20 lire = 20 francs. [Two&lt;br /&gt;
indexes every six months; one, alphabetical, of&lt;br /&gt;
authors&amp;#039; names; the other arranged under subject-&lt;br /&gt;
headings.]&lt;br /&gt;
Novita della Letteratura Italiana. Published&lt;br /&gt;
monthly by Ubrico Hocpli. Milan. Galleria De-&lt;br /&gt;
Cristoforis, Nos. 59-63. These catalogues are&lt;br /&gt;
distributed gratuitously to customers.&lt;br /&gt;
Spain.&lt;br /&gt;
&bull;Bolctin de. la Libreria. Published monthly by&lt;br /&gt;
M. Murillo. Madrid. Calle de Alcala, No. 7.&lt;br /&gt;
Annual subscription, 20 reales = about 5 francs.&lt;br /&gt;
[Two annual indexes: one of new works; authors&amp;#039;&lt;br /&gt;
names, and titles of books alphabetically arranged&lt;br /&gt;
together: the other of old works, similarly&lt;br /&gt;
arranged.]&lt;br /&gt;
Austria.&lt;br /&gt;
Oesterreichisch-ungarische Buchhaudler-Corre-&lt;br /&gt;
Rpondenz. Editor, A. Einsle. Published every&lt;br /&gt;
Saturday. Vienna. Bieinergasse, No. 11. Annual&lt;br /&gt;
subscription, 8 florins =16 marks. [Contains&lt;br /&gt;
German, Bohemian, and Slovakian publications.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 281 (#685) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
281&lt;br /&gt;
Hungary.&lt;br /&gt;
Corvina. Organ of the Hungarian Booksellers&amp;#039;&lt;br /&gt;
Union. Published on the 10th, 20th, and 3oth of&lt;br /&gt;
every month. Editor, Aigner Lajos. Proprietors,&lt;br /&gt;
The Hungarian Booksellers&amp;#039; Union. A Magyar&lt;br /&gt;
Konyvkereskedok egylete. Budapest. Zsibarus&lt;br /&gt;
Ulca, No. 1. [No price mentioned; appears to Ik?&lt;br /&gt;
circulated amongst members of the union and their&lt;br /&gt;
customers.]&lt;br /&gt;
Wallaciiia.&lt;br /&gt;
Catnlogu Mensual al Librfiriei Romaue. Pub-&lt;br /&gt;
lished by Sosecu &amp;amp; Co. Bucharest. Calea Victoriel.&lt;br /&gt;
No. 21. This catalogue is distributed gratuitously&lt;br /&gt;
to customers.&lt;br /&gt;
Russia.&lt;br /&gt;
HnHXBbia IIoboctii. A monthly extract from&lt;br /&gt;
the &amp;quot;Literary Messenger.&amp;quot; Published by K. L.&lt;br /&gt;
Rikker, St. Petersburg. Nevsky Prospect. No. 14.&lt;br /&gt;
[Annual subscription, about 2s.? This catalogue&lt;br /&gt;
contains Russian and Ruthenian = Little Russian&lt;br /&gt;
publications. It is unique in mentioning in every&lt;br /&gt;
case the number of copies constituting the edition.]&lt;br /&gt;
Poland.&lt;br /&gt;
Przewodnik Bibliograficzny. Published on the&lt;br /&gt;
1st of each month by G. Gebethner, Cracow.&lt;br /&gt;
Annual subscription, 1 florin 25 cents.&lt;br /&gt;
Greece.&lt;br /&gt;
hi^XtoyfoupiKw AcXtuv. Published monthly by&lt;br /&gt;
G. Kasdones. Athens. Bi/3Xiott&amp;amp;&amp;gt;X&euro;i&amp;lt;&amp;gt;v tij$ &amp;#039;Eor/af.&lt;br /&gt;
Distributed gratis. [Contains, besides bibliography,&lt;br /&gt;
occasional scraps of literary intelligence. Recent&lt;br /&gt;
numbers have failed to reach Loudon, and the&lt;br /&gt;
publication may, perhaps, have been abruptly&lt;br /&gt;
discontinued.]&lt;br /&gt;
As the publications above mentioned will be of&lt;br /&gt;
use principally to students of foreign languages the&lt;br /&gt;
following most valuable bibliography of all philo-&lt;br /&gt;
logical and linguistic publications of all countries&lt;br /&gt;
may be mentioned by way of conclusion.&lt;br /&gt;
&bull;Bibliotheea Philologica oder vierteljiihrliche&lt;br /&gt;
systematisch geordnete Ucbersicht der auf dein&lt;br /&gt;
Gebiete der gesainmten Philologie in Deutschlaud&lt;br /&gt;
und dem Auslande neu erschieneuen Schrifteu und&lt;br /&gt;
Zeitschriften-Aufsiitze. Herausgegeben von August&lt;br /&gt;
Blau. Dr. phil. Giittingen. Vandenhoeck and&lt;br /&gt;
Ruprecht. Annual subscription, 5 marks. [British&lt;br /&gt;
Museum Reading Room. BB.T. c. 6.]&lt;br /&gt;
Henry Cresswei.l.&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
1.&lt;br /&gt;
Illustration.&lt;br /&gt;
To the Editor of the Author.&lt;br /&gt;
Sir,&lt;br /&gt;
It has been suggested that the observations&lt;br /&gt;
you permitted me to make in the November number&lt;br /&gt;
of the Author, on the &amp;quot;misuse of processes,&amp;quot; would&lt;br /&gt;
have been more practical if I had given any&lt;br /&gt;
examples from lx&amp;gt;oks lately published. To do this&lt;br /&gt;
at all thoroughly would take up too much space,&lt;br /&gt;
and lead too far into technicalities.&lt;br /&gt;
But it may be interesting, and useful, to take&lt;br /&gt;
from the shelves of an editor&amp;#039;s room two small&lt;br /&gt;
books waiting for review; one with the fascinating&lt;br /&gt;
title of &amp;quot; The Stream of Pleasure,&amp;quot; the other &amp;quot; The&lt;br /&gt;
Blue Poetry Book,&amp;quot; by Andrew Lang. The illus-&lt;br /&gt;
trations to &amp;quot;The Stream of Pleasure&amp;quot; are by that&lt;br /&gt;
well-known artist Mr. Joseph Pennell, and are&lt;br /&gt;
reproduced, for the most part, by mechanical (photo-&lt;br /&gt;
relief) processes. They are interesting in a high&lt;br /&gt;
degree as showing how an artist of great ability&lt;br /&gt;
and experience can go wrong. I know of no book&lt;br /&gt;
published last year in which so many drawings&lt;br /&gt;
have been injured in reproduction. (See pages 72&lt;br /&gt;
and gg as examples in two different methods, tone&lt;br /&gt;
and line, of &amp;quot;how not to do it,&amp;quot;&mdash;given a clever&lt;br /&gt;
artist and the adjuncts of good paper and printing);&lt;br /&gt;
and yet, if there is one man who should l&amp;gt;e able to&lt;br /&gt;
show the way to draw for reproduction, it is the&lt;br /&gt;
author of Pen and Pencil! All this is very hard&lt;br /&gt;
upon the makers of &amp;quot;process&amp;quot; blocks.&lt;br /&gt;
Turn from &amp;quot;The Stream of Pleasure&amp;quot; to&lt;br /&gt;
&amp;quot;The Blue Poetry Book,&amp;quot; illustrated by Mr. Lance-&lt;br /&gt;
lot Speed, an artist whose work, from a purely&lt;br /&gt;
artistic point of view, cannot be compared to that&lt;br /&gt;
of Mr. Pennell, but who has a knowledge of&lt;br /&gt;
technique,&mdash;and of the possibilities and limitations&lt;br /&gt;
of the art of drawing for &amp;quot; process,&amp;quot;&mdash;equal, if not&lt;br /&gt;
superior to, anyone in England. Some of your&lt;br /&gt;
readers&mdash;artists, publishers or reviewers&mdash;may be&lt;br /&gt;
&amp;quot;surprised to learn,&amp;quot; on turning over the pages of&lt;br /&gt;
&amp;quot;The Blue Poetry Book,&amp;quot; that all the illustrations&lt;br /&gt;
are reproduced by the same cheap processes as the&lt;br /&gt;
line drawings in Mr. Pennell&amp;#039;s lxx&amp;gt;k, and the&lt;br /&gt;
latter artist&amp;#039;s Russian drawings in the Illustrated&lt;br /&gt;
London News of December 12th!&lt;br /&gt;
I could quote other instances, but the above may&lt;br /&gt;
serve. The serious side, as it seems to me, is not&lt;br /&gt;
so much the mystification of reviewers as to&lt;br /&gt;
methods of illustration, as the misleading and&lt;br /&gt;
disheartening effect on students when they see the&lt;br /&gt;
work of experts going so very wrong.&lt;br /&gt;
I am, yours faithfully,&lt;br /&gt;
Henry Blackburn.&lt;br /&gt;
123, Victoria Street, Westminster,&lt;br /&gt;
12th January i8g2.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 282 (#686) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
n.&lt;br /&gt;
The New American Society.&lt;br /&gt;
A correspondent writes to us concerning tliis&lt;br /&gt;
new Society. &amp;quot;Our Association is growing in a&lt;br /&gt;
surprising degree in the face of opposition arising,&lt;br /&gt;
on the one hand, from persons whose self-interest&lt;br /&gt;
is jeopardized, and, on the other, from a class too&lt;br /&gt;
timid or cowardly or supine to demand a right. In&lt;br /&gt;
addition to these two there is, perhaps, a third force&lt;br /&gt;
operative against the progress of the measure; but&lt;br /&gt;
combined, or singly, they will not prevail.&lt;br /&gt;
&amp;quot;In this country, favourable to swift growth,&lt;br /&gt;
conditions are auspicious to advancement, if there is&lt;br /&gt;
this resolution to advance; and there is swift&lt;br /&gt;
response to appeal for fair play, if that appeal is&lt;br /&gt;
loud and broad enough to reach the people.&lt;br /&gt;
&amp;quot;Already our Society has vice-presidents and&lt;br /&gt;
auxiliaries in almost every State and territory of the&lt;br /&gt;
United States, and will soon have them in all. It&lt;br /&gt;
is not true that publishers who rob authors are&lt;br /&gt;
rare in this country; on the contrary, they are so&lt;br /&gt;
many that it may be said that the honourable men&lt;br /&gt;
in the business are the exception, not the rule.&lt;br /&gt;
Heretofore every whisper of this condition was&lt;br /&gt;
carefully suppressed. The knowledge of it once&lt;br /&gt;
diffused, it is greatly mitigated, if not abolished, in&lt;br /&gt;
America, for it is against the spirit of the nation&mdash;&lt;br /&gt;
the whole nation&mdash;to favour a wholesale pitiful&lt;br /&gt;
thieving of that kind after it has been thoroughly&lt;br /&gt;
made known Our Society will do a&lt;br /&gt;
grcflt work. It is bound to demand nothing but the&lt;br /&gt;
right.&amp;quot;&lt;br /&gt;
III.&lt;br /&gt;
Press Copies.&lt;br /&gt;
A correspondent calls attention to the fact that&lt;br /&gt;
popular religious books as well as little story books&lt;br /&gt;
are sometimes sent about broadcast to the papers.&lt;br /&gt;
And another suggests that educational books are&lt;br /&gt;
sent out in large numbers. Both statements are,&lt;br /&gt;
doubtless, quite true. My own statement is also&lt;br /&gt;
quite true. When one speaks of serious literature&lt;br /&gt;
one does not exactly mean little story books or&lt;br /&gt;
popular religious works. The &amp;quot;Lux Mundi,&amp;quot; for&lt;br /&gt;
instance, would not be sent out broadcast, but to&lt;br /&gt;
a small and carefully chosen list of papers. As for&lt;br /&gt;
educational books, they are sent out in large&lt;br /&gt;
numbers, not to the papers, but to head masters.&lt;br /&gt;
Sonic publishers are getting very chary of their books.&lt;br /&gt;
I know a ease in which one book only&mdash;it was by&lt;br /&gt;
a well-known author&mdash;was sent for review. It was&lt;br /&gt;
to the Times. And the publisher always said that&lt;br /&gt;
the absence of any other notice made no difference&lt;br /&gt;
whatever to the book.&lt;br /&gt;
W. B.&lt;br /&gt;
IV.&lt;br /&gt;
A Plea fob the Mild Domestic Novel.&lt;br /&gt;
The feminine reading public owes the Author a&lt;br /&gt;
debt for gently protesting against Mr. Andrew&lt;br /&gt;
Lang&amp;#039;s desire to witness a massacre of that poor&lt;br /&gt;
innocent, &amp;quot; the common, mild, middle class domestic&lt;br /&gt;
novel.&amp;quot; If Mr. Lang&amp;#039;s wish were carried out,&lt;br /&gt;
lamentation and weeping would certainly lie heard&lt;br /&gt;
in the land. I myself do not read the mild&lt;br /&gt;
domestic novel, but I know many women who do,&lt;br /&gt;
and I believe it is a mistake to suppose that &amp;quot; ladies&lt;br /&gt;
in these cases are apt to let the supply regulate&lt;br /&gt;
the demand.&amp;quot; In what way is a taste for the mild&lt;br /&gt;
domestic novel more reprehensible or regretable&lt;br /&gt;
than a taste for the shilling shockers and three&lt;br /&gt;
volume thrillers, which try to make up by wild&lt;br /&gt;
improbability of scene and incident for slipshod&lt;br /&gt;
writing and vacuous silliness? Is the mild domestic&lt;br /&gt;
novel inferior in workmanship or good sense to&lt;br /&gt;
the society novel flavoured with a little &amp;quot;sport,&amp;quot;&lt;br /&gt;
which delights the soul of the ordinary male novel&lt;br /&gt;
reader? The ladies who make from fifty to a&lt;br /&gt;
hundred pounds a year by supplying the mild&lt;br /&gt;
domestic article&mdash;they have no monopoly of the&lt;br /&gt;
trade, and gentlemen compete with them&mdash;deserve&lt;br /&gt;
congratulation rather than reprobation, and when&lt;br /&gt;
that happy day comes when the publisher no longer&lt;br /&gt;
&amp;quot;sweats&amp;quot; the author, their incomes will increase&lt;br /&gt;
astonishingly.&lt;br /&gt;
Mr. Lang is frankly contemptuous of the femi-&lt;br /&gt;
nine reading public, towards which Mr. Besant&lt;br /&gt;
shows himself kindly condescending. We note&lt;br /&gt;
the kindness, but the condescension also. Yet&lt;br /&gt;
both these gentlemen owe a heavy debt of gratitude&lt;br /&gt;
to &amp;quot;the ladies.&amp;quot; Could they make inquiries they&lt;br /&gt;
would probably find out that for every male reader&lt;br /&gt;
they have ten female ones, or should 1 say twenty?&lt;br /&gt;
The novelist or writer of literary essays who&lt;br /&gt;
estranged tin; feminine reading public would indeed&lt;br /&gt;
find his &amp;quot;occupation gone.&amp;quot; Is the literary taste&lt;br /&gt;
of the average (non-literary) Englishwoman less&lt;br /&gt;
critical or at all inferior to that of the ordinary&lt;br /&gt;
(non-literary) Englishman? I believe it to be on&lt;br /&gt;
tin? whole superior.&lt;br /&gt;
One wonders what Mr. Lang would projiose to&lt;br /&gt;
give us in the place of the &amp;quot; common, mild, middle-&lt;br /&gt;
class domestic novel,&amp;quot; and there are indications&lt;br /&gt;
which lead one to suppose that he would substitute&lt;br /&gt;
unlimited &amp;quot;adventure stories,&amp;quot; and the works of&lt;br /&gt;
Dumas jiere. Well, thousands of Englishwomen&lt;br /&gt;
have doubtless taken pleasure in &amp;quot; Treasure Island&amp;quot;&lt;br /&gt;
and also in &amp;quot;Solomon&amp;#039;s Mines,&amp;quot; but a woman&amp;#039;s&lt;br /&gt;
taste for what are, strictly speaking, &amp;quot; boy&amp;#039;s books&amp;quot;&lt;br /&gt;
usually dies out before she is far on in her teens.&lt;br /&gt;
A taste for Dumas should be cultivated early, and&lt;br /&gt;
his works are not often to be found in girl&amp;#039;s&lt;br /&gt;
schoolrooms. The pai&raquo;cr covered volumes of the&lt;br /&gt;
forcigu library are a more tempting substitute.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 283 (#687) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The writer of this letter takes refuge alike from&lt;br /&gt;
the mild domestic novel and the tale of the wild&lt;br /&gt;
and wonderful in foreign fiction, which she believes&lt;br /&gt;
to be quite harmless to her personally, but which&lt;br /&gt;
certainly is not mild. But should those Indies in&lt;br /&gt;
&amp;quot;deperately dull houses&amp;quot; of whom Mr. Besant&lt;br /&gt;
speaks so feelingly (plenty of desperately dull&lt;br /&gt;
houses, by the way, may l)e found in London), take&lt;br /&gt;
to reading one hundred and thirty French novels&lt;br /&gt;
a year, she would hesitate to regard the change&lt;br /&gt;
as an improvement, and so she imagines would&lt;br /&gt;
Mr. Lang.&lt;br /&gt;
S. P.&lt;br /&gt;
[I hope that the condescension attributed to me&lt;br /&gt;
by the author of this letter was not observed in&lt;br /&gt;
my remarks by any other reader.&mdash;W.B.]&lt;br /&gt;
V.&lt;br /&gt;
HOW?&lt;br /&gt;
&amp;quot;I, myself, and I think a great many others&lt;br /&gt;
would be very glad to get some information on two&lt;br /&gt;
points which have always interested me. 1 want&lt;br /&gt;
to know how a book gets read, that is, in what&lt;br /&gt;
way the general public living all over the world&lt;br /&gt;
gets to hear of a book, and is stimulated to read it?&lt;br /&gt;
Next, I want to know how a book gets sold, that&lt;br /&gt;
is to say, who buys the book, and how it is&lt;br /&gt;
supplied? In the old days there were booksellers&amp;#039;&lt;br /&gt;
shops. These exist still, but in number and&lt;br /&gt;
importance quite out of proportion to the vast&lt;br /&gt;
increase of the book trade. The Author is always&lt;br /&gt;
insisting that we should learn all we can about the&lt;br /&gt;
management of our property. Here is a branch of&lt;br /&gt;
the management about which I, for one, know&lt;br /&gt;
nothing.&amp;quot;&lt;br /&gt;
A Member.&lt;br /&gt;
VI.&lt;br /&gt;
Gerald Massey.&lt;br /&gt;
&amp;quot;In the list of minor poets enumerated the other&lt;br /&gt;
day by Mr. Traill, I observe a very curious&lt;br /&gt;
omission. The name of Gerald Massey is not&lt;br /&gt;
among them. Surely this is accidental. Gerald&lt;br /&gt;
Massey&amp;#039;s verse has been so long before the world,&lt;br /&gt;
he has so many fine qualities, and so many&lt;br /&gt;
admirers, that a list of living poets is incomplete&lt;br /&gt;
without his name. The same may be said for&lt;br /&gt;
Dr. W. C. Bennett.&amp;quot;&lt;br /&gt;
T.&lt;br /&gt;
&lt;br /&gt;
FROM THE PAPERS.&lt;br /&gt;
I.&lt;br /&gt;
Modern Poets.&lt;br /&gt;
THERE are plenty of facts which warn us how&lt;br /&gt;
difficult it is to generalise safely about lite-&lt;br /&gt;
rature, and especially about poetry. At pre-&lt;br /&gt;
sent we live under high pressure, as Mr. Lang,&lt;br /&gt;
like so many other critics, has reminded us. We&lt;br /&gt;
live among railways and telegraphs, and under&lt;br /&gt;
conditions of instantaneous communication which&lt;br /&gt;
enormously increase what Sir Arthur Helps used&lt;br /&gt;
to call social pressure. Nothing less favourable to&lt;br /&gt;
poetry, as the world used to believe, could be&lt;br /&gt;
imagined; and yet we have around us a volume&lt;br /&gt;
&amp;lt;Jf good poetical production greater, perhaps, than&lt;br /&gt;
England ever saw before. Perhaps we have no&lt;br /&gt;
Burns, but we have a crowd of excellent writers&lt;br /&gt;
of verse, the least of whom would have been&lt;br /&gt;
thought much of had he lived in Burns&amp;#039;s day and&lt;br /&gt;
written as he writes now. A critic in one of the&lt;br /&gt;
recent magazines has taken the trouble to enu-&lt;br /&gt;
merate quite sixty English writers of the present&lt;br /&gt;
day, to whom, without any great indulgence, the&lt;br /&gt;
name &amp;quot;poet&amp;quot; may be applied. There are major&lt;br /&gt;
and minor among them, of course, and we may&lt;br /&gt;
safely cut out half as not really important. But,&lt;br /&gt;
even so, that leaves a larger numl&amp;gt;er than were&lt;br /&gt;
ever to be found before producing work of that&lt;br /&gt;
quality. Some of the names arc obvious, and every&lt;br /&gt;
constant reader of poetry endeavours to keep up&lt;br /&gt;
with whatever conies from the hand of our three&lt;br /&gt;
chief poets&mdash;idas ! they were five before Browning&lt;br /&gt;
and Matthew Arnold died. But beyond this small&lt;br /&gt;
circle, how many writers of pure vein there are!&lt;br /&gt;
How perfect are some lyrics of Stevenson; how&lt;br /&gt;
noble the l&amp;gt;est order of Coventry Patmore;&lt;br /&gt;
how tender and gracious the muse of Aubrey de&lt;br /&gt;
Vere; how finished is Robert Bridges; how gem-&lt;br /&gt;
like are the &amp;quot;vignettes&amp;quot; of Austin Dobson; how&lt;br /&gt;
original, under their borrowed form, are the&lt;br /&gt;
&amp;quot;ballades&amp;quot; of Mr. Lang himself! It may be that&lt;br /&gt;
the highest poetry, which grows from seeds that&lt;br /&gt;
are sown no one knows how, or when, or where,&lt;br /&gt;
is best developed in a less crowded and less com-&lt;br /&gt;
petitive society than ours; but it would at least&lt;br /&gt;
appear that the mnnysidedness of modern life anil&lt;br /&gt;
the width of modern culture bring their compen-&lt;br /&gt;
sations with them. The greatest poet, whose home&lt;br /&gt;
is &amp;quot;the general heart of men,&amp;quot; may, perhaps,&lt;br /&gt;
Ixdong only to a simpler world; though the&lt;br /&gt;
question cannot be solved till either a Burns arises&lt;br /&gt;
in modern London or till the world comes to an&lt;br /&gt;
end. But, on the other hand, it does not seem&lt;br /&gt;
probable that of literary poets, charming, elegant,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 284 (#688) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
and masters of their craft, there will ever cease to l&amp;gt;e&lt;br /&gt;
a copious supply.&mdash;From the Times, January 26th,&lt;br /&gt;
1892.&lt;br /&gt;
II.&lt;br /&gt;
Names and Wokk.&lt;br /&gt;
A wail comes from New England. The true&lt;br /&gt;
literary worker, says he who waileth, is pushed aside&lt;br /&gt;
to make room for the millionaire, the society&lt;br /&gt;
woman, actresses, English lords and ladies, and&lt;br /&gt;
&amp;quot;asinine royalties.&amp;quot; He goes on to explain that&lt;br /&gt;
the English nobilities have the pleasure of paying&lt;br /&gt;
for their productions, which nobody buys or reads.&lt;br /&gt;
In that case the English nobilities cannot do any&lt;br /&gt;
injury to American or English litterateurs. We,&lt;br /&gt;
therefore, on our side are blameless in this matter.&lt;br /&gt;
Again, as we on this side do not read the feeble&lt;br /&gt;
lwoks produced by American millionaires, we are&lt;br /&gt;
not harmed by them. In fact, I am quite certain&lt;br /&gt;
that l)oth here and across the water the production&lt;br /&gt;
of feeble books, whether written by well-known&lt;br /&gt;
people or not, does no harm either to literature or&lt;br /&gt;
to men of letters. They are produced; they fall;&lt;br /&gt;
they die; they are forgotten; they are more&lt;br /&gt;
ephemeral than the day&amp;#039;s paper, which does get&lt;br /&gt;
read and produces its effect; and as nobody buys&lt;br /&gt;
feeble books the true worker is not hurt. I have&lt;br /&gt;
never been able to feel any sympathy with wratli&mdash;&lt;br /&gt;
which seems to me simulated&mdash;over harmless little&lt;br /&gt;
blocks of paper in guise of books. Let them be&lt;br /&gt;
printed; they make work and jmiv for publishers,&lt;br /&gt;
printers, paper-makers, book-binders, and adver-&lt;br /&gt;
tising columns. And nol&amp;gt;odv reads them; and&lt;br /&gt;
nobody is a bit the worse for them, except the&lt;br /&gt;
author, who pays.&lt;br /&gt;
However, this American writer, Mr. W. B.&lt;br /&gt;
Harte {New England Magazine), seems to think&lt;br /&gt;
he has a real grievance, and this is what he says.&lt;br /&gt;
His remarks about certain noble English authors&lt;br /&gt;
are omitted, not so much because they are uncom-&lt;br /&gt;
plimentary as because they are superfluous.&lt;br /&gt;
&amp;quot;We are told by the publishers that to-day is the&lt;br /&gt;
day of &amp;#039;big things&amp;#039; in literature. The ordinary&lt;br /&gt;
old-fashioned means of achieving success are no&lt;br /&gt;
longer adequate. This means book-making, not&lt;br /&gt;
writing. The &amp;#039; big things &amp;#039; are books by men who&lt;br /&gt;
have become famous or notorious&mdash;more often&lt;br /&gt;
the latter&mdash;in finance, in politics, or on the turf,&lt;br /&gt;
whose names, publishers say, attract the attention&lt;br /&gt;
and pique the curiosity of the public. It is not big&lt;br /&gt;
things by big literary men, but little things by men&lt;br /&gt;
with big names, and usually an amazing illiteracy.&lt;br /&gt;
&amp;quot;The late Admiral Porter&amp;#039;s novels found pub-&lt;br /&gt;
lishers because he was Admiral Porter, and for no&lt;br /&gt;
other reason, William Waldorf Aster is a novelist&lt;br /&gt;
too, and of course, being the head of the Astor&lt;br /&gt;
family, he experiences no difficulty in finding a&lt;br /&gt;
publisher, and perhaps less difficulty in obtaining&lt;br /&gt;
the highest praise in the press. If James G.&lt;br /&gt;
Blaine could 1x3 persuaded to write a novel, and&lt;br /&gt;
draw his hero sitting before his own mirror, he&lt;br /&gt;
would probably realise a million dollars for it. All&lt;br /&gt;
the world would like to know what Mr. Blaine&lt;br /&gt;
thinks of Mr. Blaine. Chauneey M. Depew, I am&lt;br /&gt;
told, was offered a salary of one hundred thousand&lt;br /&gt;
dollars a year for five years, if he would write&lt;br /&gt;
editorials for one of the big newspapers. He&lt;br /&gt;
probably thought his stock of old stories would not&lt;br /&gt;
last as long as the contract demanded. He de-&lt;br /&gt;
clined the offer. Senator Ingalls is credited with&lt;br /&gt;
having refused two offers&mdash;one of ten thousand&lt;br /&gt;
dollars a year, and another of twenty-five thousand&lt;br /&gt;
dollars a year, to furnish three editorials a month to&lt;br /&gt;
one of the leading periodicals of the country. This&lt;br /&gt;
is probably a fish story, for it is said that Mr. Ingalls&lt;br /&gt;
lives principally u]&amp;gt;on his literary work, now that&lt;br /&gt;
he is not busy at Washington, and a man that lives&lt;br /&gt;
by literary work would not be likely to refuse&lt;br /&gt;
twenty-five thousand dollars a year for thirty-six&lt;br /&gt;
flimsy editorials. There are other rumours that&lt;br /&gt;
Mr. Thomas Piatt and Mr. Thomas B. Heed, and&lt;br /&gt;
Mrs. Harrison, the President&amp;#039;s wife, are also pes-&lt;br /&gt;
tered with invitations to l&amp;gt;ecome literary lights.&lt;br /&gt;
Mrs. P. T. Barnum has already made her debut in&lt;br /&gt;
literature, and a startling debut it was. In Boston,&lt;br /&gt;
every woman you meet in society has written at&lt;br /&gt;
least one novel, and in New York the per-centage&lt;br /&gt;
is abcut every other woman.&amp;quot;&lt;br /&gt;
III.&lt;br /&gt;
Copyright in Lectures.&lt;br /&gt;
THE forthcoming volume of hitherto unpub-&lt;br /&gt;
lished lectures by Carlyle &amp;quot;On Successive&lt;br /&gt;
Periods of European Culture&amp;quot; appears likely&lt;br /&gt;
to give rise to some rather subtle questions of&lt;br /&gt;
literary property. Practically the &amp;quot; Lectures Copy-&lt;br /&gt;
right Act, 1835,&amp;quot; has been a dead letter owing to&lt;br /&gt;
its vexatious conditions. Where the lecture, how-&lt;br /&gt;
ever, has not been given to the world, save by word&lt;br /&gt;
of mouth, equity has been more kind, and Lord&lt;br /&gt;
Eldon, in Abernethy&amp;#039;s case, and Mr. Justice Kay,&lt;br /&gt;
in the case of Nichols v. Pitman, eight or nine,&lt;br /&gt;
years ago, laid it down that, whether the lecture&lt;br /&gt;
had been committed by the lecturer to writing&lt;br /&gt;
before delivery or not, a member of the audience&lt;br /&gt;
would have no right to publish it for profit from&lt;br /&gt;
shorthand notes. The contents of the forthcoming&lt;br /&gt;
volume seem to have been obtained in this way&lt;br /&gt;
when the lectures were delivered in 1838 at an&lt;br /&gt;
institution near Portraan Square. Possibly they&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 285 (#689) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
were read by Carlyle from an existing manuscript,&lt;br /&gt;
in which case the right of his personal represen-&lt;br /&gt;
tatives to restrain publication would be unques-&lt;br /&gt;
tionable. It is possible, on the other hand, that&lt;br /&gt;
they were mere orations that were never committed&lt;br /&gt;
by the author to wiling either before or after&lt;br /&gt;
delivery, in which case there would be nothing&lt;br /&gt;
wherewith to compare the forthcoming book on&lt;br /&gt;
the question of infringement. It is a curious&lt;br /&gt;
feature in the case that if the representatives of&lt;br /&gt;
the reporter, who was probably the only pei^on&lt;br /&gt;
who took these lectures down, cannot be restrained,&lt;br /&gt;
they will, though they are neither the author nor&lt;br /&gt;
the assignees of the author, virtually have secured&lt;br /&gt;
a copyright in the book running for forty-two&lt;br /&gt;
years; because though the original source may&lt;br /&gt;
have been open to all, one man may not copy&lt;br /&gt;
another man&amp;#039;s report. These are the lectures of&lt;br /&gt;
which Leigh Hunt said that it seemed &amp;quot;as if some&lt;br /&gt;
Puritan had come to life again, liberalised by&lt;br /&gt;
German philosophy and his own intense reflections&lt;br /&gt;
and experience j&amp;quot; but a Scotch gentleman, who&lt;br /&gt;
was also present, was only moved to exclaim,&lt;br /&gt;
&amp;quot;Can any living man point to a single practical&lt;br /&gt;
passage in these lectures? and if not, what is&lt;br /&gt;
Mr. Carlyle himself but a phantom ?&amp;quot;&mdash; Dally&lt;br /&gt;
News, January 6th, 1892.&lt;br /&gt;
IV.&lt;br /&gt;
A New Tkerob.&lt;br /&gt;
Again does English law come forward with a&lt;br /&gt;
decision calculated to develop the bump of caution&lt;br /&gt;
in publishers. A firm in Sydney issued a sub&amp;quot;&lt;br /&gt;
scription work in two volumes, entitled &amp;quot;Aus-&lt;br /&gt;
tralian Men of Mark.&amp;quot; A certain subscriber&lt;br /&gt;
declined to take the books, on the ground that his&lt;br /&gt;
own biography did not appear therein, although&lt;br /&gt;
the promise had been made him that it should so&lt;br /&gt;
appear. The publishers brought suit to compel&lt;br /&gt;
performance of contract, but the Chief Justice of&lt;br /&gt;
New South Wales, Sir Frederick Darley, threw&lt;br /&gt;
them out of court. His decision took a wider&lt;br /&gt;
range than the contention of the defendant that a&lt;br /&gt;
private understanding had been violated, and was&lt;br /&gt;
based upon the broad ground that the contents of&lt;br /&gt;
the book did not correspond to its title. He&lt;br /&gt;
declared that the biographies it contained were of&lt;br /&gt;
merely local celebrities, who had no right to lie&lt;br /&gt;
considered as Australian men of mark. In view of&lt;br /&gt;
this fact, the Chief Justice decided not only that&lt;br /&gt;
the defendant should be acquitted, but that, in&lt;br /&gt;
general, all contracts entered into on account of&lt;br /&gt;
the book were null and void. This certainly adds&lt;br /&gt;
a new difficulty to the traditional ones of an author&lt;br /&gt;
in choosing a title for his writings. Of what avail&lt;br /&gt;
to select a taking name, when it may only result&lt;br /&gt;
in a prosecution for obtaining money under false&lt;br /&gt;
pretences? Particularly ominous is this decision&lt;br /&gt;
for the publishers of such works as &amp;quot;The Best&lt;br /&gt;
Books&amp;quot; or &amp;quot;The Greatest Thing in the World.&amp;quot;&lt;br /&gt;
A buyer with a different standard of judgment&lt;br /&gt;
from the author&amp;#039;s may hereafter throw such books&lt;br /&gt;
back on the publishers with a demand for a refund.&lt;br /&gt;
The principle must apply to sub-titles also, and this&lt;br /&gt;
suggests tin; danger of appending &amp;quot;a poem&amp;quot; or&lt;br /&gt;
&amp;quot;a farce &amp;quot; to an otherwise legally unobjectionable&lt;br /&gt;
title.&mdash;The Nation (New York), January 7, 1892.&lt;br /&gt;
V.&lt;br /&gt;
Literature and the State.&lt;br /&gt;
&amp;quot;He has l&amp;gt;een loudly blamed for his insensibility&lt;br /&gt;
to literary merit; so far, at least, as such sensibility&lt;br /&gt;
is shown by distribution of the funds and patronage&lt;br /&gt;
of the Crown. We do not know what were his&lt;br /&gt;
principles as to such matters, for during his&lt;br /&gt;
20 years of government he was, though assailed&lt;br /&gt;
by Mathias and Montagu, never taken to task in&lt;br /&gt;
Parliament on that subject. This fact, while it&lt;br /&gt;
deprived us of his explanation, throws so remark-&lt;br /&gt;
able a light on contemporary opinion as possibly&lt;br /&gt;
to illnstrate his own. If he was convinced that&lt;br /&gt;
literature, like war, thrived l&amp;gt;est upon subsidy, he&lt;br /&gt;
was culpable indeed. But it Ls conceivably possible&lt;br /&gt;
that he may have thought differently. He&lt;br /&gt;
may have lielieved that money does not brace&lt;br /&gt;
but relax the energies of literature; that more&lt;br /&gt;
Miltons have remained mute and inglorious under&lt;br /&gt;
the suffocation of wealth than under the frosts of&lt;br /&gt;
penury; that, in a word, half the best literature&lt;br /&gt;
of the world has been produced by duns. Pension-&lt;br /&gt;
less poetry may at least bear comparison with that&lt;br /&gt;
which has flourished upon bounties. Under the&lt;br /&gt;
chill rays of Pitt, we had Burns, Wordsworth,&lt;br /&gt;
Cowper, Southey, Scott, Coleridge, Canning,&lt;br /&gt;
Cralle, Joanna Baillie, Rogers; and even under&lt;br /&gt;
the tropical effusion of twelve hundred a year,&lt;br /&gt;
dispensed in heat-drops of fifty or a hundred&lt;br /&gt;
pounds apiece, we have had nothing conspicuously&lt;br /&gt;
superior. It is not easy at any rate to cite the&lt;br /&gt;
names of many eminent men of letters who have&lt;br /&gt;
received material assistance from the State since&lt;br /&gt;
the time of Pitt, Hook, and Moore had reason&lt;br /&gt;
even to curse the ill-judged bounty of their&lt;br /&gt;
country, and yet they were provided with lucrative&lt;br /&gt;
offices. Nothing, Pitt may have thought, is so&lt;br /&gt;
difficult as for a Parliamentary Government to&lt;br /&gt;
encourage literature. It may begin by encouraging&lt;br /&gt;
a Shakespeare, but it is far more likely to discover&lt;br /&gt;
a Pye. You start with a genius and end with a&lt;br /&gt;
job.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 286 (#690) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The above is from Lord Rosebcrv&amp;#039;s &amp;quot;Pitt.&amp;quot; It&lt;br /&gt;
is a jMissage wortli reading. But the author is not&lt;br /&gt;
probably aware that all sueeessive Governments&lt;br /&gt;
have followed the example of Pitt in his insensibility&lt;br /&gt;
to literary claims. It is true that they get every&lt;br /&gt;
year &pound;1,200 for literature, science, and art, but as&lt;br /&gt;
they always give it away to widows and daughters&lt;br /&gt;
of men in the Army, Navy, and Civil Services,&lt;br /&gt;
literature remains where it was in the days of Pitt.&lt;br /&gt;
VI.&lt;br /&gt;
The Commonest Delusions.&lt;br /&gt;
Beginners in literature nurse one delusion with&lt;br /&gt;
singular persistence. Next to the confidence that&lt;br /&gt;
they have in their own genius, the strongest basis&lt;br /&gt;
of all their hopes of success is the imaginary&amp;quot; friend&lt;br /&gt;
at court,&amp;quot; whose interposition in their behalf is one&lt;br /&gt;
day to launch them into the full tide of fame and&lt;br /&gt;
fortune.&lt;br /&gt;
The most pathetic part of every well-established&lt;br /&gt;
writer&amp;#039;s experience is connected with the letters he&lt;br /&gt;
receives from ambitious young people, who fancy&lt;br /&gt;
that all they need is a note of recommendation.&lt;br /&gt;
The covert meaning of these letters is that the&lt;br /&gt;
beginner has extraordinary talent, against which all&lt;br /&gt;
the editors have studiously set their faces. Of&lt;br /&gt;
course, such a theory is known to be preposterous&lt;br /&gt;
by every competent writer who easts a glance back&lt;br /&gt;
over the road by which he lias come to success in&lt;br /&gt;
his profession. No amount of friendly recom-&lt;br /&gt;
mendation can advance the interests of an aspirant&lt;br /&gt;
for literary rewards. The editor cares not a lig for&lt;br /&gt;
any man&amp;#039;s &amp;quot;influence&amp;quot;; the publisher depends&lt;br /&gt;
upon his well-paid literary advisers. This is so,&lt;br /&gt;
and it is right tliat it is so.&lt;br /&gt;
The vision of a &amp;quot; friend at court&amp;quot; is at best a&lt;br /&gt;
dishonest vision. The writer who indulges it loses&lt;br /&gt;
self-respect with every glance, every thought, every&lt;br /&gt;
calculation connected with it. A friend at court is&lt;br /&gt;
a lobbyist, who is to work the writer&amp;#039;s manuscripts&lt;br /&gt;
into the favour of editor or publisher by means of a&lt;br /&gt;
powerful influence not inherent in the manuscript&lt;br /&gt;
itself.&lt;br /&gt;
In the first place, the man or woman who would&lt;br /&gt;
accept any success in literary life, save that com-&lt;br /&gt;
pelled by the intrinsic value of art and thought,&lt;br /&gt;
could never feel a clear right to what is highest and&lt;br /&gt;
best in that life. Doubtless young persons whose&lt;br /&gt;
imaginations have become inflamed by literary&lt;br /&gt;
ambition do not fully realise the shame of contem-&lt;br /&gt;
plating any means of forcing accomplishment save&lt;br /&gt;
simple desert.&lt;br /&gt;
From America.&lt;br /&gt;
■&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
Who wrote the poem called &amp;quot;The Children,&amp;quot;&lt;br /&gt;
ascribed to Charles Dickens? Mr. Douglas Sladen&lt;br /&gt;
sends an interesting note on the subject to the&lt;br /&gt;
Atherueum of January 16. When in New York in&lt;br /&gt;
i88g he was introduced by Mr. E. C. Stedman to&lt;br /&gt;
Mr. Charles M. Dickinson as the real author of the&lt;br /&gt;
]K)em. In his book called &amp;quot;Younger American&lt;br /&gt;
Poets,&amp;quot; Mr. Sladen has included the }&amp;gt;oem with the&lt;br /&gt;
name of Mr. Dickinson as author, on that gentle-&lt;br /&gt;
man&amp;#039;s own authority. He then received a letter&lt;br /&gt;
from a lady in Australia stating that the real&lt;br /&gt;
author of the poem was a certain man named&lt;br /&gt;
Zachariah Sutcliffe, who died in Melbourne in 1891.&lt;br /&gt;
This Sutclifte, the lady stated, possessed an auto-&lt;br /&gt;
graph letter from Charles Dickens, thanking him&lt;br /&gt;
for sending a copy of the poem, and expressing&lt;br /&gt;
admiration of it. Where is that autograph letter,&lt;br /&gt;
and what can Mr. Dickinson tell us of the&lt;br /&gt;
circumstances attendant upon the birth of the&lt;br /&gt;
poem?&lt;br /&gt;
Mr. Justin Huntly McCarthy has in the press a&lt;br /&gt;
volume of Selections from Hattz. The book will be&lt;br /&gt;
published by Nutt.&lt;br /&gt;
Mr. Eugene Field in the Chicago News attacks&lt;br /&gt;
those who use the word wended. He says there, is&lt;br /&gt;
no such word. &amp;quot;Infinitive, To wend; \ti\si, went.&amp;quot;&lt;br /&gt;
Yes, but there is nothing to exclude the other form&lt;br /&gt;
of the past. One would rather sin with Scott than&lt;br /&gt;
be correct with Mr. Eugene Field.&lt;br /&gt;
A lady of San Francisco, Mrs. Flora Haines&lt;br /&gt;
Longhead, has begun the publication of her novels,&lt;br /&gt;
with the simple assistance of a bookseller. John&lt;br /&gt;
Ituskin has long done the same thing with his&lt;br /&gt;
works. There is no reason at all why, with some&lt;br /&gt;
simple machinery of an agent or salesman, authors&lt;br /&gt;
of standing should not imitate this example. Is&lt;br /&gt;
the time ripe for such a step? That it will be&lt;br /&gt;
taken before long no one who can read the temper&lt;br /&gt;
and spirit of the times can possibly doubt.&lt;br /&gt;
Mr. Joseph Hatton has in the press a volume&lt;br /&gt;
of reminiscences called &amp;quot;Cigarette Papers.&amp;quot; Mr.&lt;br /&gt;
Hatton&amp;#039;s experience has been so wide and varied&lt;br /&gt;
that the work ought to be most interesting.&lt;br /&gt;
It is when such a book as Mackail&amp;#039;s &amp;quot; Epigrams&lt;br /&gt;
from the Ci reek Anthology&amp;quot; (Longmans) appears&lt;br /&gt;
that we regret not having space to give for such&lt;br /&gt;
a review as would do justice to a volume produced&lt;br /&gt;
by a scholar for scholars. When our members are&lt;br /&gt;
numbered by the thousand instead of by the&lt;br /&gt;
hundred, the Author will be able to do justice to&lt;br /&gt;
such books as these&mdash;rare and few and far between.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 287 (#691) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
287&lt;br /&gt;
Mr. Brander Matthews has published (Chatto&lt;br /&gt;
and Windus) in London his &amp;quot;Dramatic Essays of&lt;br /&gt;
Charles Lamb.&amp;quot; There is an introductory essay&lt;br /&gt;
of his own which is well worthy of the subject.&lt;br /&gt;
Mr. Matthews is one of the very few English&lt;br /&gt;
speaking writers who can speak about the theatre&lt;br /&gt;
and thinjr* dramatic.&lt;br /&gt;
A pamphlet entitled, &amp;quot; Intemperance: its Causes&lt;br /&gt;
and Remedies,&amp;quot; by Mr. W. Beatty-Kingston, is&lt;br /&gt;
about to be published by Messrs. Routledgc &amp;amp; Co.&lt;br /&gt;
Mr. C. J. Wills has in the press &amp;quot;His Sister&amp;#039;s&lt;br /&gt;
Hand,&amp;quot; a novel in three volumes, to be published&lt;br /&gt;
in January, and, to be published in March, &amp;quot;In&lt;br /&gt;
and about Bohemia,&amp;quot; a collection of short stories.&lt;br /&gt;
The publishers of both books are Messrs. Griffith&lt;br /&gt;
and Farran.&lt;br /&gt;
Professor Middleton has in the press :&mdash;&lt;br /&gt;
1. &amp;quot;The Lewis collection of Engraved Gems,&amp;quot;&lt;br /&gt;
with an introductory essay. One vol.,&lt;br /&gt;
8vo. Clay and Sons, Cambridge.&lt;br /&gt;
2. &amp;quot;The Remains of Ancient Rome.&amp;quot; Two&lt;br /&gt;
vols., 8vo. A. and C. Black, London.&lt;br /&gt;
(This month.)&lt;br /&gt;
3. &amp;quot;The Art and Technique of Illuminated&lt;br /&gt;
MSS.&amp;quot; One vol., large 8vo. Cambridge&lt;br /&gt;
University Press. (In press.)&lt;br /&gt;
Mr. Thomas Macquoid&amp;#039;s new novel is to be&lt;br /&gt;
published by Messrs. Innes &amp;amp; Co. It will be in&lt;br /&gt;
two volumes. The title is &amp;quot;Maisie Derrick,&amp;quot; and&lt;br /&gt;
the work will be ready shortly.&lt;br /&gt;
The Clarendon Press will shortly issue a thin&lt;br /&gt;
quarto volume, containing twelve facsimiles of&lt;br /&gt;
pages of important Old English MSS., from the&lt;br /&gt;
Ninth to the Fifteenth Century, accompanied by&lt;br /&gt;
transcriptions and a palasogrophical introduction by&lt;br /&gt;
Professor Skeat. This is, in some degree, a new&lt;br /&gt;
departure. There is no reason why reproductions&lt;br /&gt;
from old manuscripts should not become familiar&lt;br /&gt;
to all who care for them.&lt;br /&gt;
A little monthly journal&mdash;the youngest and the&lt;br /&gt;
smallest&mdash;has been sent to me. It contains, on&lt;br /&gt;
four pages, nothing at all but songs written for&lt;br /&gt;
music. The writers of these songs pay so much&lt;br /&gt;
for insertion of their productions, which are&lt;br /&gt;
classified under the heads of Nautical, Amatory,&lt;br /&gt;
Martial&mdash;is it without meaning that the love songs&lt;br /&gt;
stand between the Nautical and the Martial,&lt;br /&gt;
between the Sailor and the Soldier?&mdash;Sacred,&lt;br /&gt;
Pathetic, Humourous, and Tragic. Each poet&lt;br /&gt;
affixes the price of his verses for the information&lt;br /&gt;
of the happy composer who may secure them. In&lt;br /&gt;
the Humourous, one remarks, we do not excel.&lt;br /&gt;
The Editor promises to post the paper to as many&lt;br /&gt;
composers as he can find. Why not? The verses&lt;br /&gt;
are not a bit worse than most of those which form&lt;br /&gt;
our popular ditties. The rhymes are our dear old&lt;br /&gt;
familiar ones: The wavelet gleams and the maiden&lt;br /&gt;
dreams: the Pilgrim sings his Song of Faith and&lt;br /&gt;
the Matin Bell awakes: the reaper touches his&lt;br /&gt;
brow and angels bear him home: when the lilies&lt;br /&gt;
bloom again, my love, when the lilies bloom again.&lt;br /&gt;
For thou art the star of night, and I am a shadow&lt;br /&gt;
apart, longing for one ray of light to gladden&lt;br /&gt;
the shade of my heart. Let us wish every success&lt;br /&gt;
to the song writers. Perhaps they have got their&lt;br /&gt;
chance at last.&lt;br /&gt;
Vol. V. of &amp;quot;Bible True from the Beginning,&amp;quot;&lt;br /&gt;
by the Rev. E. Gough, B.A., is just issued. It&lt;br /&gt;
deals with early portions of the Gospels.&lt;br /&gt;
Mr. M. Powis Bale&amp;#039;s book on Steam Pumps and&lt;br /&gt;
Pumping (Crosby Lockwood and Son) is going&lt;br /&gt;
into a second edition. It will be ready early this&lt;br /&gt;
month.&lt;br /&gt;
Mr. Charles T. C. James&amp;#039;s new novel, entitled&lt;br /&gt;
&amp;quot;Holy Wedlock,&amp;quot; will appear almost immediately&lt;br /&gt;
in a single volume (Ward and Downey).&lt;br /&gt;
A fourth edition of &amp;quot;Nature&amp;#039;s Fairyland,&amp;quot; by&lt;br /&gt;
Mr. H. W. L. Worsley-Benison (Elliot Stock,5*.),&lt;br /&gt;
has been issued.&lt;br /&gt;
The following books, by Miss Seliua Gaye, have&lt;br /&gt;
been recently published by T. Nelson and Sons:&lt;br /&gt;
&amp;quot;Dickie Winton, or Between Gate and Front&lt;br /&gt;
Door,&amp;quot; &amp;quot;All&amp;#039;s Well that Ends Well,&amp;quot; being a&lt;br /&gt;
reprint of &amp;quot;A Storm in a Tea-cup,&amp;quot; &amp;quot;Ilka, the&lt;br /&gt;
Captive Maiden, and other Stories from Hungarian&lt;br /&gt;
History.&amp;quot;&lt;br /&gt;
Mr. Robert Louis Stevenson has in the press a&lt;br /&gt;
volume of Essays, which will be published by&lt;br /&gt;
Messrs. Chatto and Windus next month.&lt;br /&gt;
We learn from the Athenaum that Mr. Steven-&lt;br /&gt;
son has also ready a volume on Samoa, and the&lt;br /&gt;
novel written in collaboration with Mr. Lloyd&lt;br /&gt;
Osborn, which has l&amp;gt;een running in Scribner.&lt;br /&gt;
Mr. Walter Besant will bring out in April, in&lt;br /&gt;
volume form (Chatto and Windus), the papers&lt;br /&gt;
which he has contributed to Harpers&amp;#039; Magazine&lt;br /&gt;
during the last nine months on London. The&lt;br /&gt;
papers, which had to be cut down to meet the&lt;br /&gt;
limited space of the magazine, will be published as&lt;br /&gt;
they were &amp;#039;written, with additions.&lt;br /&gt;
Mr. John Underbill has in the press (Walter&lt;br /&gt;
Scott &amp;amp; Co.), a selection from the Athenian&lt;br /&gt;
Oracle. There will be an introductory essay by&lt;br /&gt;
Mr. Underhill, and a letter by Mr. Walter Besant.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 288 (#692) ############################################&lt;br /&gt;
&lt;br /&gt;
288&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Mr. Wilfred Meynell has in press a monograph&lt;br /&gt;
on Cardinal Manning. No one is more fitted for&lt;br /&gt;
the task, if long friendship can constitute fitness.&lt;br /&gt;
When an author arrives at the dignity of being&lt;br /&gt;
the subject of critical essays and a bibliography, it&lt;br /&gt;
is a sign that there is not much left between him-&lt;br /&gt;
self and the top of the tree. This is the case with&lt;br /&gt;
Mr. Thomas Hardy.&lt;br /&gt;
The first number of the Albemarle is pre-&lt;br /&gt;
mising. To say that some of the articles are good&lt;br /&gt;
because they are short may sound hardly com-&lt;br /&gt;
plimentary, but it is the case. For example, the&lt;br /&gt;
head master of Haileybury&amp;#039;s little essay makes us&lt;br /&gt;
all understand the Greek question at schools. We&lt;br /&gt;
may agree, or we may not, with his answer, but&lt;br /&gt;
at any rate we know what the question is. And&lt;br /&gt;
that, we take it, is a distinct advance for most of&lt;br /&gt;
us. Mr. Oscar Browning&amp;#039;s article on the Primrose&lt;br /&gt;
League is witty and pretty, and Miss Mabel&lt;br /&gt;
Robinson&amp;#039;s Storicule&mdash;to poach from Punch&mdash;is a&lt;br /&gt;
very clever and pathetic sketch.&lt;br /&gt;
One of the later volumes of the Pseudonym&lt;br /&gt;
Library, &amp;quot; Some Emotions and a Moral,&amp;quot; by John&lt;br /&gt;
Oliver Hobbes, has just fallen into my hands.&lt;br /&gt;
It is a brilliant little book! There is no story&lt;br /&gt;
&mdash;that is to say, not much&mdash;but it is brilliant.&lt;br /&gt;
And who is John Oliver Hobbes? You swear&lt;br /&gt;
first that it is a man, and next, from a touch, a&lt;br /&gt;
word, a way of presentment, that it is a woman,&lt;br /&gt;
but you can never be quite certain which it may be.&lt;br /&gt;
The writing is so good that it suggests the influence&lt;br /&gt;
of many summers and much experience; yet I&lt;br /&gt;
think the author is young. There is a curious sort&lt;br /&gt;
of contempt for all that so many frail mortals find&lt;br /&gt;
fascinating, running through the whole story, and&lt;br /&gt;
this, I think, is more likely to have sprung from&lt;br /&gt;
early cleverness than from later disillusion. But,&lt;br /&gt;
I repeat, a brilliant little book!&lt;br /&gt;
FOR DISPOSAL.&lt;br /&gt;
Two &pound;5o shares in a well-known leading Review.&lt;br /&gt;
Apply to J.N., care of Secretary.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Alexander, Wm., D.D. The Leading Ideas of the&lt;br /&gt;
Gospels. Macmillan. 6s.&lt;br /&gt;
Alford, B. H. Nutford Place Sermoni. Preached in&lt;br /&gt;
St. Luke&amp;#039;s Church by. David Stott.&lt;br /&gt;
Bird, Rev. J. J. L. The Homilist. A Magazine for all&lt;br /&gt;
who are engaged in preaching, teaching, or studying&lt;br /&gt;
the Word of God. Edited by. Volume LXII.&lt;br /&gt;
Houlston, Paternoster Buildings, E.G. 7s. 6d.&lt;br /&gt;
Bevan, A. A., M.A. A short Commentary on the Book of&lt;br /&gt;
Daniel, for the use of Students. At the Cambridge&lt;br /&gt;
University Press.&lt;br /&gt;
Brooke, Kev. S. A. &amp;quot;Short Sermons.&amp;quot; Macmillan and&lt;br /&gt;
Co. 6s.&lt;br /&gt;
Church, Dean. Village Sermons preached at Whatley by&lt;br /&gt;
the late. Macmillan. 6s.&lt;br /&gt;
Hughes, Rev. H. Price. Ethical Christianity: A Series&lt;br /&gt;
of Sermons. &amp;quot;Preachers of the Age &amp;quot; Series. With&lt;br /&gt;
Portrait. Sampson Low. 3s. 6&amp;lt;f.&lt;br /&gt;
Hugh-Games, Vex. Archdeacon. The One Book. A&lt;br /&gt;
Treatise on the unique character of the Bible. Hunt,&lt;br /&gt;
Paternoster Row. 3*. 6&amp;lt;f.&lt;br /&gt;
Jamieson, George, D.D. Revised Theology: the Church&lt;br /&gt;
as it ought to be compared with the Church as it is.&lt;br /&gt;
Hodder and Stoughton. 6s.&lt;br /&gt;
Julian, John. A Dictionary of Hymnology, setting forth&lt;br /&gt;
the Origin and History of Christian Hymns of all&lt;br /&gt;
Ages and Nations, with special reference to those&lt;br /&gt;
contained in the hymn books of English-speaking&lt;br /&gt;
countries, and now in common use; together with&lt;br /&gt;
Biographical and Critical Notices of their Authors and&lt;br /&gt;
Translators, and Historical Articles on National and&lt;br /&gt;
Denominational Hymnody, Breviaries, Missals, Primers,&lt;br /&gt;
Psalters, Sequences, &amp;amp;c. Edited by. John Murray.&lt;br /&gt;
zl. is.&lt;br /&gt;
Kitchen, Rev. J. A. On the Use of Models and Objects&lt;br /&gt;
for Scripture Teaching. Church of England School&lt;br /&gt;
Institute, is. id.&lt;br /&gt;
Religious Systems op the World: a Collection of&lt;br /&gt;
Addresses delivered at South Place Institute. Second&lt;br /&gt;
Edition, with several new Articles. Swan&lt;br /&gt;
Sonnenschein.&lt;br /&gt;
Warren, Right Hon. Robert, LL.D. The Kingdom of&lt;br /&gt;
Christ and the Church of Ireland. Hodder and&lt;br /&gt;
Stoughton. 3s.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Burnblana: a collection of literary odds and ends re-&lt;br /&gt;
lating to Robert Burns. Compiled by John D. Boss.&lt;br /&gt;
Round Burn&amp;#039;s Grave: the pecans and dirges of&lt;br /&gt;
many bards gathered together. By John D. Ross.&lt;br /&gt;
New and enlarged edition. Alexander Gardner.&lt;br /&gt;
Ellis, Rev. J. J. Thomas Cromwell. &amp;quot;Men with a&lt;br /&gt;
Mission&amp;quot; series. Nisbet, Berners Street, is.&lt;br /&gt;
History of Art in Persia, from the French of Georges&lt;br /&gt;
Perrot and Charles Chipiez. Illustrated. Chapman&lt;br /&gt;
and Hall. 21s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 289 (#693) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
289&lt;br /&gt;
Kate, Walter J. The Leading Poets of Scotland from&lt;br /&gt;
early times. Illustrated. Simpkin, Marshall.&lt;br /&gt;
Lawbon, Sir Wilfrid, M.P. Wisdom Grave and Gay,&lt;br /&gt;
being select Speeches of, chiefly on Temperance and&lt;br /&gt;
Prohibition. With biographical sketch. Selected and&lt;br /&gt;
edited by R. A. Jameson (by permission). Partridge&lt;br /&gt;
and Co. is. net.&lt;br /&gt;
Langhorne, J. and W. Plutarch&amp;#039;s Lives of Alexander&lt;br /&gt;
the Great and Julius Ctesar. Translated by. Cassell&amp;#039;s&lt;br /&gt;
National Library. Cloth, 6d.&lt;br /&gt;
Leckt, W. E. H. A History of England in the Eighteenth&lt;br /&gt;
Century. New edition. Vol. L Longmans. 6s.&lt;br /&gt;
Life of Archibald Campbell Tait, Archbishop of&lt;br /&gt;
Canterbury. By Randall T. Davidson, D.D., Bishop&lt;br /&gt;
of Rochester, and William Benham, D.D., Honorary&lt;br /&gt;
Canon of Canterbury. Third edition, in two volumes.&lt;br /&gt;
Macmillan. 10s.net.&lt;br /&gt;
Longmobe, Surgeon-General Sir T. Richard Wiseman,&lt;br /&gt;
Surgeon and Sergeant-Surgeon to Charles II., a bio-&lt;br /&gt;
graphical study. With portrait and illustrations.&lt;br /&gt;
Longmans, ics. 6d.&lt;br /&gt;
Medhurst, Rev. C. E. The Rev. Samuel Strong Forster,&lt;br /&gt;
M.A., for 19 years Head Master of the College for&lt;br /&gt;
Blind Sons of Gentleman, Worcester. A brief account&lt;br /&gt;
of bis life and work on behalf of the higher education&lt;br /&gt;
of the blind. Deighton, High Street, Worcester,&lt;br /&gt;
Paper covers.&lt;br /&gt;
Morris, Mowbray. Montrose. English Men of Action&lt;br /&gt;
Series. Macmillan. 2s. 6d.&lt;br /&gt;
Moule, H. C. G., M.A. Charles Simeon. English Leaders&lt;br /&gt;
of Religion Series. Mcthuen and Co. 2s. 6d.&lt;br /&gt;
Wood, Rev. Theodore, F.E.S. The Rev. J. G. Wood: a&lt;br /&gt;
Naturalist&amp;#039;s Life and Labours. Popular edition, with&lt;br /&gt;
portrait. Cassell. 5*.&lt;br /&gt;
Fiction.&lt;br /&gt;
Alexander, Mrs. Mammon: A Novel. 3 vols. William&lt;br /&gt;
Heinemann. 3is. 6d.&lt;br /&gt;
Ahstey, F. The Talking Horse, and other Tales. Smith,&lt;br /&gt;
Elder.&lt;br /&gt;
Armstrong, Jessie. From Out the Past: A Story.&lt;br /&gt;
Houlston, Paternoster Square, is.&lt;br /&gt;
Cameron, Mrs. Lovett. Weak Woman: A Novel. 3&lt;br /&gt;
vols. F. V. White and Co., 3i, Southampton Street,&lt;br /&gt;
W.C. 5*.&lt;br /&gt;
Combe, T. Jonquille: or, The Swiss Smuggler. Translated&lt;br /&gt;
from the French by Beatrix L. Tollemache. Percival&lt;br /&gt;
and Co. 6s.&lt;br /&gt;
Cbes8well, Henry. Fairest of Three: a Novel. 3 vols.&lt;br /&gt;
Hurst and Blackett.&lt;br /&gt;
FooERTY, J. Mr. Jocko: a Novel. 3 vols. Ward and&lt;br /&gt;
Downey.&lt;br /&gt;
Giberne, Agnes. Tim Tcddington&amp;#039;s Shoes. Home Words&lt;br /&gt;
Office, Paternoster Square, is.&lt;br /&gt;
Griffith, Cecil. Corinth in Marazion. A Novel. 3 vols.&lt;br /&gt;
Chatto and Windos.&lt;br /&gt;
Haggard, H. Rider. Beatrice. A Novel. Fourth edition.&lt;br /&gt;
Longmans. 3s, 6d.&lt;br /&gt;
Hbwett, Georgb. In Nelson&amp;#039;s Days. Wells, Gardner&lt;br /&gt;
and Co.&lt;br /&gt;
James, C. T. C. Holy Wedlock: a Story of Things as they&lt;br /&gt;
are. Ward and Downey.&lt;br /&gt;
Krikorian, Jessie. A Knave and a Fool. A Novel.&lt;br /&gt;
Second Edition. Eden, Remington.&lt;br /&gt;
Leith-Adams, Mrs. A Garrison Romance. Eden,&lt;br /&gt;
Remington.&lt;br /&gt;
Lytton, Lord. Kenelm Chillingly. The Caxton Novels.&lt;br /&gt;
Author&amp;#039;s Copyright edition. Routledge. Paper covers.&lt;br /&gt;
M&amp;#039;Lennan, Malcolm. Muckle Jock, and other Stories of&lt;br /&gt;
Peasant Life in the North. Macmillan. 3s. 6d.&lt;br /&gt;
Martin, Emily. Even Mine Own Familiar Friend. A&lt;br /&gt;
Novel. 2 vols. Sampson Low. 12*.&lt;br /&gt;
Mercier, Mrs. Jerome. Arum Field: or, Life&amp;#039;s Reality.&lt;br /&gt;
Wells, Gardner and Co.&lt;br /&gt;
No Rent. By the Author of &amp;quot;Society&amp;#039;s Verdict,&amp;quot; &amp;quot; The&lt;br /&gt;
Family Story-Teller.&amp;quot; Stevens, Strand.&lt;br /&gt;
Peard, F. M. The Baroness: a Dutch Story. 2 vols.&lt;br /&gt;
Bentley.&lt;br /&gt;
Phillips-Wooley, C. Snap: a Legend of the Lone&lt;br /&gt;
Mountain. With Illustrations by H. G. Willink.&lt;br /&gt;
New edition. Longmans. 3&raquo;. 6d.&lt;br /&gt;
Roberts, Morley. King Billy of Ballarat, and other&lt;br /&gt;
Stories. Lawrence and Bullcn. New Bond Street.&lt;br /&gt;
Russell, W. Clark. Mrs. Dines&amp;#039; Jewels: a Mid-Atlantic&lt;br /&gt;
Romance. Sampson Low. 2s. 6d.&lt;br /&gt;
Scarron, Paul. The Comical Romance and other Tales.&lt;br /&gt;
Done into English by Tom Brown of Sbifnal, John&lt;br /&gt;
Savage, and others. With an introduction by J. J.&lt;br /&gt;
Jusserand. Illustrated from the designs of Oudry.&lt;br /&gt;
2 vols. Lawrence and Bullen, New Bond Street.&lt;br /&gt;
Sergeant, Adeline. Under False Pretences. A Novel&lt;br /&gt;
in 3 vols. Ward and Downey.&lt;br /&gt;
Tasma. L^ncle Piper of Piper&amp;#039;s Hill. A Novel. W.&lt;br /&gt;
Heinemann. 3s. 6d.&lt;br /&gt;
Tourg&pound;e, Albion W. A Son of Old Harry. A Novel.&lt;br /&gt;
Illustrated. Breutano&amp;#039;s, Agar Street, Strand. 6s.&lt;br /&gt;
Ward, Mrs. Humphry. The History of David Grieve.&lt;br /&gt;
3 vols. Smith, Elder.&lt;br /&gt;
Wassrrmann, Lilias. The Daffodils. A Story. Chatto&lt;br /&gt;
and Windu;.&lt;br /&gt;
WurrcOME-RiLEY, James. An Old Sweetheart of Mine.&lt;br /&gt;
Gay and Bird. 10s.&lt;br /&gt;
Wilford, Florence. Vivia: a modern Story. Wells,&lt;br /&gt;
Gardner and Co.&lt;br /&gt;
Yonge, Charlotte M. Mothers in Council. Edited by.&lt;br /&gt;
Vol. I. Wells, Gardner, Darton.&lt;br /&gt;
General Literature.&lt;br /&gt;
Allen, M. L. Luncheon Dishes. Kegan Paul. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Almanack, 1892. Embossed in the Braille type by the&lt;br /&gt;
British and Foreign Blind Association, Cambridge&lt;br /&gt;
Square, Hyde Park.&lt;br /&gt;
Anderson, Capt. L. Among Typhoons and Pirate Craft.&lt;br /&gt;
With illustrations. Chapman and Hall. 5s.&lt;br /&gt;
Bailey, Welleslet C. The Lepers of our Indian Empire;&lt;br /&gt;
a Visit to them in 1890-91. J. F. Shaw, Paternoster&lt;br /&gt;
Row.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 290 (#694) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Bastable, C. F., LL.D. The Commerce of Nations.&lt;br /&gt;
Methuen &amp;amp; Co. is. 6d.&lt;br /&gt;
Beerbohm Tbke, H. Some Interesting Fallacies of the&lt;br /&gt;
Modern Stage. An Address delivered at St. James&amp;#039;s&lt;br /&gt;
Hall. William Heinemann. 6d.&lt;br /&gt;
Browne, Sir Thomas. Heligio Medici, and other Essays.&lt;br /&gt;
Edited, with an introduction, by D. Lloyd Boberts,&lt;br /&gt;
M.D., F.E.C.P. The Stott Library. David Stott.&lt;br /&gt;
Burdett, Henry C. Hospitals and Asylums of the World:&lt;br /&gt;
their Origin, History, Construction, Administration,&lt;br /&gt;
Management, and Legislation. In 4 vols. Vol. I.,&lt;br /&gt;
Asylums&mdash;History and Administration; Vol. II.,&lt;br /&gt;
Asylums Construction, with plans and bibliography.&lt;br /&gt;
Churchill, New Burlington Street, W. 4/. 10s.&lt;br /&gt;
Defok, Daniel. Kohinson Crusoe. Cheap illustrated&lt;br /&gt;
edition. Griffith, Farran. Paper covers. 6d.&lt;br /&gt;
Denning, David. The Art and Craft of Cabinet-making.&lt;br /&gt;
With illustrations. Whittaker, White Hart Street. 5*.&lt;br /&gt;
Ehrenfechteb, C. A. Technical Study in the Art of&lt;br /&gt;
Pianoforte-playing (Deppe&amp;#039;s principles). With illus-&lt;br /&gt;
trations. Beeves, Fleet Street.&lt;br /&gt;
FiTzoEBALD, Percy. The Art of Acting. Swan Sonncn-&lt;br /&gt;
schein &amp;amp; Co.&lt;br /&gt;
Gatehouse, T. E. The Strange History of a Dynamo.&lt;br /&gt;
Alabaster, Gatehouse &amp;amp; Co., Paternoster Bow. 1*.&lt;br /&gt;
Grekn, J. L. The Old Yeomen of England and Small&lt;br /&gt;
Holdings in Land. Marlborough, Old Bailey. Paper&lt;br /&gt;
covers.&lt;br /&gt;
Hailstone, H. The Clergy List, 1892. Edited by. Kelly,&lt;br /&gt;
Great Queen Street, W.C.&lt;br /&gt;
Hasluck, P. N. Milling Machines and Processes. With&lt;br /&gt;
engravings. Crosby Lockwood.&lt;br /&gt;
Heoderwick, T. C. H. The Parliamentary Election&lt;br /&gt;
Manual. Stevens, Chancery Lane. 7*. 6d.&lt;br /&gt;
Howe, W. F. Classified Directory to the Metropolitan&lt;br /&gt;
Charities for 1892. Seventeenth annual edition.&lt;br /&gt;
Longmans, is.&lt;br /&gt;
Jenktns, C. Carlyon. Hard Life in the Colonies, and&lt;br /&gt;
other experiences by sea and land. Now first printed.&lt;br /&gt;
Compiled from private letters by. Illustrated. Ad-&lt;br /&gt;
venture Series. Fisher Unwin. 5s.&lt;br /&gt;
Johnson, V. E., B.A. Egyptian Science, from the Monu-&lt;br /&gt;
ments and Ancient Books, treated as a general intro-&lt;br /&gt;
duction to the History of Science. Griffin, Farran&lt;br /&gt;
&amp;amp; Co. 3s. 6d.&lt;br /&gt;
The Journal ok the Boyal Agricultural Society ok&lt;br /&gt;
England. Third scries. Vol. II., Part IV., No. VIII.&lt;br /&gt;
John Murray. Paper covers. 3s. 6d.&lt;br /&gt;
Keene, H. G. The Literature of France. University&lt;br /&gt;
Extension Manuals series. John Murray. 3&raquo;.&lt;br /&gt;
Keene, J. Boddely. Power and Force, Spiritual and&lt;br /&gt;
Natural, their discreted differences, mutual inter-&lt;br /&gt;
relation, and specific atmospheres. Fisher LTnwin.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Laveleye, M. Kmilk de. Letters from Italy. Translated&lt;br /&gt;
by Mrs. Thorpe and revised by the author. Popular&lt;br /&gt;
edition. Fisher Unwin. 3s. 6d.&lt;br /&gt;
Lean, Lt.-Col. Francis. The Boyal Navy List, January&lt;br /&gt;
1892. Witherby &amp;amp; Co. 7s. 6d,&lt;br /&gt;
Lloyd, W. W. P. and O. Pencillings. Published for the&lt;br /&gt;
Peninsular and Oriental Steam Navigation Company&lt;br /&gt;
by Day and Son, Berners Street, W.&lt;br /&gt;
Losing, G. B., M.D. A Year in Portugal, 1889-90.&lt;br /&gt;
G. P. Putnam&amp;#039;s Sous.&lt;br /&gt;
Marshall, Mrs. A. B. Larger Cookery Book of Extra&lt;br /&gt;
Becipes. Dedicated to Princess Christian. With&lt;br /&gt;
portrait and illustrations. Simpkin, Marshall.&lt;br /&gt;
Meredith, George. The Tragic Comedians. A study in&lt;br /&gt;
a well known story. New edition. With introductory&lt;br /&gt;
note on Ferdinand Lassalle by Clement Shorter.&lt;br /&gt;
Ward, Lock, Bowden. 6&raquo;.&lt;br /&gt;
Mill, H. K., D.Sc. The Bealm of Nature, an Outline of&lt;br /&gt;
Physiography. With mai&amp;gt;s and illustrations. Uni-&lt;br /&gt;
versity Extension Manual Series. John Murray.&lt;br /&gt;
Ocean Steamships: a Popular Account of their Construc-&lt;br /&gt;
tion, Development, Management, and Appliances.&lt;br /&gt;
By F. E. Chadwick, U.S.N., J. D. J. Kellev, U.S.N.,&lt;br /&gt;
Kidgely Hunt, U.S.N., J. H. Gould, W. H! Kideiug,&lt;br /&gt;
and A. E. Seaton. With illustrations. John Murray.&lt;br /&gt;
12s.&lt;br /&gt;
Ochorowicz, Db. J. Mental Suggestion. With a preface&lt;br /&gt;
by Charles Bichet. Translated from the French by&lt;br /&gt;
J. T. Fitzgerald, M.A. Gay and Bird, King William&lt;br /&gt;
Street, W.C. 10s. 6d.&lt;br /&gt;
Payne, A. G. Vegetarian Cookery: a Manual of Cheap&lt;br /&gt;
and Wholesome Diet. Cassell. is. 6d.&lt;br /&gt;
Beeves, Edward. Homeward Bound, after 3o years.&lt;br /&gt;
A Colonist&amp;#039;s Impressions of New Zealand, Australia,&lt;br /&gt;
Tangier, and Spain. Illustrated. Swan Sonnenscheiu&lt;br /&gt;
&amp;amp; Co.&lt;br /&gt;
Boss, Bonald. The Deformed Transformed. Chapman&lt;br /&gt;
and Hall. 3s. 6d.&lt;br /&gt;
Bussell, Henry. The Kuiu of the Soudan: Cause, Effect,&lt;br /&gt;
and Bemedy. A Resume of Events, 1883-1891.&lt;br /&gt;
Assisted by William Gattie. With maps and illustra-&lt;br /&gt;
tions. Sampson Low.&lt;br /&gt;
Bussell, Stuart A. Electric Light Cables, and the Dis-&lt;br /&gt;
tribution of Electricity. With illustrations. Volume&lt;br /&gt;
of the Specialist Series. Whittaker.&lt;br /&gt;
Bussell, T. B. Last Year: the Events of 1891, with a&lt;br /&gt;
Chronological Table, Obituary, and Appendix. With&lt;br /&gt;
portraits and maps. Foxwell, Temple Chambers, is.&lt;br /&gt;
Stables, Gobdon, M.D., B.N. The Girl&amp;#039;s Own Book of&lt;br /&gt;
Health and Beauty. Jarrold, Paternoster Buildings.&lt;br /&gt;
2s. 6d.&lt;br /&gt;
Stuart, Villiers. Adventures Amidst the Equatorial&lt;br /&gt;
Forests and Rivers of South America; also in the&lt;br /&gt;
West Indies and the Wilds of Florida; to which is&lt;br /&gt;
added &amp;quot;Jamaica Revisited.&amp;quot; With illustrations and&lt;br /&gt;
maps. John Murray.&lt;br /&gt;
Skating. By J. M. Heathcote and C. G. Tebbutt. Figure&lt;br /&gt;
Skating. By T. Maxwell Witham. With Contri-&lt;br /&gt;
butions on Curling (the Rev. John Kerr), Tobogganing&lt;br /&gt;
(Ormond Hake), Ice-sailing (Henry A. Buck), Bandy&lt;br /&gt;
(C. G. Tebbutt). Illustrated by C. Whymper and&lt;br /&gt;
Captain B. M. Alexander, and from photographs.&lt;br /&gt;
Volume of the Badminton Library. Longmans.&lt;br /&gt;
10s. 6d.&lt;br /&gt;
Stepniak, S., and W. Westaxl. lu Two Moods. From&lt;br /&gt;
the Bussian of Korolenko. Ward and Downey.&lt;br /&gt;
Taylor, J. Traill. The Optics of Photography and&lt;br /&gt;
Photographic Lenses. Illustrated. Whittaker. 3s. 6d&lt;br /&gt;
Tollemache, Beatrix. Grison&amp;#039;s Incidents in Olden Times.&lt;br /&gt;
Percival &amp;amp; Co. 2s. 6rf.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 291 (#695) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Toller, T. Nortiicote. An Anglo-Saxon Dictionary.&lt;br /&gt;
Based on the Manuscript Collections of the late Joseph&lt;br /&gt;
Bosworth, D.D., F.li.S. Edited and enlarged by.&lt;br /&gt;
Part IV., Section i. Clarendon Press. 8*. 6rf.&lt;br /&gt;
Tyndall, John1, FJ5.A. New Fragments. Longmans.&lt;br /&gt;
104. 6ll.&lt;br /&gt;
Vkee, Aubrey de. The Legends of Saint Patrick. Cassell&amp;#039;s&lt;br /&gt;
National Library. Cloth. 6d.&lt;br /&gt;
Wardle, Thomas. Tussur Silk, a paper read at the Society&lt;br /&gt;
of Arts on May 14th, 1891, by. Trounce, Gough&lt;br /&gt;
Square, Fleet Street.&lt;br /&gt;
West, B. B. Half Hours with the Millionaires. Arranged&lt;br /&gt;
and edited by. Longmans. 6&raquo;.&lt;br /&gt;
Educational.&lt;br /&gt;
Babtholomew, J. G. The Globe Hand Atlas. Nelson,&lt;br /&gt;
Paternoster Row. 2s. 6d.&lt;br /&gt;
FitKAM, W., LL.D. Elements of Agriculture: a Text-book,&lt;br /&gt;
prepared under the authority of the Royal Agricultural&lt;br /&gt;
Society of England by. John Murray. 2s. 6d.&lt;br /&gt;
Gabdineb, S. R. A Student&amp;#039;s History of England. Vol.&lt;br /&gt;
III., 1689-1885. Longmans. 4*.&lt;br /&gt;
A Student&amp;#039;s History of England; from the&lt;br /&gt;
earliest times to 1885. Complete in 1 volume, with&lt;br /&gt;
illustrations and index. Longmans, izs.&lt;br /&gt;
Gawthrop. A Manual of Practical Instruction in the Art&lt;br /&gt;
of Brass Repousse for Amateurs. Artificer in brass&lt;br /&gt;
and iron. Illustrated. Sutton, Drowley, Ludgate Hill.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Harrison-, W. Jkromk. Guides to the Science and Art&lt;br /&gt;
Department Examinations in Magnetism and Electri-&lt;br /&gt;
city, and answers to questions, 1883-91. Blackie, Old&lt;br /&gt;
Bailey. Paper covers.&lt;br /&gt;
Manual of Horticulture and Agriculture, 1891.&lt;br /&gt;
Published by Kelway and Son, Langport, Somerset.&lt;br /&gt;
Paper covers. i.t.&lt;br /&gt;
Half&amp;#039;s Rapid Road to Spanish. Parts I. and II.&lt;br /&gt;
Second edition, revised and enlarged. George Philip,&lt;br /&gt;
Fleet Street. 5s. each.&lt;br /&gt;
Sullt, James, M.A. The Human Mind: a Text-book of&lt;br /&gt;
Psychology, 2 vols. Longmans. 21s.&lt;br /&gt;
Tobbend, J. A Comparative Grammar of the South&lt;br /&gt;
African Bantu Languages. Kegan Paul.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Bell, Mrs. Hugh. Nursery Comedies. Twelve tiny plays&lt;br /&gt;
for children. Longmans, is. 6d.&lt;br /&gt;
Bbadshaw, John. The Poetical Works of John Milton.&lt;br /&gt;
Kdited by. 2 vols. Aldine Kdition. George Bell,&lt;br /&gt;
u. 6d. each.&lt;br /&gt;
Butler, A. Gray. Harold: a Drama in Four Acts, and&lt;br /&gt;
other Poems. Henry Frowde, Oxford University Press&lt;br /&gt;
Warehouse. 5s.&lt;br /&gt;
Cooksox, Lt.-Col. Fife. A Dream of Other Days: a&lt;br /&gt;
Romantic Poem. Kegan Panl.&lt;br /&gt;
Davidson, John. In a Music Hall, and other Poems.&lt;br /&gt;
Ward and Downey.&lt;br /&gt;
Dobson, Austin. Poems and Plays of Oliver Goldsmith.&lt;br /&gt;
Edited by. J. M. Dent and Co.&lt;br /&gt;
Lang, Andrew. Selected Poems of Robert Bums, with an&lt;br /&gt;
introduction by. Kegan Paul.&lt;br /&gt;
Lovat, Lady. Seeds and Sheaves: Thoughts for Incur-&lt;br /&gt;
ables. With prefatory verses by Aubrey de Vere.&lt;br /&gt;
Kegan Paul.&lt;br /&gt;
Matthews, Brander. The Dramatic Essays of Charles&lt;br /&gt;
Lamb. Edited, with an introduction and notes by.&lt;br /&gt;
Chatto and Windus.&lt;br /&gt;
Scully, W. C. Poems. Fisher Unwin.&lt;br /&gt;
Siiarpe-Younos, Ella. Khartoum: a Lyrical Drama in&lt;br /&gt;
five acts. Published at San Remo. Paper covers.&lt;br /&gt;
Sinclair, May. Essays in Verse. Kegan Paul.&lt;br /&gt;
Tynan, Katharine. Ballads and Lyrics. Kegan Paul.&lt;br /&gt;
Yolande. The Church&amp;#039;s Seasons, and other Verses.&lt;br /&gt;
Longmans. 4s. 6d.&lt;br /&gt;
Science.&lt;br /&gt;
E. H. A New Departure in Astronomy: the Revolution&lt;br /&gt;
of the Solar System. Chapman and Hall. Paper&lt;br /&gt;
covers. 2*.&lt;br /&gt;
Wagner, Rudolf von. Manual of Chemical Technology.&lt;br /&gt;
Translated and Edited by William Crookes, F.R.S.,&lt;br /&gt;
from the 13th German edition as remodelled by Dr. F.&lt;br /&gt;
Fischer. With illustrations. Churchill. 32&raquo;.&lt;br /&gt;
Waite, A. E. The Occult Sciences: a compendium of&lt;br /&gt;
transcendental doctrine and experiment. Kegan Paul.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Calendar of the Department of Science and Art for 1892,&lt;br /&gt;
is. 6d.; Return as to Hours of Closing in Scotland,&lt;br /&gt;
id. j Return&mdash;County Boroughs (Rates and Receipts&lt;br /&gt;
from Local Taxation Account), $d.; Return (in part)&lt;br /&gt;
as to Alien Immigration during December, \d.; Return&lt;br /&gt;
as to the National Debt, 3d. The Annual Local&lt;br /&gt;
Taxation Returns, 1889-90; Part II., $\d. List of&lt;br /&gt;
Parliamentary Papers for sale, with prices and postage&lt;br /&gt;
affixed, 1890-91. Kyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 292 (#696) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
THE AUTHORS&amp;#039; SYNDICATE.&lt;br /&gt;
THIS Association is established for the purpose of syndicating or selling&lt;br /&gt;
the serial rights of authors in magazines, journals, and newspapers. It&lt;br /&gt;
has now been at work for more than a year, and has transacted a very&lt;br /&gt;
satisfactory amount of business during this period. It has also entered upon&lt;br /&gt;
a great number of engagements for the future.&lt;br /&gt;
The following points are submitted for consideration :&mdash;&lt;br /&gt;
1. The management is voluntary and unpaid. No one makes any profit&lt;br /&gt;
out of the Syndicate, except the authors who use its services.&lt;br /&gt;
2. The commission charged on the amounts received covers the expenses&lt;br /&gt;
of clerks, travellers, rent, and printing. As work increases this&lt;br /&gt;
may be still further reduced.&lt;br /&gt;
3. Only the serial rights are sold for the author. He receives his&lt;br /&gt;
volume rights and copyright.&lt;br /&gt;
4. The Syndicate has an American agent.&lt;br /&gt;
5. The Syndicate will only work for members of the Society.&lt;br /&gt;
6. Its offices are on the same floor as those of the Society, and its&lt;br /&gt;
assistance and advice are always at the service of the Society.&lt;br /&gt;
7. Authors are warned that no syndicating is possible for them until&lt;br /&gt;
they have already attained a certain amount of popularity.&lt;br /&gt;
8. The Syndicate acts as agent in every kind of literary property.&lt;br /&gt;
W. MORRIS COLLES,&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
4, Portugal Street,&lt;br /&gt;
Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 293 (#697) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
293&lt;br /&gt;
Cfje i?wtetg of gutfiors (EncorporatrtO-&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
Thk Right Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sie Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfbkd Austin.&lt;br /&gt;
A. W. k Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Berone, K.C.M.G.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. D. Blackmore.&lt;br /&gt;
Rev. Prof. Bonnet, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawfurd, C.M.G.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
The Earl of Desart.&lt;br /&gt;
A. W. Dubouro.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.D.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Rudyard Kipling.&lt;br /&gt;
Prof. E. Ray Lankester, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of Pembroke and&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herriks Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
Baron Hknby de Worms, M.P.,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
I W. Martin Conway. 1 H. Rider Haggard. I Sir Frederick Pollock.&lt;br /&gt;
I Edmund Gosse. | J. M. Lely. | A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Members.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Pres9.) 2s. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
95, Strand, W.C.) 3*.&lt;br /&gt;
5. The ffistOiy of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society. I*.&lt;br /&gt;
6. The Cost Of Production. In this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
Henry Glaisher, q5, Strand, W.C. 2*. 6d.&lt;br /&gt;
7. The Various Methods Of Publication. By S. Squire Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Henry Glaisher,&lt;br /&gt;
95, Strand, W.C. 3*.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord MonkswelPs Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode.&lt;br /&gt;
i*. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 294 (#698) ############################################&lt;br /&gt;
&lt;br /&gt;
394&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
MISS IFt. GILL,&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C., and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
TYPE-WEITIHQ OFFICE,&lt;br /&gt;
ST, PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from is. per&lt;br /&gt;
j,ooo words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge. Instruction given in&lt;br /&gt;
Pitman&amp;#039;s System of Shorthand and in type-&lt;br /&gt;
writing. References kindly permitted to Walter&lt;br /&gt;
Besant, Esq.&lt;br /&gt;
FUETHER PARTICULARS ON APPLICATION.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TYPIST,&lt;br /&gt;
44, Oakley Street Plats, Chelsea, S.W.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
Authors&amp;#039; MSS. Carefully Transcribed. References&lt;br /&gt;
39, Lombaud Street, E.C.&lt;br /&gt;
KINDLY PERMITTED TO GEORGE AUGUSTUS SaLA, Esq.&lt;br /&gt;
Office No. 59 (close to Lift).&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
AUTHORS.&mdash;The New York Bureau of Revision aids Authors in completing&lt;br /&gt;
their books; gives competent and unbiassed criticism of Prose or Verse; and offers MSS. and&lt;br /&gt;
proofs in the American Market. Address&mdash;&lt;br /&gt;
Dr. TITUS MUNSON COAN,&lt;br /&gt;
20, West Uth Street, Neiv York.&lt;br /&gt;
TOE ORIGINAL AUTHORS&amp;#039; AGENCY. Established 1879. Proprietor, Mr. A. M. BURGHES,&lt;br /&gt;
1, PaternOSter ROW. Tlic interests of Authors capably represented. Proposed agreements and estimates&lt;br /&gt;
examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years&amp;#039;&lt;br /&gt;
practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials from&lt;br /&gt;
leading Authors on application to Mr. A. M. Burghes, Authors&amp;#039; Agent, i, Paternoster Row.&lt;br /&gt;
It Makes Writing Easy.&lt;br /&gt;
Leave the drudgery of the Pen&mdash;Soiled Fingers&mdash;Blotted and&lt;br /&gt;
Obscure Manuscript, to those who prefer darkness to light.&lt;br /&gt;
Quick, up-to-date writers use&lt;br /&gt;
The Bar-Lock Type-Writer.&lt;br /&gt;
Why&lt;br /&gt;
Easiest Managed; Soonest Learned; Most Durable;&lt;br /&gt;
Writing Always Visible; does best work, and never gets&lt;br /&gt;
out of repair.&lt;br /&gt;
Chosen, by Royal Warrant, Type-Writer to the Queen.&lt;br /&gt;
Only gold medals&mdash;Edinburgh (1890) and Jamaica (1891)&lt;br /&gt;
Exhibitions; is used in principal Government Depart-&lt;br /&gt;
ments, and greatest number of English business houses.&lt;br /&gt;
We send interesting supply of further information free.&lt;br /&gt;
THE TYPE-WRITER COMPANY, LIMITED,&lt;br /&gt;
IS &amp;amp; w, Queen Victoria Street, London, E.C. ; 25. Market Street, Manchester; i, South John Street, Liverpool&lt;br /&gt;
22, Renlield Street, Glasgow; 35. Charles Street, Bradford.&lt;br /&gt;
London: Printed by Etke and SroTTiswooDE, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/260/1892-02-01-The-Author-2-9.pdf</td><td>publications, The Author</td></tr><tr><td>261</td><td>https://historysoa.com/items/show/261</td><td>The Author, Vol. 02 Issue 10 (March 1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+10+%28March+1892%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 10 (March 1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1892-03-01-The-Author-2-10</td><td></td><td></td><td></td><td></td><td>295&ndash;342</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892-03-01&quot;&gt;1892-03-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>10</td><td></td><td></td><td>18920301</td><td>ZIbe Hutbot\&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. io.]&lt;br /&gt;
MARCH i, 1892.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CO NT&lt;br /&gt;
PAGE&lt;br /&gt;
Warnings &raquo;&amp;quot;&lt;br /&gt;
Notices J97&lt;br /&gt;
Literary Property&mdash;&lt;br /&gt;
I.&mdash;Registration 300&lt;br /&gt;
II.&mdash;Transfer of Books 3&deg;&amp;#039;&lt;br /&gt;
Swindells v. Morgan and Others&mdash;&lt;br /&gt;
I.&mdash;Report of the Case 3&deg;i&lt;br /&gt;
II.&mdash;On the Case 3&deg;&amp;#039;&lt;br /&gt;
The Output&mdash;Past and Present 3&deg;3&lt;br /&gt;
Notes from Paris 3&deg;4&lt;br /&gt;
An Old Pirate Song. By C. G. Lcland 3&deg;*&lt;br /&gt;
Titles of Honour 3&amp;lt;&amp;gt;7&lt;br /&gt;
Red Clover 3&deg;8&lt;br /&gt;
A Fine Plav 3&deg;9&lt;br /&gt;
Notes and News. Bv Walter Besant 3&amp;quot;&lt;br /&gt;
Men and Women of tho Time&mdash;1788 3&amp;#039;3&lt;br /&gt;
The Dance of Death 3&amp;quot;S&lt;br /&gt;
Without a Publisher 3&amp;#039;5&lt;br /&gt;
Scott on the Art of Fiction 3&amp;quot;s&lt;br /&gt;
ENTS.&lt;br /&gt;
International Copyright&mdash;&lt;br /&gt;
I.&mdash;Annual Meeting of the Copyright League .. ..311&lt;br /&gt;
II.&mdash;Canada and the United States 3&raquo;&lt;br /&gt;
Author and Editor 3&amp;quot;&lt;br /&gt;
The Letter H. By William Westall 3*4&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I&mdash; Mr. Traill&amp;#039;s List of Poets 3&raquo;S&lt;br /&gt;
II.&mdash;Useful Books i&amp;#039;S&lt;br /&gt;
From the Papers&mdash;&lt;br /&gt;
I.&mdash;&amp;quot; One who knew Him&amp;quot; I&amp;#039;S&lt;br /&gt;
II&mdash;Mr. Edmund Gosse on Reading S&amp;#039;b&lt;br /&gt;
III. &mdash;On Literary Collaboration. By Waltor Besant .. jj&raquo;&lt;br /&gt;
IV. &mdash;The Critic 3&raquo;8&lt;br /&gt;
V.&mdash;Do Publishers read MSS. submitted? 3*9&lt;br /&gt;
VI.&mdash;Arc Women Creative 33&deg;&lt;br /&gt;
VII &mdash;An American on American Literature 33&amp;#039;&lt;br /&gt;
VIII.&mdash;Swindells v. Morgan and Tomkins 33&raquo;&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 33&raquo;&lt;br /&gt;
New Books and New Editions &bull; ■ 33S&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
INVESTMENTS. A List of 1,600 British, Colonial, and&lt;br /&gt;
Foreign Securities, with the highest and lowest prices quoted&lt;br /&gt;
for the last twenty-two years. 2a. bd.&lt;br /&gt;
&amp;quot;A useful work of reference.&amp;quot;&mdash;Money.&lt;br /&gt;
PHILOSOPHICAL NOTES ON BOTANICAL SUB-&lt;br /&gt;
JECTS. By E. Bonavia, M.D., Brigade-Surgeon, I.M.D.&lt;br /&gt;
With 160 Illustration&amp;#039;*, as. bd.&lt;br /&gt;
BEAL ARMY RKFORM, THE ESSENTIAL FOUNDA-&lt;br /&gt;
TION OF. By Igkotus. bd.&lt;br /&gt;
MY GARDENER (Illustrated). By H. W. Ward, Head&lt;br /&gt;
Gardener to the Right Hon. the Earl of Radnor, Longford&lt;br /&gt;
Castle. Salisbury. M. bd.&lt;br /&gt;
&amp;quot;The book is replete with valuable cultural notes indispensable&lt;br /&gt;
to the millions who are now turning to gardening as a source of&lt;br /&gt;
pleasure and profit.&amp;quot;&mdash; Gardener&amp;#039;s Chronicle.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the State Trials&lt;br /&gt;
Committee. Edited by Joitx Macdoneli,, M.A. 101.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3*.&lt;br /&gt;
Contains all the Public Acts passed during the year, with&lt;br /&gt;
Index, also Tables showing the clft&amp;#039;ot of the year&amp;#039;s Legislation,&lt;br /&gt;
toget her with complete and classified Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
REVISED STATUTES. (Second Revised Edition.) Royal&lt;br /&gt;
8vo. Prepared under the direction of the Statute Law&lt;br /&gt;
Revision Committee, and Edited by G. A. R. Fitzgerald,&lt;br /&gt;
Esq. Vols. I. to IV. now ready, price 7&raquo;. bd. each.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By the Hon. Ralph Aberckohby, F.R. Met.&lt;br /&gt;
HoC. 23.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon&lt;br /&gt;
Miscellaneous Lis&lt;br /&gt;
Every Assistance given to Correspondents; and&lt;br /&gt;
METEOROLOGICAL INSTRUMENTS, Instructions in&lt;br /&gt;
the use of. at. td.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Roval Rvo. Cloth, is. bd.&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACK.&lt;br /&gt;
BvSirGKOROKGKEY.K.C.B. Illustrated. Koyal 8vo. Cloth, j&raquo;.&lt;br /&gt;
COPYRIGHT LAW REFORM: an Exposition of Lord&lt;br /&gt;
Monkswcll&amp;#039;s Copyright Bill. With Extracts from tho Report of&lt;br /&gt;
the Commission of 1878. and an Appendix containing the Berne&lt;br /&gt;
Convention and the American Copyright Bill. By J. M. Lely,&lt;br /&gt;
Esq., Barrister-at-Law. is. bd.&lt;br /&gt;
KEW BULLETIN, 1891. Issued by the Director of Kew&lt;br /&gt;
Gardens, ys. (Ready shortly.)&lt;br /&gt;
KEW BULLETIN, 1892. Monthly, 2d. Appendices,&lt;br /&gt;
2d. each. Annual Subscription, including postage, 3*. qd.&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day. Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. SnAW-llELLIEE, Commandant Royal Military&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artistically&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood&lt;br /&gt;
Engravings, hi,&lt;br /&gt;
&amp;quot;Unique, as no earlier work exists in English dealing exhaus-&lt;br /&gt;
tively with the same subject A very important con-&lt;br /&gt;
tribution to the history of orchestration.&amp;quot;&mdash;Atheneeum.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in tho Public Record Office. By S. R.&lt;br /&gt;
Scargill-Bibd, F.S.A. is. &pound;&lt;br /&gt;
&amp;quot;The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash;Times.&lt;br /&gt;
Application. Quarterly Lists Post Free, arf.&lt;br /&gt;
t on Application.&lt;br /&gt;
Books not kept in stock obtained without delay.&lt;br /&gt;
GOVERNMENT AND GENERAL PU11MSHERS.&lt;br /&gt;
EYRE and SPOTTISWOODE, Ber Majesty&amp;#039;s Printers, East Harding Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 296 (#700) ############################################&lt;br /&gt;
&lt;br /&gt;
2g6&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
%\yt &amp;amp;ockty of 9utI)ors (EncorporatrtD,&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Eight Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sir Edwin Arnold, K.C.l.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. A Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Bergne, K.C.M.G.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. D. Blackmore.&lt;br /&gt;
Rev. Prop. Bonnet, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Beyce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawfurd, C.M.G.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
The Earl of Desart.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
RicnARD Garnett, LL.D.&lt;br /&gt;
Edmund Gos.se.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Rudyard Kipling.&lt;br /&gt;
Prof. E. Ray Lankester, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
Pembroke and&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.,&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Berries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
Baron Henry de Worms, M.P.,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
I Sm Frederick Pollock.&lt;br /&gt;
| A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Members.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Press.) 2*. The Keport of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at &amp;quot;Willis&amp;#039;s Eooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Coixes, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
g5, Strand, W.C.) 3*.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost Of Production. In this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
Henry Glaisher, q5, Strand, W.C. 2s. 6d.&lt;br /&gt;
7. The Various Methods Of Publication. By S. Squire SrRiGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Henry Glaisher,&lt;br /&gt;
95, Strand, W.C. 3s.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord MonkswelFs Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lelt. Eyre and Spottiswoode.&lt;br /&gt;
1*. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 297 (#701) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe B u t b o t\&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. io.]&lt;br /&gt;
MARCH i, 1892.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that are&lt;br /&gt;
signed or initialled the Authors alone are&lt;br /&gt;
responsible.&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed:&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, until you have proved the&lt;br /&gt;
figures.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with those who&lt;br /&gt;
advertise for MSS., who are not recom-&lt;br /&gt;
mended by experienced friends or by this&lt;br /&gt;
Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
until you have ascertained exactly what&lt;br /&gt;
the agreement gives kto the author and&lt;br /&gt;
what to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
vol. n.&lt;br /&gt;
(8.) Keep some control over the advertisements&lt;br /&gt;
by clause in the agreement. If you arc&lt;br /&gt;
yourself ignorant of the subject, make&lt;br /&gt;
the Society your agent.&lt;br /&gt;
(9.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE Americans have committed a very graceful&lt;br /&gt;
and complimentary action. They have allowed&lt;br /&gt;
the piece of plate presented by the Society to&lt;br /&gt;
Mr. R. U. Johnson, Secretary of the American&lt;br /&gt;
Copyright League, to be admitted to free entry on&lt;br /&gt;
importation. We submitted the case to Mr. Rol&amp;gt;ert&lt;br /&gt;
Lincoln, the American Minister, who kindly pro-&lt;br /&gt;
mised us his good offices in the matter, with the&lt;br /&gt;
result that a copy of the following letter from Mr.&lt;br /&gt;
Spaulding, the Acting Secretary of the Treasury,&lt;br /&gt;
Washington, to the Secretary of State for Foreign&lt;br /&gt;
Affairs, Mr. Blaine, has been forwarded to us.&lt;br /&gt;
It will be observed that this is only the second&lt;br /&gt;
concession of the kind made by the States.&lt;br /&gt;
&amp;quot;Sir,&lt;br /&gt;
&amp;quot;I have the honour to acknowledge the&lt;br /&gt;
receipt of your letter of the 13th instant, enclosing,&lt;br /&gt;
for the consideration of this Dejwirtmeut, a De-&lt;br /&gt;
spatch, No. 587, from the Minister of the United&lt;br /&gt;
States at London, inquiring whether a piece of&lt;br /&gt;
silver plate, to be presented by the Incorporated&lt;br /&gt;
Society of Authors of Great Britain to Robert U.&lt;br /&gt;
Johnson, Esq., Secretary of the American Copy-&lt;br /&gt;
right League, as a testimonial of recognition of&lt;br /&gt;
Y 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 298 (#702) ############################################&lt;br /&gt;
&lt;br /&gt;
298&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the services of himself and his Society in the esta-&lt;br /&gt;
blishment of the International Copyright Law&lt;br /&gt;
now existing, can be admitted to free entry on&lt;br /&gt;
importation.&lt;br /&gt;
&amp;quot;In reply, I have to state that, under date of 5th&lt;br /&gt;
May 1887, free entry was authorised for certain&lt;br /&gt;
vases imported for presentation as testimonials to&lt;br /&gt;
members of the American Committee who super-&lt;br /&gt;
intended the installation of the Bartholdi Statue of&lt;br /&gt;
&amp;#039;Liberty enlightening the World,&amp;#039; and that, in&lt;br /&gt;
accordance with the practice of admitting to free&lt;br /&gt;
entry, under paragraph 648 of the Tariff Act, cups&lt;br /&gt;
and plate as prizes and trophies, it would seem tliat&lt;br /&gt;
the piece of plate in question would be exempt&lt;br /&gt;
from duty on importation.&lt;br /&gt;
&amp;quot;Respectfully yours,&lt;br /&gt;
&amp;quot;O. J. Spaulding,&lt;br /&gt;
&amp;quot;Acting Secretary.&amp;quot;&lt;br /&gt;
&amp;quot;To the Hon. F. G. Blaine.&amp;quot;&lt;br /&gt;
The following letter appeared in the Times of&lt;br /&gt;
February 24th:&mdash;&lt;br /&gt;
Sir,&lt;br /&gt;
To-day is the birthday of James Russell&lt;br /&gt;
Lowell, and I understand that a commemorative&lt;br /&gt;
ceremony is being performed in his honour at his&lt;br /&gt;
native place. It has occurred to me that English-&lt;br /&gt;
men might be glad to show their respect for a&lt;br /&gt;
man who was one of the most eminent writers in&lt;br /&gt;
the common language of England and America,&lt;br /&gt;
and who, as Minister in this country, did so much&lt;br /&gt;
to promote goodwill between the two nations.&lt;br /&gt;
A monument is erected in Westminster Abbey&lt;br /&gt;
to Lowell&amp;#039;s friend and fellow-countryman, Long-&lt;br /&gt;
fellow. It seems to me that it would not be out&lt;br /&gt;
of place to give in some similar way a proof of&lt;br /&gt;
our national regard for Lowell himself.&lt;br /&gt;
If anyone who agrees with this would communi-&lt;br /&gt;
cate with me, I should be very glad to co-operate&lt;br /&gt;
in taking the necessary steps for giving effect to&lt;br /&gt;
the proposal.&lt;br /&gt;
Yours, &amp;lt;fcc.&lt;br /&gt;
Leslie Stephen.&lt;br /&gt;
12, Hyde Park Gate, S.W.,&lt;br /&gt;
Feb. 22nd.&lt;br /&gt;
This proposal should be supported by every&lt;br /&gt;
member of our Society, not only because Lowell&lt;br /&gt;
was one of the most eminent writers of the century,&lt;br /&gt;
but also because he fought manfully and all his life&lt;br /&gt;
long for the cause of International Copyright, and&lt;br /&gt;
because he was, in a very especial sense, the friend&lt;br /&gt;
of this Society, whose aims he cordially approved&lt;br /&gt;
and whose growth he always watched with interest.&lt;br /&gt;
It is hoped that every member will hold himself in&lt;br /&gt;
readiness to support Mr. Leslie Stephen in the&lt;br /&gt;
promotion of this monument.&lt;br /&gt;
The Authors&amp;#039; Club has now passed from the&lt;br /&gt;
preliminary stage to that of actual existence. The&lt;br /&gt;
Club is to be founded upon a Limited Joint Stock&lt;br /&gt;
Company, already established and registered, the&lt;br /&gt;
possession of a single share in which will serve in&lt;br /&gt;
lieu of entrance fee. The shares in the Company-&lt;br /&gt;
are limited to 600 of &pound;5 each, of which it is not&lt;br /&gt;
anticipated tliat more than &pound;3 will ever be called&lt;br /&gt;
up, and the shares will be allotted upon application&lt;br /&gt;
in the usual form by the directors. The Company&lt;br /&gt;
is not a commercial one, its Directors will receive 110&lt;br /&gt;
fees, and all profits will accrue to the Club. When&lt;br /&gt;
the first 600 shares are applied for and allotted,&lt;br /&gt;
the election of members will be according to usual&lt;br /&gt;
club-land law, by proposer, seconder, payment of&lt;br /&gt;
entrance fee and election by the general committee;&lt;br /&gt;
the shareholding members, therefore, will possess&lt;br /&gt;
an advantage over ordinary members. The annual&lt;br /&gt;
subscription is fixed at four guineas, and the&lt;br /&gt;
entrance fee at ten guineas; the usual facilities and&lt;br /&gt;
remissions being extended to country members.&lt;br /&gt;
The number of members is fixed at 600; and the&lt;br /&gt;
Club house will be as near that centre of the&lt;br /&gt;
civilised world, Piccadilly Circus, as possible.&lt;br /&gt;
A great many names of men at once eminent (and&lt;br /&gt;
clubbable) in every branch of letters&mdash;scientific,&lt;br /&gt;
informatory, or recreative&mdash;and in the ranks of the&lt;br /&gt;
higher journalism, are already upon the list of the&lt;br /&gt;
general committee of the Club. Its first Directors&lt;br /&gt;
are Lord Monkswell, Mr. Walter Besant, Mr. H.&lt;br /&gt;
Tedder (the secretary and librarian of the&lt;br /&gt;
&amp;quot;Athenanini &amp;quot;), and Mr. Oswald Crawfurd, C.M.G.&lt;br /&gt;
(Chairman). The qualifications for membership&lt;br /&gt;
are that a man should be a British subject, or a&lt;br /&gt;
citizen of the United States; an author, in the&lt;br /&gt;
widest acceptance of the term; a contributor to a&lt;br /&gt;
leading periodical; or a journalist of established&lt;br /&gt;
position. It will be gathered from these lines that&lt;br /&gt;
the main objects of the Authors&amp;#039; Club are: first,&lt;br /&gt;
the union of authors as such, which makes the&lt;br /&gt;
Club a natural outcome and offshoot of the Society,&lt;br /&gt;
and (2) the consolidation of literary interests of&lt;br /&gt;
all kinds. Application for shares can be made to&lt;br /&gt;
the Company&amp;#039;s linkers, Messrs. Barclay and Co.,&lt;br /&gt;
No. 1, Pall Mall, or to the Chairman, who may also&lt;br /&gt;
be applied to for any general information at the&lt;br /&gt;
temporary office of the Authors&amp;#039; Club, Queen Anne&amp;#039;s&lt;br /&gt;
Mansions, S.W.&lt;br /&gt;
An advertisement has appeared in several of our&lt;br /&gt;
papers, dated from New York, inviting MSS., and&lt;br /&gt;
promising a circulation of hundreds of thousands.&lt;br /&gt;
The Secretary answered the advertisement, asking&lt;br /&gt;
what machinery the advertiser possessed by which&lt;br /&gt;
he could insure so enormous a circulation. A reply&lt;br /&gt;
has been received in which the advertiser states&lt;br /&gt;
that he is editor and proprietor of an illustrated&lt;br /&gt;
American paper, whose subscription list numbers&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 299 (#703) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
299&lt;br /&gt;
200,000, and which has 3o branch establishments&lt;br /&gt;
in the principal cities of ihe Union. The circu-&lt;br /&gt;
lation promised is the publication of the works&lt;br /&gt;
accepted by this advertiser in the pages of his&lt;br /&gt;
magazine. Nothing is said as to the price paid&lt;br /&gt;
to authors, but those who think of answering the&lt;br /&gt;
advertisement would do well to submit a question&lt;br /&gt;
on this point before parting with their perhaps&lt;br /&gt;
valuable American rights. The advertiser affects&lt;br /&gt;
surprise at being asked to give references and&lt;br /&gt;
explanations. Does he really believe that we&lt;br /&gt;
should advise authors to despatch MSS. to a&lt;br /&gt;
foreigner in a foreign country, solely on a vague&lt;br /&gt;
promise made in an advertisement? One has not&lt;br /&gt;
been accustomed to attribute to American men of&lt;br /&gt;
business this guileless innocence. Our advice,&lt;br /&gt;
which we repeat, is to get the business arrangements&lt;br /&gt;
placed on a satisfactory footing before sending out&lt;br /&gt;
the MS.&lt;br /&gt;
A case was recently tried before one of the&lt;br /&gt;
inferior courts, in which it was held by the judge&lt;br /&gt;
that the publishers had no right in sending in an&lt;br /&gt;
account, based upon a share of profits, to charge&lt;br /&gt;
for &amp;quot;production&amp;quot; more than the sums actually&lt;br /&gt;
expended by them. The publishers attempted to&lt;br /&gt;
justify charges which gave them a profit on items&lt;br /&gt;
forming cost of production on the wording of the&lt;br /&gt;
agreement signed by the author, but the judge held&lt;br /&gt;
that this did not justify the charges, and he was&lt;br /&gt;
evidently of opinion that for a publisher to entitle&lt;br /&gt;
himself to a profit on the cost of production in such&lt;br /&gt;
cases he must clearly stipulate for it beforehand.&lt;br /&gt;
It was hoped that the publishers would appeal to&lt;br /&gt;
a higher court, but this they have not done.&lt;br /&gt;
Meantime the decision is a step in the right&lt;br /&gt;
direction. We have the notes and report of the&lt;br /&gt;
case.&lt;br /&gt;
The chief weapon of offence in the return of&lt;br /&gt;
accounts is the item of advertisements. The pub-&lt;br /&gt;
lisher advertises in his own magazine if he has&lt;br /&gt;
one, by exchanges for nothing with other maga-&lt;br /&gt;
zines, or, if he does not exchange, he pays and&lt;br /&gt;
expects a return of the same kind. He charges&lt;br /&gt;
for inserting the book in his circulars and lists.&lt;br /&gt;
He charges, in fact, what he pleases, and advertises&lt;br /&gt;
what he pleases, and as often as he pleases, in&lt;br /&gt;
organs which cost him nothing. In this way he&lt;br /&gt;
can, and often does, sweep the whole profits of a&lt;br /&gt;
tolerably successful book into his own pockets.&lt;br /&gt;
This is done every day; it is the commonest, the&lt;br /&gt;
most specious, and the most impudent form of&lt;br /&gt;
swamping profits. Of course, the pretence set up&lt;br /&gt;
is that the sale was entirely due to the publisher&amp;#039;s&lt;br /&gt;
own organ and the advertisement in it.&lt;br /&gt;
For instance, an author, some time ago, re-&lt;br /&gt;
ceived an account in which a considerable sum&lt;br /&gt;
was charged for advertising. He went to the&lt;br /&gt;
publishers and informed them that he would pay&lt;br /&gt;
for none but advertisements for which they would&lt;br /&gt;
produce vouchers. They sent an amended bill for&lt;br /&gt;
a sum less than one-eighth the original charge!&lt;br /&gt;
The meaning, as between publisher and author,&lt;br /&gt;
of the so-called &amp;quot;Royalty System &amp;quot;&mdash;where there&lt;br /&gt;
is no system&mdash;was explained in the Author for&lt;br /&gt;
November 1891. Writers are entreated, in their&lt;br /&gt;
own interests, to study the facts and figures there&lt;br /&gt;
set forth.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colles, the&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
A correspondent writes to ask for information as&lt;br /&gt;
to the &amp;quot;loss&amp;quot; of copyright. A few elementary&lt;br /&gt;
points arc, therefore, advanced. Copyright is the&lt;br /&gt;
right to copy or reproduce. It must not be parted&lt;br /&gt;
with, except for a consideration fair and reasonable.&lt;br /&gt;
Most publishers&amp;#039; agreements contain a clause which&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 300 (#704) ############################################&lt;br /&gt;
&lt;br /&gt;
3&deg;&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
assigns to thorn the copyright. It is called some-&lt;br /&gt;
times by its own name, sometimes it is called the&lt;br /&gt;
right to first and all subsequent editions, some-&lt;br /&gt;
times it is called the right to produce future&lt;br /&gt;
editions at cheaper prices, should the publisher think&lt;br /&gt;
fit. Then follows the consideration for which the&lt;br /&gt;
author is asked to surrender his property. Writers&lt;br /&gt;
who sign this agreement in too many cases do not&lt;br /&gt;
even know what they are giving or selling, and in&lt;br /&gt;
some instances are too inexperienced in business&lt;br /&gt;
matters to understand plain English. Let them&lt;br /&gt;
before signing any agreement ask themselves these&lt;br /&gt;
questions:&lt;br /&gt;
1. Does the agreement assign the copyriglit to&lt;br /&gt;
the publishers?&lt;br /&gt;
2. If no, for what consideration?&lt;br /&gt;
3. What does that consideration leave to the&lt;br /&gt;
publishers on the sale of the first and all&lt;br /&gt;
subsequent editions?&lt;br /&gt;
&lt;br /&gt;
LITERARY PROPERTY.&lt;br /&gt;
i.&lt;br /&gt;
Begistration.&lt;br /&gt;
(From the Law Quarterly Review.)&lt;br /&gt;
BEITISH subjects will be well advised not to&lt;br /&gt;
publish foreign literary or artistic works in&lt;br /&gt;
England because they cannot find them&lt;br /&gt;
registered at Stationer&amp;#039;s Hall, or to defend actions&lt;br /&gt;
for piracy because the plaintiff was not registered&lt;br /&gt;
at Stationer&amp;#039;s Hall before the issue of the writ, in&lt;br /&gt;
reliance on the judgment of Stirling J. in Fishburn&lt;br /&gt;
v. Hollingshead (&amp;#039;91, 2 Ch. 371) cited without&lt;br /&gt;
dissent in the last number of the Law Quarterly&lt;br /&gt;
Review, at p. 3oi. In that case Stirling J. un-&lt;br /&gt;
doubtedly expressed an opinion that the foreign&lt;br /&gt;
author of a painting could not sue in England&lt;br /&gt;
without registering under the English Copyright&lt;br /&gt;
Acts; but this opinion was clearly obiter, as the&lt;br /&gt;
learned judge also decided that the work before&lt;br /&gt;
him was properly registered in England. It has&lt;br /&gt;
since been doubted by Smith and Grantham J J. in&lt;br /&gt;
the argument in Moul v. Groenings, &amp;#039;g 1, 2 Q.B.&lt;br /&gt;
443 (though the doubt is not reported), and Judge&lt;br /&gt;
Martineau has felt himself justified by that doubt&lt;br /&gt;
in declining to follow it in the case of Moul v.&lt;br /&gt;
Devonshire Park Co. {Law Times Paper, Sept.&lt;br /&gt;
19th, 1891).&lt;br /&gt;
The point is one of great importance, as, if&lt;br /&gt;
Stirling J. is right, the British Legislature has&lt;br /&gt;
failed to carry out the intention of the Berne Con-&lt;br /&gt;
vention, which was that an author who complies&lt;br /&gt;
with the formalities required by law in the country&lt;br /&gt;
where he first publishes his work should thereby&lt;br /&gt;
obtain copyright in the foreign countries, parties&lt;br /&gt;
to the Convention, without also having to comply&lt;br /&gt;
with the formalities in each of such countries&lt;br /&gt;
(Article 11 of Berne Convention). This benefits&lt;br /&gt;
the British author equally with the foreigner; the&lt;br /&gt;
only person aggrieved is the pirate, and the great&lt;br /&gt;
feature of the Berne Convention is that for the&lt;br /&gt;
first time it treats copying other people&amp;#039;s work as&lt;br /&gt;
at the risk of the copyist, instead of impeding the&lt;br /&gt;
author by technical restraints.&lt;br /&gt;
The Copyright Statutes on the point are, as&lt;br /&gt;
the Law Quarterly Review observed, an &amp;quot;ungodly&lt;br /&gt;
jumble,&amp;quot; but the point admits of being shortly-&lt;br /&gt;
stated.&lt;br /&gt;
1. The Act of 1842 (5 &amp;amp; 6 Vict. c. 45, &sect; 24)&lt;br /&gt;
required registration of copyright as a condition&lt;br /&gt;
for bringing an action for its infringment.&lt;br /&gt;
2. The International Act of 1844 (7 Viet. c. 12,&lt;br /&gt;
&sect; 19), provided that copyright in a work first&lt;br /&gt;
published out of Her Majesty&amp;#039;s dominions should&lt;br /&gt;
only be obtained under the provisions of that Act;&lt;br /&gt;
and provided that the Queen might by Order in&lt;br /&gt;
Council confer on authors of countries named&lt;br /&gt;
therein the same benefits as they would have under&lt;br /&gt;
the English Copyright Acts. The Act further&lt;br /&gt;
required (&sect; 6) every such foreign author to comply&lt;br /&gt;
with certain formalities of registration, differing&lt;br /&gt;
from those of the Act of 1842, as a condition of&lt;br /&gt;
obtaining the benefit of the Act of 1844.&lt;br /&gt;
Pausing here for a moment, it has never been&lt;br /&gt;
suggested that a foreign author before 1886 ought&lt;br /&gt;
to register both under the Act of 1844 and under&lt;br /&gt;
the Act of 1842, though it might be argued that&lt;br /&gt;
as the benefits of the English Acts were conditional&lt;br /&gt;
to English subjects on their registering under&lt;br /&gt;
those Acts, a foreigner taking the same benefits as&lt;br /&gt;
an Englishman must also register under the English&lt;br /&gt;
Acts.&lt;br /&gt;
3. The Art Copyright Act of 1862 (25 &amp;amp; 26&lt;br /&gt;
Vict. c. 68, &sect; 12) included the provisions of the&lt;br /&gt;
International Act of 1844, while providing that&lt;br /&gt;
English authors of paintings, &amp;amp;c, must register at&lt;br /&gt;
Stationer&amp;#039;s Hall, and that any proprietor should&lt;br /&gt;
not be entitled to the Ixmefit of the Act until&lt;br /&gt;
registered, and could not sue for anything done&lt;br /&gt;
before registration. Tho Act of 1844 had included&lt;br /&gt;
provisions for tho registration of works of art.&lt;br /&gt;
4. The International Copyright Act of 1886&lt;br /&gt;
(49 &amp;amp; 5o Vict. c. 33, &sect; 4) provided that when any&lt;br /&gt;
Order in Council was made by Her Majesty under&lt;br /&gt;
the International Copyright Acts, the provisions of&lt;br /&gt;
those Acts as to the registry and delivery of copies&lt;br /&gt;
of works should not apply to works under the Order&lt;br /&gt;
in Council, except so far as provided by the order.&lt;br /&gt;
5. The Order in Council of November 28th, 1887,&lt;br /&gt;
made under this Act, contains no provision as to&lt;br /&gt;
registration and delivery of copies, and incorporates&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 301 (#705) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
301&lt;br /&gt;
the Berne Convention of September 5th, 1887, which&lt;br /&gt;
in Articles 2 and 11 appears to show an intention&lt;br /&gt;
that the &amp;quot;accomplishment of the conditions and&lt;br /&gt;
formalities prescribed by law in the country of&lt;br /&gt;
origin of the work&amp;quot; shall give an author copyright&lt;br /&gt;
throughout the countries of the Convention.&lt;br /&gt;
It seems fairly clear, therefore, that the provisions&lt;br /&gt;
of the International Copyright Acts as to registry&lt;br /&gt;
and delivery of copies do not apply to foreign works,&lt;br /&gt;
by reason of section 4 of the Act of 1886. But&lt;br /&gt;
it is suggested that, as the foreign authors take the&lt;br /&gt;
same benefits as they would have had under the&lt;br /&gt;
English Acts, they are liable to register and deliver&lt;br /&gt;
copies under the English Acts. But if this were&lt;br /&gt;
so, foreign authors before the Act of 1886 would&lt;br /&gt;
have been liable to register both under the English&lt;br /&gt;
and the International Acts, and, still worse, to&lt;br /&gt;
deliver copies both under the English and Inter-&lt;br /&gt;
national Acts; and authors of foreign books at the&lt;br /&gt;
present time are liable to deliver five copies to&lt;br /&gt;
certain libraries as an English author is. This&lt;br /&gt;
consequence is so startling, and, as regards the&lt;br /&gt;
practice before the Act of 1886, so contrary to the&lt;br /&gt;
facts, as almost to prove its error. But it would&lt;br /&gt;
seem clear that the provisions of the International&lt;br /&gt;
Act of 1844. supersede instead of supplementing the&lt;br /&gt;
provisions of the English Acts of 1842 and 1862;&lt;br /&gt;
and that the effect of the Act of 1844 being in its&lt;br /&gt;
turn superseded by the Act of 1886, is not to revive&lt;br /&gt;
the old provisions, but to leave the foreign author&lt;br /&gt;
to register in his own country, obtaining thereby&lt;br /&gt;
copyright under the Convention throughout the&lt;br /&gt;
countries under the Convention. And apart from&lt;br /&gt;
the construction of statutes, the hardship would&lt;br /&gt;
appear to be if Mr. Justice Stirling&amp;#039;s decision is&lt;br /&gt;
right. Under the Art Copyright Acts an author&lt;br /&gt;
cannot sue for infringements which have preceded&lt;br /&gt;
registration; registration is to that extent a&lt;br /&gt;
condition of the right as well as of the remedy.&lt;br /&gt;
It is said that there is a hardship on the &amp;quot;innocent&lt;br /&gt;
copyist,&amp;quot; who has had no notice of copyright. I&lt;br /&gt;
may be permitted to doubt the existence of the&lt;br /&gt;
&amp;quot;innocent copyist,&amp;quot; whom I have not&amp;#039;yet met in my&lt;br /&gt;
experience of copyright cases. I have met the&lt;br /&gt;
tradesman who desires to get his wares cheap,&lt;br /&gt;
without too scrupulous inquiry as to the cause of&lt;br /&gt;
their cheapness, and in many cases with direct&lt;br /&gt;
knowledge that he is copying someone who he&lt;br /&gt;
thinks has omitted to technically protect his rights,&lt;br /&gt;
but I do not feel much sympathy with him. In&lt;br /&gt;
any case this class of person will be well advised&lt;br /&gt;
not to place too much reliance on Fishburn v.&lt;br /&gt;
Hollingshead, &amp;#039;91, 2 Ch. 371.&lt;br /&gt;
T. E. S.&lt;br /&gt;
II.&lt;br /&gt;
Transfer of Books.&lt;br /&gt;
TO YOUNG PUBLISHING FIRMS or&lt;br /&gt;
others commencing a publishing business.&lt;br /&gt;
&mdash;A firm of publishers, having more MSS.&lt;br /&gt;
of novels in their possession than they can for some&lt;br /&gt;
time publish, are ready to part with the contracts&lt;br /&gt;
relating to several MSS. by good authors. Some&lt;br /&gt;
of these are already in the press and almost ready&lt;br /&gt;
for publication. Some of the MSS. are subject, on&lt;br /&gt;
publication, to a royalty, others have been paid for&lt;br /&gt;
in full. This is an admirable opportunity for a&lt;br /&gt;
young firm who want to start with a good lot of&lt;br /&gt;
publications without any loss of time. For parti-&lt;br /&gt;
culars apply by letter to ... . Address and&lt;br /&gt;
Inquiry Office, The Times Office, E.C.&amp;quot;&lt;br /&gt;
The above advertisement appeared in the Times&lt;br /&gt;
of February 24th, 1892. We have always been of&lt;br /&gt;
opinion that a contract by one author with one&lt;br /&gt;
publisher, except in the case of sale, could not be&lt;br /&gt;
passed on to another publisher without the author&amp;#039;s&lt;br /&gt;
consent. For instance, in a royalty agreement, it&lt;br /&gt;
is with out; certain publisher that the author&lt;br /&gt;
makes his contract, not -with all or any publishers,&lt;br /&gt;
good or bad. This, however, is a question for&lt;br /&gt;
lawyers, to whom we intend to submit the case.&lt;br /&gt;
SWINDELLS v. MORGAN AND OTHERS.&lt;br /&gt;
The Report of the Case.&lt;br /&gt;
(Before Mr. Justice Grantham and a Common&lt;br /&gt;
Jury.)&lt;br /&gt;
fl^HIS action was brought under somewhat&lt;br /&gt;
1 peculiar circumstances. The plaintiff, James&lt;br /&gt;
Swindells, sued William James Morgan,&lt;br /&gt;
Joseph Sydney Tomkins, the City of London&lt;br /&gt;
Publishing Company, and the Authors&amp;#039; Alliance&lt;br /&gt;
(Limited) for the return of some literary MS., and&lt;br /&gt;
also damages for their detention, fie further&lt;br /&gt;
sought to recover &pound;40, which he had paid on&lt;br /&gt;
account of nn intended publication. The Authors&amp;#039;&lt;br /&gt;
Alliance entered no appearance to the action, but&lt;br /&gt;
certain pleas were raised by the other defendants.&lt;br /&gt;
Mr. Bethune was for the plaintiff; the defen-&lt;br /&gt;
dants did not appear personally, nor were they&lt;br /&gt;
represented.&lt;br /&gt;
In opening the case Mr. Bethune said the&lt;br /&gt;
plaintiff claimed the return of the MS. of &amp;quot;Ballads&lt;br /&gt;
and Poems,&amp;quot; and a drama called &amp;quot;Charles I.,&amp;quot;&lt;br /&gt;
which he had delivered for publication. The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 302 (#706) ############################################&lt;br /&gt;
&lt;br /&gt;
SQ2&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
plaintiff was about fifty years of age, and he was&lt;br /&gt;
employed at Manchester in the position of ware-&lt;br /&gt;
houseman. Notwithstanding this, however, he&lt;br /&gt;
succeeded in educating himself, and he had written&lt;br /&gt;
various works which had appeared in Manchester&lt;br /&gt;
local papers. In June 1885, he received a com-&lt;br /&gt;
munication from Messrs. Morgan and Tomkins,&lt;br /&gt;
which was headed &amp;quot;City of London Publishing&lt;br /&gt;
Company, in succession to the Charing Cross&lt;br /&gt;
Publishing Company.&amp;quot; This document said that&lt;br /&gt;
they would be glad to receive MS., and would offer&lt;br /&gt;
special facilities for publication. The learned&lt;br /&gt;
counsel said that Messrs. Morgan and Tomkins&lt;br /&gt;
were two men who had for years been defrauding&lt;br /&gt;
unhappy authors.&lt;br /&gt;
Mr. Justice Grantham said that as the defendants&lt;br /&gt;
did not appear, the matter need not be gone into at&lt;br /&gt;
length.&lt;br /&gt;
Mr. Bethune answered that he would not be&lt;br /&gt;
long, but as the jury would have to assess damages,&lt;br /&gt;
he should have to inform them of some of the&lt;br /&gt;
circumstances. These men had from time to time&lt;br /&gt;
registered limited companies for a short period, and&lt;br /&gt;
one limited company was succeeded by another. In&lt;br /&gt;
the meantime, they sent out circulars like the one in&lt;br /&gt;
this case, and then, when they got MS. for publi-&lt;br /&gt;
cation, they said that there was a favourable report&lt;br /&gt;
from their reader, and they asked that money should&lt;br /&gt;
be sent on account of publication. The money&lt;br /&gt;
having been sent them, the poor author never&lt;br /&gt;
heard any more of the matter. Such authors were&lt;br /&gt;
generally poor, and, therefore, their case was a&lt;br /&gt;
particularly cruel one. Having got Mr. Swindell&amp;#039;s&lt;br /&gt;
MS., they suggested that he should get his friends&lt;br /&gt;
to subscribe for copies of his works, and he did in&lt;br /&gt;
fact get from Lord Selborne, Lord Derby, and&lt;br /&gt;
others very kind letters, which he, in his turn,&lt;br /&gt;
sent to the defendants; and he also sent them &pound;40,&lt;br /&gt;
which he had received in subscriptions from his&lt;br /&gt;
friends. Now he was in the unfortunate position&lt;br /&gt;
that he could not produce his book, for he had not&lt;br /&gt;
the MS. He could not return his friends their&lt;br /&gt;
money, and, his name being Swindells, he had had&lt;br /&gt;
a most uncomfortable of it, and he therefore came&lt;br /&gt;
to the jury for redress. In 1884, Messrs. Morgan&lt;br /&gt;
and Tomkins were in possession of premises in&lt;br /&gt;
Friar Street. They traded under the name of a&lt;br /&gt;
company, and they said that whatever they did was&lt;br /&gt;
as servants of the City of London Publishing&lt;br /&gt;
Company. He (Mr. Bethune), however, said that&lt;br /&gt;
the company was Messrs. Morgan and Tomkins&lt;br /&gt;
only, and he should ask for an order against them&lt;br /&gt;
for the return of the MS. The learned counsel said&lt;br /&gt;
that he would refer to some of the correspondence&lt;br /&gt;
which had passed.&lt;br /&gt;
Mr. Justice Grantham: There was no necessity&lt;br /&gt;
for reading those letters to show that they were&lt;br /&gt;
swindlers, for the nature of the claim had been&lt;br /&gt;
shown, and the defendants did not appear.&lt;br /&gt;
Mr. James Swindells, the plaintiff, was then&lt;br /&gt;
called. He said that he was a warehousemen at&lt;br /&gt;
Manchester, his wages were 24*. a week, and he&lt;br /&gt;
had a wife and family. In June i885, he sent&lt;br /&gt;
the MS. of &amp;quot; Ballads and Poems &amp;quot; and &amp;quot; Charles I.&amp;quot;&lt;br /&gt;
to the defendants. He did this because he had&lt;br /&gt;
received a letter from them. He had not had that&lt;br /&gt;
MS. back again. He collected money by sub-&lt;br /&gt;
scriptions, as he was to find &pound;40 on account of the&lt;br /&gt;
risk of publication. He mooted the matter to his&lt;br /&gt;
friends, and they liberally subscribed to the extent&lt;br /&gt;
of &pound;40. Lord Derby subscribed &pound;5, and the late&lt;br /&gt;
Mr. Peacocke, M.P.&lt;br /&gt;
Mr. Justice Grantham: You need not tell us&lt;br /&gt;
all that.&lt;br /&gt;
Witness continued: He remitted &pound;40 in various&lt;br /&gt;
sums to the publishing company, and from that&lt;br /&gt;
time to this he had not had his &pound;40 nor his MS.&lt;br /&gt;
back. He got receipts for all the money he sent,&lt;br /&gt;
except for the amount of a postal order for 25$.&lt;br /&gt;
sent in 1887.&lt;br /&gt;
Mr. Justice Grantham said that the jury had&lt;br /&gt;
heard the case. It certainly was a very bad one,&lt;br /&gt;
and he had no doubt that it was not the first time&lt;br /&gt;
that unfortunate authors had been robbed in this&lt;br /&gt;
way, and particularly those who were poor. Of&lt;br /&gt;
course, the plaintiff was entitled to have back his&lt;br /&gt;
&pound;40, and he would advise the jury to give him a&lt;br /&gt;
considerable sum in addition. It was impossible to&lt;br /&gt;
know the value of these MSS.; but the defendants&lt;br /&gt;
were not here, and they would be justified in&lt;br /&gt;
estimating them at the highest price possible, to&lt;br /&gt;
mark their view of the conduct of the defendants in&lt;br /&gt;
not giving them back.&lt;br /&gt;
The jury at once gave a verdict for the plaintiff&lt;br /&gt;
for &pound;5oo.&lt;br /&gt;
In reply to questions of the learned judge, the&lt;br /&gt;
jury said they found that the plaintiff was entitled&lt;br /&gt;
to the return of the &pound;40, and that if the MSS. were&lt;br /&gt;
returned, the defendants should pay &pound;200 for the&lt;br /&gt;
detention. If they were not returned, their verdict&lt;br /&gt;
would be for &pound;460, in addition to the &pound;40.&lt;br /&gt;
Judgment was entered accordingly. &mdash; Daily&lt;br /&gt;
News.&lt;br /&gt;
II.&lt;br /&gt;
On the Case.&lt;br /&gt;
The case Swindells v. Morgan and Tomkins,&lt;br /&gt;
tried before Mr. Justice Grantham, on February&lt;br /&gt;
17th, 1892, has, one hopes, effectually disposed of&lt;br /&gt;
these gentlemen. The case, which we have copied&lt;br /&gt;
from the report in the Daily Telegraph of&lt;br /&gt;
February 18th, is one the particulars of which&lt;br /&gt;
had already been brought before the Society. It&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 303 (#707) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
was the old, old story; money paid in advance&lt;br /&gt;
for the production of a book; manuscript for-&lt;br /&gt;
warded; the book not produced; the money&lt;br /&gt;
kept; and the manuscript not returned. The&lt;br /&gt;
verdict of the jury was simple, for the plain-&lt;br /&gt;
tiff, with 40/. for retention of manuscript, and&lt;br /&gt;
damages, 200/., with costs. One fears that the&lt;br /&gt;
money will not be paid, but the defendants will be&lt;br /&gt;
effectually blown upon. There was, in fact, no&lt;br /&gt;
defence at all, and the parties did not appear in&lt;br /&gt;
court. We have been for six years calling atten-&lt;br /&gt;
tion to the bogus publishers, of whom the man&lt;br /&gt;
Morgan was eminently a representative. The&lt;br /&gt;
Charing Cross Publishing Company, the City of&lt;br /&gt;
London Publishing Company, the Authors&amp;#039; Alli-&lt;br /&gt;
ance, and the International Society of Literature,&lt;br /&gt;
Science, and Art, were four of the attempts of&lt;br /&gt;
Morgan to catch the inexperienced author. His&lt;br /&gt;
method, however, was always the same. It has&lt;br /&gt;
been exposed over and over again in the columns&lt;br /&gt;
of Truth. Only a month ago, on January 3oth,&lt;br /&gt;
the editor of Truth exposed his last attempt, the&lt;br /&gt;
so-called &amp;quot; Society of Literature, Science, and Art.&amp;quot;&lt;br /&gt;
This, says Truth, is a &amp;quot; bogus learned society, the&lt;br /&gt;
promoters of which obtain fees averaging from two&lt;br /&gt;
to fifteen guineas, by offering people &amp;#039; membership&amp;#039;&lt;br /&gt;
and &amp;#039;fellowship,&amp;#039; with privilege (!) of writing&lt;br /&gt;
&amp;#039;M.S.L.&amp;#039; or &amp;#039;F.S.L.&amp;#039; after their names. These&lt;br /&gt;
payments are obtained by the pretence that a&lt;br /&gt;
&amp;#039;Council&amp;#039; of the &amp;#039; Society&amp;#039; has passed a resolution,&lt;br /&gt;
pursuant to which the invitation is sent. . . .&lt;br /&gt;
The promoter and moving spirit of the &amp;#039;Inter-&lt;br /&gt;
national Society of Literature, Science, and Art&amp;#039;&lt;br /&gt;
is one W. J. Morgan, who has appointed himself&lt;br /&gt;
&amp;#039;Curator &amp;#039; and a member of the Executive Council.&lt;br /&gt;
. . . He now carries on business as a publisher&lt;br /&gt;
under the name of James Longman &amp;amp; Co., in an&lt;br /&gt;
office opening out of that of the &amp;#039;International&lt;br /&gt;
Society&amp;#039;.&amp;quot;&lt;br /&gt;
It is a constant subject of amazement to watch&lt;br /&gt;
the ease with which the author is deluded. The&lt;br /&gt;
silly sheep is a miracle of wisdom compared with&lt;br /&gt;
him. A swindler advertises; the author jumps at&lt;br /&gt;
the chance; he sends his manuscript; he sends his&lt;br /&gt;
money; he asks nobody&amp;#039;s opinion or advice; he&lt;br /&gt;
believes implicity whatever is told him; he&lt;br /&gt;
trusts his property to a perfect stranger in the&lt;br /&gt;
blindest confidence.&lt;br /&gt;
In no other business, in no other relations of&lt;br /&gt;
life, would he be such a fool. Would he lend his&lt;br /&gt;
gold watch to a stranger met in the crowd?&lt;br /&gt;
Woidd he lend that stranger a ten pound note?&lt;br /&gt;
It is exactly the same thing. The man Morgan is&lt;br /&gt;
is only one of many. There was another man who&lt;br /&gt;
stole manuscripts and money in exactly the same&lt;br /&gt;
way; there was a man who pretended to belong&lt;br /&gt;
to a very well-known London firm; he went off to&lt;br /&gt;
America with waggon loads of manuscripts; there&lt;br /&gt;
VOL. 11.&lt;br /&gt;
are people who are advertising for manuscripts at&lt;br /&gt;
this moment with the same intention. They will&lt;br /&gt;
go on advertising and catching their victims. The&lt;br /&gt;
would-be author&amp;#039;s desire to see himself in print&lt;br /&gt;
overrides everything; his reason; his prudence;&lt;br /&gt;
even such exposures as those of Truth; even such&lt;br /&gt;
revelations as those of this action in the High Court&lt;br /&gt;
of Justice. Morgan will die a rich man; very&lt;br /&gt;
likely a member of a west end club.&lt;br /&gt;
&lt;br /&gt;
THE OUTPUT-PAST AND PRESENT.&lt;br /&gt;
BETWEEN the years 1700 and 1756 the pro-&lt;br /&gt;
duction of books from the London Press,&lt;br /&gt;
according to Charles Knight, amounted in&lt;br /&gt;
all to 5,280 new works. That is to say, to an&lt;br /&gt;
average of 94 books for every year. There were&lt;br /&gt;
not wanting those who held up their hands in&lt;br /&gt;
astonishment at this prodigious annual increase to&lt;br /&gt;
literature. Now, in the first half of the eighteenth&lt;br /&gt;
century, it is quite certain that none of the country&lt;br /&gt;
gentry bought books, that in the country towns&lt;br /&gt;
there were no bookshops, that the great mass of&lt;br /&gt;
the country clergy were careless of new literature,&lt;br /&gt;
and that the only place, outside London, where&lt;br /&gt;
new books could be procured were the university&lt;br /&gt;
and the cathedral towns. Johnson&amp;#039;s father, we&lt;br /&gt;
know, was a bookseller of Litchfield, a cathedral&lt;br /&gt;
town, and he used to attend markets and fairs at&lt;br /&gt;
country towns with a bookstall. Among other&lt;br /&gt;
places, at Birmingham, already an important town.&lt;br /&gt;
For how many readers were these ninety new&lt;br /&gt;
books issued? The population of England and&lt;br /&gt;
Wales was then about six millions. Deducting&lt;br /&gt;
children, rustics, working men, and those who, like&lt;br /&gt;
the country squire, confined their reading to books&lt;br /&gt;
on farriery and the like, we shall certainly not be&lt;br /&gt;
far wrong in estimating the number at half a&lt;br /&gt;
million. Consequently there was, roughly, a new&lt;br /&gt;
book for every 0,000 readers. This, however, does&lt;br /&gt;
not mean 5,ooo readers for every new book.&lt;br /&gt;
Between the years 1792 and 1802, there were&lt;br /&gt;
issued 4,096 new works, or an average of 372&lt;br /&gt;
every year. The population of England and&lt;br /&gt;
Wales was then ten millions, with a greatly in-&lt;br /&gt;
creased proportion of readers, say two millions in&lt;br /&gt;
all, so that we had then a new book every year for&lt;br /&gt;
every 4,000 readers.&lt;br /&gt;
Between 1802 and 1827, there was an average&lt;br /&gt;
of 588 new books every year. The population at&lt;br /&gt;
the latter date, without counting Ireland, was four-&lt;br /&gt;
teen millions. Education was greatly extended,&lt;br /&gt;
and, not including children, there were probably&lt;br /&gt;
six million readers, or a new book to every 10,000&lt;br /&gt;
readers. But, among these so-called readers, there&lt;br /&gt;
Z&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 304 (#708) ############################################&lt;br /&gt;
&lt;br /&gt;
3&deg;4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
were many who never read anything at all, except&lt;br /&gt;
the newspapers. Perhaps, however, children ought&lt;br /&gt;
not to be excluded, because the branch of children&amp;#039;s&lt;br /&gt;
books, which was only commenced towards Un-&lt;br /&gt;
close of the last century, had already assumed&lt;br /&gt;
considerable proportions.&lt;br /&gt;
In the year i8gr, according to the Publishers&amp;#039;&lt;br /&gt;
Circular, the number of books issued was 5,706.&lt;br /&gt;
The population of the British Islands is now&lt;br /&gt;
08,000,000, of whom all, or nearly all, can read.&lt;br /&gt;
That is to say, there is now issued, every year,&lt;br /&gt;
one new book for every 6,000 readers. But of&lt;br /&gt;
course we ought to deduct young children and all&lt;br /&gt;
those rustics and poor people who never read a&lt;br /&gt;
book at all. Let us deduct ten millions. There&lt;br /&gt;
remain 28,000,000, and, according to the estimate,&lt;br /&gt;
a new book is provided every year for every 5,ooo&lt;br /&gt;
readers. Surely that does not represent any extra-&lt;br /&gt;
ordinary eagerness for new literature.&lt;br /&gt;
The modern &amp;#039;output of books, which seems so&lt;br /&gt;
enormous when it is written down in its thousands,&lt;br /&gt;
comes, briefly, to this.&lt;br /&gt;
From 1700 to 1756, there was every year&lt;br /&gt;
one book for every 5,ooo readers; from 1792 to&lt;br /&gt;
1802, there was every year one book for every&lt;br /&gt;
4,000 readers; from 1802 to 1827, there was&lt;br /&gt;
every year one book for every 10,000 readers;&lt;br /&gt;
and there is now every year one book for every&lt;br /&gt;
5,ooo readers. So that, taking these islands&lt;br /&gt;
alone, there is no greater literary activity in pro-&lt;br /&gt;
portion, and, as shown by the production of&lt;br /&gt;
literature, than there was nearly two hundred years&lt;br /&gt;
ago.&lt;br /&gt;
But there are other considerations which very&lt;br /&gt;
greatly lessen the proportional output. Those who&lt;br /&gt;
every year.deplore the enormous production of books&lt;br /&gt;
take a narrow parochial view of English literature.&lt;br /&gt;
They cannot get beyond Fleet Street, daily journal&lt;br /&gt;
and weekly review land, club land. They can under-&lt;br /&gt;
stand, perhaps, something of the vastness of London&lt;br /&gt;
itself, but of the vastness of Lancashire, Yorkshire,&lt;br /&gt;
Durham&mdash;the crowded north&mdash;they understand&lt;br /&gt;
nothing. Nor do they gauge the demands of the&lt;br /&gt;
millions who are now demanding books. And if&lt;br /&gt;
they cannot take in the needs of their own country,&lt;br /&gt;
how can they understand those of the Empire?&lt;br /&gt;
Australia, New Zealand, India, Burmah, South&lt;br /&gt;
Africa, Ceylon, the far East, the West Indian&lt;br /&gt;
Islands&mdash;and where there is a great market for new&lt;br /&gt;
books as well as old. Again, beyond the Atlantic,&lt;br /&gt;
there are sixty millions who read our books as we&lt;br /&gt;
read theirs. Shall we try to grasp these things? If&lt;br /&gt;
we can succeed, only partly, to understand how&lt;br /&gt;
great is the area covered by the English language,&lt;br /&gt;
how enormous is the demand for books, how the&lt;br /&gt;
area occupied by readers becomes every year&lt;br /&gt;
greater, how thickly populated, better educated, so&lt;br /&gt;
that the demand is increasing by leaps and bounds,&lt;br /&gt;
and yearly more and more, we shall then begin to&lt;br /&gt;
understand the influence, the power, the force, of&lt;br /&gt;
that thrice fortunate man who succeeds in being&lt;br /&gt;
listened to by the whole of the English speaking&lt;br /&gt;
race at once. Other things, too, will become&lt;br /&gt;
more plain to us, of which the first is the necessity&lt;br /&gt;
of using every effort to make the calling of literature&lt;br /&gt;
independent, and to maintain that independence.&lt;br /&gt;
&lt;br /&gt;
NOTES FROM PARIS.&lt;br /&gt;
IN my last I recorded that the next meeting of&lt;br /&gt;
the Societe des Gens de Lettres was to be&lt;br /&gt;
held on the 3ist ultimo. So it had been&lt;br /&gt;
arranged. But on the 3ist not sufficient men of&lt;br /&gt;
letters put in an appearance at the Hotel Conti-&lt;br /&gt;
nental to constitute a quorum, and the meeting&lt;br /&gt;
had to be postponed. Emile Zola, the president,&lt;br /&gt;
did not like this, and on returning home sat down&lt;br /&gt;
and wrote personally to each one of the hundreds&lt;br /&gt;
of members of the Society present in Paris, urging&lt;br /&gt;
him to attend. The result was that the meeting&lt;br /&gt;
which was held yesterday was very well attended&lt;br /&gt;
indeed, and a quantity of business being got&lt;br /&gt;
through before the men of letters se]&amp;gt;arated. Con-&lt;br /&gt;
sidering the amount of writing Zola has to do,&lt;br /&gt;
it was simply heroic of him to write all those letters,&lt;br /&gt;
but Zola takes his presidency of the Society in&lt;br /&gt;
earnest, and is thorough in this work as in all he&lt;br /&gt;
undertakes.&lt;br /&gt;
Maupassant&amp;#039;s state continues as it was. This is&lt;br /&gt;
bad, and, to a certain extent, justifies the evil&lt;br /&gt;
rumours that are afloat. In mental maladies the&lt;br /&gt;
stationary state is as bad as retrogression. I am&lt;br /&gt;
afraid from what I have heard from the very best&lt;br /&gt;
sources that, as a writer at least, we may speak of&lt;br /&gt;
de Maupassant in the past. What a pity for&lt;br /&gt;
literature!&lt;br /&gt;
Some weeks ago I noticed in an American paper&lt;br /&gt;
a foolish paragraph anent Jules Verne, in which&amp;quot;&lt;br /&gt;
the writer professed to describe the life of this&lt;br /&gt;
remarkable novelist. Amongst other things a&lt;br /&gt;
description of Mr. Verne&amp;#039;s cabinet de trarail was&lt;br /&gt;
given which was as imaginative as all the rest.&lt;br /&gt;
Verne was described as working surrounded by&lt;br /&gt;
electrical instruments and other scientific para-&lt;br /&gt;
phernalia. I have a particular joy in watching&lt;br /&gt;
the canard&amp;#039;s flight, and that particular canard&lt;br /&gt;
winged its way across the columns of quite a&lt;br /&gt;
number of papers. The last I saw of it was in the&lt;br /&gt;
columns of the Sunday Sun. As a matter of fact,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 305 (#709) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Jules Verne does all his writing in a small bedroom&lt;br /&gt;
at the top of his house in Amiens. The room&lt;br /&gt;
contains a lx&amp;#039;d, a table, and a chnir, and a couch,&lt;br /&gt;
as bare as room well can be. Neatness is the&lt;br /&gt;
characteristic. The paper on the table is methodi-&lt;br /&gt;
cally arranged. There is no waste-paper basket.&lt;br /&gt;
Verne writes very deliberately and rarely erases.&lt;br /&gt;
When not at home he spends his time at the&lt;br /&gt;
Literary and Scientific Institute of Amiens city,&lt;br /&gt;
where he reads up the scientific facts that he&lt;br /&gt;
requires for his stories.&lt;br /&gt;
We read in the Author, month by month, a good&lt;br /&gt;
deal about the sweating of authors by publishers.&lt;br /&gt;
I suppose all of us have in our day been so ex-&lt;br /&gt;
ploited. I can remember receiving from the&lt;br /&gt;
proprietors of a well-established London magazine&lt;br /&gt;
a cheque for one guinea for a story of seven thousand&lt;br /&gt;
words, the said proprietors being rated very high&lt;br /&gt;
amongst London publishers. But the sweating of&lt;br /&gt;
authors by brother authors seems to me a very&lt;br /&gt;
much worse affair, and I am cognizant of numerous&lt;br /&gt;
cases of it. There is something particularly hor-&lt;br /&gt;
rible about Ishmael turning on a brother Ishmael,&lt;br /&gt;
but he does do it. Here in Paris there are many&lt;br /&gt;
reputed authors who employ hacks to do their work&lt;br /&gt;
for them. I know of a feuilleton that appeared&lt;br /&gt;
not long ago in the Petit Journal, which was&lt;br /&gt;
signed by one of the best names in the literary&lt;br /&gt;
market. The presumed author received fifteen&lt;br /&gt;
hundred pounds for this story. Every line of it,&lt;br /&gt;
however, was written by an unfortunate youth,&lt;br /&gt;
who was promised eighty pounds for his work.&lt;br /&gt;
That was some time ago. Up to the present he&lt;br /&gt;
has received in small sums about a third of what&lt;br /&gt;
was promised him. Occasionally the reputed man&lt;br /&gt;
of letters gives him a five-franc piece towards the&lt;br /&gt;
balance. I know of many similar cases in England&lt;br /&gt;
also.&lt;br /&gt;
Madame Marinoni, the wife of Marinoni, the&lt;br /&gt;
well-known inventor and director of the Petit&lt;br /&gt;
Journal, reads all the manuscripts sent in for&lt;br /&gt;
publication in feuilleton in the Petit Journal, and,&lt;br /&gt;
what is more, enjoys doing it. It is she who selects&lt;br /&gt;
the stories for that publication. They are the&lt;br /&gt;
making of the paper. The Petit Journal publishes&lt;br /&gt;
two concurrently, and there is no literary work&lt;br /&gt;
better paid. A fairly well-known writer gets about&lt;br /&gt;
lod. a line for a serial in this paper. It is to the&lt;br /&gt;
interest taken in its fiction columns that the&lt;br /&gt;
immense success of the paper is due.&lt;br /&gt;
Renan&amp;#039;s &amp;quot; Souvenirs&amp;quot; is the book of the month.&lt;br /&gt;
Everybody is reading it. As a contribution to&lt;br /&gt;
philosophy it is a decided failure, but the writing is&lt;br /&gt;
beyond praise. The people, however, for whom&lt;br /&gt;
Ecnan specially writes consider the philosophy&lt;br /&gt;
very pretty indeed, and, accordingly, all are&lt;br /&gt;
satisfied.&lt;br /&gt;
Zola&amp;#039;s &amp;quot; La Debacle&amp;quot; is appearing in feuilleton&lt;br /&gt;
in the Vie Populaire, although the author has not&lt;br /&gt;
finished more than two-thirds of the book. The&lt;br /&gt;
reason of tliis is that serial rights in case of such&lt;br /&gt;
an author are of considerable value. For the&lt;br /&gt;
French publication, for instance, Zola gets a thou-&lt;br /&gt;
sand pounds. Had he waited till April, when he&lt;br /&gt;
expects to have finished the manuscript, before&lt;br /&gt;
authorising the publication in serial form, the&lt;br /&gt;
publication of the book in volume form would have&lt;br /&gt;
had to be delayed until long after the Grand Prix.&lt;br /&gt;
Now no book issued after the Grand Prix in Paris&lt;br /&gt;
has anything like the sale that a book issued earlier&lt;br /&gt;
in the season obtains. Zola is a good business&lt;br /&gt;
man, and, though he spends money lavishly, has&lt;br /&gt;
always about 15,ooo francs to his credit at Char-&lt;br /&gt;
pentier&amp;#039;s. Daudet, on the other hand, has always&lt;br /&gt;
an account on the wrong side with the same&lt;br /&gt;
publishers.&lt;br /&gt;
Doctor Jacques Bertillon, the statistician, is&lt;br /&gt;
bringing out a table of statistics, or rather a statis-&lt;br /&gt;
tical map, to show what books are read and in what&lt;br /&gt;
pro]x&amp;gt;rtions, at the Paris municipal free libraries.&lt;br /&gt;
Books are lent out at these libraries or may be&lt;br /&gt;
read in the libraries themselves. In one year the&lt;br /&gt;
public of these libraries borrowed 1,115,800 books&lt;br /&gt;
to read at home, and read 161,636 books in the&lt;br /&gt;
library reading-rooms. More than half the books&lt;br /&gt;
read were novels, Zola being most asked for, indeed&lt;br /&gt;
there are always eight or nine people waiting for&lt;br /&gt;
every volume by this author. Verne comes next.&lt;br /&gt;
Sue and Dumas continue very popular. George&lt;br /&gt;
Sand is little wanted, and Balzac, our master, the&lt;br /&gt;
father of us all, is but rarely asked for. Poetry, and&lt;br /&gt;
notably that of Victor Hugo, is a great deal read.&lt;br /&gt;
Geographical works and travel come third in&lt;br /&gt;
popular demand, and then science and the arts.&lt;br /&gt;
Women, however, never ask for any books belonging&lt;br /&gt;
to either category. Historical works come fifth,&lt;br /&gt;
musical books sixth, and last of all books in and on&lt;br /&gt;
foreign languages. The demand for the latter is&lt;br /&gt;
very small indeed.&lt;br /&gt;
Oscar Wilde has numerous friends in Paris, and&lt;br /&gt;
the delight at the great success he has obtained&lt;br /&gt;
with his new play at the St. James&amp;#039;s is universal&lt;br /&gt;
Z 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 306 (#710) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
in Paris. His &amp;quot;Salome&amp;quot; promises to be equally&lt;br /&gt;
successful, and a run is assured on the translation of&lt;br /&gt;
the &amp;quot;Portrait of Dorian Gray,&amp;quot; which is being&lt;br /&gt;
undertaken by a leading man of letters of this&lt;br /&gt;
city. Tons les succes, alors.&lt;br /&gt;
Some years ago, a Mr. Jogand, writing as Leo&lt;br /&gt;
Taxil, made himself vastly notorious as the author&lt;br /&gt;
of a number of grossly blasphemous anti-clerical&lt;br /&gt;
and irreligious works. The time came, however,&lt;br /&gt;
when Mr. Jogand, otherwise Leo Taxil, recognised&lt;br /&gt;
the error of his ways and became as fervent a son&lt;br /&gt;
of the Holy Church as he had one time been a&lt;br /&gt;
rebel against it. Rome opened her arms to the&lt;br /&gt;
penitent sinner, and Leo Taxil, destroying all the&lt;br /&gt;
anti-clerical and irreligious books he had written,&lt;br /&gt;
put his really fluent pen at the service of the&lt;br /&gt;
Church. His blasphemies and cure-baiting lite-&lt;br /&gt;
rature had, however, an excellent market value,&lt;br /&gt;
and in spite of the author&amp;#039;s interdiction, a firm of&lt;br /&gt;
publishers, Messrs. Letouzey and Ane, who had&lt;br /&gt;
published for him while a heretic, considered it&lt;br /&gt;
good business to go on issuing his books and&lt;br /&gt;
brochures, interdiction or not . . . Leo Taxil&lt;br /&gt;
sued them for the fraud, not for profit, but with a&lt;br /&gt;
view to stopping them from publishing works&lt;br /&gt;
which, by his later lights, he saw as unclean&lt;br /&gt;
things ... A few days before the trial came on&lt;br /&gt;
at the Ninth Chamber of Correctional Police, the&lt;br /&gt;
publishers offered to &amp;quot;square&amp;quot; the matter with a&lt;br /&gt;
sum of sixty thousand francs (&pound;2,400), but this&lt;br /&gt;
Leo Taxil refused, and ordered the prosecution to&lt;br /&gt;
proceed. The verdict of the court was in the&lt;br /&gt;
favour of the publishers, who have got off scot-free.&lt;br /&gt;
This judgment has been condemned by every paper&lt;br /&gt;
in Paris as a piece of sheer nonsense, and Leo&lt;br /&gt;
Taxil has appealed, determined to carry his case&lt;br /&gt;
before the jury of the Paris Assize Court. It is&lt;br /&gt;
more than probable that the Assize jury will reverse&lt;br /&gt;
the illogical judgment of the police court magis-&lt;br /&gt;
trates. The hearing of the appeal is being&lt;br /&gt;
anxiously looked for by all interested in letters in&lt;br /&gt;
Paris.&lt;br /&gt;
RoBEBT H. ShEBABD.&lt;br /&gt;
Paris, February 23rd.&lt;br /&gt;
The following is the brief report given in the&lt;br /&gt;
Intransigeant:&mdash;&lt;br /&gt;
Tribdnatjx.&lt;br /&gt;
Auteurs et Editeurs.&lt;br /&gt;
Le proces intente aux editeurs Letouzey et Ane&lt;br /&gt;
par M. Jogand, l&amp;#039;auteur de divers ouvrages&lt;br /&gt;
clericaux, s&amp;#039;est terinine bier par un jugement qui&lt;br /&gt;
le deboute.&lt;br /&gt;
L&amp;#039;auteur reprochait aux editeurs d&amp;#039;avoir, sans le&lt;br /&gt;
prevenir, tire de ses livres plusieurs editions dont&lt;br /&gt;
ils ne lui avaient pas tenu compte. Une enquete&lt;br /&gt;
judiciaire et une expertise etablirent le bien-fonde&lt;br /&gt;
de ses reclamations, et les editeurs qui, lors des&lt;br /&gt;
premieres plaintes de l&amp;#039;ecrivain, lui cepondaieut&lt;br /&gt;
qu&amp;#039;il etait leur debiteur d&amp;#039;une centaine de francs,&lt;br /&gt;
lui offrirent, a, la veille de l&amp;#039;audienco 60,000 francs,&lt;br /&gt;
pour se desister.&lt;br /&gt;
Apres de longs debats, malgre les aveux et les&lt;br /&gt;
offres des prevenus, la neuvieme chambre a declare&lt;br /&gt;
qu&amp;#039;il n&amp;#039;y avait pas lieu d&amp;#039;accueillir la demande du&lt;br /&gt;
plaignant, attendu que les mensonges, Paugmen-&lt;br /&gt;
tation frauduleuse des benefices, la dissimulation&lt;br /&gt;
des tirages ne constituent pas, de la part d&amp;#039;editeurs,&lt;br /&gt;
le delit d&amp;#039;abus de confiance.&lt;br /&gt;
Voila qui serait rassurant pour les hommes de&lt;br /&gt;
lettres, si la cour confirmait cette jurisprudence&lt;br /&gt;
absolument insensee.&mdash;Intransigeant.&lt;br /&gt;
&lt;br /&gt;
AN OLD PIEATE SONG.&lt;br /&gt;
INHERE is a quaint legend of the Church of&lt;br /&gt;
Saint Aleswill super mare&mdash;I do not swear&lt;br /&gt;
to the name&mdash;that after it had utterly&lt;br /&gt;
vanished from the face of the earth, an entei prising&lt;br /&gt;
young rector restored it in all its entirety, whole-&lt;br /&gt;
ness, plenitude, integrity, yea, and even in all its&lt;br /&gt;
antiquity, out of the remnants of the &amp;quot;restoration&amp;quot;&lt;br /&gt;
of three churches in the neighbourhood&mdash;on the&lt;br /&gt;
principle by which ingenious men in America&lt;br /&gt;
often construct a &amp;quot;bank note&amp;quot; out of three,&lt;br /&gt;
leaving four&mdash;which process, as it paid largely at&lt;br /&gt;
little risk, was before the modern era of entire&lt;br /&gt;
greenbacks, a sure dependence for &amp;quot;a world of&lt;br /&gt;
honest fellows who get their living by stealing and&lt;br /&gt;
cheating.&amp;quot; On the method employed by the young&lt;br /&gt;
rector of Saint Aleswill and the American financiers&lt;br /&gt;
referred to, I have put together the fragments of&lt;br /&gt;
song gathered from three separate sources, making&lt;br /&gt;
thereof a new one. But whether these fragments&lt;br /&gt;
were originally portions of one and the same ballad,&lt;br /&gt;
or whether the ballad in question is like some&lt;br /&gt;
Chinese plays, or Spenser&amp;#039;s &amp;quot;Faerie Queene,&amp;quot; an&lt;br /&gt;
endless series of parts, which like a polypus are&lt;br /&gt;
continually dismembering and uniting, I cannot&lt;br /&gt;
swear, aflirm, or declare.&lt;br /&gt;
An American ex-sailor, who gave me a few of&lt;br /&gt;
the verses, called it a mutineer&amp;#039;s song, adding that&lt;br /&gt;
if an officer should hear a man sing it, the vocalist&lt;br /&gt;
would be sure of receiving 26 lashes with a rope&amp;#039;s&lt;br /&gt;
end, by way of reward. This was all long ago,&lt;br /&gt;
when slavers, who were all pirates on occasion,&lt;br /&gt;
swarmed in New York city, glorying in their&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 307 (#711) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
calling, and no man made them afraid, and Senor&lt;br /&gt;
Guare/. had his offices there for &amp;quot;the Guinea&lt;br /&gt;
traffic&amp;quot; in bozalcs, or &amp;quot;sacks of charcoal,&amp;quot; i.e.,&lt;br /&gt;
negroes; and the United States Marshal (whom I&lt;br /&gt;
remember as one of the keenest and &amp;quot;spryest&amp;quot;&lt;br /&gt;
little men whom I ever met), was wont to go on&lt;br /&gt;
board the slavers, and accept their hospitality, and&lt;br /&gt;
aid them to get away in safety, his sworn duty&lt;br /&gt;
being to intercept them. Let it be remembered to&lt;br /&gt;
the credit of Abraham Lincoln that his very first&lt;br /&gt;
act on coming to power was to break up this&lt;br /&gt;
infernal nest of Guarez &amp;amp; Co.; in fact, he hung one&lt;br /&gt;
of the gang. In those days I knew many men who&lt;br /&gt;
had been slavers, and they are not all dead as yet.&lt;br /&gt;
There were, of course, among the English-&lt;br /&gt;
speaking seamen who were in &amp;quot; the ebony trade,&amp;quot;&lt;br /&gt;
songs, some perhaps which had come down from the&lt;br /&gt;
days of the Buccaneers, and I believe that some of&lt;br /&gt;
the verses which I here give are of this antiquity.&lt;br /&gt;
But to the lyric. The reader of Scott&amp;#039;s &amp;quot; Pirate&amp;quot;&lt;br /&gt;
will recognise the opening verse:&lt;br /&gt;
Hold Itohin Rover&lt;br /&gt;
Said to his crew,&lt;br /&gt;
Up with the Mack flag,&lt;br /&gt;
Ami down witli the blue.&lt;br /&gt;
Up with the black boy&lt;br /&gt;
All men to show:&lt;br /&gt;
And over the water&lt;br /&gt;
And off let us go!&lt;br /&gt;
A man-of-war he hailed us&lt;br /&gt;
&amp;quot;Come under my lee!&amp;quot;&lt;br /&gt;
&amp;quot;See you damned,&amp;quot; said the pirate,&lt;br /&gt;
&amp;quot;For I&amp;#039;d rather sink at sea.&lt;br /&gt;
In the blue water,&lt;br /&gt;
Far out and free,&lt;br /&gt;
Cruising down on the shore&lt;br /&gt;
By the coast of Bar-ba-rce!&amp;quot;&lt;br /&gt;
We met the Flyiug Dutchman,&lt;br /&gt;
To windward he came.&lt;br /&gt;
His hull was all of hell-fire,&lt;br /&gt;
His sails were all of flame,&lt;br /&gt;
Fire in the maintop,&lt;br /&gt;
Fire on the bow.&lt;br /&gt;
Fire on the gun-deck.&lt;br /&gt;
Fire down below.&lt;br /&gt;
Four and twenty dead men,&lt;br /&gt;
Those were the crew,&lt;br /&gt;
The devil in the bowsprit&lt;br /&gt;
Fiddled as she flew.&lt;br /&gt;
We gave her n gun shot&lt;br /&gt;
Kight in the dip.&lt;br /&gt;
Puff, like a candle,&lt;br /&gt;
Out went the ship!&lt;br /&gt;
We met a gallant vessel&lt;br /&gt;
A sailing on the sea;&lt;br /&gt;
For mercy, for mercy,&lt;br /&gt;
For mercy she did plea,&lt;br /&gt;
But the mercy we gave her&lt;br /&gt;
We sank her in the sea;&lt;br /&gt;
Cruising down on the shore&lt;br /&gt;
By the coast of Barbarcc.&lt;br /&gt;
Four and twenty Spaniards&lt;br /&gt;
Mighty men of rank&lt;br /&gt;
With their scfioras&lt;br /&gt;
Had to walk the plank,&lt;br /&gt;
Over the gunwale&lt;br /&gt;
Into the sea;&lt;br /&gt;
Cruising down on the shore&lt;br /&gt;
By the coast of Burbaree.&lt;br /&gt;
Oh, devil take the captain!&lt;br /&gt;
And devil take the ship!&lt;br /&gt;
And devil take the cargo!&lt;br /&gt;
And devil take the trip!&lt;br /&gt;
And devil take the first mate!&lt;br /&gt;
And devil take the call!&lt;br /&gt;
And devil take the doctor!&lt;br /&gt;
And devil take &amp;#039;cm all.&lt;br /&gt;
Over the quarter.&lt;br /&gt;
Over the rail,&lt;br /&gt;
Into the water&lt;br /&gt;
Dead as a nail,&lt;br /&gt;
Flung like a biscuit&lt;br /&gt;
Hot as a coal&lt;br /&gt;
Where the sharks may take the body.&lt;br /&gt;
And the devil take the soul!&lt;br /&gt;
Truly not a song for the piano, or for young&lt;br /&gt;
ladies; indeed, there are not many men who can&lt;br /&gt;
understand the grim and terrible, yet intense&lt;br /&gt;
relish with which these ditties of the devil were&lt;br /&gt;
sung in the olden time. Yet there is a scent as of&lt;br /&gt;
cold salt water in them&mdash;a rocking of the vessel in&lt;br /&gt;
the waves in their metre, and a fierce ml gleam as&lt;br /&gt;
of sunset lasting into the black night perceptible in&lt;br /&gt;
the scenes which they recall.&lt;br /&gt;
Should any of my renders be able to give any&lt;br /&gt;
further information as to, or contribute additional&lt;br /&gt;
verses to, or show what the ballads were from&lt;br /&gt;
which these fragments came, I&mdash;and perhaps the.&lt;br /&gt;
Editor as well&mdash;be very much obliged for the&lt;br /&gt;
information supplied.&lt;br /&gt;
Charles Godfrey Leland.&lt;br /&gt;
Florence, February 5th, 1892.&lt;br /&gt;
&lt;br /&gt;
TITLES OF HONOUR.&lt;br /&gt;
ISHOULD like to say very shortly why I&lt;br /&gt;
agree with Mr. Lang rather than with Mr.&lt;br /&gt;
Besant in the matter of conferring titles,&lt;br /&gt;
orders, or other official State honours on the sole&lt;br /&gt;
ground of literary or artistic merit. First, we have&lt;br /&gt;
already the honorary degrees of our universities.&lt;br /&gt;
Is it likely that any corresponding honours given&lt;br /&gt;
by the State would l&amp;gt;e as highly esteemed, or more&lt;br /&gt;
wisely conferred?&lt;br /&gt;
Next, the proper object of official honour in this&lt;br /&gt;
country, it seems to me, is official service, public&lt;br /&gt;
service in the strict sense. Of the value of such&lt;br /&gt;
services the State (that is, in the concrete, the head&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 308 (#712) ############################################&lt;br /&gt;
&lt;br /&gt;
308&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
of the department concerned) is or ought to be not&lt;br /&gt;
only a competent, but the most competent judge.&lt;br /&gt;
In so far as literary and artistic institutions are&lt;br /&gt;
under State direction or control (as the National&lt;br /&gt;
Gallery, the Theatre Francais) this principle applies&lt;br /&gt;
to persons who serve the State as directors or&lt;br /&gt;
officers of such institutions, but not farther or&lt;br /&gt;
otherwise.&lt;br /&gt;
General literary or artistic reputation, on the&lt;br /&gt;
other hand, must depend in the long run on the&lt;br /&gt;
general opinion of persons of knowledge and taste;&lt;br /&gt;
an opinion which often is not settled for a genera-&lt;br /&gt;
tion or more. I see no reason to think that an&lt;br /&gt;
official judgment in these matters would l&amp;gt;e specially&lt;br /&gt;
competent, or even free from danger of being&lt;br /&gt;
incompetent.&lt;br /&gt;
I am quite aware that the existing distribution&lt;br /&gt;
of official honours could be reduced only with&lt;br /&gt;
difficulty, if at all, to uniform principles, and that&lt;br /&gt;
it does not invariably give satisfaction. This, I&lt;br /&gt;
think, rather strengthens my argument. Also my&lt;br /&gt;
purpose is to suggest what I believe to be the&lt;br /&gt;
true general rule, not to deny that exception may&lt;br /&gt;
fitly be made in singular cases. That of Lord&lt;br /&gt;
Tennyson will occur to every reader. To discuss&lt;br /&gt;
how far it is really exceptional would involve careful&lt;br /&gt;
consideration of the relation of the peerage to other&lt;br /&gt;
&amp;quot;titles of honour,&amp;quot; and would exceed both the&lt;br /&gt;
Author&amp;#039;s space and my time.&lt;br /&gt;
F. Foixock.&lt;br /&gt;
My own case, as I endeavoured to set it forth,&lt;br /&gt;
was, if I may state it once more, as follows :&mdash;&lt;br /&gt;
1. The service rendered to the State by the poet,&lt;br /&gt;
the dramatist, the historian, the novelist,&lt;br /&gt;
the essayist, is service as real and as impor-&lt;br /&gt;
tant as the service of a great general, a&lt;br /&gt;
statesman, or a great lawyer.&lt;br /&gt;
2. It is right and fitting that the State should&lt;br /&gt;
recognize all kinds of State service with the&lt;br /&gt;
same kind of distinction and honour.&lt;br /&gt;
3. The stock arguments against granting distinc-&lt;br /&gt;
tions to art and letters&mdash;as, that distin-&lt;br /&gt;
guished authors should be satisfied with the&lt;br /&gt;
reward of their own success&mdash;apply equally&lt;br /&gt;
against granting distinctions to any other&lt;br /&gt;
profession. For instance, what could pos-&lt;br /&gt;
sibly be a greater honour in itself than the&lt;br /&gt;
winning of a great victory? Yet no one&lt;br /&gt;
says that we should tell the successful&lt;br /&gt;
general to be content with that honour.&lt;br /&gt;
4. The exclusion of any branch of the higher&lt;br /&gt;
work of the world from national honour&lt;br /&gt;
lowers that branch in the eyes of the&lt;br /&gt;
general mass of the nation. The exclusion&lt;br /&gt;
of literature tends to make literature in the&lt;br /&gt;
eyes of the nation contemptible. To the&lt;br /&gt;
official eye, everything that is excluded&lt;br /&gt;
from national distinction is contemptible.&lt;br /&gt;
As, for example, when five years ago, on&lt;br /&gt;
the occasion of the greatest national function&lt;br /&gt;
of the century, not a single man or woman&lt;br /&gt;
of letters was invited to be present, as such.&lt;br /&gt;
5. The most formidable objection is that raised&lt;br /&gt;
above by Sir Frederick Pollock, among&lt;br /&gt;
others. It is the danger that the official&lt;br /&gt;
judgment would prove, in art and letters&lt;br /&gt;
especially, incompetent. Is it not incom-&lt;br /&gt;
petent in other branches? But the in-&lt;br /&gt;
competence of officials in the way of literary&lt;br /&gt;
distinction would very soon be challenged&lt;br /&gt;
and remedied, because the whole question&lt;br /&gt;
of titles and their bestowal will be raised&lt;br /&gt;
and discussed, as soon as the literary class&lt;br /&gt;
becomes concerned with it. At present,&lt;br /&gt;
nobody ever discusses the subject, and the&lt;br /&gt;
most ridiculous persons receive the national&lt;br /&gt;
distinctions without a protest.&lt;br /&gt;
6. In short, my case is that to exclude literature&lt;br /&gt;
from the national distinctions means either&lt;br /&gt;
that such distinctions are worthless, nnd not&lt;br /&gt;
to be desired by any class; or that the&lt;br /&gt;
production of worthy literature is not a&lt;br /&gt;
special service to the State.&lt;br /&gt;
W. B.&lt;br /&gt;
&lt;br /&gt;
BED CLOVER.&lt;br /&gt;
Call me new born thy worshipper, sweet flower,&lt;br /&gt;
Soft laughter of the meadows! I have seen&lt;br /&gt;
Thy pink spheres shake away the dewy screen&lt;br /&gt;
From night&amp;#039;s caress to greet the dawn&amp;#039;s glad&lt;br /&gt;
hour.&lt;br /&gt;
I feel the rich wTeight of thy blossoms cower&lt;br /&gt;
When wild winds sweep across the wastes of&lt;br /&gt;
green,&lt;br /&gt;
Startling the bees, who, restful wings a-sheeu,&lt;br /&gt;
Steal thy sweet riches for their queen&amp;#039;s bright&lt;br /&gt;
dower.&lt;br /&gt;
Thou seem&amp;#039;st to all pure things allied, and so&lt;br /&gt;
Thy blossoms touched no stranger when they&lt;br /&gt;
lay&lt;br /&gt;
So proudly &amp;#039;neath that rose-tipped chin of hers.&lt;br /&gt;
For she, though bred in cities, yet doth know&lt;br /&gt;
The finer thoughts of nature. Her soul stirs&lt;br /&gt;
To greet thee as thine own to greet the day.&lt;br /&gt;
Habkiet Monroe.&mdash;New York Critic.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 309 (#713) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3&deg;9&lt;br /&gt;
A PINE PLAY.&lt;br /&gt;
HAS a dramatist done his duty towards the&lt;br /&gt;
public, when he tells a good story in such&lt;br /&gt;
a way as to thoroughly interest and amuse&lt;br /&gt;
his audience? Some persons think so, and as one of&lt;br /&gt;
those who do, I venture to congratulate Mr. Oscar&lt;br /&gt;
Wilde upon having done his duty, though so&lt;br /&gt;
commonplace and middle-class a performance as&lt;br /&gt;
duty-doing may appear to this brilliant and para-&lt;br /&gt;
doxical author a poorish subject for congratulation.&lt;br /&gt;
&amp;quot;Lady Windermere&amp;#039;s Fan&amp;quot; is brilliantly and&lt;br /&gt;
audaciously funny&mdash;upon that everybody seems&lt;br /&gt;
agreed&mdash;but certain objections have been urged&lt;br /&gt;
against the story :&mdash;that it is improbable, that it is&lt;br /&gt;
old, that it is told the wrong way, and so on.&lt;br /&gt;
Here is the story:&mdash;Lord Windermere in attempt-&lt;br /&gt;
ing to help Mrs. Erlynne, his wife&amp;#039;s dishonoured&lt;br /&gt;
mother, back into good society, manages so indis-&lt;br /&gt;
creetly that he is considered by society to be the&lt;br /&gt;
lady&amp;#039;s protector. The audience, like society, is&lt;br /&gt;
kept in ignorance of this lady&amp;#039;s relationship to&lt;br /&gt;
Lady Windermere. Lady Windermere is told that&lt;br /&gt;
her husband is devoted to an adventuress, and the&lt;br /&gt;
husband, at the same moment, insists that the&lt;br /&gt;
woman in question shall receive a card to his&lt;br /&gt;
wife&amp;#039;s ball. This she will not send. Her standard&lt;br /&gt;
of morals is a very high one, and her ideal is the&lt;br /&gt;
mother whom she believes to have l&amp;gt;een deail for&lt;br /&gt;
twenty years. Lord Windermere sends the card&lt;br /&gt;
himself, and his wife declares that when Mrs.&lt;br /&gt;
Erlynne is announced, she will strike her across&lt;br /&gt;
the face with her fan. And so the curtain comes&lt;br /&gt;
down oti a capital first act. In the second act,&lt;br /&gt;
Mrs. Erlynne appears at the ball, to the malicious&lt;br /&gt;
astonishment of Lady Windermere&amp;#039;s guests, all of&lt;br /&gt;
whom believe that she is playing the part of the&lt;br /&gt;
complacent wife, in spite of her claims to the before-&lt;br /&gt;
mentioned high standard. The blow is not struck,&lt;br /&gt;
for Lady Windermere&amp;#039;s courage fails her. But&lt;br /&gt;
enraged at the public insult which she con-&lt;br /&gt;
ceives to have been put upon her, she flies,&lt;br /&gt;
on impulse, from her home to a man, whose&lt;br /&gt;
dishonourable proposals she had put aside a&lt;br /&gt;
few minutes earlier. The curtain rises for the&lt;br /&gt;
third time upon the two women in the rooms&lt;br /&gt;
of the would-be seducer, for Mrs. Erlynne&lt;br /&gt;
has followed her daughter with the intention of&lt;br /&gt;
persuading her to return to Lord Windermere.&lt;br /&gt;
Just as Mrs. Erlynne&amp;#039;s appeals have their proper&lt;br /&gt;
effect upon Lady Windermere&amp;#039;s heart, steps are&lt;br /&gt;
heard outside the chamber and a party of men&lt;br /&gt;
enter, among whom is Lord Windermere. Mrs.&lt;br /&gt;
Erlynne takes refuge in an inner room, and&lt;br /&gt;
Lady Windermere hides in the window-alcove&lt;br /&gt;
behind the curtains. But Lady Windermere leaves&lt;br /&gt;
her fan on the sofa. It is found. Lord Winder-&lt;br /&gt;
mere demands from his host an explanation,&lt;br /&gt;
threatening to search the place if it is not a&lt;br /&gt;
satisfactory one. Mrs. Erlynne appears from the&lt;br /&gt;
bedroom and owns to having brought the fan by&lt;br /&gt;
mistake, and while all the men are absorbed in&lt;br /&gt;
Mrs. Erlynne&amp;#039;s confession, Lady Windermere&lt;br /&gt;
escapes from the room unnoticed. Her reputation&lt;br /&gt;
is saved, and Mrs. Erlynne&amp;#039;s chances of returning&lt;br /&gt;
into society&mdash;so frail and so carefully built up&mdash;are&lt;br /&gt;
disposed of at once. Curtain, upon a very strong&lt;br /&gt;
situation. In the fourth act we have a sort of&lt;br /&gt;
reverse of the opening position. Lady Winder-&lt;br /&gt;
mere, who knows that Mrs. Erlynne&amp;#039;s act has&lt;br /&gt;
saved her reputation, wants to see her again in&lt;br /&gt;
order to thank her, but cannot of course say why.&lt;br /&gt;
Lord Windermere, who believes that Mrs. Erlynne&lt;br /&gt;
is a disgraceful woman, will not hear of his wife&lt;br /&gt;
seeing her, but also cannot explain why, or reconcile&lt;br /&gt;
his refusal with his expressed wishes of the night&lt;br /&gt;
before. Mrs. Erlynne gets them out of the&lt;br /&gt;
dilemma. She comes to say that she is leaving&lt;br /&gt;
England for ever. She does not reveal herself to&lt;br /&gt;
her daughter, and exacts from Lord Windermere&lt;br /&gt;
that he also will respect her secret. _ The last&lt;br /&gt;
curtain falls on the announcement that she is going&lt;br /&gt;
to marry an unintelligent and amiable nobleman, to&lt;br /&gt;
whom she has &amp;quot; explained everything.&amp;quot;&lt;br /&gt;
Such is Mr. Oscar Wilde&amp;#039;s story, and there is&lt;br /&gt;
much in it which, thus baldly put, stamps it as&lt;br /&gt;
rather improbable. Now it must be admitted that&lt;br /&gt;
even in the play all the improbabilities do not dis-&lt;br /&gt;
appear. Lady Windermere is willing to &amp;quot;exchange&lt;br /&gt;
in a trice the lilies and languors&amp;quot; for &amp;quot;the roses&lt;br /&gt;
and raptures,&amp;quot; but the reasons for her conversion&lt;br /&gt;
&mdash;impulse and pique&mdash;are not quite convincing.&lt;br /&gt;
The fact that the villain was inefficient, and thus&lt;br /&gt;
rendered particularly unpersuasive, must not, how-&lt;br /&gt;
ever, be counted as a fault to the story. Again,&lt;br /&gt;
society&amp;#039;s ignorance of Mrs. Erlynne&amp;#039;s real identity,&lt;br /&gt;
and Lady Windermere&amp;#039;s ignorance of her mother&amp;#039;s&lt;br /&gt;
existence, are both a little difficult to believe in. Still&lt;br /&gt;
the story is not wholly improbable; it only has that&lt;br /&gt;
amount of improbability which stage representation&lt;br /&gt;
has made a necessary factor in story-telling for dra-&lt;br /&gt;
matic purposes. All plays that are truly interesting&lt;br /&gt;
have a more or less improbable story, or have a story&lt;br /&gt;
in which more or less improbable incidents occur.&lt;br /&gt;
The skill of the dramatist is shown in making these&lt;br /&gt;
improbabilities of no particular account in his story,&lt;br /&gt;
or in hiding them behind the strong interest which&lt;br /&gt;
he creates in his characters. In reality probability&lt;br /&gt;
has as little to do with making a play good as has&lt;br /&gt;
morality. An immoral play can never be a good&lt;br /&gt;
play, because it can never give general pleasure.&lt;br /&gt;
It is outside the limitations which the necessity of&lt;br /&gt;
giving general pleasure imposes. The very skilful&lt;br /&gt;
man can say more than the clumsy man, but each&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 310 (#714) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
alike is bounded by respect for his audience&amp;#039;s self-&lt;br /&gt;
respect. It is the same with probability. A&lt;br /&gt;
splendid story-teller can bo improbable, because the&lt;br /&gt;
last thing that the fascinated recipient cares about,&lt;br /&gt;
when listening to what his author has to say, is&lt;br /&gt;
how far the incidents could really have happened.&lt;br /&gt;
He believes in the impossible, because it is pre-&lt;br /&gt;
sented to him as the inevitable, and all he wants to&lt;br /&gt;
know is&mdash;what is going to happen next. If he finds&lt;br /&gt;
that he is pulled up in his stride to consider the&lt;br /&gt;
probability of the story, he is irritated with the&lt;br /&gt;
author, and he is right to be so. It means that&lt;br /&gt;
the story has been too big for the author, who has&lt;br /&gt;
been unable to create illusion. There is no&lt;br /&gt;
difficulty of this sort in Mr. &amp;quot;Wilde&amp;#039;s case, and thus&lt;br /&gt;
probability does not matter at all. Many people&lt;br /&gt;
have said that it is an old story, and it seems&lt;br /&gt;
to have suggested several French origins to several&lt;br /&gt;
critics. But in almost every case the novel or&lt;br /&gt;
play suggested was a different one, so that the&lt;br /&gt;
story may be said to be one whose central idea&lt;br /&gt;
has always been floating about among the dra-&lt;br /&gt;
matically-minded. Mr. Oscar Wilde, to his im-&lt;br /&gt;
mense credit, appears to have used a complication&lt;br /&gt;
which previously had struck Messrs. Balzac, Dumas,&lt;br /&gt;
Augier, and Sardou (among others) as good. It is&lt;br /&gt;
to his credit, because the new treatment is dis-&lt;br /&gt;
tinguished, adequate, and personal. He treats the&lt;br /&gt;
theme of the erring mother and innocent daughter&lt;br /&gt;
most delicately and reasonably. Although the&lt;br /&gt;
characters are so superior to sentiment, and&lt;br /&gt;
although Mr. Wilde has devised so happily cynical&lt;br /&gt;
an end to the story, cynicism never forces mother&lt;br /&gt;
and daughter into any position where the daughter&lt;br /&gt;
is forced to act towards her unknown mother in&lt;br /&gt;
a way that the audience might find horrible. The&lt;br /&gt;
author would be the first person, we are sure, to&lt;br /&gt;
admit that he has not made the theme his own&lt;br /&gt;
because he has treated it from one point of view.&lt;br /&gt;
He has only added one to the difficulties of the&lt;br /&gt;
next dramatist who attempts to treat of the subject,&lt;br /&gt;
by subjecting all successors to a comparison with&lt;br /&gt;
another brilliant treatment. It would be as reason-&lt;br /&gt;
able to say that Mr. Hardy might write no more&lt;br /&gt;
strong bucolic stories, because of the wide circula-&lt;br /&gt;
tion of &amp;quot; Ruth,&amp;quot; as to try to prevent dramatists from&lt;br /&gt;
treating of unrevealed mothers because &amp;quot; Odette&amp;quot;&lt;br /&gt;
was a popular play. With regard to the way the&lt;br /&gt;
story is told, Mr. Wilde originally decided that he&lt;br /&gt;
would not reveal the identity of Mrs. Erlynne until&lt;br /&gt;
the last act, and at its brilliant reception on the first&lt;br /&gt;
night the story was played in that way and seemed&lt;br /&gt;
to us quite intelligible. Neither Lord Windermere&lt;br /&gt;
or Mrs. Erlynne would have acted exactly as they&lt;br /&gt;
did, had not the connexion between them been what&lt;br /&gt;
it was. &amp;quot;If I am a good story-teller,&amp;quot; said the&lt;br /&gt;
author, &amp;quot;deduce from the behaviour of my characters&lt;br /&gt;
what relations they must bear to each other.&amp;quot; This,&lt;br /&gt;
however, though a sensible attitude, is against the&lt;br /&gt;
critical canons, which demand that the audience&lt;br /&gt;
should not be asked to reason. Your audience,&lt;br /&gt;
says the unwritten law, must know what the&lt;br /&gt;
motives of action are, so that they may judge of&lt;br /&gt;
the way in which the resulting actions are rendered.&lt;br /&gt;
To me it seems that cither method is quite capable&lt;br /&gt;
of being the right method, and that, as in the amount&lt;br /&gt;
of improbability that can be made to look probable,&lt;br /&gt;
the personality of the author decides the question.&lt;br /&gt;
If early in his story the author can show such&lt;br /&gt;
good sense and reasoning power, that his listeners&lt;br /&gt;
can trust him not to be making his characters say&lt;br /&gt;
and do things without a reason, then he is right to&lt;br /&gt;
keep the secret back, and the pleasure of gradually&lt;br /&gt;
guessing the motive will be added to the pleasure&lt;br /&gt;
of hearing the story. If, on the other hand, the&lt;br /&gt;
author excels more in showing how a thing is&lt;br /&gt;
done than why it is done, he must not leave his&lt;br /&gt;
public in doubt about anything. Mr. Wilde now&lt;br /&gt;
takes the audience into his entire confidence in the&lt;br /&gt;
first act, which seems to me to be a concession to&lt;br /&gt;
the sluggish, although it is in accord with generally&lt;br /&gt;
expressed opinion.&lt;br /&gt;
Having settled to one&amp;#039;s own satisfaction that the&lt;br /&gt;
story is probable enough and new enough, because&lt;br /&gt;
the author&amp;#039;s skill and individuality of treatment&lt;br /&gt;
have made it both, it remains only to add that the&lt;br /&gt;
dialogue must have been a revelation to most&lt;br /&gt;
present&mdash;to all, in fact, who had not read &amp;quot;The&lt;br /&gt;
Decay of Lying.&amp;quot; No such witty dialogue has&lt;br /&gt;
been heard on our stage for many a long year.&lt;br /&gt;
Paradox and epigram followed each other thick&lt;br /&gt;
and fast. Too thick and too fast; but what a&lt;br /&gt;
pardonable mistake! In &amp;quot;Lady Windermere&amp;#039;s&lt;br /&gt;
Fan,&amp;quot; Mr. Oscar Wilde has given us a strong and&lt;br /&gt;
dramatic story, and has set it in brilliantly witty&lt;br /&gt;
words. I hope&mdash;and believe&mdash;that his play will&lt;br /&gt;
meet with its deserts.&lt;br /&gt;
O. J.&lt;br /&gt;
&mdash;■&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
IHAVE religiously published a mass of corre-&lt;br /&gt;
spondence on the treatment of contributors&lt;br /&gt;
by editors. At the same time, I think that&lt;br /&gt;
many of the complaints against editors are ground-&lt;br /&gt;
less. It is a great pity that, when contributions&lt;br /&gt;
arc invited, editors should not show every conside-&lt;br /&gt;
ration to those who respond. In the high class&lt;br /&gt;
magazines and papers, I am sure that they do. In&lt;br /&gt;
my own case I have frequently, in old times,&lt;br /&gt;
received my papers back, but never without&lt;br /&gt;
courtesy. Further, I am bound to say, that when&lt;br /&gt;
time had passed and I could read the MS. in&lt;br /&gt;
cold blood, I always approved of the decision of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 311 (#715) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
editor. Next, one must consider the frightful mass&lt;br /&gt;
of ImuI work that is every day submitted to an editor.&lt;br /&gt;
I do not think it is possible for any editor to read&lt;br /&gt;
all that is sent him. The most he can do is to&lt;br /&gt;
select, according to subject, and after reading the&lt;br /&gt;
first page or two, a few for more careful consider-&lt;br /&gt;
ation. I was once shown a pile of MSS. covering&lt;br /&gt;
half the wall of a room. &amp;quot;Have you,&amp;quot; I asked&lt;br /&gt;
the editor, &amp;quot; read all these things?&amp;quot; He sighed&lt;br /&gt;
wearily&mdash;&amp;quot;But,&amp;quot; I urged, &amp;quot;there must be some&lt;br /&gt;
beautiful work in this heap.&amp;quot; &amp;quot;There may be,&amp;quot; he&lt;br /&gt;
replied, with another weary, weary sigh,&amp;quot; &amp;quot; Would&lt;br /&gt;
you like to sit down and pick out the beautiful&lt;br /&gt;
work?&amp;quot; In fact, every magazine ought to have&lt;br /&gt;
a large staff of readers&mdash;some of the great American&lt;br /&gt;
magazines have. It is the only way to insure the&lt;br /&gt;
reading of MSS. If every magazine cannot afford&lt;br /&gt;
it, then, as Mr. Justice Stareleigh observed, every&lt;br /&gt;
magazine ought to be able to afford it. The over-&lt;br /&gt;
worked editor, with the best goodwill in the world,&lt;br /&gt;
cannot possibly without assistance read all that is&lt;br /&gt;
heaped upon his table. I have often wondered&lt;br /&gt;
what has become of that mass of MSS. which I&lt;br /&gt;
saw on the occasion referred to. The journal is&lt;br /&gt;
now extinct, and the MSS.&mdash;where are they?&lt;br /&gt;
Where are they? What becomes of the immense&lt;br /&gt;
piles of MSS. which are refused and not sent&lt;br /&gt;
back? It is sad to think of these brilliant works&lt;br /&gt;
of genius going back to the paper mills.&lt;br /&gt;
-**&mdash; -&lt;br /&gt;
In another part of the paper will be found a&lt;br /&gt;
passage, quoted from the Pall Mull Gazette, on&lt;br /&gt;
the reading of MSS. by publishers. The story&lt;br /&gt;
told is not pleasant reading, especially to myself,&lt;br /&gt;
localise I am one of those who have always main-&lt;br /&gt;
tained that publishers do read MSS. I do so, first,&lt;br /&gt;
arguing from the fitness of things, because it&lt;br /&gt;
is their interest to read everything .submitted;&lt;br /&gt;
second, because with all the publishers&mdash;not a few&lt;br /&gt;
&mdash;who have talked to me about the conduct of&lt;br /&gt;
their business, I have found them anxious not to&lt;br /&gt;
let a good chance slip out of their hands; thirdly,&lt;br /&gt;
l&amp;gt;ecause I have known men who read and advise&lt;br /&gt;
for publishers, and I have known them to be men&lt;br /&gt;
of honour, who would not take pay for work&lt;br /&gt;
scamped; and, lastly, because; I have myself read&lt;br /&gt;
MSS. and advised, and I declare honestly that I&lt;br /&gt;
always did read them and gave the best advice in&lt;br /&gt;
my power. Of course I do not speak of so-called&lt;br /&gt;
publishers who, whenever a MS. is sent in, write&lt;br /&gt;
back to say, in stereotyped terms, that&amp;quot; their reader&lt;br /&gt;
has reported so favourably of the work that they&lt;br /&gt;
are prepared to offer the following favourable terms,&lt;br /&gt;
viz., the author to pay half the cost of production&amp;quot;&lt;br /&gt;
&mdash;naming rather more than the whole cost&mdash;and&lt;br /&gt;
so on&mdash;and so on. The last passage in the&lt;br /&gt;
extract that we print (see page 33o) furnishes&lt;br /&gt;
VOL. II.&lt;br /&gt;
another illustration of my reiterated assertion&lt;br /&gt;
that publishers very seldom incur any risk at all.&lt;br /&gt;
Hence it is becoming increasingly difficult for a&lt;br /&gt;
new writer to make a beginning. Of course there&lt;br /&gt;
are masses of MSS. which can be dismissed by&lt;br /&gt;
the most conscientious reader at once, after reading&lt;br /&gt;
the first ten pages, and without the least hesitation.&lt;br /&gt;
On page 3o6 there will be found a very astonish-&lt;br /&gt;
ing case. A firm of Parisian publishers named&lt;br /&gt;
Letouzey and Ane, deliberately falsified their figures&lt;br /&gt;
to prevent paying royalties. When proceedings&lt;br /&gt;
were commenced they offered to pay 2,400/. down,&lt;br /&gt;
if the complaint would be withdrawn. The police&lt;br /&gt;
court ruled that though the publishers had robbed&lt;br /&gt;
the author in this wholesale way, their acts do&lt;br /&gt;
not legally constitute the crime of &amp;quot;abuse of&lt;br /&gt;
confidence.&amp;quot; What a very remarkable law must be&lt;br /&gt;
that which obtains in France! And what a very&lt;br /&gt;
remarkable confirmation of the justice of our claim&lt;br /&gt;
that authors have a full right to have accounts&lt;br /&gt;
audited!&lt;br /&gt;
How does a book get read? The question is&lt;br /&gt;
asked in the February Author (p. 282). The&lt;br /&gt;
correspondent explains that he wants to know in&lt;br /&gt;
what way the general public, living all over the&lt;br /&gt;
world, gets to hear of a book, and is stimulated to&lt;br /&gt;
read it. Formerly, he says, there were the book-&lt;br /&gt;
sellers&amp;#039; shops, but these have certainly not increased&lt;br /&gt;
in proportion to the vast increase of the book trade.&lt;br /&gt;
That is very true: booksellers have gone down&lt;br /&gt;
instead of up. In the old days the country book-&lt;br /&gt;
seller had all the new books on his counter; he&lt;br /&gt;
was often a person held in great esteem for his&lt;br /&gt;
reading anil his knowledge, especially in Cathedral&lt;br /&gt;
towns. But there is now one shop which has in-&lt;br /&gt;
creased and multiplied, and spread itself until it has&lt;br /&gt;
well nigh swallowed up all the rest. This is the rail-&lt;br /&gt;
way bookstall. Look at the great Iwokstall at the&lt;br /&gt;
Great Western, for instance; or at any important&lt;br /&gt;
station on that line, Swindon, Bath, Bristol, Exeter,&lt;br /&gt;
Plymouth. All day long the buying goes on; before&lt;br /&gt;
every train goes out; from morning until evening.&lt;br /&gt;
And this at all the stations over the whole&lt;br /&gt;
country. That is the principal way in which&lt;br /&gt;
books are sold in the country. Who tells the people&lt;br /&gt;
what to buy? Partly, the Sidesman; partly, the&lt;br /&gt;
name of the author; partly, the advertisements;&lt;br /&gt;
partly, the reviews; partly, the title of the book;&lt;br /&gt;
partly, the subjects. The great mass of readers&lt;br /&gt;
do not read reviews, they are moved by some of&lt;br /&gt;
the other considerations referred to above. And,&lt;br /&gt;
perhaps, more than all, by that whisper, which,&lt;br /&gt;
directly a book attracts attention, runs like light-&lt;br /&gt;
ning over the whole country. In the train, in the&lt;br /&gt;
A a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 312 (#716) ############################################&lt;br /&gt;
&lt;br /&gt;
312&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
omnibus, at dinner, wherever people meet and talk,&lt;br /&gt;
a book is recommended and at onee ordered, if only&lt;br /&gt;
of the library. How to attract that attention?&lt;br /&gt;
Well, the only known way&mdash;the only way yet&lt;br /&gt;
discovered&mdash;is to present attractive work.&lt;br /&gt;
The questioner goes on to ask how the publisher&lt;br /&gt;
sells his books? Some do not. There is the&lt;br /&gt;
greatest possible difference between publishers in&lt;br /&gt;
this respect. Some seem not to know how to sell&lt;br /&gt;
books at all. Some sell their books rapidly and&lt;br /&gt;
easily. The difference is so great, that in some&lt;br /&gt;
cases we have deliberately sent authors to publishers&lt;br /&gt;
whose agreements we know to be unfair and one-&lt;br /&gt;
sided, because, in spite of this fact, the author will do&lt;br /&gt;
better with them than with other houses where they&lt;br /&gt;
will give him a better agreement. As to the methods&lt;br /&gt;
of sale, they have travellers for town and country;&lt;br /&gt;
they get their books subscribed at Smith&amp;#039;s and&lt;br /&gt;
Mudie&amp;#039;s; they get them taken for the .stalls; they&lt;br /&gt;
have them sent to India and the colonies; they&lt;br /&gt;
advertise them; they send out copies to the press;&lt;br /&gt;
they print their, titles in their lists and circulars;&lt;br /&gt;
they watch the press notices. Some publishers are&lt;br /&gt;
also very elastic in their prices, and, to make a deal,&lt;br /&gt;
will often lower the price very materially. This&lt;br /&gt;
fact must be borne in mind when the question of&lt;br /&gt;
equitable royalties is considered. And it must be&lt;br /&gt;
remembered that while a careless publisher or an&lt;br /&gt;
incompetent publisher may grievously damage a&lt;br /&gt;
book, not the most zealous publisher in the world&lt;br /&gt;
can make the world buy what. the Avorld does not&lt;br /&gt;
want.&lt;br /&gt;
We were talking of literary collections. We&lt;br /&gt;
discussed the hunter after first editions, the&lt;br /&gt;
collector of rare books because they are rare, the&lt;br /&gt;
haunter of book auctions, the man who eagerly&lt;br /&gt;
turns over &amp;quot;all this lot at fourpence,&amp;quot; the man who&lt;br /&gt;
has stories of how he picked up a rare bargain, and&lt;br /&gt;
the man who buys and keeps books which he thinks&lt;br /&gt;
will become valuable. Thus, &amp;quot;Payne&amp;#039;s translation&lt;br /&gt;
of Villon,&amp;quot; and Burton&amp;#039;s &amp;quot; Arabian Nights,&amp;quot; have&lt;br /&gt;
been bought and kept on the chance of the price&lt;br /&gt;
going up. Again, as any second-hand catalogue&lt;br /&gt;
shows, there are the first editions of Louis Stevenson&lt;br /&gt;
and Andrew Lang, at the present moment first&lt;br /&gt;
favourites with the collectors of new first editions.&lt;br /&gt;
Then there are the collectors of books about places&lt;br /&gt;
and people. I could name one man who has all the&lt;br /&gt;
Wordsworth editions; another a nearly exhaustive&lt;br /&gt;
collection of books on Coleridge. I have myself a&lt;br /&gt;
goodly lot of books on London; another man has&lt;br /&gt;
n great collection of books connected with the&lt;br /&gt;
navy. All these belong to the serious&mdash;the literary&lt;br /&gt;
&mdash;collections. There are again the autograph&lt;br /&gt;
collectors, whose name is legion, and whose im-&lt;br /&gt;
pudence is colossal. Then there are the lighter&lt;br /&gt;
and more frivolous collections. Of these then-&lt;br /&gt;
are endless varieties. Ami here the other man&lt;br /&gt;
came out strong. One man, he said, lias col-&lt;br /&gt;
lected election squibs for the last three or four&lt;br /&gt;
general elections. Another collects penny song-&lt;br /&gt;
sters; another, halfpenny ballads; another, shilling&lt;br /&gt;
shockers; another, chap books; another&mdash;&amp;#039;who&lt;br /&gt;
must have a library as big as a barn&mdash;dramatic-&lt;br /&gt;
posters. &amp;quot;But the cream of the fancy collections,&amp;quot;&lt;br /&gt;
he concluded, &amp;quot; is the most curious and the most&lt;br /&gt;
valuable, to wit. a collection of those editions of&lt;br /&gt;
contemporary plays, so familiar to the dramatic&lt;br /&gt;
world, which are &amp;#039; printed as manuscript, not pub-&lt;br /&gt;
lished.&amp;#039;&amp;quot; They invariably differ from the copy&lt;br /&gt;
deposited with the Lord Chamberlain (or with&lt;br /&gt;
whomsoever they be deposited now), for that copy&lt;br /&gt;
represents the play as about to be performed, these&lt;br /&gt;
its shape after it lias gone through the fire of the&lt;br /&gt;
&amp;quot;first night,&amp;quot; and has been invariably modified&lt;br /&gt;
somewhat by experience, or in conformance with&lt;br /&gt;
public taste. The copies, printed to save the labour&lt;br /&gt;
of type-writing &amp;quot; parts &amp;quot; and copies for prompters,&lt;br /&gt;
are distributed only among performers and persons&lt;br /&gt;
closely connected with the theatre, and not only&lt;br /&gt;
are they not to be bought, but the authors guard&lt;br /&gt;
them very jealously. A man who could collect&lt;br /&gt;
them would have collected about as uncollectable a&lt;br /&gt;
species of literature as exists. And he must make&lt;br /&gt;
haste. If the copyright laws once make the&lt;br /&gt;
printing and publishing of plays safe&mdash;these un-&lt;br /&gt;
published &amp;quot;printed as manuscript &amp;quot; curiosities will&lt;br /&gt;
disappear.&lt;br /&gt;
Here is a bibliographical description of the&lt;br /&gt;
edition of the popular farcical comedy &amp;quot;Jane &amp;quot; :&mdash;&lt;br /&gt;
Jane: a farce in three acts. By Harry Nichols&lt;br /&gt;
and W. Lestocq. First played at. the Comedy&lt;br /&gt;
Theatre, London, 18th December l8qo. David&lt;br /&gt;
Allen and Son, Belfast. [No date,&amp;quot; 16&amp;quot; [?].]&lt;br /&gt;
Printed as manuscript. Not published, and not&lt;br /&gt;
for sale.&lt;br /&gt;
The book is printed on one side of the paper&lt;br /&gt;
only, recto. Title page, characters, and a diagram&lt;br /&gt;
of scenery form three separate leaves inserted before&lt;br /&gt;
sig. A. Only there is no sig. A, the first sheet&lt;br /&gt;
being without signature. Then follows sigs. B,&lt;br /&gt;
C, D, in 16&amp;quot; of, I think double-post; but the book&lt;br /&gt;
has been ait. After sigs. D, one leaf is inserted&lt;br /&gt;
without signature.&lt;br /&gt;
Our correspondent, C. S. Oakley, shows how a&lt;br /&gt;
book mav, by taking a vast deal of trouble, be&lt;br /&gt;
introduced to the public without a publisher&lt;br /&gt;
at all. It is true that it would be at a disad&lt;br /&gt;
vantage to begin with, but it is possible that,&lt;br /&gt;
in the case of a fairly successful book, the author&lt;br /&gt;
might really do better for himself by dispensing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 313 (#717) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
with an agent, Ruskin tried it, with the result&lt;br /&gt;
that he has created a publisher. A lady in Cali-&lt;br /&gt;
fornia, however, well known as an effective story-&lt;br /&gt;
teller, has started a venture of her own. She&lt;br /&gt;
brings out a monthly magazine containing one&lt;br /&gt;
story of her own, and nothing else, every month.&lt;br /&gt;
The enterprise has begun with what promises to be&lt;br /&gt;
an action at law. A paper in one of the Eastern&lt;br /&gt;
States has deliberately stolen the work of her first&lt;br /&gt;
number. Meantime, the experiment seems to be&lt;br /&gt;
attracting a good deal of attention in literary&lt;br /&gt;
America. The lady&amp;#039;s name is Flora Haines&lt;br /&gt;
Longhead; her stories are called the Gold Dust&lt;br /&gt;
Series.&lt;br /&gt;
I was asked last December by Mr. Archibald&lt;br /&gt;
Grove to give hiin a paper for the Neio Review&lt;br /&gt;
on literary collaboration. I took as my text&lt;br /&gt;
an essay written by Mr. Brander Matthews,&lt;br /&gt;
introductory to his new collection of collaborated&lt;br /&gt;
stories. In another part of this journal will be&lt;br /&gt;
found the conclusion of my little paper. But I&lt;br /&gt;
very particularly invite all who contemplate col-&lt;br /&gt;
laboration to read that essay by Mr. Matthews,&lt;br /&gt;
and, in order to do so, to get his book. Mean-&lt;br /&gt;
time, it is right to own that the experience of some&lt;br /&gt;
men makes rather against than for collaboration.&lt;br /&gt;
I have myself been exceptionally and greatly for-&lt;br /&gt;
tunate in my own ventures into the field of collabo-&lt;br /&gt;
ration. But all are not so fortunate?. I have known&lt;br /&gt;
examples where the work has been simply ruined&lt;br /&gt;
through the partners being either unsuited to each&lt;br /&gt;
other or ignorant of the proper methods of colla-&lt;br /&gt;
boration. In any case let the partnership be&lt;br /&gt;
tentative at first, and, if successful, let it be carried&lt;br /&gt;
on from book to book. But the best collaboration,&lt;br /&gt;
as I have endeavoured to point out, is that gained&lt;br /&gt;
by talking a thing over.&lt;br /&gt;
If I were younger I would make a most valuable&lt;br /&gt;
little library by cutting out all the really good&lt;br /&gt;
articles from the magazines and all the really good&lt;br /&gt;
short stories. There is, on an average, one article&lt;br /&gt;
in every month&amp;#039;s pile which one woidd like to&lt;br /&gt;
keep, and one or two stories every month which&lt;br /&gt;
one would like to cut out of the magazines and&lt;br /&gt;
the collections. For instance, I should cut out,&lt;br /&gt;
for this month, Dr. Benjamin Ward Richardson&amp;#039;s&lt;br /&gt;
paper in Longman&amp;#039;s on the &amp;quot;Mastery of Pain,&amp;quot;&lt;br /&gt;
as an article whose subject goes straight to every-&lt;br /&gt;
one&amp;#039;s heart, while the story which it tells is of&lt;br /&gt;
extraordinary interest. Then there is Frederick&lt;br /&gt;
Anstey&amp;#039;s little story in his new book of collected&lt;br /&gt;
tales, called &amp;quot;Shut Out,&amp;quot; which I recommend to&lt;br /&gt;
those youthful critics who arc always informing the&lt;br /&gt;
world that we cannot write short stories. And&lt;br /&gt;
there is, perhaps&mdash;I am not sure whether it would&lt;br /&gt;
last&mdash;Andrew Lang&amp;#039;s nightmare in the same number&lt;br /&gt;
of Longman&amp;#039;s.&lt;br /&gt;
The author of an excellent little story called the&lt;br /&gt;
&amp;quot;History of a Failure,&amp;quot; which appeared in the&lt;br /&gt;
pages of Longman&amp;#039;s&mdash;say, rather shone in the pages&lt;br /&gt;
of Longman&amp;#039;s&mdash;last October, is going to be repro-&lt;br /&gt;
duced in volume form by the same publisher. The&lt;br /&gt;
book will be entitled &amp;quot;The History of a Failure&lt;br /&gt;
and other stories, by E. Chilton.&amp;quot; I have not the&lt;br /&gt;
honour of E. Chilton&amp;#039;s acquaintance, but if the&lt;br /&gt;
other stories are on the same level with the first,&lt;br /&gt;
the book ought to receive the warmest of welcomes.&lt;br /&gt;
Walter Besant. &diams;■&raquo;■&diams;&lt;br /&gt;
MEN AND WOMEN OF THE TIME-1788.&lt;br /&gt;
IT is called a catalogue of &amp;quot;Celebrated authors&lt;br /&gt;
now living.&amp;quot; There are 472 of them&mdash;actually&lt;br /&gt;
472, in the deadest period of English letters!&lt;br /&gt;
The catalogue contains a complete list of their&lt;br /&gt;
publications with &amp;quot;occasional strictures.&amp;quot; Such a&lt;br /&gt;
catalogue in these days enumerates the works with-&lt;br /&gt;
out the strictures, and, indeed, presents features of&lt;br /&gt;
suspected autobiography. It is in these occasional&lt;br /&gt;
remarks that the interest of the volume chiefly&lt;br /&gt;
consists, though it is also interesting to note how&lt;br /&gt;
long the memory of many indifferent writers may&lt;br /&gt;
survive, and how generous are the bounds of limited&lt;br /&gt;
immortality. The animus of some of the remarks&lt;br /&gt;
upon, and the space assigned to, certain persons,&lt;br /&gt;
now utterly forgotten, shows that there were then,&lt;br /&gt;
as there are now, some who made as much noise as&lt;br /&gt;
they possibly could, hoping that people would&lt;br /&gt;
mistake noise for prophecy. For instance, who now&lt;br /&gt;
remembers Stephen Addington, D.I).? He lived,&lt;br /&gt;
however, and he talked; and he must have been&lt;br /&gt;
greatly pleased to find himself described in the&lt;br /&gt;
following remarkable terms: &amp;quot;With specious abili-&lt;br /&gt;
ties, he is reported to have carefully modelled those&lt;br /&gt;
abilities to the meridian of a coterie of canting old&lt;br /&gt;
women, and has published several pious pamphlets&lt;br /&gt;
full of grace and edification. He is also concerned&lt;br /&gt;
in a presbyterian hotbed for the instruction of&lt;br /&gt;
grown gentlemen in all sciences in the course of a&lt;br /&gt;
twelve month.&amp;quot; Again, John Andrews, LL.D.,&lt;br /&gt;
is said to be an author of moderate abilities, who&lt;br /&gt;
appears to have taken some pains for the improve-&lt;br /&gt;
ment of mankind. Again, one Miles Andrews is&lt;br /&gt;
A a 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 314 (#718) ############################################&lt;br /&gt;
&lt;br /&gt;
3&amp;#039;4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
said to have produced plays, &amp;quot; each of which has&lt;br /&gt;
taken its station in the region of mediocrity.&amp;quot;&lt;br /&gt;
Charles Anstcy&amp;#039;s &amp;quot;New Bath Guide&amp;quot; is spoken of as&lt;br /&gt;
&amp;quot;that exquisite poem &amp;quot;&mdash;but. t hen the use or custom&lt;br /&gt;
of adjectives varies. Of Samuel Ayscough, assis-&lt;br /&gt;
tant librarian to the British Museum, who made&lt;br /&gt;
catalogues and indexes, it is cruelly written : &amp;quot; Per-&lt;br /&gt;
formances of this sort have their use, though they&lt;br /&gt;
should happen, as in the present instance, to be&lt;br /&gt;
extremely incorrect.&amp;quot; Mrs. Brooke is &amp;quot;a female&lt;br /&gt;
writer of very distinguished merit.&amp;quot; Up to that&lt;br /&gt;
year in her distinguished career she had published a&lt;br /&gt;
tragedy, three novels, and a farce,besides translat ions.&lt;br /&gt;
Now, unless Mrs. Brooke was a personal friend of&lt;br /&gt;
the compiler of this catalogue, the praise l)cstowcd&lt;br /&gt;
upon her shows that she was a woman with a&lt;br /&gt;
following of disciples. Is there any single person&lt;br /&gt;
now living who has read a work by Mrs. Brooke?&lt;br /&gt;
One name, which we omit, because it would be&lt;br /&gt;
cruel to quote it, is given in connexion with a&lt;br /&gt;
&amp;quot;tragedy never performed.&amp;quot; Heavens! If &amp;quot;Men&lt;br /&gt;
of the Time&amp;quot; of 1892 were to include authors of&lt;br /&gt;
plays never performed, novels never published,&lt;br /&gt;
poems declined with thanks, how rich and splendid&lt;br /&gt;
would be the literary army of the day! Of&lt;br /&gt;
&amp;quot;Geoffrey Gambado&amp;quot; we have all heard, but who&lt;br /&gt;
knows its author&amp;#039;s &amp;quot;most admired drawing,&amp;quot;&lt;br /&gt;
called Lord&amp;#039;s Day Evening Amusements? It is,&lt;br /&gt;
however, pleasing to learn that his wife &amp;quot;is much&lt;br /&gt;
admired for her personal charms and mental&lt;br /&gt;
accomplishments.&amp;quot; In the career of General&lt;br /&gt;
Buvgoyne, again, we all remember a most unfor-&lt;br /&gt;
tunate day at Saratoga, but do we remember that&lt;br /&gt;
this gallantly incapable officer was also incapable in&lt;br /&gt;
other directions, especially in playwriting? Of&lt;br /&gt;
Frances Burney it is sadly stated that since her&lt;br /&gt;
appointment as keeper of the robes, &amp;quot;the hours&lt;br /&gt;
of this celebrated genius have been chiefly&lt;br /&gt;
occupied in the folding of muslins.&amp;quot; Here is a&lt;br /&gt;
somewhat cold reception to the first of (then)&lt;br /&gt;
living poets. &amp;quot;Burns, Robert, a ploughman in&lt;br /&gt;
the, county of Ayr, in the kingdom of Scotland.&lt;br /&gt;
His poems were published in the year 1787.&amp;quot;&lt;br /&gt;
George Canning &amp;quot;is a young gentleman of the&lt;br /&gt;
kingdom of Ireland, late of Eton College. He was&lt;br /&gt;
the most approved writer in a periodical called the&lt;br /&gt;
Microcosm.&amp;quot; Of Clarkson, we learn that his efforts&lt;br /&gt;
against slavery dated from a prize essay gained at&lt;br /&gt;
Cambridge in the year 1780. William Cooke is&lt;br /&gt;
the &amp;quot;author of the &amp;#039;Life of Doctor .Johnson,&amp;#039;&lt;br /&gt;
which appeared about three days after his death,&lt;br /&gt;
and has very worthily been bound up with a jest&lt;br /&gt;
book.&amp;quot; William Cowper &amp;quot;has taken a turn to&lt;br /&gt;
Methodism, is of a serious and melancholy humour,&lt;br /&gt;
and spends his whole time in rural retirement.&lt;br /&gt;
His works are poetical . . . they are greatly&lt;br /&gt;
deformed and obscured by the total neglect of&lt;br /&gt;
method. He is best known by a kind of rhyming&lt;br /&gt;
romance, entitled John Gilpin&amp;#039;s Journey to Edmon-&lt;br /&gt;
ton, which is the most indifferent of all his per-&lt;br /&gt;
formances.&amp;quot; Lady Craven is a person of extreme&lt;br /&gt;
grace and vivacity in private life, who has&lt;br /&gt;
successfully transferred these qualities to paper.&lt;br /&gt;
Among her productions is one which ought not 1o&lt;br /&gt;
be forgotten, if only on account of its title, &amp;quot;The&lt;br /&gt;
History of the Baron Kinkvervankotsdarspruken-&lt;br /&gt;
gotchderns.&amp;quot; Thomas Day is the author of a&lt;br /&gt;
work of &amp;quot;more reputation than merit,&amp;quot; called&lt;br /&gt;
&amp;quot;Sandford and Merton.&amp;quot; Of Catherine Macaulav,&lt;br /&gt;
the historian, we are told that her style is &amp;quot;loose,&lt;br /&gt;
incoherent, and ungrammatical,&amp;quot; and that &amp;quot;her&lt;br /&gt;
present husband is said to entertain such a fondness&lt;br /&gt;
for money as to oblige her to live without a servant,&lt;br /&gt;
and to officiate himself in the character of cook and&lt;br /&gt;
chambermaid.&amp;quot; Of Samuel Horsley, D.D., Bishop&lt;br /&gt;
of St. David&amp;#039;s, &amp;quot;Dr. Horsley married his maid-&lt;br /&gt;
servant, and is editor of the &amp;#039;Principia of Sir&lt;br /&gt;
Isaac Newton,&amp;#039; &amp;quot;&mdash;the two events being considered&lt;br /&gt;
equally remarkable. Of Hannah More, we learn,&lt;br /&gt;
after the examination of her works, that she has&lt;br /&gt;
lately been celebrated for her animated patronage,&lt;br /&gt;
and still more animated quarrel, with Mrs. Anne&lt;br /&gt;
Yearsley, the &amp;quot;poetical milkwoman.&amp;quot; What&lt;br /&gt;
were the circumstances of this historic quarrel?&lt;br /&gt;
Anne Newry, whom we seem to have forgotten,&lt;br /&gt;
is harshly called &amp;quot;one of the mob of writers&lt;br /&gt;
who have lately undertaken to produce books for&lt;br /&gt;
the instruction of children.&amp;quot; Of John Nichols,&lt;br /&gt;
whose &amp;quot;Collection of Poems&amp;quot; is now rather rare,&lt;br /&gt;
it is said that his characteristic qualities are&lt;br /&gt;
&amp;quot;industry without taste, and the faculty of col-&lt;br /&gt;
lecting a vast quantity of materials without&lt;br /&gt;
discrimination.&amp;quot; Here is a sad episode in the&lt;br /&gt;
life of a man of genius. It occurred to O&amp;#039;Keefe,&lt;br /&gt;
actor, dramatist, and poet. He had to leave&lt;br /&gt;
the Dublin stage and his native country owing to&lt;br /&gt;
&amp;quot;the accident of having demolished his wife&amp;#039;s nose&lt;br /&gt;
in a fit of jealousy.&amp;quot; Was there ever a more&lt;br /&gt;
untoward event in the history of a poet? Mrs.&lt;br /&gt;
Thrale is treated kindly. She &amp;quot;had long borne&lt;br /&gt;
with the moroseness and petulance of Johnson for&lt;br /&gt;
the sake of his great respectable qualities, but her&lt;br /&gt;
second marriage occasioned an open and violent&lt;br /&gt;
rupture between them, and produced several&lt;br /&gt;
angry and ill-bred letters from her former&lt;br /&gt;
preceptor.&amp;quot; John Potter&mdash;a clergyman&mdash;wrote&lt;br /&gt;
&amp;quot;luscious&amp;quot; novels&mdash;he is now rightly punished&lt;br /&gt;
for his lusciousncss by oblivion. Pratt&mdash;without&lt;br /&gt;
a Christian name&mdash;a bookseller of Bath, who&lt;br /&gt;
called himself Courtney Mchnoth, Esquire&mdash;&lt;br /&gt;
that a bookseller should dare to call himself&lt;br /&gt;
Esquire!&mdash;wrote a quantity of books, and, says the&lt;br /&gt;
catalogue sarcastically, &amp;quot;there are people now&lt;br /&gt;
living who believe that they possess a degree&lt;br /&gt;
of , merit &amp;quot;! Of one Stockdale, who wrote&lt;br /&gt;
sermons and poems, it is said that &amp;quot;lie is&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 315 (#719) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3lS&lt;br /&gt;
paradoxical without being ingenious, even without&lt;br /&gt;
the faculty of invention; and lie possesses&lt;br /&gt;
the true poetic melancholy without one of&lt;br /&gt;
poetic imagination.&amp;quot; Of another clergyman we&lt;br /&gt;
are told that he wrote a tragedy which he could not&lt;br /&gt;
get acted; he therefore engaged a company of actors&lt;br /&gt;
himself and produced it. The work &amp;quot; is reported to&lt;br /&gt;
have produced all the effects of a genuine comedy.&amp;quot;&lt;br /&gt;
And of yet another clergyman it is said that &amp;quot; his&lt;br /&gt;
writings are not good prose, because they are tagged&lt;br /&gt;
witli rhymes; and they are not good poetry,&lt;br /&gt;
because they are cold, insipid, pleonastic, and&lt;br /&gt;
prosaical.&amp;quot; Mrs. Trimmer&mdash;our own, our pro-&lt;br /&gt;
verbially admired Trimmer!&mdash;is said to be &amp;quot;a&lt;br /&gt;
devout lady who dedicates her slender talents &amp;quot;&mdash;&lt;br /&gt;
slender !&mdash;&amp;quot; to the instructing from the press of the&lt;br /&gt;
rising generation. Her works are a Sacred History,&lt;br /&gt;
in four volumes, 121110, and a spelling book, price&lt;br /&gt;
sixpence.&amp;quot; She was fated to do even greater things.&lt;br /&gt;
One Waldron published an edition of Hen Jon-&lt;br /&gt;
son&amp;#039;s &amp;quot; Sad Shepherd.&amp;quot; He &amp;quot;appears by no means&lt;br /&gt;
deficient in that sort of industry which leads a man&lt;br /&gt;
to peruse all such writers a3 were never read.&amp;quot;&lt;br /&gt;
Poor Ben Jonson! Of Horace Walpole, that&lt;br /&gt;
great authority on manners, it is actually said that&lt;br /&gt;
&amp;quot;an acute and refined sensibility is not the strong&lt;br /&gt;
side of Mr. Walpole&amp;#039;s character.&amp;quot; It will be seen&lt;br /&gt;
that even so far back as the year 1788, authors had&lt;br /&gt;
acquired the elements of the art of saying extremely&lt;br /&gt;
disagreeable things about each other, in fact, those&lt;br /&gt;
very things which were well understood to be the&lt;br /&gt;
most disagreeable. It must also bo acknowledged&lt;br /&gt;
that the &amp;quot;occasional strictures &amp;quot; of this critic are for&lt;br /&gt;
the most part well deserved. It is difficult to ascer-&lt;br /&gt;
tain what amount of vogue had been obtained by the&lt;br /&gt;
writers whom he ridicules or censures, but in every&lt;br /&gt;
age there are reputations undeserved and popularities&lt;br /&gt;
ephemeral. And it must also be acknowledged&lt;br /&gt;
that this list, which does not contain half-a-dozen&lt;br /&gt;
names worth preserving, does yet contain a great&lt;br /&gt;
number&mdash;a surprisingly great number&mdash;of mediocre&lt;br /&gt;
writers whose names, and even their works, have&lt;br /&gt;
somehow survived to the present day.&lt;br /&gt;
&diams;■&raquo;■&raquo; &mdash;&lt;br /&gt;
THE DANCE OP DEATH!&lt;br /&gt;
Shrouded in white, ami with dishevelled hair&lt;br /&gt;
A strange wild dance the awesome woman flung&lt;br /&gt;
Atween the ebon coffins lying there,&lt;br /&gt;
While a weird ditty to herself she sung:&mdash;&lt;br /&gt;
&amp;quot;&amp;#039; The Dance of Death t&amp;#039; &amp;#039;Twas thus she said,&lt;br /&gt;
That&amp;#039;s the Donee for me!&lt;br /&gt;
Flouting round the coffined dead&lt;br /&gt;
Softly, silently.&amp;quot;&lt;br /&gt;
A tiny silver lamp, a niche within,&lt;br /&gt;
Upon the Dancer threw a sickly gleam,&lt;br /&gt;
Showing the features of this child of sin;&lt;br /&gt;
And still she chanted ou as in a dream :&mdash;&lt;br /&gt;
&amp;quot;The Dance of Death amid the dead!&lt;br /&gt;
That&amp;#039;s the Dance for me!&lt;br /&gt;
Gliding round the coffin head,&lt;br /&gt;
Softly, silently.&amp;quot;&lt;br /&gt;
3.&lt;br /&gt;
From out the depths of night her spectral bird,&lt;br /&gt;
The ghostly owl did send its chilling cry;&lt;br /&gt;
No other sound in that dim vault was heard,&lt;br /&gt;
Save the poor maniac&amp;#039;s ghastly monody :&mdash;&lt;br /&gt;
&amp;quot;The Dance of Death amid the dead!&lt;br /&gt;
That&amp;#039;s the Dance for me 1&lt;br /&gt;
Floating round the coffin head,&lt;br /&gt;
Softly, silently.&amp;quot;&lt;br /&gt;
F. B. Doveton.&lt;br /&gt;
&mdash; -&lt;br /&gt;
WITHOUT A PUBLISHER?&lt;br /&gt;
MANY years ago Mr. Herbert Spencer pointed&lt;br /&gt;
out &amp;quot;that in the present state of the evolu-&lt;br /&gt;
tion of society it would be perfectly&lt;br /&gt;
possible, if people would only help themselves and&lt;br /&gt;
look at things as they are, for an author to do&lt;br /&gt;
without a publisher. But if we try to examine the&lt;br /&gt;
manner in which publishers probably arose, we may&lt;br /&gt;
take for granted, I think, that originally the author&lt;br /&gt;
did so, and that the gradual differentiation of the&lt;br /&gt;
publisher was simply a natural working of the law&lt;br /&gt;
of distribution of labour. When a man had written&lt;br /&gt;
a book he set about to get it printed, and the man&lt;br /&gt;
who printed it also had a shop where it was sold.&lt;br /&gt;
And since he made terms with the writers who&lt;br /&gt;
came to him he gradually became a publisher; and&lt;br /&gt;
the publisher, as publisher, became differentiated&lt;br /&gt;
from the bookseller and the printer by the growth&lt;br /&gt;
of trade. But in those days (and in the next two&lt;br /&gt;
sentences I go back to the substance of what&lt;br /&gt;
Mr. Spencer has said) travelling was difficult, and&lt;br /&gt;
advertisement was difficult, and distribution was&lt;br /&gt;
dillieult, and without the occult machinery of the&lt;br /&gt;
middleman it was impossible for the writer to&lt;br /&gt;
obtain a market. Railways, newspapers, the penny&lt;br /&gt;
post and the telegraph have created n different&lt;br /&gt;
order of things, but the writing man has been the&lt;br /&gt;
last person to perceive it practically. He still&lt;br /&gt;
insists on employing a very expensive middleman&lt;br /&gt;
to do things which, in very many instances, he would&lt;br /&gt;
be perfectly capable of doing himself.&lt;br /&gt;
First of all, let us take the case of a perfectly&lt;br /&gt;
unknown author, and let us suppose him to liavs&lt;br /&gt;
written a political or social pamphlet, such as would&lt;br /&gt;
naturally be sold in paper covers at a shilling. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 316 (#720) ############################################&lt;br /&gt;
&lt;br /&gt;
316&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
may have a well-founded belief in the usefulness of&lt;br /&gt;
his ideas. If he takes this pamphlet to a dozen&lt;br /&gt;
publishers in succession, he will meet with the&lt;br /&gt;
reply that it is not in their line, and that nothing&lt;br /&gt;
but a notorious name on the cover could make any-&lt;br /&gt;
body ask for it. He may send it to reviews, but,&lt;br /&gt;
unless it is trimmed to catch more than one breeze&lt;br /&gt;
it will come back to him.* Again, supposing a&lt;br /&gt;
publisher to take it on commission ; he may furnish&lt;br /&gt;
(as a sine qua non) an estimate which more than&lt;br /&gt;
covers the actual expense, and may insist on 750&lt;br /&gt;
copies being printed, though having a shrewd&lt;br /&gt;
suspicion that not more than 5o will ever be&lt;br /&gt;
wanted, and most of these for presentation.&lt;br /&gt;
Furthermore, he may just conceivably fail in&lt;br /&gt;
interest in the matter after the cheque has been&lt;br /&gt;
paid. But if the aspiring writer went to a printer&lt;br /&gt;
and asked for the price of so much printed matter&lt;br /&gt;
in paper covers, and at the outside of 5o copies,&lt;br /&gt;
and paid his bill, which would be but a trifling sum,&lt;br /&gt;
he could then insert in two newspapers the&lt;br /&gt;
announcement that such and such a pamphlet coidd&lt;br /&gt;
be obtained at such and such a private house on&lt;br /&gt;
payment of one shilling by the passer by, or of one&lt;br /&gt;
shilling and twopence to include postage paid. Not&lt;br /&gt;
much response would come to this, but what came&lt;br /&gt;
would be all profit to the writer. Meanwhile, he&lt;br /&gt;
would simply go and ask at certain journals&amp;#039; offices&lt;br /&gt;
that the thing be noticed; asking no unworthy&lt;br /&gt;
favour, be it remarked, but making an honest&lt;br /&gt;
request, as an honest traveller might leave samples&lt;br /&gt;
of his goods with a country firm. If there were&lt;br /&gt;
anything in the book some favourable notice would&lt;br /&gt;
very likely come, and all the money returns would&lt;br /&gt;
be profit. With the profit the wise author would&lt;br /&gt;
slightly increase his machinery, as by leaving it&lt;br /&gt;
with certain booksellers on commission, or nego-&lt;br /&gt;
tiating directly with W. H. Smith &amp;amp; Co. to place&lt;br /&gt;
it on every bookstall. He would have parted with&lt;br /&gt;
no right, and profit would probably come to any&lt;br /&gt;
man who was originally justified in his under-&lt;br /&gt;
taking.&lt;br /&gt;
Next, let us take the case of an established and&lt;br /&gt;
successful author. He, of course, can do as he&lt;br /&gt;
likes; he is really entirely independent of his&lt;br /&gt;
publisher. The immense occult machinery of the&lt;br /&gt;
publisher, of course, offers him great advantages;&lt;br /&gt;
but are they not too dearly bought? No one&lt;br /&gt;
really knows this in its entirety but the publishers&lt;br /&gt;
themselves. What may be called shrewd sus-&lt;br /&gt;
picions point to the conclusion that they are. The&lt;br /&gt;
successful author would, of course, have to appoint&lt;br /&gt;
an agent, and the being such an agent would grow-&lt;br /&gt;
up into a trade, but employing one man who was&lt;br /&gt;
his servant and private secretary, and making&lt;br /&gt;
* I make this statement on the supposition that the name&lt;br /&gt;
nf the author is not eminent.&lt;br /&gt;
always his bargain with his printer, there is little,&lt;br /&gt;
doubt he could make immense savings on the pub-&lt;br /&gt;
lishing system. I admit that what I say operates&lt;br /&gt;
less in favour of well-got-up pretty-looking books,&lt;br /&gt;
especially those in which illustration plays a part,&lt;br /&gt;
and more in favour of books in which the subject-&lt;br /&gt;
matter is all in all. But this again is a con-&lt;br /&gt;
summation devoutly to be wished, and the market&lt;br /&gt;
is at the moment perhaps over-flooded with publi-&lt;br /&gt;
cations in which secondary accessories really&lt;br /&gt;
determine the sale.&lt;br /&gt;
However, the case of the unknown author is&lt;br /&gt;
really the more important of the two; and the&lt;br /&gt;
matter to be insisted on in his case is, the advantage&lt;br /&gt;
of beginning with nothing more than that which&lt;br /&gt;
vou actually want. If you are forced to commence&lt;br /&gt;
by paving for 750 copies, there is a strong proba-&lt;br /&gt;
bility that you will be asked to take back about&lt;br /&gt;
707 copies as waste paper at the end of 18 months,&lt;br /&gt;
and an incidental advantage to the publisher of the&lt;br /&gt;
insistence on at least this number, has been that the&lt;br /&gt;
general estimate can be made more impenetrable.&lt;br /&gt;
But if a man goes himself to the printer and asks&lt;br /&gt;
the price of 5o copies, and sells them himself, he&lt;br /&gt;
has no unnecessary expenses for a problematical&lt;br /&gt;
result. In this way he makes the thing pay itself.&lt;br /&gt;
The next time he goes to his printer he can almost&lt;br /&gt;
pay him out of results. And then pure profit (or&lt;br /&gt;
almost pure) begins to set in. An analogy may be&lt;br /&gt;
suggested in the case of a private tutor, who is&lt;br /&gt;
asked to pay t,ooo/. for a connexion, but who has&lt;br /&gt;
a belief in himself and declines. What does he do?&lt;br /&gt;
He sits down in a single room next door to the&lt;br /&gt;
man who wishes to be bought out; he knows that&lt;br /&gt;
one or two privately know his worth, that pupil&lt;br /&gt;
will bring pupil, and that the small actual profit&lt;br /&gt;
will pay for gradual increase of accommodation.&lt;br /&gt;
This illustrates that side of the difficulty which&lt;br /&gt;
touches on expense. The question of distribution&lt;br /&gt;
is illustrated by what often happens in the case of&lt;br /&gt;
ladies who live in the country and want to sell&lt;br /&gt;
flowers. They advertise that by sending a shilling&lt;br /&gt;
or two shillings to a certain address, the sender will&lt;br /&gt;
receive in return small boxes of early flowers.&lt;br /&gt;
The senders of money finding that the flowers&lt;br /&gt;
honourably arrive tell their friends, and profit&lt;br /&gt;
ensues. Meanwhile experience grows to tin1 flower-&lt;br /&gt;
producer; and the mingled experience and profit&lt;br /&gt;
then justify a small shop at the west end. Courage&lt;br /&gt;
and limitation of actual expenses come to repay&lt;br /&gt;
themselves. All this is thrown out for the benefit&lt;br /&gt;
of any untried author who believes in himself; and&lt;br /&gt;
it is thought that such people exist.&lt;br /&gt;
But there is a way in which all this affects the&lt;br /&gt;
Authors&amp;#039; Society. The Authors&amp;#039; Society has an&lt;br /&gt;
office, it has a few clerks, and most of all it employs&lt;br /&gt;
its readers men very competent to give opinions&lt;br /&gt;
as to what has merit in it among manuscripts&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 317 (#721) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3*7&lt;br /&gt;
submitted. Merit in itself I mean, apart from&lt;br /&gt;
commercial value from the publisher&amp;#039;s view of the&lt;br /&gt;
probable existing demand. The Society may feel&lt;br /&gt;
called upon to recommend the authors of such&lt;br /&gt;
manuscripts to publish at their own expense, ami&lt;br /&gt;
may even suggest their having the courage, to be&lt;br /&gt;
their own distributors. But these authors may lack&lt;br /&gt;
the means for the initial expenses, and they may on&lt;br /&gt;
o&amp;#039;her grounds be unwilling. There is no reason&lt;br /&gt;
why the Authors&amp;#039; Society should not say to these&lt;br /&gt;
men, &amp;quot;We recommend you to be your own pub-&lt;br /&gt;
lishers, and you should see your own printers&lt;br /&gt;
immediately; but you may refer the public to this&lt;br /&gt;
tifjiec by your advertisements. We will undertake&lt;br /&gt;
the storage and the details of distribution, and our&lt;br /&gt;
charges will be only sufficient to recoup expenses of&lt;br /&gt;
distribution and management. It is obvious that&lt;br /&gt;
this privilege will only be given to the deserving;&lt;br /&gt;
that is, to those only of whose manuscripts the&lt;br /&gt;
Society&amp;#039;s readers shall have so reported as to cause&lt;br /&gt;
the Society to say that they are people entitled on&lt;br /&gt;
public grounds to a fair hearing. The Society&lt;br /&gt;
therefore says to them that if they should be&lt;br /&gt;
refused by publishers, or if they prefer to brave&lt;br /&gt;
the market in their own way, they do so with the&lt;br /&gt;
great advantage of bearing to this extent the&lt;br /&gt;
imprimatur of the Society, and the growing know-&lt;br /&gt;
ledge on the part of the public that this imprimatur&lt;br /&gt;
will be extended only to those whose manuscripts&lt;br /&gt;
seem in their several ways excellent, independently&lt;br /&gt;
of any existing demand in particular directions to&lt;br /&gt;
the exclusion of other directions equally good in&lt;br /&gt;
themselves, will cause probably a larger number of&lt;br /&gt;
manuscripts to be submitted to them. Now, as the&lt;br /&gt;
charge for reading will be given partly to the&lt;br /&gt;
reader and partly to the Society, the Society will&lt;br /&gt;
itself profit by its public-spirited effort.&lt;br /&gt;
But the subject does not stop here. The&lt;br /&gt;
moment the Society has assumed this position,&lt;br /&gt;
another aspect of the matter shows itself, and this&lt;br /&gt;
is the most important aspect perhaps of all. There&lt;br /&gt;
are certain matters of intellectual development in&lt;br /&gt;
which it is good for competent people to create an&lt;br /&gt;
artificial market. At least Chantrcy thought so in&lt;br /&gt;
matters of pictorial or sculptured art, for he left a&lt;br /&gt;
sum out of what he had gained by his genius to&lt;br /&gt;
enable his successors to buy what they felt to be&lt;br /&gt;
good, and felt that it was unlikely that the public&lt;br /&gt;
would buy. He wished that a painter who paints&lt;br /&gt;
his best, independently of the market, should feel&lt;br /&gt;
that he had the chance of one purchaser, namely, a&lt;br /&gt;
body which contained the best opinion on art&lt;br /&gt;
obtainable, and that this body, by purchasing his&lt;br /&gt;
work for the nation, should give him a position he&lt;br /&gt;
could not otherwise obtain. In literature, of course,&lt;br /&gt;
there could be no question of purchasing for the&lt;br /&gt;
nation. Nevertheless it might be good not so much&lt;br /&gt;
to create an artificial market, because in literature&lt;br /&gt;
only the public can ultimately decide that, as to give&lt;br /&gt;
those a chance of a hearing to whom the chances of&lt;br /&gt;
the market would probably deny it, therefore the&lt;br /&gt;
Authors&amp;#039; Society should at once be taking steps&lt;br /&gt;
towards setting aside a sinking fund, which should&lt;br /&gt;
become the nucleus of a capital destined to act the&lt;br /&gt;
part of the Chantrey Bequest. This could be done&lt;br /&gt;
in various ways:&mdash;(1.) To begin with, authors who&lt;br /&gt;
hud in this way been helped to publish might be&lt;br /&gt;
compelled to make it part of the bargain that they&lt;br /&gt;
should set aside a per-centage out of the first year&amp;#039;s&lt;br /&gt;
or two years&amp;#039; profits of their aided work towards&lt;br /&gt;
such a fund, or that they should contribute their&lt;br /&gt;
three guineas or so, directly the aided work hail&lt;br /&gt;
yielded them more than a certain sum of profit. So&lt;br /&gt;
a schoolmaster who has obtained a place through&lt;br /&gt;
an agent is compelled to pay commission on the&lt;br /&gt;
first year&amp;#039;s salary. (2.) Members of the Authors&amp;#039;&lt;br /&gt;
Society who are well off, or those generally&lt;br /&gt;
interested in literature, should be asked to contri-&lt;br /&gt;
bute a guinea a year to the fund. (3.) Men who&lt;br /&gt;
have really made money by literature, or who love&lt;br /&gt;
literature on inde|&amp;gt;endeut grounds and have wealth,&lt;br /&gt;
should be invited to larger subscriptions, or to&lt;br /&gt;
leave sums in their will to such a fund. (4..) This&lt;br /&gt;
matter is more important to literature than an&lt;br /&gt;
Authors&amp;#039; Club, because all authors who have vitality&lt;br /&gt;
will feel that to mix with the general world is more&lt;br /&gt;
important to them than to mix with authors.&lt;br /&gt;
Walter Scott in an authors&amp;#039; club would have only&lt;br /&gt;
partially enjoyed himself. But the Authors&amp;#039; Club&lt;br /&gt;
will have many advantages in giving solidarity to&lt;br /&gt;
those who use the pen, and it can be made to sub-&lt;br /&gt;
serve this very point. Great luxury of residence&lt;br /&gt;
and style would be out of place in an authors&amp;#039;&lt;br /&gt;
club, and therefore by a self-denying ordinance a&lt;br /&gt;
per-centage of all actual profit on the ultimate&lt;br /&gt;
working of the club might be set aside for the&lt;br /&gt;
fund, and thus well-to-do authors would be com-&lt;br /&gt;
piled, unconsciously as regards many of them, to&lt;br /&gt;
help the possible coming man, and to secure an&lt;br /&gt;
independent position to really worthy effort as&lt;br /&gt;
against the prevailing market of the hour. I think&lt;br /&gt;
I am not wrong in saying that the Burlington&lt;br /&gt;
Fine Arts Club has published engravings, and so&lt;br /&gt;
the Authors&amp;#039; Club, independently of the formal&lt;br /&gt;
examination of manuscripts, might be the means of&lt;br /&gt;
discovering where to assist.&lt;br /&gt;
This capital, when obtained, would be intended to&lt;br /&gt;
be drawn upon that the Society might contribute&lt;br /&gt;
to, or [jay all, the expenses of the first book&lt;br /&gt;
published by an author, or of his first book on an&lt;br /&gt;
unpopular subject, and it might be accompanied by&lt;br /&gt;
a stipulation that where the profits were considerable&lt;br /&gt;
the expenses should be repaid. The policy of such&lt;br /&gt;
a stipulation woidd be matter for consideration.&lt;br /&gt;
The use of the fund might apply to poems or novels&lt;br /&gt;
as well as to any other form of literature. But, as&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 318 (#722) ############################################&lt;br /&gt;
&lt;br /&gt;
3*8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
an instance of the way in which considerations of&lt;br /&gt;
the market may hamper the publication of what&lt;br /&gt;
might he beneficial in itself, 1 will instance that&lt;br /&gt;
only the other day I heard of this. An essay&lt;br /&gt;
dealing with social improvement, which was thought&lt;br /&gt;
to have some strong points, had been offered to a&lt;br /&gt;
publisher. This essay criticised prevailing senti-&lt;br /&gt;
ments, both social and political, which have their&lt;br /&gt;
probable foundation in religion. The answer given&lt;br /&gt;
by the publisher was that it was useless to put such&lt;br /&gt;
a book on the market, unless it bore on its title-&lt;br /&gt;
page the name of an F.It.S. or a bishop. Now, it&lt;br /&gt;
is obvious that if a well-directed attack on such&lt;br /&gt;
sentiments was to come it would be more likely to&lt;br /&gt;
come from one who had not yet attained the&lt;br /&gt;
dignity of F.R.S., and certainly it would be more&lt;br /&gt;
likely not to come from a bishop.&lt;br /&gt;
This subject is not wholly alien to that of the&lt;br /&gt;
miserable little pensions to survivors which are&lt;br /&gt;
fought for, as a piteous spectacle for the world,&lt;br /&gt;
when men who have done service in literature die.&lt;br /&gt;
Personally, I am inclined to deprecate any State&lt;br /&gt;
patronage of literature, and I think it is of very&lt;br /&gt;
doubtful advantage that authors should ever use&lt;br /&gt;
this fund to take the place of the State in this&lt;br /&gt;
matter; yet, if they thought otherwise, there would,&lt;br /&gt;
in what I suggest, be the nucleus of a fund for&lt;br /&gt;
doing so. The actors provide for the weaker&lt;br /&gt;
brethren; and they at least show authors that a&lt;br /&gt;
body of men can value themselves, and not come to&lt;br /&gt;
the State for aid.&lt;br /&gt;
My remarks amount to this, that I propose a&lt;br /&gt;
trades&amp;#039; union for authors; and indeed it is high&lt;br /&gt;
time that they had one, for it is a profession that is&lt;br /&gt;
essentially weak in the individual members of it,&lt;br /&gt;
except in the two or three who have &amp;quot;arrived&amp;quot;&lt;br /&gt;
and more than arrived. And having used the word&lt;br /&gt;
trades&amp;#039; union, I may add that there is no reason&lt;br /&gt;
why the Authors&amp;#039; Society should not do yet one or&lt;br /&gt;
two things more. There is no reason why they&lt;br /&gt;
should not fight actions. The law of &amp;quot;mainte-&lt;br /&gt;
nance&amp;quot; is formidable on paper. One of its sources&lt;br /&gt;
may have been a fear lest the poor should combine.&lt;br /&gt;
But in so far as it still exists it may be defeated,&lt;br /&gt;
and it is not dishonourable to defeat it. Pub-&lt;br /&gt;
lishers, in so far as they are a hostile bod}-, should&lt;br /&gt;
be made to feel that they have to fight the whole&lt;br /&gt;
purse of the society over agreements, or the absence&lt;br /&gt;
of them.&lt;br /&gt;
Again, there is no reason why it should&lt;br /&gt;
not be an entirely honourable and moderate loan&lt;br /&gt;
office. There is no creature who is more in need&lt;br /&gt;
of it than the honourable man with ideas, that&lt;br /&gt;
cannot be put upon the market in a moment. 1&lt;br /&gt;
mention this because, of course, such a development&lt;br /&gt;
is entirely dependent upon the creation of the&lt;br /&gt;
suggested fund. I will illustrate this idea first of&lt;br /&gt;
all by one of the best known passages in literary&lt;br /&gt;
history, which the pencil of Frith has made&lt;br /&gt;
familiar to many whom a charming book would&lt;br /&gt;
not appeal to. It happened to a shiftless person,&lt;br /&gt;
and literature has escaped from Bohemia; but&lt;br /&gt;
without Bohemian ways, many a man could fairly&lt;br /&gt;
ask for a loan on work accomplished, at the present&lt;br /&gt;
day. When Goldsmith or Goldsmith&amp;#039;s landlady&lt;br /&gt;
sent round for Johnson, Johnson found the com-&lt;br /&gt;
pleted &amp;quot; Vicar of Wakefield &amp;quot; as an existing asset.&lt;br /&gt;
His quick eye saw there was money in it in&lt;br /&gt;
io minutes. But what was he to do? A loan&lt;br /&gt;
would have been accompanied by exorbitances&lt;br /&gt;
and delays unimaginable. Moreover at that day it&lt;br /&gt;
would not have been entertained. Nor woidd it&lt;br /&gt;
now, by the publishers, except, on terms which are&lt;br /&gt;
equitably unfair. Johnson was obliged to sell out-&lt;br /&gt;
and-out; and nothing but his authority and&lt;br /&gt;
unselfishness could have obtained the 6o/. that he&lt;br /&gt;
did obtain. But an Authors&amp;#039; Society, with a&lt;br /&gt;
reading staff, a lawyer, and a cash fund, could have&lt;br /&gt;
given Goldsmith a few pounds at the moment,&lt;br /&gt;
which would not have tempted him to invite the land-&lt;br /&gt;
lady to drink, could have subsidized him with a few&lt;br /&gt;
more pounds when matters had been examined, and&lt;br /&gt;
could have retained for him his full interest in a&lt;br /&gt;
remunerative work. There are no few men here&lt;br /&gt;
and there who could satisfy an Authors&amp;#039; Society of&lt;br /&gt;
the existence of accumulated material of a certain&lt;br /&gt;
value, and when credentials of character and&lt;br /&gt;
intention had been obtained, they could be sub-&lt;br /&gt;
sidized in such a way as to enable them to continue&lt;br /&gt;
useful work without distressing sacrifices. Five&lt;br /&gt;
per cent., and the payment of necessary investiga-&lt;br /&gt;
tions, is all the Society would ask. They would&lt;br /&gt;
oidy be doing what a solicitor will do for land.&lt;br /&gt;
There must be a slightly greater risk, for literature&lt;br /&gt;
is intangible. This slightly greater risk can be&lt;br /&gt;
measured in a practical way by lenders whose aims&lt;br /&gt;
are public ones, and who have no private ends to&lt;br /&gt;
serve.&lt;br /&gt;
C. S. Oakley.&lt;br /&gt;
&mdash;&lt;br /&gt;
OBSERVATIONS ON &amp;quot;THE TALE-TELLING&lt;br /&gt;
AET&amp;quot; IN SIR WALTER SCOTT&amp;#039;S&lt;br /&gt;
INTRODUCTIONS TO THE &amp;quot;WAVERLEY&lt;br /&gt;
NOVELS.&amp;quot;&lt;br /&gt;
- &mdash;-&lt;br /&gt;
fl^HE aim of the following paper is to collect&lt;br /&gt;
f together the scattered hints and observations&lt;br /&gt;
on &amp;quot;the tale-telling art&amp;quot; that occur in the&lt;br /&gt;
various &amp;quot;Introductions,&amp;quot; &amp;quot;Introductory Epistles,&amp;quot;&lt;br /&gt;
&amp;quot;Prefaces,&amp;quot; and &amp;quot;Advertisements,&amp;quot; which Sir&lt;br /&gt;
Walter Scott at one time or another prefixed to the&lt;br /&gt;
different editions of the &amp;quot;Waverley Novels.&amp;quot; The&lt;br /&gt;
number of such hints and remarks is not small.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 319 (#723) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3*9&lt;br /&gt;
But they lie almostperdus in this heap of prefatory&lt;br /&gt;
essays of various kinds. Students of Scott are, of&lt;br /&gt;
course, well aware of their existence. Prefaces,&lt;br /&gt;
however, are things which a great many people&mdash;&lt;br /&gt;
including some authors, who certainly ought to&lt;br /&gt;
know better&mdash;do not read. &amp;quot;Whilst even, in the&lt;br /&gt;
case of those who do read them, the casual and&lt;br /&gt;
frequently almost accidental manner in which some&lt;br /&gt;
of the most pregnant and most valuable of these&lt;br /&gt;
observations arc introduced renders it easy to over-&lt;br /&gt;
look their importance, and difficult to remember&lt;br /&gt;
them. Respecting their value there cannot be too&lt;br /&gt;
opinions. They represent conclusions about fiction,&lt;br /&gt;
and about the writing of fiction, to which one of&lt;br /&gt;
our greatest novelists had been led by his own&lt;br /&gt;
experience. And it will be readily admitted that,&lt;br /&gt;
if anyone ever lived competent to speak with&lt;br /&gt;
authority on such matters, it was &amp;quot;the Wizard of&lt;br /&gt;
the North.&amp;quot; His various Introductions are also&lt;br /&gt;
included in all copyright editions of the &amp;quot; Waverley&lt;br /&gt;
Novels &amp;quot;&mdash;books that ought to be in every English&lt;br /&gt;
house&mdash;and everyone will, therefore, be in a position&lt;br /&gt;
to compare the extracts here presented with the&lt;br /&gt;
context in which Sir Walter Scott himself offered&lt;br /&gt;
them to the world, and to supplement the contents&lt;br /&gt;
of these brief articles with his own reading; and&lt;br /&gt;
observation.&lt;br /&gt;
It maybe well, first of all, to remark that two of&lt;br /&gt;
Sir Walter Scott&amp;#039;s introductions contain much&lt;br /&gt;
more information respecting his views on the art of&lt;br /&gt;
fiction than any others. These two are the &amp;quot; Intro-&lt;br /&gt;
ductory Epistle, Captain Clutterbuek to the Rev.&lt;br /&gt;
Dr. Dryasdust,&amp;quot; prefixed to &amp;quot;The Fortunes of&lt;br /&gt;
Nigel,&amp;quot; and the &amp;quot;Introduction to the Monastery.&amp;quot;&lt;br /&gt;
In the former, as everyone will remember, the&lt;br /&gt;
imaginary Captain Clutterbuek relates how, having&lt;br /&gt;
called upon his bookseller in Edinburgh, he chanced&lt;br /&gt;
to penetrate into a certain &amp;quot;labyrinth of small&lt;br /&gt;
dark rooms,&amp;quot; and at last, all unexpectedly, came&lt;br /&gt;
upon the &amp;quot;Eidolon of the Author of Waverley.&amp;quot;&lt;br /&gt;
The &amp;quot;Vision&amp;quot; bade him be seated, and then he&lt;br /&gt;
and the author of Waverley discussed various&lt;br /&gt;
topics, including the &amp;quot;Waverley Novels,&amp;quot; (he&lt;br /&gt;
captain stating a good many of his own views&lt;br /&gt;
about these works pretty freely, and the author&lt;br /&gt;
making reply. The Introduction to &amp;quot;The Monas-&lt;br /&gt;
tery,&amp;quot; is of on entirely different character. In it&lt;br /&gt;
Sir Walter Scott himself relates how the romance&lt;br /&gt;
was by degrees built up from his first conception&lt;br /&gt;
of a motif, adding, as he goes on, a considerable&lt;br /&gt;
number of criticisms upon the work, which, as he&lt;br /&gt;
plainly says in another place, he considers &amp;quot;some-&lt;br /&gt;
thing very like a failure.&amp;quot; (Introduction to &amp;quot;The&lt;br /&gt;
Abbott.&amp;#039;&amp;#039;) There is so much in both these intro-&lt;br /&gt;
ductions that defies quotation, that (though extracts&lt;br /&gt;
from them will Ikj given l&amp;gt;elow) the reader win;&lt;br /&gt;
desires to see what kind of lesson Sir Walter Scott&amp;#039;s&lt;br /&gt;
prefaces have to teach, cannot do better than give&lt;br /&gt;
both of them a careful perusal from end to end.&lt;br /&gt;
Every line of the Introduction to &amp;quot;The Monastery&amp;quot;&lt;br /&gt;
(though Sir Walter Scott did consider the tale&lt;br /&gt;
&amp;quot;something very like a failure &amp;quot;) will be read with&lt;br /&gt;
interest, revealing, as it does, the whole genesis&lt;br /&gt;
of the romance, and offering a fuller and more&lt;br /&gt;
elaborate criticism of the author&amp;#039;s own work than&lt;br /&gt;
any other of his Introductions.&lt;br /&gt;
In the second place it is self-evident that the&lt;br /&gt;
greatest lesson of all to be learned from Sir Walter&lt;br /&gt;
Scott&amp;#039;s prefaces is how a legend, a ballad, or a&lt;br /&gt;
simple tale is converted into a long romance. It is&lt;br /&gt;
not necessary here to point out how large a propor-&lt;br /&gt;
tion of Sir Walter Scott&amp;#039;s novels are built upon a&lt;br /&gt;
foundation of this sort. But every reader who has&lt;br /&gt;
perused the simple narrative as given by Sir Walter&lt;br /&gt;
Scott in his Introduction, and the romance he has&lt;br /&gt;
constructed out of it, must have reflected upon how&lt;br /&gt;
vast a treasure of legend and ballad, and piquant&lt;br /&gt;
tale, historical and domestic, still exists untouched,&lt;br /&gt;
whilst a cry is being raised that all the stories have&lt;br /&gt;
been told, and whilst some authors are casting&lt;br /&gt;
about them anxiously for any kind of new theme.&lt;br /&gt;
How the lesson of Sir Walter Scott&amp;#039;s example is&lt;br /&gt;
to be taken to heart, how the magical transforma-&lt;br /&gt;
tion of a tale of a couple of pages into a romance&lt;br /&gt;
of some i3o,ooo words (that is about the length of&lt;br /&gt;
&amp;quot;The Bride of Lammermoor&amp;quot;) should be effected,&lt;br /&gt;
it is not for the writer of these lines to say. But&lt;br /&gt;
this is evidently one of the biggest lessons which&lt;br /&gt;
the author&amp;#039;s introductions and the &amp;quot;Waverley&lt;br /&gt;
Novels&amp;quot; themselves, taken together, have to teach.&lt;br /&gt;
In the various prefaces preceding the tales, and in&lt;br /&gt;
the notes added at their conclusion, the reader is&lt;br /&gt;
put into possession of the artist&amp;#039;s studies. In the&lt;br /&gt;
novel itself he has the completed work. No one&lt;br /&gt;
will be so foolish as to suppose that, because he has&lt;br /&gt;
both set before him, he will be able to rival the&lt;br /&gt;
magic with which Sir Walter Scott changed the&lt;br /&gt;
one into the other. Neither, on the other hand,&lt;br /&gt;
can anyone be so obtuse as not at once to perceive&lt;br /&gt;
that in this open presentment of the tale and of its&lt;br /&gt;
elements, a great master is offering lessons of price-&lt;br /&gt;
less value. If it is pardonable to offer (very&lt;br /&gt;
diffidently) an opinion respecting which tales might&lt;br /&gt;
be first studied in this way with the greatest advan-&lt;br /&gt;
tage, perhaps &amp;quot;Guy Mannering,&amp;quot; &amp;quot;The Bride of&lt;br /&gt;
Lammermoor,&amp;quot; and &amp;quot;The Heart of Midlothian&amp;quot;&lt;br /&gt;
might be selected. Or should &amp;quot;Kenilworth&amp;quot; be&lt;br /&gt;
preferred to &amp;quot;Guy Mannering,&amp;quot; because, in the&lt;br /&gt;
case of the latter, Sir Walter Scott broke away&lt;br /&gt;
from his original design? Only the very fact of&lt;br /&gt;
his having broken away from that original design,&lt;br /&gt;
and his reason for so doing, and what he substituted&lt;br /&gt;
in its place, seem all to be pints of the lesson his&lt;br /&gt;
work offers. He tells us :&mdash;&lt;br /&gt;
&amp;quot;The author of &amp;#039;Waverley&amp;#039; had imagined a&lt;br /&gt;
possibility of framing an interesting and, perhaps,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 320 (#724) ############################################&lt;br /&gt;
&lt;br /&gt;
3 20&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
not unedifying tale out of the incidents of the life&lt;br /&gt;
of a doomed individual, whose efforts at good and&lt;br /&gt;
virtuous conduct were to be for ever disappointed&lt;br /&gt;
by the intervention, as it were, of some malevolent&lt;br /&gt;
being, and who was at last to come off victorious&lt;br /&gt;
from the fearful struggle.&amp;quot;&lt;br /&gt;
But he adds below&mdash;&lt;br /&gt;
&amp;quot;It appeared, on mature consideration, that&lt;br /&gt;
Astrology, though its influence was once received&lt;br /&gt;
and admitted by Bacon himself, does not now&lt;br /&gt;
retain influence over the general mind sufficient&lt;br /&gt;
even to constitute the mainspring of a romance.&lt;br /&gt;
Besides, it occurred that to do justice to such a&lt;br /&gt;
subject would have required not only more talent,&lt;br /&gt;
than the author could be conscious of possessing,&lt;br /&gt;
but also involved doctrines and discussions of a nature&lt;br /&gt;
too serious for his purpose, and for the character of&lt;br /&gt;
his narrative.&amp;quot;&lt;br /&gt;
But, to continue, Sir Walter Scott does not&lt;br /&gt;
leave us altogether without information respecting&lt;br /&gt;
how the conversion of a short story into a long one&lt;br /&gt;
was effected by himself. Many hints, which must&lt;br /&gt;
be read in their proper context, are scattered&lt;br /&gt;
amongst his prefaces and notes, and something&lt;br /&gt;
more general is said in the &amp;quot;Prefatory Letter:&lt;br /&gt;
Dr. Dryasdust to Captain Clutterbuck,&amp;quot; preceding&lt;br /&gt;
&amp;quot;Peveril of the Peak.&amp;quot;&lt;br /&gt;
&amp;quot;A poor fellow like myself, weary with ran-&lt;br /&gt;
sacking his own barren and bounded imagination,&lt;br /&gt;
looks out for some general subject in the huge and&lt;br /&gt;
boundless field of history, which holds forth&lt;br /&gt;
examples of every kind&mdash;lights on some personage,&lt;br /&gt;
or some combination of circumstances, or some&lt;br /&gt;
striking trait of manners which he thinks may be&lt;br /&gt;
advantageously used as the basis of fictitious&lt;br /&gt;
narrative&mdash;bedizens it with such colouring as&lt;br /&gt;
his skill suggests&mdash;ornaments it with such&lt;br /&gt;
romantic circumstances as may heighten the general&lt;br /&gt;
effect&mdash;invests it with such shades of character&lt;br /&gt;
as will best contrast it with each other, and&lt;br /&gt;
thinks perhaps he has done some service to the&lt;br /&gt;
public if he can present to them a lively fictitious&lt;br /&gt;
picture, for which the original anecdote or circum-&lt;br /&gt;
stance . . . only furnished a slight sketch.&amp;quot;&lt;br /&gt;
To proceed next to particulars. First of all, the&lt;br /&gt;
people who think that fiction is an art have Sir&lt;br /&gt;
Walter Scott on their side. In the &amp;quot;General&lt;br /&gt;
Preface to the &amp;#039; Waverley Novels &amp;#039;&amp;quot; he calls this&lt;br /&gt;
art the &amp;quot;craft of romance writing,&amp;quot; and in &amp;quot; The&lt;br /&gt;
Introduction to the Betrothed,&amp;quot; &amp;quot;the tale-telling&lt;br /&gt;
art.&amp;quot; Whilst in his imaginary conversation with&lt;br /&gt;
Captain Clutterbuck in the &amp;#039;&amp;#039; Introductory Epistle&amp;quot;&lt;br /&gt;
preceding the &amp;quot;Fortunes of Nigel,&amp;quot; already men-&lt;br /&gt;
tioned, the captain having quoted &amp;quot; Tom Jones&amp;quot;&lt;br /&gt;
as a novel that satisfies the highest conceptions of&lt;br /&gt;
a romance, the author of &amp;quot;Waverley&amp;quot; replies,&lt;br /&gt;
&amp;quot;True, and perhaps &amp;#039; Amelia&amp;#039; also. Fielding had&lt;br /&gt;
high notions of the dignity of an art which he may&lt;br /&gt;
be considered as having founded.&amp;quot;&lt;br /&gt;
This immediately suggests the question&mdash;what&lt;br /&gt;
constitutes a good novel? We find these replies :&mdash;&lt;br /&gt;
&amp;quot;To describe manners minutely ... to&lt;br /&gt;
arrange an artificial and combined narrative&lt;br /&gt;
these two requisites of a good novel.&amp;quot;&lt;br /&gt;
(&amp;quot;Advertisement&amp;quot; preceding &amp;quot;Antiquary.&amp;quot;)&lt;br /&gt;
And, as a description of a perfect novel,&mdash;&lt;br /&gt;
&amp;quot;Natural and probable&mdash;commencing strikingly,&lt;br /&gt;
proceeding naturally, ending happily&mdash;like the&lt;br /&gt;
course of a famed river, which gushes from the&lt;br /&gt;
mouth of some obscure and romantic grotto&mdash;then&lt;br /&gt;
gliding on, never pausing, never precipitating its&lt;br /&gt;
course, visiting, as it were, by natural instinct,&lt;br /&gt;
whatever worthy subjects of interest are presented&lt;br /&gt;
by the country through which it passes&mdash;widening&lt;br /&gt;
and deepening in interest as it flows on; and at&lt;br /&gt;
length arriving at the final catastrophe as at some&lt;br /&gt;
mighty haven, where ships of all kind strike sail&lt;br /&gt;
and yard.&amp;quot; (&amp;quot;Introductory Epistle&amp;quot; preceding&lt;br /&gt;
&amp;quot;Fortunes of Nigel.&amp;quot;)&lt;br /&gt;
Tu quid ego et mecum populus desideret audi!&lt;br /&gt;
Only, where is the poor author to find the&lt;br /&gt;
materials for these paragons of tides? The inspira-&lt;br /&gt;
tion of some happy moment is the good fortune&lt;br /&gt;
upon which many would-be authors are content to&lt;br /&gt;
build their hopes. Such was not, however, Sir&lt;br /&gt;
Walter Scott&amp;#039;s method.&lt;br /&gt;
&amp;quot;No, captain, the funds from which I have&lt;br /&gt;
drawn my power of amusing the public have been&lt;br /&gt;
bought otherwise than by fortuitous adventure. I&lt;br /&gt;
have buried myself in libraries, to extract from the&lt;br /&gt;
nonsense of ancient days new nonsense of my own.&lt;br /&gt;
I have turned over volumes . . . which might&lt;br /&gt;
have been the cabalistic manuscripts of Cornelius&lt;br /&gt;
Agrippa. . . . From this learned sepulchre I&lt;br /&gt;
emerged ... to mingle in the crowd, and to&lt;br /&gt;
elbow amongst the throng, making my way from&lt;br /&gt;
the highest society to the lowest, undergoing the&lt;br /&gt;
scorn, or, what is harder to brook, the patronising&lt;br /&gt;
condescension of the one, and enduring the vulgar&lt;br /&gt;
familiarity of the other, and all, you will say,&lt;br /&gt;
for what? ... to write a successful novel.&amp;quot;&lt;br /&gt;
(&amp;quot; Answer to letter from Captain Clutterbuck&amp;quot;&lt;br /&gt;
preceding &amp;quot; The Monastery.&amp;quot;)&lt;br /&gt;
So much for what a good novel should be, and&lt;br /&gt;
whence an author may hope to procure one.&lt;br /&gt;
What Sir Walter Scott has to say concerning&lt;br /&gt;
motifs and plots shall be reserved for the next&lt;br /&gt;
paper.&lt;br /&gt;
Henky Cressweli..&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 321 (#725) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
321&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
r.&lt;br /&gt;
Annual Meeting of the Copyright League.&lt;br /&gt;
ri^HE adjourned annual meeting of the American&lt;br /&gt;
I Copyright League was held at the rooms of&lt;br /&gt;
the Authors&amp;#039; Club, on Tuesday afternoon,&lt;br /&gt;
December 29th, Mr. Edmund C. Stedman in the&lt;br /&gt;
chair. The Treasurer&amp;#039;s report showed a cash balance&lt;br /&gt;
on hand of $469.02. The following memorial&lt;br /&gt;
resolution on the death of Mr. Lowell, written by&lt;br /&gt;
Mr. Stedman, was adopted by the league:&mdash;&lt;br /&gt;
&amp;quot;Resolved, That in the death of Mr. Lowell,&lt;br /&gt;
not only the League, but his country and the&lt;br /&gt;
entire republic of letters, have lost the scholar&lt;br /&gt;
and writer upon the whole most eminent in&lt;br /&gt;
various branches of learning and literary pro-&lt;br /&gt;
duction, and confessedly at the head of his&lt;br /&gt;
guild throughout the English-speaking world.&lt;br /&gt;
In common with all Americans, the members&lt;br /&gt;
of the League grieve for the loss of the i&amp;gt;oet,&lt;br /&gt;
the patriot, the firm, eloquent, and gracious&lt;br /&gt;
adjuster of national and international affairs.&lt;br /&gt;
As writers, we shall feel the absence of the&lt;br /&gt;
best equipped, the most subtle, witty, pene-&lt;br /&gt;
trative master of our English tongue.&lt;br /&gt;
&amp;quot;As a League organized to restore the&lt;br /&gt;
American good name for integrity, to protect&lt;br /&gt;
the rights of authors without distinction of&lt;br /&gt;
nationality, and to foster the growth of our&lt;br /&gt;
native literature, we have sustained the most&lt;br /&gt;
grievous blow that could befall us. In our&lt;br /&gt;
late President we have lost one who cheerfully,&lt;br /&gt;
and with the purest sense of duty, lent his&lt;br /&gt;
great name and his earnest personal labours&lt;br /&gt;
to the movement for International Copyright.&lt;br /&gt;
He took the place assigned him at the head&lt;br /&gt;
of our column, and remained there until the&lt;br /&gt;
victory was won. We owe to him the advance-&lt;br /&gt;
ment of our cause on the principle of abstract&lt;br /&gt;
right. We owe to him the most brilliant and&lt;br /&gt;
incisive elucidation before Congress of the&lt;br /&gt;
difficult problems involved. We owe to his&lt;br /&gt;
epigrams, and to his attitude, that legislative&lt;br /&gt;
comprehension which finally enabled us to&lt;br /&gt;
obtain an effective recognition of our claim.&lt;br /&gt;
Even in the hour of bereavement, and while&lt;br /&gt;
there is yet much to do, the League rejoices&lt;br /&gt;
that he was not taken until after the principle&lt;br /&gt;
of International Copyright had been legally&lt;br /&gt;
established by Congress, and not before the&lt;br /&gt;
common gratulation in view of its reduction&lt;br /&gt;
to practice had reached his knowledge. Ani-&lt;br /&gt;
mated by his example and monitions, the&lt;br /&gt;
American Copyriglit League can never retract&lt;br /&gt;
its course; it must steadily move towards the&lt;br /&gt;
full attainment of his own high ideal of what&lt;br /&gt;
in the end shall constitute a true literary&lt;br /&gt;
federation of enlightened Powers.&amp;quot;&lt;br /&gt;
On motion of Mr. R. W . Gilder, seconded&lt;br /&gt;
by Mr. It. R. Bowker, the following resolution was&lt;br /&gt;
adopted :&mdash;&lt;br /&gt;
&amp;quot;Resolved, That the American Copyright&lt;br /&gt;
League desires to place on record its especial&lt;br /&gt;
obligation to Dr. Edward Eggleston, as the&lt;br /&gt;
originator of the idea of the League, one of&lt;br /&gt;
its first promoters, and one of the most arduous&lt;br /&gt;
and effective workers in the cause. While&lt;br /&gt;
not present in the final campaign, owing to&lt;br /&gt;
ill-health, largely the result of his exertions in&lt;br /&gt;
the interests of the League, we recognize that&lt;br /&gt;
his continuous and intelligent labours at an&lt;br /&gt;
earlier date led up to that great victory.&lt;br /&gt;
Dr. Eggleston was esi&amp;gt;ecially active, and of&lt;br /&gt;
paramount use in the establishment of relations&lt;br /&gt;
between the League and the publishers, and&lt;br /&gt;
in carrying on the most delicate and difficult&lt;br /&gt;
negotiations between the Publishers&amp;#039; and&lt;br /&gt;
Authors&amp;#039; Leagues. He also took the initiative&lt;br /&gt;
in the negotiation with the typographical&lt;br /&gt;
unions; and in general served the League and&lt;br /&gt;
the cause of copyriglit with enthusiasm,&lt;br /&gt;
devotion, and initiative, which make his part&lt;br /&gt;
in the long conflict one of peculiar honour,&lt;br /&gt;
and deserving of the gratitude of all who have&lt;br /&gt;
at heart the interests of literature, and the&lt;br /&gt;
honour of our country.&amp;quot;&lt;br /&gt;
On motion of Mr. Bowker, seconded by&lt;br /&gt;
Dr. Eggleston, the Chairman was requested to&lt;br /&gt;
write to Mr. P.. U. Johnson, Secretary of the&lt;br /&gt;
League, and to express the regrets of the League&lt;br /&gt;
at his illness, and wishes lor his speedy re-&lt;br /&gt;
covery: also to put on record the sense of the&lt;br /&gt;
League as to his great services to the cause of&lt;br /&gt;
International Copyright. It was stated that Mr.&lt;br /&gt;
Johnson was convalescing from the attack of yellow&lt;br /&gt;
fever by which he had l&amp;gt;ecn prostrated, but would&lt;br /&gt;
not bo out and about again until February.&lt;br /&gt;
The following members of the council were re-&lt;br /&gt;
elected, with the addition of the name of Mr. Frank&lt;br /&gt;
Millet, in the place of Mr. Lowell, deceased :&mdash;&lt;br /&gt;
Henry M. Alden, Charles Barnard, It. It. Bowker,&lt;br /&gt;
H. H. Boyesen, Noah Brooks, II. C. Bunner,&lt;br /&gt;
George W. Cable, Titus Munson Coan, the Itev.&lt;br /&gt;
Robert Collver, Alfred R. Conkling, Samuel L.&lt;br /&gt;
Clemens, George William Curtis, Edward Eggles-&lt;br /&gt;
ton, Richard Watson Gilder, George Walton Green,&lt;br /&gt;
Bronson Howard, W. I). Howells, Laurence&lt;br /&gt;
Hutton, Robert Underwood Johnson, Thomas \Y.&lt;br /&gt;
Knox, Brander Matthews, Albert Mathews,&lt;br /&gt;
Edward Mm iroe Smith, 1 liorv.ild Solln/rg,Kdniuinl&lt;br /&gt;
Clarence. Stedman, Frank K. Stockton, the Rev.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 322 (#726) ############################################&lt;br /&gt;
&lt;br /&gt;
.322&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Dr. Henry Van Dyke, Gen. Lew &amp;quot;Wallace, Chas.&lt;br /&gt;
Dudley Warner, and James C. Welling, LL.D.&lt;br /&gt;
At a meeting of the Council which followed,&lt;br /&gt;
Mr. Stedman was elected President, Dr. Eggleston,&lt;br /&gt;
Vice-President, Mr. Johnson, Secretary, and Col.&lt;br /&gt;
Thomas W. Knox, Treasurer.&lt;br /&gt;
II.&lt;br /&gt;
Canada and the United States.&lt;br /&gt;
It is stated in Ottawa (the Times&amp;#039;1 correspondent&lt;br /&gt;
says) that Lord Salisbury has sent a despatch&lt;br /&gt;
to Lord Stanley which joins issue with the&lt;br /&gt;
Canadian Government on the refusal to allow to&lt;br /&gt;
citizens of the United States the privileges of copy-&lt;br /&gt;
right in the Dominion without domicile. Canadian&lt;br /&gt;
action is based on the existing Dominion law, under&lt;br /&gt;
which registration is only permitted to foreigners&lt;br /&gt;
whose Government has a copyright treaty with&lt;br /&gt;
Croat Britain. But Canada contends that the&lt;br /&gt;
United States Copyright Act of 1891 and the&lt;br /&gt;
President&amp;#039;s proclamation of July last granting&lt;br /&gt;
certain privileges to British subjects do not&lt;br /&gt;
constitute a copyright treat)&amp;#039;, and that, therefore,&lt;br /&gt;
the citizens of the United States cannot be regis-&lt;br /&gt;
tered under the Dominion Act. The Canadian&lt;br /&gt;
legal authorities affirm that the Canadian view is&lt;br /&gt;
correct. The present difficulty lies in the fact that&lt;br /&gt;
Lord Salisbury assured the Washington Cabinet&lt;br /&gt;
that all the British possessions would grant copy-&lt;br /&gt;
right to Americans&mdash;an assurance which Canada&lt;br /&gt;
repudiates. It is hoped that the difficulty will&lt;br /&gt;
soon be settled, although it is feared that the public&lt;br /&gt;
sentiment of the Dominion is clearly in favour&lt;br /&gt;
of the right to legislate for herself on the subject.&lt;br /&gt;
This right so far the Home Government has not&lt;br /&gt;
admitted.&lt;br /&gt;
&mdash;&lt;br /&gt;
AUTHOR AND EDITOR.&lt;br /&gt;
Advice to Contributors.&lt;br /&gt;
~1&amp;quot;*EF011E sending a contribution to any maga-&lt;br /&gt;
I&amp;#039;m zinc or journal the author should observe&lt;br /&gt;
the following simple rules, which, if they are&lt;br /&gt;
olnsyed, will sweep away most of the complaints&lt;br /&gt;
against editors :&mdash;&lt;br /&gt;
(1.) He should write to the editor offeriug his&lt;br /&gt;
paper, describing its subject and its length;&lt;br /&gt;
he should also state his own special quali-&lt;br /&gt;
fications for treating that subject, and his&lt;br /&gt;
experience and record as a writer.&lt;br /&gt;
(2.) If he is satisfied with the position and stand-&lt;br /&gt;
ing of the paper, he should say that he will&lt;br /&gt;
accept the scale pay. If he has any reason&lt;br /&gt;
for doubt on these ]n&amp;gt;int he should name&lt;br /&gt;
the minimum price he will accept.&lt;br /&gt;
(3.) If the paper is on a subject interesting only&lt;br /&gt;
for the moment, he should ask for its&lt;br /&gt;
return, if it is not accepted, by a certain&lt;br /&gt;
date.&lt;br /&gt;
(4.) Before sending to any editor, he should first&lt;br /&gt;
look at the announcements made in its&lt;br /&gt;
pages. Some papers state that they do&lt;br /&gt;
not ask for outside contributions. In&lt;br /&gt;
that case, a writer cannot expect his MS.&lt;br /&gt;
to be considered, or returned, or noticed&lt;br /&gt;
in any way.&lt;br /&gt;
(5.) In any case he should keep a copy of his&lt;br /&gt;
MS.&lt;br /&gt;
A draft of the above notes was submitted to the&lt;br /&gt;
editor of a well-known journal. He suggested&lt;br /&gt;
certain changes which have been made in the third&lt;br /&gt;
clause; he says that the advice is, on the whole,&lt;br /&gt;
&amp;quot;entirely reasonable,&amp;quot; and on the last clause he&lt;br /&gt;
writes, &amp;quot;This is his only way of insuring himself&lt;br /&gt;
against its loss, though if an editor says he will&lt;br /&gt;
return the paper, the chance of its being lost is&lt;br /&gt;
presumably small.&amp;quot;&lt;br /&gt;
Value of a Pseudonym.&lt;br /&gt;
I l&amp;gt;eg to bring under your notice the following&lt;br /&gt;
unfair procedure of the editor of a well-known&lt;br /&gt;
journal, the name of which I give below.&lt;br /&gt;
For some years I had been a contributor to the&lt;br /&gt;
journal in question, having run a serial and several&lt;br /&gt;
short stories in it. Quite suddenly, and without&lt;br /&gt;
any apparent reason, the editor fell into the habit&lt;br /&gt;
of rejecting each and all my MSS., without, as I&lt;br /&gt;
suspected from the promptitude with which they&lt;br /&gt;
were returned, even taking the trouble to read&lt;br /&gt;
them. As the MSS. were afterwards accepted by&lt;br /&gt;
journals of as high, if not higher standing, I could&lt;br /&gt;
not think it was lack of merit which threw them&lt;br /&gt;
out of the journal just mentioned. I acted on the&lt;br /&gt;
advice of a friend, and had one of my short stories&lt;br /&gt;
copied by a relative, assumed a pseudonym, and&lt;br /&gt;
another address, and sent it to the editor. It was&lt;br /&gt;
at once accepted. About a week before, I had sent&lt;br /&gt;
the same MS. to the journal, without even a&lt;br /&gt;
different title, and it was promptly returned, with-&lt;br /&gt;
out being looked at, I am forced to conclude.&lt;br /&gt;
Since then, MSS. sent under my pseudonym have&lt;br /&gt;
been, with one exception, accepted; those sent&lt;br /&gt;
under my own, as invariably rejected.&lt;br /&gt;
I consider that such conduct, which an unlucky&lt;br /&gt;
author is forced to submit to, is subversive of all&lt;br /&gt;
the confidential relations which ought to exist&lt;br /&gt;
between editor and contributor. I may add that&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 323 (#727) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
323&lt;br /&gt;
this particular editor, not knowing me personally,&lt;br /&gt;
could have no personal animus against me, and I&lt;br /&gt;
cannot account for his acting in so unfair and&lt;br /&gt;
arbitrary a manner.&lt;br /&gt;
H. B. M.&lt;br /&gt;
[This case seems purely accidental. If the&lt;br /&gt;
editor has no animus against this contributor, why&lt;br /&gt;
should lie send hack her work? Probably the&lt;br /&gt;
paper accepted under the ps.&amp;#039;udonym pleased him&lt;br /&gt;
so much that he readily looked at other work by&lt;br /&gt;
the same hand. H. B. M. had better stick to her&lt;br /&gt;
new name.&mdash;Ed.]&lt;br /&gt;
A Far too Common Case.&lt;br /&gt;
In January of last year I offered the editor&lt;br /&gt;
of a certain monthly to &amp;quot;do&amp;quot; an article upon&lt;br /&gt;
a subject that was just then attracting a consider-&lt;br /&gt;
able amount of public attention. A journey to&lt;br /&gt;
town (100 miles) and an interview with a specialist&lt;br /&gt;
upon the matter in hand, resulted in an article&lt;br /&gt;
which was accepted &amp;quot;upon the terms named in&lt;br /&gt;
(my) letter.&amp;quot; In due course, the contribution was&lt;br /&gt;
published. After a lapse of several months, as I&lt;br /&gt;
had received no remittance, I wrote to the editor,&lt;br /&gt;
who ignored that and two subsequent communica-&lt;br /&gt;
tions. In December (after waiting, threatening&lt;br /&gt;
legal proceedings) I placed the matter in my&lt;br /&gt;
solicitor&amp;#039;s hands. He succeeded in getting firstly&lt;br /&gt;
a denial of the debt; secondly, an inquiry as to&lt;br /&gt;
how much was claimed; and lastly, a statement&lt;br /&gt;
that the editor understood that the remuneration&lt;br /&gt;
expected (although he had my letter distinctly&lt;br /&gt;
stilting the sum I was prepared to accept) was io&laquo;.&lt;br /&gt;
The article was only 10 columns in length, and&lt;br /&gt;
had only involved a journey of a hundred miles&lt;br /&gt;
to London and back, and the best part of four&lt;br /&gt;
days to write.&lt;br /&gt;
The editor, a more or less well-known person,&lt;br /&gt;
is now stated to be away. Surely, sir, an editorial&lt;br /&gt;
black list, in which such men could be pilloried,&lt;br /&gt;
should be started in the Author. I have more&lt;br /&gt;
cases for a future occasion.&lt;br /&gt;
C. H.&lt;br /&gt;
Editorial Etiquette.&lt;br /&gt;
I am glad to find in the current number of the&lt;br /&gt;
Author some indication of the treatment which&lt;br /&gt;
editors accord those who send them MSS. on&lt;br /&gt;
approval. I once forwarded, by request, to the&lt;br /&gt;
editor of a monthly review an article on a current&lt;br /&gt;
political topic. Weeks after, when the subject&lt;br /&gt;
discussed had died out, and my &amp;quot;copy&amp;quot; could not&lt;br /&gt;
be used elsewhere, it was returned to me.&lt;br /&gt;
Has not every writer, famous or obscure, expe-&lt;br /&gt;
rienced the sweets of .editorial etiquette? Has he&lt;br /&gt;
not sent MSS. to editors to find them unacknow-&lt;br /&gt;
ledged; written to editors to find his letters&lt;br /&gt;
ignored; sent stamps to editors to find them&lt;br /&gt;
appropriated without a word?&lt;br /&gt;
When one merchant sends samples and quotations&lt;br /&gt;
to another, his letter is replied to, or at least&lt;br /&gt;
preserved. You may write to a pork-butcher and&lt;br /&gt;
be sure of getting a civil reply. You may write to&lt;br /&gt;
architects, builders, surgeons, and lawyers, and&lt;br /&gt;
receive courteous treatment; but when you write&lt;br /&gt;
to an editor your communication is as sent to the&lt;br /&gt;
dead. The chances are that the waste paper basket&lt;br /&gt;
receives your letter, and the office boy pockets your&lt;br /&gt;
stamps.&lt;br /&gt;
Editors are now endeavouring to elevate their&lt;br /&gt;
calling to the dignity of a profession. They have&lt;br /&gt;
founded a Journalist&amp;#039;s Institute, and incorporated&lt;br /&gt;
it by Royal charter. Is it, then, too much to ask&lt;br /&gt;
that they should acknowledge some common and&lt;br /&gt;
humane standard of professional etiquette?&lt;br /&gt;
E. H.&lt;br /&gt;
Stamps for Return.&lt;br /&gt;
A correspondent calls attention to a very curious&lt;br /&gt;
difficulty. He calls it, indeed, by a stronger name,&lt;br /&gt;
but the thing can hardly be designed. He says,&lt;br /&gt;
in effect as follows. He has sent MSS. to a certain&lt;br /&gt;
journal. The only address of the editor is that of&lt;br /&gt;
the publishers. He always carefully encloses&lt;br /&gt;
stamps in case of rejection. Now in one case he&lt;br /&gt;
sent a paper on which he set some value. Not&lt;br /&gt;
getting it back or accepted, he wrote again and&lt;br /&gt;
again for it; he obtained no reply. At last, after a&lt;br /&gt;
very sharp letter, he received a note from the editor&lt;br /&gt;
saying that the stamps had been used in forwarding&lt;br /&gt;
the MS. from the publishers to his private address,&lt;br /&gt;
and that, as there were no more stamps, the MS.&lt;br /&gt;
could not be returned. Now, it is quite certain&lt;br /&gt;
(1) that if a magazine asks contributors to forward&lt;br /&gt;
stamps for return, they are lx&amp;gt;und to return rejected&lt;br /&gt;
MSS.; in which case the editor&amp;#039;s place of residence&lt;br /&gt;
is a private consideration for himself and the pub-&lt;br /&gt;
lishers. But (2) if the magazine does not invite&lt;br /&gt;
contributions, MSS. must be sent to take their&lt;br /&gt;
chance. Should members of the Society fall into&lt;br /&gt;
such a difficulty as this, a letter to the secretary,&lt;br /&gt;
with the particulars of the case and the name of the&lt;br /&gt;
paper, would probably lead&mdash;if that paper invites&lt;br /&gt;
contributions&mdash;to the return of the papers.&lt;br /&gt;
Accepted and Kept.&lt;br /&gt;
A correspondent, not a young writer, but well&lt;br /&gt;
known in the world of letters, scuds us particulars&lt;br /&gt;
of treatment to which he has recently lwn subjected.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 324 (#728) ############################################&lt;br /&gt;
&lt;br /&gt;
324&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
He offered m certain paper to a certain magazine.&lt;br /&gt;
The editor, writing in November, said &amp;quot;I am quite&lt;br /&gt;
willing to use your article in , but every&lt;br /&gt;
page is arranged for so far ahead that I see little&lt;br /&gt;
chance of being able to use it till the January or&lt;br /&gt;
February number. If you are willing to wait until&lt;br /&gt;
I find room for it, I shall be very glad to keep it.&amp;quot;&lt;br /&gt;
In January he writes again, &amp;quot;I am obliged by&lt;br /&gt;
your note, and shall send proof as soon as ready to&lt;br /&gt;
the Club, unless I hear from you to the&lt;br /&gt;
contrary.&amp;quot;&lt;br /&gt;
In February he writes again, &amp;quot;As it is evidently&lt;br /&gt;
of importance to you that your article should appear&lt;br /&gt;
soon, I return it to you herewith, as it is quite&lt;br /&gt;
impossible for me to promise any date for its&lt;br /&gt;
appearance in and I may not be able&lt;br /&gt;
to find room for it until the Mav or June number.&amp;quot;&lt;br /&gt;
Here we have an article deliberately accepted,&lt;br /&gt;
and kept for three months, when it is uncere-&lt;br /&gt;
moniously sent back to the author. Suppose a&lt;br /&gt;
fruiterer, who buys of a grower fruit which must&lt;br /&gt;
be eaten within a week or two or it will spoil, were&lt;br /&gt;
to keep that fruit for a week, and send it back&lt;br /&gt;
rotten, saying that he could not use it. This is&lt;br /&gt;
exactly a similar case. Nearly all the papers pub-&lt;br /&gt;
lished in the magazines belong more or less to the&lt;br /&gt;
day. Suppose the contents of the current Contem-&lt;br /&gt;
porary, for instance, were kept for six months.&lt;br /&gt;
How flat&amp;#039; and stale and unprofitable they wotdd&lt;br /&gt;
appear! Editors who are open to receive unsolicited&lt;br /&gt;
contributions might, at least, remember that the&lt;br /&gt;
wares offered them belong for the most part to the&lt;br /&gt;
day, and not to this day ten years. They should,&lt;br /&gt;
therefore, be sent back at once, if they cannot be&lt;br /&gt;
used within a reasonable period. In this case,&lt;br /&gt;
however, there was a definite promise. Unless the&lt;br /&gt;
author himself released the editor, he seems to have&lt;br /&gt;
boiind himself to produce the paper in January or&lt;br /&gt;
February.&lt;br /&gt;
&diams;*&bull;&raquo;&diams;&lt;br /&gt;
THE LETTER H.&lt;br /&gt;
AFTER the great catastrophe in &amp;quot; Vanity Fair&amp;quot;&lt;br /&gt;
&mdash;the downfall of Becky, the departure of&lt;br /&gt;
her husband and the debacle of the house-&lt;br /&gt;
hold&mdash;Haggles addresses Mrs. Rawdon Crawley&lt;br /&gt;
thus: &amp;quot;Har you a goin&amp;#039; to pay mo? You&amp;#039;ve lived&lt;br /&gt;
in this &amp;#039;ouse four year. You&amp;#039;ve &amp;#039;ad my substance:&lt;br /&gt;
my plate and linning. You ho me a milk and&lt;br /&gt;
butter bill of two &amp;#039;undred pound, you must have&lt;br /&gt;
noo laid eggs for your homlets, and cream for your&lt;br /&gt;
spaniel dog.&amp;quot;&lt;br /&gt;
It will be observed that Thackeray makes Raggles&lt;br /&gt;
reverse his aitches&mdash;put in the aspirate where it&lt;br /&gt;
ought to be omitted, and omit it when it ought to&lt;br /&gt;
1)0 put in&mdash;and novelists generally soem to take it&lt;br /&gt;
for granted that the illiterate and imperfectly&lt;br /&gt;
educated talk in the same fashion. As a matter of&lt;br /&gt;
fact, they do not, and thoro is no reason why&lt;br /&gt;
they should. Without deliberate intent and much&lt;br /&gt;
practice nobody could consistently reverse his&lt;br /&gt;
aitches. I daresay Raggles said &amp;quot;Har you?&amp;quot; by&lt;br /&gt;
way of being emphatic. He probably omitted the&lt;br /&gt;
aspirate from &amp;quot; house&amp;quot; because ho knew no better;&lt;br /&gt;
but why, if he omitted it from &amp;quot;house,&amp;quot; should ho&lt;br /&gt;
take the trouble of saying &amp;quot;heggs&amp;quot; and &amp;quot; homlets.&amp;quot;&lt;br /&gt;
If you listen attentively to the talk of the uncul-&lt;br /&gt;
tured, you will find that though they may mix&lt;br /&gt;
their aitches they never consistently reverse them.&lt;br /&gt;
There are people so fond of the aspirate that they&lt;br /&gt;
not only never drop it but sound it before every&lt;br /&gt;
word beginning with a vowel. Others never sound&lt;br /&gt;
it at all, while many use it only when they desire to&lt;br /&gt;
l&amp;gt;e emphatic. Lancashire folks, like cockneys, make&lt;br /&gt;
a great hash of their aitches. I have heard a&lt;br /&gt;
Lancashire man of good education say that ho was&lt;br /&gt;
too busy to bother about aitches; and I once knew&lt;br /&gt;
a Lancashire lawyer who intentionally omitted the&lt;br /&gt;
aspirate&mdash;except in words preceded by the indefinite&lt;br /&gt;
article. For instance, though he would say, &amp;quot;Give&lt;br /&gt;
me my &amp;#039;at,&amp;quot; he would say, &amp;quot;That is a hat,&amp;quot; on the&lt;br /&gt;
ground that it is easier to say &amp;quot; a hat &amp;quot; than &amp;quot;a &amp;#039;at.&amp;quot;&lt;br /&gt;
On the other hand, Scots who use the aspirate&lt;br /&gt;
incorrectly are as rare as cockneys and Lancas-&lt;br /&gt;
trians who use it according to rule.&lt;br /&gt;
The moral of all which, as I take it, is that in&lt;br /&gt;
writing dialogue you should follow no conventional&lt;br /&gt;
rule nor merely imitate your betters, but observe&lt;br /&gt;
for yourself, and make your characters talk and&lt;br /&gt;
mispronounce as people talk and mispronounce in&lt;br /&gt;
real life.&lt;br /&gt;
It is a curious, and not an irrelevant question&lt;br /&gt;
why so much importance is attached to the proper&lt;br /&gt;
use of the, aspirate; why it is considered a more&lt;br /&gt;
heinous offence to drop an aitch than commit any&lt;br /&gt;
other solecism. The very writer who pokes fun at&lt;br /&gt;
one of his puppets for saying &amp;quot; &amp;#039;ouse &amp;quot; or &amp;quot; homlot,&amp;quot;&lt;br /&gt;
will employ &amp;quot; constant&amp;quot; as a synonym for &amp;quot; often&amp;quot;&lt;br /&gt;
and &amp;quot;always&amp;quot;; and write &amp;quot;if&amp;quot; when he means&lt;br /&gt;
&amp;quot;though&amp;quot; or &amp;quot;whether.&amp;quot; But of all errors in&lt;br /&gt;
writing and speaking, the commonest and most&lt;br /&gt;
grotesque is that of using the perfect form of the&lt;br /&gt;
infinitive, after a perfect verb, for the simple or&lt;br /&gt;
indefinite form, e.g., &amp;quot;I intended to have scon&lt;br /&gt;
him &amp;quot; for &amp;quot; I intended to see him.&amp;quot; &amp;quot;It would have&lt;br /&gt;
been impolitic to have refused the invitation&amp;quot; for&lt;br /&gt;
&amp;quot;It would have been impolitic to refuse the invita-&lt;br /&gt;
tion.&amp;quot; This mistake is committed by our best&lt;br /&gt;
writers and speakers. You find it everywhere&mdash;in&lt;br /&gt;
the Times, and the Saturday Hcvietc, and the&lt;br /&gt;
works of John Ruskin and Charles Reado, not to&lt;br /&gt;
mention loss shining lights. Why I wonder,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 325 (#729) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
325&lt;br /&gt;
should so gross an error Ik&amp;#039; more leniently regarded&lt;br /&gt;
than the occasional dropping of an aitch, or tlie&lt;br /&gt;
aspiration of a word which begins with a vowel?&lt;br /&gt;
William Wkstall.&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
1.&lt;br /&gt;
Mr. Traill&amp;#039;s List of Pouts.&lt;br /&gt;
&amp;quot;fW^&amp;quot; is quite right in calling attention to the&lt;br /&gt;
I omission of Mr. Gerald Massey and Dr. W.&lt;br /&gt;
C. Bennett. But he has forgotten to take&lt;br /&gt;
note of several other omissions, which are equally,&lt;br /&gt;
if not more, remarkable. A list of living poets is&lt;br /&gt;
indeed incomplete which does not include women&lt;br /&gt;
like Mrs. Hamilton King, Isa Craig Knox, and&lt;br /&gt;
B. Nisbet (Mrs. Bland), and men like Philip James&lt;br /&gt;
Bailey, author of &amp;quot;Festus,&amp;quot; &amp;lt;fcc, Dr. George Mac-&lt;br /&gt;
douald, Professor John Stuart Blackie, Dr. Walter&lt;br /&gt;
O. Smith, author of &amp;quot;Hilda, or Broken Gods,&amp;quot;&lt;br /&gt;
&amp;amp;*&amp;gt;., the Rev. T. E. Brown, author of &amp;quot;FoVslc&lt;br /&gt;
Yarns,&amp;quot; and Mr. Rudvard Kipling.&lt;br /&gt;
Mackenzie Bell.&lt;br /&gt;
II.&lt;br /&gt;
Useful Books.&lt;br /&gt;
The Author does not, I believe, admit &amp;quot;notices&amp;quot;&lt;br /&gt;
of new publications. Criticism, I am sure, none of&lt;br /&gt;
us wish to see in its pages. Enough of that iv to&lt;br /&gt;
be had anywhere. But I think that the Author&lt;br /&gt;
ought somehow to bring before our notice books&lt;br /&gt;
either especially designed to assist literary men, or&lt;br /&gt;
of very great service to them. I mean, for ex-&lt;br /&gt;
ample, works such as the more important English&lt;br /&gt;
lexicons, or books like Dr. Roget&amp;#039;s &amp;quot;Thesaurus,&amp;quot;&lt;br /&gt;
or Dr. Hodgson&amp;#039;s &amp;quot;Errors in the Use of English.&amp;quot;&lt;br /&gt;
Works of this kind are not very numerous. The&lt;br /&gt;
notices of them in the ordinary literary journals&lt;br /&gt;
are very brief, and are often, also, inserted in places&lt;br /&gt;
where they are liable to be overlooked. Here the&lt;br /&gt;
Author might help us. Could the authors them-&lt;br /&gt;
selves be invited to send paragraphs, simply&lt;br /&gt;
mentioning the character and scope of any new&lt;br /&gt;
publication of this kind? Or could any that may&lt;br /&gt;
appear be announced in the Author fairly con-&lt;br /&gt;
spicuously, say, always in some particular part of&lt;br /&gt;
the journal where we might look out for them, and&lt;br /&gt;
easily afterwards refer back to the announcement?&lt;br /&gt;
I wish something of the kind was possible, for my&lt;br /&gt;
own experience is that very useful books of this&lt;br /&gt;
sort often escape my notice until someone chances&lt;br /&gt;
to tell me of them. And, whilst I am writing this,&lt;br /&gt;
it occurs to me that if a few experienced authors&lt;br /&gt;
would draw up and send to the Author a little list&lt;br /&gt;
of books of this description, which they have them-&lt;br /&gt;
selves found useful, and would therefore recommend&lt;br /&gt;
others to have on their shelves, the information&lt;br /&gt;
would be valuable to many of us.&lt;br /&gt;
A Member.&lt;br /&gt;
[Will the &amp;quot;Member&amp;quot; kindly begin with a list&lt;br /&gt;
and description such as he proposes?&mdash;En.]&lt;br /&gt;
FROM THE PAPERS.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;One who knew him.&amp;quot;&lt;br /&gt;
{By One Who Knows Him.)&lt;br /&gt;
fl^HE breath has scarcely left the body -when&lt;br /&gt;
I &amp;quot;One Who Knew Him &amp;quot; takes pen and paper,&lt;br /&gt;
in profoundest grief, and proceeds to earn a&lt;br /&gt;
guinea by describing, with the greatest unction,trivial&lt;br /&gt;
details as to the dead man&amp;#039;s manner of existence,&lt;br /&gt;
picked up, as the fruit of vulgar curiosity, at a few&lt;br /&gt;
chance meetings. The less the acquaintance of the&lt;br /&gt;
writer with his subject&mdash;and, generally speaking,&lt;br /&gt;
it is evidently a good deal less&mdash;the more &amp;quot;chatty&amp;quot;&lt;br /&gt;
and &amp;quot;readable&amp;quot; is the resulting article. If the&lt;br /&gt;
poor man who was unfortunate enough to be&lt;br /&gt;
&amp;quot;known&amp;quot; drank coffee after dinner, with or with-&lt;br /&gt;
out sugar, there is material for an article. From&lt;br /&gt;
this fragment of truth the new journalist who&lt;br /&gt;
knew him will build up a memoir with far greater .&lt;br /&gt;
ease than that with which an Owen can reconstruct&lt;br /&gt;
the frame of an extinct beast from its jawbone,&lt;br /&gt;
and, of course, many miles further away than the&lt;br /&gt;
original. When caution in the invention of facts&lt;br /&gt;
is advisable, imaginary conversation dishonouring&lt;br /&gt;
to the subject&amp;#039;s intellectual capacity, and the auto-&lt;br /&gt;
biography of the writer, make up the necessary&lt;br /&gt;
column of matter. Autobiography, in fact, is&lt;br /&gt;
indispensable, and has been so this long time. It&lt;br /&gt;
is in this department that &amp;quot;One Who Knew Him&amp;quot;&lt;br /&gt;
is really at home, and can let fly something that is&lt;br /&gt;
warranted to interest the reader&mdash;as, for instance,&lt;br /&gt;
&amp;quot;He gently glided from business into general&lt;br /&gt;
topics, knew all about my career, congratulated&lt;br /&gt;
me on some recent success, had known some of my&lt;br /&gt;
belongings, inquired about my school and college,&lt;br /&gt;
was delighted to find that I had been, like himself,&lt;br /&gt;
at Harrow and at Oxford, and, when an hour&amp;#039;s&lt;br /&gt;
pleasant chat was ended, said, &amp;#039;Now you must&lt;br /&gt;
stay and have some luncheon.&amp;#039; From that day&lt;br /&gt;
I was a frequent visitor at the Cardinal&amp;#039;s house,&lt;br /&gt;
and, as long as he was able to go down stairs to&lt;br /&gt;
meals, at his table.&amp;quot;&lt;br /&gt;
There is none among the living who can know&lt;br /&gt;
that he will be exempt from this new and terrible&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 326 (#730) ############################################&lt;br /&gt;
&lt;br /&gt;
326&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
scourge when (load, there are many who must be&lt;br /&gt;
sure that their friends will have to undergo this&lt;br /&gt;
additional horror in their death. No matter who&lt;br /&gt;
it be, prince, cardinal, politician, criminal, or&lt;br /&gt;
nonentity, everyone is fair game for the author&lt;br /&gt;
of &amp;quot;Imaginary Conversations with the Demi; to&lt;br /&gt;
which an; added Notes on their Idiosyncrasies in&lt;br /&gt;
the Payment of their Washing Bills.&amp;#039;&amp;#039; There&lt;br /&gt;
is always &amp;quot;One Who Knew Him &amp;quot;&mdash;generally&lt;br /&gt;
several more&mdash;who is ready to reel off an endless&lt;br /&gt;
string of trivialities, imaginary or otherwise, as to&lt;br /&gt;
his habits and manners, which, even if historically&lt;br /&gt;
true, are the last things to be remembered or&lt;br /&gt;
brought up against the dead. There would be no&lt;br /&gt;
objection to these journalistic memoirs if they took&lt;br /&gt;
the form of respectful tributes to the memory of&lt;br /&gt;
those who have done something for the world or&lt;br /&gt;
their fellow-men; but this is the very last shape&lt;br /&gt;
they take. They are calculated to belittle their&lt;br /&gt;
subjects, to reduce them to the standard of the&lt;br /&gt;
narrowest life, of which the most remarkable&lt;br /&gt;
incidents are the appetite for meals and the hour&lt;br /&gt;
of going to bed. The ordy possible effect is to&lt;br /&gt;
place the whole world in the position of a valet&lt;br /&gt;
to the mighty dead. And the worst of it all is,&lt;br /&gt;
that there is no one who can rid us of this insolent&lt;br /&gt;
pest.&mdash;Satitrdoy Review.&lt;br /&gt;
II.&lt;br /&gt;
Reading as a Recreation. By Mr. Edmund&lt;br /&gt;
Gosse.&lt;br /&gt;
(From an Address given at the College for Men&lt;br /&gt;
and Women. By permission of the Author.)&lt;br /&gt;
There is at the present day a certain danger of&lt;br /&gt;
our taking the act of reading, as so many other&lt;br /&gt;
of the daily acts of our little desultory life, too&lt;br /&gt;
pompously. It is one thing to set up a high general&lt;br /&gt;
standard of literature, and another thing to allow&lt;br /&gt;
ourselves to be bullied by the best hundred books.&lt;br /&gt;
In this matter our liberties&mdash;the right of the British&lt;br /&gt;
citizen to amuse himself with what he finds amusing&lt;br /&gt;
&mdash;are threatened by two enemies whose hands are&lt;br /&gt;
usually at one another&amp;#039;s throats, but who on this&lt;br /&gt;
occasion have joined arms against our peace of&lt;br /&gt;
mind: I mean the Rev. Dr. Prig and Professor&lt;br /&gt;
Pococurante. Dr. Prig, who has no conception of&lt;br /&gt;
the need of pleasant things in life and no sense of&lt;br /&gt;
proportion between our plain capacities and the&lt;br /&gt;
cravings of his own erudition, wants us to master&lt;br /&gt;
the classics of the world before we presume to be&lt;br /&gt;
entertained. He marches round, with his cane&lt;br /&gt;
behind his back; and if he finds us grinning in our&lt;br /&gt;
corner, with &amp;quot;Treasure Island&amp;quot; or &amp;quot;Little Lord&lt;br /&gt;
Fauntlcroy&amp;quot; on ,our knees, he snatches it from us&lt;br /&gt;
and bids us be studying the &amp;quot;Mahabharata.&amp;quot; He&lt;br /&gt;
tells us the awful tale of Sir William Jones, who&lt;br /&gt;
in the brief leisure of a busy career, invariably rends&lt;br /&gt;
through, every year, the entire works of Cicero.&lt;br /&gt;
But Dr. Prig is really not very dangerous. He is&lt;br /&gt;
so lumbering and so unpractical that we laugh at&lt;br /&gt;
him and his hundred best books, and run away to&lt;br /&gt;
read what we like best. Professor Pococurante is&lt;br /&gt;
a far more insidious enemy. He pretends to&lt;br /&gt;
sympathize with us; he has not read the &amp;quot;Mahab-&lt;br /&gt;
harata &amp;quot; any more than we have, and laughs at the&lt;br /&gt;
idea of reading it. But, of the two, I think I like&lt;br /&gt;
poor old Dr. Prig the best, for he has a sort of&lt;br /&gt;
superstitious respect for literature, while the whole&lt;br /&gt;
essence of the Professor is that ho comes to sneer&lt;br /&gt;
at the charming illusions of the book world, to toll&lt;br /&gt;
us that he has tried them all and found them dust&lt;br /&gt;
and ashes.&lt;br /&gt;
If I remember rightly, it was Mrs. Pipchin who&lt;br /&gt;
told Miss Pankey that she would never go to heaven&lt;br /&gt;
if she sniffed. I am sometimes afraid that, in spite&lt;br /&gt;
of all his gifts and graces, the heaven of literature&lt;br /&gt;
will bo closed to Professor Pococurante. He&lt;br /&gt;
advances sniffing to the rank of the fine arts. He&lt;br /&gt;
has little offensive and defensive formulas, taking&lt;br /&gt;
in vain the names of one or two authors whom he&lt;br /&gt;
patronises&mdash;Dumas&amp;#039;s, Thackeray&amp;#039;s, Scott&amp;#039;s&mdash;that he&lt;br /&gt;
may from behind these ramparts fire down contempt&lt;br /&gt;
upon all other novelists, as though ginger were not&lt;br /&gt;
still hot in the mouth in spite of our virtuous&lt;br /&gt;
partiality for roast saddle of mutton. In the&lt;br /&gt;
course of sniffing the Professor reaches the world&lt;br /&gt;
of old books, and would fain forbid us to read any&lt;br /&gt;
genial-hearted brown quarto that attracts us,&lt;br /&gt;
because, forsooth, wo might be spending our time&lt;br /&gt;
letter in reading &amp;quot; Rob Roy &amp;quot; for the eighth time,&lt;br /&gt;
or chewing the lamentable cud of Thackeray&amp;#039;s least&lt;br /&gt;
inspired fragment. The strength of the Poco-&lt;br /&gt;
curante position is that it conceals its listlessness,&lt;br /&gt;
its radical contempt for literature, under the shelter&lt;br /&gt;
of one or two noble names, so that he who ventures&lt;br /&gt;
to denounce this evil trick of sniffing may be&lt;br /&gt;
charged at once with disrespect to Scott or Homer.&lt;br /&gt;
But I risk this danger, and I urge you not to be&lt;br /&gt;
the dupes of this cynicism. Do not despise the day&lt;br /&gt;
of small books, nor believe that you can restrain a&lt;br /&gt;
genuine taste for literature within the narrow limits&lt;br /&gt;
of a handful of accepted classics.&lt;br /&gt;
It is amusing to find that the very writers on&lt;br /&gt;
whom cynics of the Pococurante school base their&lt;br /&gt;
scorn of second-class literature were themselves,&lt;br /&gt;
without exception, indulgent to and enamoured of&lt;br /&gt;
little books. Nothing in the shape of a volume&lt;br /&gt;
was too obscure or too old-fashioned to amuse and&lt;br /&gt;
attract Sir Walter; Thackeray&amp;#039;s fondness for&lt;br /&gt;
dumpy twelves amounted to a passion. What a&lt;br /&gt;
pretty letter is that of Scott&amp;#039;s to Terry lamenting&lt;br /&gt;
that he cannot buy all the rarities he desires&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 327 (#731) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
327&lt;br /&gt;
because of the expense that the building of Abbots-&lt;br /&gt;
ford is putting linn to. Yet there are two books&lt;br /&gt;
which, poor as lie is, he must secure if possible.&lt;br /&gt;
What are these? One is the &amp;quot; Mahftbharata,&amp;quot; you&lt;br /&gt;
will be bound; and the other a copy of &amp;quot;Rob&lt;br /&gt;
Boy &amp;quot;? By no means. The books that Scott so&lt;br /&gt;
much longed to amuse himself with were a&lt;br /&gt;
&amp;quot;Treatise on Dreams, by the author of the New&lt;br /&gt;
Jerusalem,&amp;quot; and a volume of &amp;quot;Loyal Poems, by&lt;br /&gt;
N.T.&amp;quot;&mdash;no more illustrious a person than Nahum&lt;br /&gt;
Tate, who wrote such afflicting hymns in company&lt;br /&gt;
with Brady. For this latter curiosity Sir Walter&lt;br /&gt;
was willing to give a guinea or thirty shillings.&lt;br /&gt;
Turn away your face, Professor Pococurante.&lt;br /&gt;
To limit our sympathies in books to those which&lt;br /&gt;
are the best-accredited and the most classical is&lt;br /&gt;
like refusing to know anybody whose movements&lt;br /&gt;
are not. chronicled in the Morning Post. It is not&lt;br /&gt;
an enviable social aim to be always trying to know&lt;br /&gt;
none but the &amp;quot;best&amp;quot; people. EveryIwdy who is&lt;br /&gt;
worth his salt has seedy friends, friends who have&lt;br /&gt;
been failures, friends who possess some uncontrol-&lt;br /&gt;
lable foible which prevents them from being&lt;br /&gt;
universal favourites. Each of us, I hope, under-&lt;br /&gt;
stands the weakness of loving some one who&lt;br /&gt;
does not seem loveable to all the world. So it&lt;br /&gt;
should be with our book friendships. In idle&lt;br /&gt;
moments, when one is tired or dispirited, one finds&lt;br /&gt;
one&amp;#039;s fingers drumming on the panes of one&amp;#039;s&lt;br /&gt;
bookcase, and one asks one&amp;#039;s self, &amp;quot; What shall I&lt;br /&gt;
read?&amp;quot; I know that, in my own case, some&lt;br /&gt;
rascally old comedy often gets taken down, although&lt;br /&gt;
&amp;quot;Paradise Begained &amp;quot; is austerely frowning at the&lt;br /&gt;
side of it, or else Sterne glides naturally into hands&lt;br /&gt;
which know they ought to be engaged on Gibbon.&lt;br /&gt;
Is it that if some one suddenly came up and said,&lt;br /&gt;
&amp;quot;Do you seriously prefer the lax frivolities of&lt;br /&gt;
Vanbrugh to Milton&amp;#039;s noble appeals to the sanctified&lt;br /&gt;
imagination,&amp;quot; I could answer &amp;quot;Yes&amp;quot;? Certainly&lt;br /&gt;
not. But why should I pretend to be always&lt;br /&gt;
&amp;quot;seriously preferring&amp;quot; anything? There are&lt;br /&gt;
moods in which it is our privilege not to be&lt;br /&gt;
serious; and then the second-rate and the third-&lt;br /&gt;
rate literature has its dav, all the queer books and&lt;br /&gt;
the silly books, the books that run too far ahead of&lt;br /&gt;
their age and the books that lagged too far l&amp;gt;ehind.&lt;br /&gt;
I positively refuse to be always reading &amp;quot;Bob&lt;br /&gt;
Boy&amp;quot; for the eighth time. I would rather read&lt;br /&gt;
over again &amp;quot;Count Bobert of Paris&amp;quot; and &amp;quot;St.&lt;br /&gt;
Bonan&amp;#039;s Well&amp;quot; than do that; while, in point of&lt;br /&gt;
fact, as soon as Professor Pococurante&amp;#039;s back is&lt;br /&gt;
turned I blaspheme the name of Sir Walter in a&lt;br /&gt;
whisper, and I take up Smollett, or Leigh Hunt, or&lt;br /&gt;
some yellow book of tales by poor M. de Maupassant.&lt;br /&gt;
Anything for liberty and sympathy, and to assert&lt;br /&gt;
the right of a free Englishman to read what he&lt;br /&gt;
likes to read. Away with the &amp;quot;Mahabharata!&amp;quot;&lt;br /&gt;
Away with the &amp;quot;Sheking!&amp;quot; If I want to be&lt;br /&gt;
bored, I will be bored with what I choose. I will&lt;br /&gt;
read &amp;quot;Polexander&amp;quot; or the &amp;quot;Leviathan&amp;quot; of&lt;br /&gt;
Mr. Hobbes.&lt;br /&gt;
Who, that is a real lover of books, does not ac-&lt;br /&gt;
knowledge the charm of a squat volume that has&lt;br /&gt;
had its day. It makes no demand upon us. It is&lt;br /&gt;
so thankful to be read at all that it does not insist&lt;br /&gt;
upon a rigorous observance of the rules of reading.&lt;br /&gt;
If I take up the &amp;quot;Essay on Man&amp;quot; I feel that a&lt;br /&gt;
great deal is required of me. &amp;quot;Awake, my St.&lt;br /&gt;
John,&amp;quot; says the poet, and you must not merely&lt;br /&gt;
awake, but, in the frivolous language of the day,&lt;br /&gt;
you must sit up. No skipping to the fourth page,&lt;br /&gt;
no dipping here and tasting there, are permitted.&lt;br /&gt;
You have an intellectual task before you, a very&lt;br /&gt;
inspiriting and improving one; but you must give&lt;br /&gt;
your unbroken attention to it. &amp;quot;Awake, my St.&lt;br /&gt;
John,&amp;quot; says the bard, and unless he is ready to&lt;br /&gt;
make an effort, St. John had better put his classic&lt;br /&gt;
volume back on the shelf again. But let me&lt;br /&gt;
remind you how another poet suggests that you&lt;br /&gt;
should read his verses, and perceive in it the accent&lt;br /&gt;
of the man who knows what sympathetic reading&lt;br /&gt;
is. This is how Herriek wishes us to approach&lt;br /&gt;
those golden apples of his western orchard, his rich&lt;br /&gt;
&amp;quot;Hesperides&amp;quot;:&lt;br /&gt;
In sober mornings, do not thou rehearse&lt;br /&gt;
The holy incantation of a verse;&lt;br /&gt;
But when that men have both well drunk and fed,&lt;br /&gt;
Let my enchantments then be sung or read.&lt;br /&gt;
When laurel spits in the fire, and when the hearth&lt;br /&gt;
Smiles to itself, and gilds the roof with mirth;&lt;br /&gt;
When up the thyrsc is raised, and when the sound&lt;br /&gt;
Of sacred orgies flics around, around,&lt;br /&gt;
When the rose reigns, and locks with ointments shine,&lt;br /&gt;
Let rigid Cato read these lines of mine.&lt;br /&gt;
In short, it is only needful to recall once more&lt;br /&gt;
that happy phrase of Lucas do Penna, and re-&lt;br /&gt;
member that a book should be lumen cordis, the&lt;br /&gt;
light of the heart. No one can lay down rules or&lt;br /&gt;
draw up lists which can help us much to discover&lt;br /&gt;
what kind of lantern or candlestick will hold this&lt;br /&gt;
light with most convenience. The heart must&lt;br /&gt;
choose the book that shines on it. Experience&lt;br /&gt;
alone can teach us where we shall find the sym-&lt;br /&gt;
pathy of which we are in need among those silent&lt;br /&gt;
servants &amp;quot; within whose folding, soft, eternal charm&lt;br /&gt;
we love to lie.&amp;quot; But the more we are thrown upon&lt;br /&gt;
the sympathy of books, and acquire the habit of&lt;br /&gt;
appealing to them in every mood, in every nervous&lt;br /&gt;
vicissitude, the more we shall become convinced of&lt;br /&gt;
the truth of what Isaac Barrow says, &amp;quot;that he who&lt;br /&gt;
loveth a hook, will never want a faithful friend, a&lt;br /&gt;
wholesome counsellor, a cheerful companion, or an&lt;br /&gt;
effectual comforter.&amp;quot;&mdash;St. James&amp;#039;s Gazette. January&lt;br /&gt;
28th, 1892.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 328 (#732) ############################################&lt;br /&gt;
&lt;br /&gt;
328 THE AUTHOR.&lt;br /&gt;
nr.&lt;br /&gt;
On Literary Collaboration.&lt;br /&gt;
(From the New Review of February 1892.)&lt;br /&gt;
To sum up, the chief advantage of collaboration&lt;br /&gt;
is that it is tolerably certain to produce clear-&lt;br /&gt;
ness of purpose, a well-defined plot, and distinct&lt;br /&gt;
characters. There is the danger that there&lt;br /&gt;
may be too much distinctness&mdash;a loss of atmos-&lt;br /&gt;
phere &mdash; not enough left to the imagination.&lt;br /&gt;
Living men and women are not always distinct;&lt;br /&gt;
tbey change from day to day; they possess more&lt;br /&gt;
than one characteristic; the miser is not always&lt;br /&gt;
paring the cheese; the man of science is not&lt;br /&gt;
always in his laboratory; the shrew is sometimes&lt;br /&gt;
good tempered; the wanton is sometimes serious&lt;br /&gt;
and chaste. That is a real danger&mdash;and it is only&lt;br /&gt;
to be avoided by giving, as I have demanded, the&lt;br /&gt;
final revision to one of the two partners. As for&lt;br /&gt;
collaboration being a saving of labour, it may be&lt;br /&gt;
so sometimes, but I would not press that point.&lt;br /&gt;
From my own experience, I should say that it is&lt;br /&gt;
not, especially when it results in the improvement&lt;br /&gt;
of the work, any saving at all. Discussion, you&lt;br /&gt;
see, is far less rapid than thought. Meantime,&lt;br /&gt;
let it be remembered that the dramatist or the&lt;br /&gt;
novelist can find nothing more helpful to his&lt;br /&gt;
work than to talk over it. When a plot, an&lt;br /&gt;
incident, a situation, a character, is discussed, a&lt;br /&gt;
thousand combinations occur and rise up in the&lt;br /&gt;
conversation. Those which are useless, inartistic,&lt;br /&gt;
or unnecessary are most easily picked out and&lt;br /&gt;
thrown away in conversation. Those which&lt;br /&gt;
remain are most easily passed in review in&lt;br /&gt;
conversation.&lt;br /&gt;
The great&mdash;the very great&mdash;objection to literary&lt;br /&gt;
partnerships is the difficulty of finding your&lt;br /&gt;
partner. Mr. Brander Matthews has been so&lt;br /&gt;
happy as to find several: I have only been able&lt;br /&gt;
to find two. To take a man into partnership, even&lt;br /&gt;
for a short story or a short play, is a step attended&lt;br /&gt;
with great risks; it may lead to certain failure,&lt;br /&gt;
with certain quarrels, recriminations, and preten-&lt;br /&gt;
sions. Why did the novel fail? Because of the&lt;br /&gt;
other man. Or, if it was not a failure, why did&lt;br /&gt;
the thing succeed? In spite of the other man.&lt;br /&gt;
Of course, one knows men who could not possibly&lt;br /&gt;
say such things. Unfortunately, there are men&lt;br /&gt;
who could and would. Therefore, one would&lt;br /&gt;
advise a young literary man not to attempt&lt;br /&gt;
partnership until he has proved his own strength.&lt;br /&gt;
Perhaps not even then: it is not always that an&lt;br /&gt;
artist can admit another man to work upon his&lt;br /&gt;
canvas. But let him not hamper himself at the&lt;br /&gt;
outset. When he has had a few years&amp;#039; experience,&lt;br /&gt;
the man whom he would now willingly accept as&lt;br /&gt;
his partner may be far, very far below him.&lt;br /&gt;
Reputations in literature are made sometimes very&lt;br /&gt;
suddenly and very unexpectedly. Let him, there-&lt;br /&gt;
fore, wait. In any case, a literary partnership,&lt;br /&gt;
though it may result in many volumes when the&lt;br /&gt;
partners are happily able to work together evenly&lt;br /&gt;
and harmoniously, without jealousy, without&lt;br /&gt;
measuring each other&amp;#039;s share, can only, from the&lt;br /&gt;
nature of the case, be one from book to book&mdash;&lt;br /&gt;
from play to play&mdash;from one fable to another.&lt;br /&gt;
There is, however, one kind of collaboration&lt;br /&gt;
not put forward by Mr. Brauder Matthews, which&lt;br /&gt;
may be recommended very strongly to every young&lt;br /&gt;
literary workman. I would advise him to find&lt;br /&gt;
among his friends&mdash;cousins&mdash;sister&amp;#039;s friends&mdash;a&lt;br /&gt;
girl, intelligent, sympathetic, and quick; a girl&lt;br /&gt;
who will lend him her ear, listen to his plot, and&lt;br /&gt;
discuss his characters. Perhaps he would like to&lt;br /&gt;
get engaged to her&mdash;that is a detail: if he does it&lt;br /&gt;
might not injure the collaboration. She should be&lt;br /&gt;
a girl of (puck imagination, who does not, or&lt;br /&gt;
cannot, write&mdash;there are still, happily, many such&lt;br /&gt;
girls. When he has confided to her his characters&lt;br /&gt;
all in the rough, with the part they have to play&lt;br /&gt;
all in the rough, he may reckon on presently&lt;br /&gt;
getting them back again, but advanced&mdash;much&lt;br /&gt;
less in the rough. Woman does not create, but&lt;br /&gt;
she receives, moulds, and develops. The figures&lt;br /&gt;
will go back to their creator, distinct and clear,&lt;br /&gt;
no longer shivering unclothed, but made up and&lt;br /&gt;
dressed for the stage. Merely by talking with this&lt;br /&gt;
girl, everything that was chaotic falls into order;&lt;br /&gt;
the characters, which were dim and shapeless,&lt;br /&gt;
become alive, full grown, articulate. As in every&lt;br /&gt;
day life, so in imaginative work, woman should be&lt;br /&gt;
man&amp;#039;s best partner&mdash;the most generous&mdash;the least&lt;br /&gt;
exacting&mdash;the most certain never to quarrel over&lt;br /&gt;
her share of the work, her share of the kWoj, her&lt;br /&gt;
share of the pay.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
IV.&lt;br /&gt;
The Critic.&lt;br /&gt;
The critic is the Ishmaelite of the literary&lt;br /&gt;
family. No one sympathises with him. The&lt;br /&gt;
people he criticises, of course, will have none of&lt;br /&gt;
him. His fellow readers, or playgoers, as the case&lt;br /&gt;
may be, regard him as a wet blanket. Even the&lt;br /&gt;
&amp;quot;serious intellects,&amp;quot; with whom he thinks he may&lt;br /&gt;
at least claim something in common, treat him with&lt;br /&gt;
good-humoured contempt. Indeed, the wayward&lt;br /&gt;
attitude of the &amp;quot;serious intellect&amp;quot; in these days&lt;br /&gt;
is one calculated to stagger the critics. He never&lt;br /&gt;
reads the books, or sees the plays, which call for&lt;br /&gt;
the critic&amp;#039;s keenest powers. He cannot be got to&lt;br /&gt;
read &amp;quot;Eobert Elsmere,&amp;quot; or &amp;quot;The Wages of Sin.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 329 (#733) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
329&lt;br /&gt;
Nor will he turn out at night to see Shakespeare,&lt;br /&gt;
or Ibsen, or Mr. Henry Arthur Jones. He in-&lt;br /&gt;
finitely prefers burlesque, or a broad farce. It is&lt;br /&gt;
only the intellects of the second rank who revel in&lt;br /&gt;
the analytical novel or psychological drama; and&lt;br /&gt;
the poor critic, realising all this painfully, feels&lt;br /&gt;
himself out in the cold. He is compelled to write&lt;br /&gt;
to an audience he cares little about, while those&lt;br /&gt;
whose ear he would fain reach will not take him&lt;br /&gt;
seriously. &amp;quot;There is nothing,&amp;quot; says an eminent&lt;br /&gt;
scientific man of the day, &amp;quot;that serious intellects&lt;br /&gt;
hate so much as an intellectual treat.&amp;quot; People&lt;br /&gt;
whose brains and bodies are systematically under-&lt;br /&gt;
worked may care about them. But men who have&lt;br /&gt;
done a hard day&amp;#039;s work take more kindly to some-&lt;br /&gt;
thing frivolous, and prefer&mdash;as Darwin did&mdash;a&lt;br /&gt;
trashy volume from Mudie&amp;#039;s to Shakespeare him-&lt;br /&gt;
self. It baulks the critic to find people who will&lt;br /&gt;
insist that fiction and the drama are intended, not&lt;br /&gt;
for education, but for relaxation. His trade is to&lt;br /&gt;
detect and measure the serious purpose which&lt;br /&gt;
underlies most of the important work, both of&lt;br /&gt;
novelists and playwriters, in this day. Both have&lt;br /&gt;
ceased to be merely recreative. The onward march&lt;br /&gt;
of education has absorbed them as factors in the&lt;br /&gt;
moral development of the ago. The pulpit has&lt;br /&gt;
admitted them amongst its coadjutors. They have&lt;br /&gt;
ljccome, like the jam that envelops the powder,&lt;br /&gt;
vehicles for truths, and lessons of the gravest kind.&lt;br /&gt;
It is, therefore, heartless of the person of serious&lt;br /&gt;
intellect to eschew them all, and addict himself to&lt;br /&gt;
the lewd fellows of a baser sort, who aim at nothing&lt;br /&gt;
beyond raising a laugh, or lulling the brain with&lt;br /&gt;
drowsy nonsense.&lt;br /&gt;
Happily for the critic, the second-rate intellects,&lt;br /&gt;
who do concern themselves with fiction &amp;quot;with a&lt;br /&gt;
purpose,&amp;quot; still constitute the bulk of the British&lt;br /&gt;
reading public. With them he is, or might be,&lt;br /&gt;
a King supreme. For, without his help, they&lt;br /&gt;
would be drowned in the floods of books and plays&lt;br /&gt;
which pour in from every side. On him they&lt;br /&gt;
depend to keep their heads above water, to guide&lt;br /&gt;
them through the torrent, and bring them within&lt;br /&gt;
reach of the few spots of foothold on which they&lt;br /&gt;
may stand secure. It is rare indeed for anyone&lt;br /&gt;
to-day to buy a book of one&amp;#039;s own motion. It&lt;br /&gt;
must previously have passed muster with the critic&lt;br /&gt;
before we pay hard cash for it. It is conceivable&lt;br /&gt;
that our judgment may not jump with that of the&lt;br /&gt;
critic when the book is read. If so, the discipline&lt;br /&gt;
to which long liabit has reduced us will probably&lt;br /&gt;
lead us to assume that the mistake is ours, not his.&lt;br /&gt;
More frequently we know what we are to think&lt;br /&gt;
about a book before we take it up, and, to do us&lt;br /&gt;
justice, we rarely fail to think accordingly.&mdash;Leeds&lt;br /&gt;
Weekly Mercury, February 6th, 1892.&lt;br /&gt;
V.&lt;br /&gt;
Do Publishers Bead MSS. Submitted?&lt;br /&gt;
Writing in the Western Daily Mercury on&lt;br /&gt;
&amp;quot;Money - Making in Writing,&amp;quot; as a phase of&lt;br /&gt;
&amp;quot;Women&amp;#039;s Questions,&amp;quot; Miss S. F. Latimer&lt;br /&gt;
says :&mdash;The idea that publishers do not trouble to&lt;br /&gt;
read all the MSS. submitted to them is generally&lt;br /&gt;
ridiculed. We are told that this is an essential&lt;br /&gt;
part of their business, and if they were to neglect&lt;br /&gt;
it they would soon go the wall, for the competition&lt;br /&gt;
among them is now very keen. Nevertheless, I&lt;br /&gt;
am inclined to believe their readers are not so keen&lt;br /&gt;
as their employers may be, judging from two in-&lt;br /&gt;
stances that have been given to me by a couple of&lt;br /&gt;
my friends during the past week. The first lady&lt;br /&gt;
did not take the matter much to heart, as she had&lt;br /&gt;
met better fortune in a previous attempt; but she&lt;br /&gt;
detailed the keeping of her MS. by a firm for over&lt;br /&gt;
six months, from whom, despite various letters,&lt;br /&gt;
she could get no response nor learn of the safe&lt;br /&gt;
arrival of her copy into their hands, until a cousin&lt;br /&gt;
made a personal call of inquiry, when the following&lt;br /&gt;
day the MS. was returned to her&mdash;never having&lt;br /&gt;
been apparently read or glanced through, as it&lt;br /&gt;
came back done up just as she had sent it away.&lt;br /&gt;
The second account of the fortunes of a novel&lt;br /&gt;
that is still awaiting the fiat of a publisher is one&lt;br /&gt;
that is none too encouraging to the chances of its&lt;br /&gt;
establishment, nor gratifying to the amour propre&lt;br /&gt;
of the wearied author. It started on its travels in&lt;br /&gt;
a box made to fit and to keep its sheets clean. It&lt;br /&gt;
came back minus the box after an absence of suffi-&lt;br /&gt;
cient duration to have enabled the mastering of its&lt;br /&gt;
contents. On removing the outer paper covering,&lt;br /&gt;
the precious volumes proved never to have been&lt;br /&gt;
opened. Each had been tied up separately and&lt;br /&gt;
numbered to save the reader trouble; each pre-&lt;br /&gt;
sented precisely the same appearance as when laid&lt;br /&gt;
with expectation within the missing box. &amp;quot;I&lt;br /&gt;
thought,&amp;quot; said the narrator, &amp;quot;when I received&lt;br /&gt;
their opinion of the novel, that they had evidently&lt;br /&gt;
no idea of the work at all beyond my brief descrip-&lt;br /&gt;
tions that accompanied it.&amp;quot; It was next sent off,&lt;br /&gt;
packed in a fine wrapper. A MS. soon.shows signs&lt;br /&gt;
of having been through the post if not well pro-&lt;br /&gt;
tected, and the trouble of rewriting, of course, is&lt;br /&gt;
great. It was kept exactly the same time, and&lt;br /&gt;
then returned with the communication that the&lt;br /&gt;
reader&amp;#039;s opinion was so unfavourable that the firm&lt;br /&gt;
could not publish it. The wrapper no longer&lt;br /&gt;
enveloped the sheets, but the pages bore equally&lt;br /&gt;
plain evidence that they had not been looked&lt;br /&gt;
through. The third attempt was to write to the&lt;br /&gt;
publishers in advance, to ask if they would con-&lt;br /&gt;
sider the novel if forwarded. After the lapse of a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 330 (#734) ############################################&lt;br /&gt;
&lt;br /&gt;
33&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
fortnight a letter of the usual stereotyped form&lt;br /&gt;
came from the house, saying &amp;quot; that they had given&lt;br /&gt;
their best and careful attention to the work, and&lt;br /&gt;
regretted that they tlid not see their way to its&lt;br /&gt;
publication.&amp;quot; The fact of its not having been sent&lt;br /&gt;
had been forgotten. They waited the usual time,&lt;br /&gt;
and returned the usual answer. And the hapless&lt;br /&gt;
novelist sums up by saying, &amp;quot; I am at present just&lt;br /&gt;
where I was a lew months ago, save being a loser&lt;br /&gt;
to the amount of ios., MS. sent to and fro, one&lt;br /&gt;
deal box, and one wrapper. Sore and downcast&lt;br /&gt;
with disappointment, she exclaims, &amp;quot;It is very&lt;br /&gt;
provoking to feel the time going past when the&lt;br /&gt;
novel might take, and not be able to get a publisher&lt;br /&gt;
to read it fairly and honestly I know that there&lt;br /&gt;
is good matter in it, and that I have laboured hard&lt;br /&gt;
to make it worthy of being read, and I am not&lt;br /&gt;
given to over-value my own work.&amp;quot; The lady has&lt;br /&gt;
for years practised her ]x&amp;gt;n. The firms she has&lt;br /&gt;
tried are influential ones, but there is such a&lt;br /&gt;
tendency to deal with writers known to the public,&lt;br /&gt;
and thereby save trouble and risk, that unless some&lt;br /&gt;
favourable introduction or happy chance comes to&lt;br /&gt;
the rescue among the flood of offers, the rejected&lt;br /&gt;
find themselves in the majority. &mdash; Pall Mall&lt;br /&gt;
Gazette.&lt;br /&gt;
VI.&lt;br /&gt;
Creative?&lt;br /&gt;
A daring lady named Molly Elliot Seawell has&lt;br /&gt;
excited the literary circles of New York. She has&lt;br /&gt;
written an article in the Critic, and, with relent-&lt;br /&gt;
less impartiality, has denied that her own sex has&lt;br /&gt;
ever been great in creative literary genius. Readers&lt;br /&gt;
of the Critic have withdrawn their subscription,&lt;br /&gt;
by way of proving that Miss Seawell is wrong.&lt;br /&gt;
Right or wrong, she has called from an opponent&lt;br /&gt;
named Sidwell N. Breeze by far the most amusing&lt;br /&gt;
of all exhibitions of literary patriotism. We know&lt;br /&gt;
how good Americans insist that Emerson and&lt;br /&gt;
Mr. Whittier have better chances of immortality&lt;br /&gt;
than the Laureate. We know it, but we do not&lt;br /&gt;
argue about it. We maybe prejudiced, and besides&lt;br /&gt;
prophecy is a frivolous exercise. If humanity&lt;br /&gt;
develops more people who admire Mr. Whittier&lt;br /&gt;
than people who admire the author of the &amp;quot;Lotus&lt;br /&gt;
Eaters,&amp;quot; then the American patriots are right.&lt;br /&gt;
We may hope that they are wrong, rather in the&lt;br /&gt;
interest of humanity than of Lord Tennyson, but&lt;br /&gt;
no one can be certain. However, this is a digres-&lt;br /&gt;
sion. In the game of literary poker, Mr. or Miss&lt;br /&gt;
Sidwell N. Breeze &amp;quot;bluffs&amp;quot; a much stronger hand&lt;br /&gt;
than we hold in the Laureate, though that is a&lt;br /&gt;
strong hand too. She (she must be a woman)&lt;br /&gt;
&amp;quot;bluffs &amp;quot; the hand which ancient Greece holds in&lt;br /&gt;
the case of Sappho. Miss Sidwell N. Breeze is&lt;br /&gt;
ready to &amp;quot; see Sappho, and go two better &amp;quot;&mdash;two at&lt;br /&gt;
least. Now the whole opinion of the world has&lt;br /&gt;
recognized in the Lesbian lady&lt;br /&gt;
Who with the deathless Muses, hand in hand,&lt;br /&gt;
Sang side by side,&lt;br /&gt;
the one great woman poet of the world. The&lt;br /&gt;
fragments which remain, those wonderful fragments&lt;br /&gt;
never to be translated even by poets, suffice to show&lt;br /&gt;
the unapproached genius of Sappho. But Miss&lt;br /&gt;
Breeze avers that these fragments &amp;quot;can easily be&lt;br /&gt;
surpassed by Miss Helen Gray Cone or Miss Edith&lt;br /&gt;
Thomas,&amp;quot; whose rhymes we may have observed in&lt;br /&gt;
the magazines. This delightful observation simply&lt;br /&gt;
leaves patriots like Mr. Higginson nowhere in the&lt;br /&gt;
race, and adds two to the Muses who are now&lt;br /&gt;
twelve, including Sappho. No other vaunt can&lt;br /&gt;
match this vaunt.&lt;br /&gt;
But, if we examine the general Question, we&lt;br /&gt;
may think that Miss Seawell has been too hard on&lt;br /&gt;
her sex. They never created, she says, a Panta-&lt;br /&gt;
gruel, a Becky Sharp, a Micawber, an Ivanhoe, a&lt;br /&gt;
Don Quixote, a Faust. Well, we do not exj&amp;gt;ect&lt;br /&gt;
them to produce Pantagruels. Ivanhoe, as Miss&lt;br /&gt;
Breeze remarks, is no creation at all. Poor&lt;br /&gt;
Wilfred is a lay figure; perhaps Scott would have&lt;br /&gt;
called him, as he called Edward Waverley, &amp;quot;a&lt;br /&gt;
sneaking piece of imbecility.&amp;quot; &amp;quot;I am a bad hand&lt;br /&gt;
at drawing heroes,&amp;quot; he added, and Ivanhoe is a&lt;br /&gt;
hero. As to the others, it is certain that no woman&lt;br /&gt;
(unless it. be Miss Cone or Miss Thomas) has&lt;br /&gt;
created a poetic figure like Faust, or Satan, or Don&lt;br /&gt;
Quixote, or Lear, a humorous figure like Falstaff,&lt;br /&gt;
or Mrs. Gamp, or anybody that is good in Shake-&lt;br /&gt;
speare or Dickens. No woman (not even Miss&lt;br /&gt;
Mtirfree nor Miss Wilkins) has designed a Captain&lt;br /&gt;
Costigan, or a beauty and a Queen of Hearts, like&lt;br /&gt;
Beatrix Esmond, or Rosalind, or Di Vernon.&lt;br /&gt;
Women have created no great characters of any&lt;br /&gt;
sort, and very few good ones, few whose names are&lt;br /&gt;
household words. * * *&lt;br /&gt;
It was a woman who gave us Mr. Collins and&lt;br /&gt;
Anne Elliot, and all the immortal family of Bennets&lt;br /&gt;
&mdash;Lydia and Kitty, their father and their mother&lt;br /&gt;
George Eliot also created Mrs. Poyser and Caleb&lt;br /&gt;
Garth, and the girl whom Mr. Gilfil wooed. But&lt;br /&gt;
it is certainly curious, when we think of George&lt;br /&gt;
Eliot, to consider how few of her people hold their&lt;br /&gt;
own&mdash;how few of them are household words.&lt;br /&gt;
When Manse Headrigg remarked that she would&lt;br /&gt;
cease testifying for nae painted brick o&amp;#039; the Tower&lt;br /&gt;
of Babel that&amp;#039;s coloured scarlet and ca&amp;#039;s itself a&lt;br /&gt;
corporal, she quite, outshone Mrs. Poyser by mere&lt;br /&gt;
native eloquence. Take away Mrs. Poyser, and&lt;br /&gt;
who is there? Tito Melema is only the &amp;quot; Awful&lt;br /&gt;
Example &amp;quot; of a sermon. Adam Bode is a stage-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 331 (#735) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
331&lt;br /&gt;
carpenter. These people do not wear, they do not&lt;br /&gt;
last, like true and living creations.&lt;br /&gt;
The name of George Sand is also invoked. But&lt;br /&gt;
whom do we remember, or what do we remember,&lt;br /&gt;
in George Sand&amp;#039;s work? We remember descrip-&lt;br /&gt;
tions, sentiment, a charm of style, such as never&lt;br /&gt;
other woman wrote, and perliaps we remember&lt;br /&gt;
Consuelo. Indiana is just a passionate Creole;&lt;br /&gt;
Valentine is hardly more actual than Aurora Floyd.&lt;br /&gt;
George Sand drew living people in her memoirs,&lt;br /&gt;
much more than in her novels. It is really the&lt;br /&gt;
humourous women who create characters, not the&lt;br /&gt;
clever women, the learned women, the audjicious&lt;br /&gt;
women. A woman (who might conceivably have&lt;br /&gt;
been better employed) gave us Xaintrailles, Paillette,&lt;br /&gt;
Madame de Flirt, and scores of others. Miss&lt;br /&gt;
Broughton&amp;#039;s people&mdash;not her heroes, but her chil-&lt;br /&gt;
dren, her casual coquettes, her vulgar, good-hearted&lt;br /&gt;
girls&mdash;are creations; they live, and move, and are&lt;br /&gt;
remembered, simply by dint of humour. As to&lt;br /&gt;
speaking &amp;quot;immortal words,&amp;quot; in verse, passages&lt;br /&gt;
that live as familiar quotations, we do not, unluckily,&lt;br /&gt;
remember any of the many with which Miss Helen&lt;br /&gt;
Gray Cone and Miss Edith Thomas have enriched&lt;br /&gt;
the world. But the real prize would have to be&lt;br /&gt;
given to no lady who writes in magazines, but to&lt;br /&gt;
the women who composed &amp;quot;Auld llobin Gray,&amp;quot;&lt;br /&gt;
&amp;quot;The Flowers of the Forest,&amp;quot; &amp;quot;And were na my&lt;br /&gt;
heart light I would dee,&amp;quot; and so forth. They were&lt;br /&gt;
not profession^ poets, they struck the lyre but&lt;br /&gt;
once or twice, yet still the notes are ringing.&mdash;&lt;br /&gt;
Daily A&amp;#039;ews.&lt;br /&gt;
VII.&lt;br /&gt;
An American on American Literature.&lt;br /&gt;
(From the Times, January i5th, 1892.)&lt;br /&gt;
There has been a deal of talk back and forth&lt;br /&gt;
across the water as to the bigness or littleness&lt;br /&gt;
of our American literature. We talk about the&lt;br /&gt;
bigness of it, you about the littleness of it, and&lt;br /&gt;
the real truth concerning it is altogether ignored,&lt;br /&gt;
or else it is not understood. By your gracious&lt;br /&gt;
leave I would say what seem to me the facts in the&lt;br /&gt;
case.&lt;br /&gt;
We have had no creators of literary sentiment,&lt;br /&gt;
or more truly discoverers, such as Wordsworth,&lt;br /&gt;
who found for us the spiritual life in nature; like&lt;br /&gt;
Browning, who has taught us the deeper, truer,&lt;br /&gt;
meaning of love as a life passion of the human&lt;br /&gt;
heart; like Carlyle, who knew more concerning the&lt;br /&gt;
energy of life that wins results in the world than&lt;br /&gt;
all his predecessors. We have not these. Let us&lt;br /&gt;
frankly admit it. There is nowhere in our lite-&lt;br /&gt;
rature the thoughtful substance that the Englishman&lt;br /&gt;
thinks of when he thinks of even his modern&lt;br /&gt;
literature. Our poet is Longfellow, a man of&lt;br /&gt;
musical rhythm, sweet fascinating phrases&mdash;in&lt;br /&gt;
short, a man of art in verse. But you have this,&lt;br /&gt;
too, say you, in Tennyson, the poet of form, and a&lt;br /&gt;
man of more substance than Longfellow. Let me&lt;br /&gt;
distinguish. Tennyson is a creator of form, a dis-&lt;br /&gt;
coverer of every possible new form in musical&lt;br /&gt;
verse, a man who racked his brain from youth to&lt;br /&gt;
find an exquisite phrase, a perfect word, a striking&lt;br /&gt;
and enduring figure. Tennyson&amp;#039;s eye was on the&lt;br /&gt;
form itself, just as much as Browning&amp;#039;s eye was on&lt;br /&gt;
love, or Wordsworth&amp;#039;s on the spirit of nature,&lt;br /&gt;
while Longfellow touched the little nature, the&lt;br /&gt;
little life, the little human passion that lay about&lt;br /&gt;
him, with his eye on the human heart, not on his&lt;br /&gt;
form or on his substance of thought. It is this&lt;br /&gt;
wonderful adaptation of Longfellow&amp;#039;s simple,&lt;br /&gt;
sweet, beautiful verse to the common heart of man&lt;br /&gt;
that makes it as significant as it is popular.&lt;br /&gt;
Tennyson has done some bad work, shocking&lt;br /&gt;
work; he has written verses that jar as well as&lt;br /&gt;
verses that sooth to sleep or fill with life; so all&lt;br /&gt;
the English poets, in their efforts to discover what&lt;br /&gt;
was good, were unable themselves to distinguish&lt;br /&gt;
the good from the bad in that which was to the&lt;br /&gt;
world altogether new as it was new to them.&lt;br /&gt;
Browning has written a considerable body of work&lt;br /&gt;
which would not inspire even his own soul, let&lt;br /&gt;
alone that of anyone else, and Wordsworth seemed&lt;br /&gt;
utterly unable to tell his good work from his dry,&lt;br /&gt;
meaningless verbiage, as Matthew Arnold him-&lt;br /&gt;
self says. So it is with Mr. Arnold&amp;#039;s own work,&lt;br /&gt;
and with Keats and Shelley and Clough and&lt;br /&gt;
Mrs. Browning and the rest. Even the popular&lt;br /&gt;
Macaulav in his effort to be striking fell into&lt;br /&gt;
serious blunders, and Carlyle is full of irregularity.&lt;br /&gt;
Glance over such a book as Lowell&amp;#039;s &amp;quot; From my&lt;br /&gt;
Study Windows &amp;quot; and you will see plainly some of&lt;br /&gt;
the chief characteristics of our literature. Lowell&lt;br /&gt;
does not say anything of great moment, but what&lt;br /&gt;
he does say is gracefully addressed to the heart and&lt;br /&gt;
thought of us all; we can all enjoy it, we can all&lt;br /&gt;
understand it, and we all are the better for his&lt;br /&gt;
having written it. Browning and Shelley confess&lt;br /&gt;
that they did not write their poetry for you or&lt;br /&gt;
me or anybody else, but for themselves, for their&lt;br /&gt;
own relief, to satisfy their own passion of ex-&lt;br /&gt;
pression. If we get any good out of their work&lt;br /&gt;
it is localise they were good men and worth some-&lt;br /&gt;
thing, and we are free to borrow what we can&lt;br /&gt;
from all good men. But that is not art in its true&lt;br /&gt;
sense; that is accident. Conscious art writes for&lt;br /&gt;
somebody, aims at a definite effect on a definite&lt;br /&gt;
audience. The germ of that art we have and you&lt;br /&gt;
have not. In us it has not yet borne very great&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 332 (#736) ############################################&lt;br /&gt;
&lt;br /&gt;
332&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
fruit, but it is sure to do so in the near future, as&lt;br /&gt;
you yourselves admit when you incline to the view&lt;br /&gt;
that the great novel of the future will come from&lt;br /&gt;
America. We have not yet gone very deep, we&lt;br /&gt;
have not yet even fully comprehended the thoughts&lt;br /&gt;
that you have laid before us, but we are coming to&lt;br /&gt;
just that, and we have the power&mdash;perhaps a power&lt;br /&gt;
of youth&mdash;to put all thought, all feeling, all dis-&lt;br /&gt;
coveries of the heart into a form which will be&lt;br /&gt;
useful and will endure, as you have not at all. The&lt;br /&gt;
mass of England&amp;#039;s nineteenth century literature&lt;br /&gt;
will be dead and buried within two centuries unless&lt;br /&gt;
wo Americans rescue it from the mass of vagueness&lt;br /&gt;
and verbiage in which it already languishes, and&lt;br /&gt;
put it into the setting of the gold of the human&lt;br /&gt;
heart&mdash;the common heart, the common intelligence&lt;br /&gt;
&mdash;by which I mean the intelligence common to all&lt;br /&gt;
humanity, high and low, and not the vulgar herd&lt;br /&gt;
merely. The common human heart is your heart&lt;br /&gt;
and my heart and yonder blear-eyed fellow&amp;#039;s heart,&lt;br /&gt;
and that common heart is dull of comprehension,&lt;br /&gt;
weary it knows not why, and like a child must be&lt;br /&gt;
fed by a trained nurse if it is to thrive. We are&lt;br /&gt;
eoniinsr to be the trained nurses of future life and&lt;br /&gt;
growth throughout the world, we have learned our&lt;br /&gt;
business, and we are rapidly putting it into prac-&lt;br /&gt;
tice. From you we get our materials to work with,&lt;br /&gt;
our appliances, our food, our drink. We own our&lt;br /&gt;
mother; we are not disloyal; England has as much&lt;br /&gt;
right to be proud of us as we of ourselves, and&lt;br /&gt;
perhaps more right, and the great novels which I&lt;br /&gt;
fully believe we will soon send forth will perpetuate&lt;br /&gt;
her name quite as surely as it will ours.&lt;br /&gt;
But please, cultivated Englishmen, let us not&lt;br /&gt;
hear any more about the lack in substance from&lt;br /&gt;
which our literary art suffers. We may not have&lt;br /&gt;
substance yet, but our literary work is adapted to&lt;br /&gt;
the human heart more widely, more certainly, than&lt;br /&gt;
anything of the best you can boast, and we will not&lt;br /&gt;
be slow to utilize all the substance you have laid&lt;br /&gt;
open to us.&lt;br /&gt;
A. S. Cody.&lt;br /&gt;
Boston, Mass., U.S.A., Jan. ist.&lt;br /&gt;
VIII.&lt;br /&gt;
Swindells v. Morgan and Tomkins.&lt;br /&gt;
The business of Messrs. Morgan and Tomkins,&lt;br /&gt;
who appear to be indifferent whether they transact&lt;br /&gt;
it under the style of the &amp;quot; City of London Publish-&lt;br /&gt;
ing Company &amp;quot; or that of the &amp;quot; Authors&amp;#039; Alliance,&lt;br /&gt;
Limited,&amp;quot; should be considerably curtailed by the&lt;br /&gt;
revelations made yesterday in the Queen&amp;#039;s Bench&lt;br /&gt;
Division. These ingenious persons appear to&lt;br /&gt;
derive much of their income from the remittances&lt;br /&gt;
they receive from aspiring authors, among whom&lt;br /&gt;
they appear to sow their circulars broadcast, other-&lt;br /&gt;
wise it is hard to understand why they sent one to&lt;br /&gt;
the plaintiff in the action just tried. Their anxiety&lt;br /&gt;
to receive MSS. for publication led Mr. Joseph&lt;br /&gt;
Swindells, employed in a warehouse at Manchester,&lt;br /&gt;
to send a sbeaf of verses entitled &amp;quot;Ballads and&lt;br /&gt;
Poems,&amp;quot; besides a drama called &amp;quot;Charles I.&amp;quot;&lt;br /&gt;
Messrs. Morgan and Tomkins, with a frankness&lt;br /&gt;
which must have won the author&amp;#039;s heart, admitted&lt;br /&gt;
that a most favourable impression had been created&lt;br /&gt;
by the perusal of the MSS.; but they required a&lt;br /&gt;
sum of money towards the expense involved in the&lt;br /&gt;
intended publication. . . . Under the circum-&lt;br /&gt;
stances there was little which was remarkable&lt;br /&gt;
in this request, and Mr. Swindells expressed&lt;br /&gt;
his willingness to comply with it. In short,&lt;br /&gt;
he forwarded to the moving spirits in the&lt;br /&gt;
undertakings we have named, and others, &pound;40,&lt;br /&gt;
some of which seems to have been raised &amp;quot;by&lt;br /&gt;
subscription &amp;quot; from persons willing to take copies&lt;br /&gt;
of the work. But, alas! the promised book has&lt;br /&gt;
never been issued, nor have the MSS. ever been&lt;br /&gt;
returned. Upon the whole the jury showed their&lt;br /&gt;
sympathy with the troubled author in a manner&lt;br /&gt;
which should do much to console him. He was&lt;br /&gt;
awarded &pound;500 damages, and in the event of his&lt;br /&gt;
having the MSS. returned he must receive &pound;200&lt;br /&gt;
for their detention. We can only hope that the&lt;br /&gt;
order of the Court may be complied with, but,&lt;br /&gt;
judging from the caustic remarks of Mr. Justice&lt;br /&gt;
Grantham on the system of business pursued by&lt;br /&gt;
Messrs. Morgan and Tomkins, it may be doubted&lt;br /&gt;
if they will respond to all the demands involved iu&lt;br /&gt;
yesterday&amp;#039;s verdict.&mdash;Daily News.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
AMONG the more noticeable books of the&lt;br /&gt;
month may be specially mentioned Carlyle&amp;#039;s&lt;br /&gt;
&amp;quot;Lectures on the History of Literature&amp;quot;&lt;br /&gt;
(Ellis and Elvey), Aitkin&amp;#039;s &amp;quot;Life of Dr. Arbutli-&lt;br /&gt;
not&amp;quot; (Clarendon Press), Miss Gordon Cumming&amp;#039;s&lt;br /&gt;
latest book of travels (Blackwood), H. G. Keene&amp;#039;s&lt;br /&gt;
&amp;quot;Literature of France&amp;quot; &amp;quot;(Murray), Saintsbury&amp;#039;s&lt;br /&gt;
&amp;quot;Political Verse&amp;quot; (Percival), Earle&amp;#039;s &amp;quot;Deeds&amp;quot;of&lt;br /&gt;
Beowulf&amp;quot; (Clarendon Press), Watson&amp;#039;s Poems&lt;br /&gt;
(Macmillan), Lyon&amp;#039;s &amp;quot;Colonial Furniture&amp;quot;&lt;br /&gt;
(Houghton and Mifflin), Lord Selborne&amp;#039;s &amp;quot;Facts&lt;br /&gt;
and Fictions concerning Churches and Trees.&amp;quot;&lt;br /&gt;
The new novels include the &amp;quot; Duchess of Powys-&lt;br /&gt;
land,&amp;quot; by Grant Allen; &amp;quot;Nevermore,&amp;quot; by Rolf&lt;br /&gt;
Boldrewood; &amp;quot;A Strange Elopement,&amp;quot; by Clark&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 333 (#737) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
333&lt;br /&gt;
Russell; &amp;quot;Denzil Quarrier,&amp;quot; by George Gissing;&lt;br /&gt;
&amp;quot;The Bo&amp;#039;s&amp;#039;un of the Psyche,&amp;quot; by Claude Harding;&lt;br /&gt;
fi Eagle Joe,&amp;quot; by Henry Hermann; &amp;quot;A Partner&lt;br /&gt;
from the West,&amp;quot; by Arthur Paterson; and&lt;br /&gt;
&amp;quot;Memoirs of a Mother-in-Law,&amp;quot; by George Sims.&lt;br /&gt;
A new literary paper is about to appear. It will&lt;br /&gt;
be called the Library Review. The editor is&lt;br /&gt;
Mr. Kineton Parkes, Librarian of the Nicholson&lt;br /&gt;
Institute, Leeds. The publishers are Messrs.&lt;br /&gt;
Hutchinson &amp;amp; Co., 25, Paternoster Square.&lt;br /&gt;
There are promised (i) critical notices, &amp;quot;chiefly&lt;br /&gt;
of an expository character,&amp;quot; written by experts&lt;br /&gt;
and signed. There are some subjects, one would&lt;br /&gt;
suggest to the editor, which are best reviewed by&lt;br /&gt;
persons who are not experts. The tendency of&lt;br /&gt;
every expert is to find out something omitted, and&lt;br /&gt;
to give undue prominence to that omission.&lt;br /&gt;
However, the signature will have some effect in&lt;br /&gt;
restraining the experts from too much contempt;&lt;br /&gt;
(2) condensed estimates from the leading critical&lt;br /&gt;
papers; (3) bibliographical details; (4) publica-&lt;br /&gt;
tions of the month; (5) statistics of sales from&lt;br /&gt;
booksellers and publishers&mdash;a promise difficult to&lt;br /&gt;
keep&mdash;and of issues by libraries; (6) general notes;&lt;br /&gt;
and (7) a library calendar. Nothing new in these&lt;br /&gt;
features, except as regards the library intelligence.&lt;br /&gt;
Signed criticisms are found in the Academy.&lt;br /&gt;
Lists of publications in the Athenceum and in the&lt;br /&gt;
Author. Notes and news everywhere. But we&lt;br /&gt;
must not judge by a prospectus. Meanwhile we&lt;br /&gt;
wish the Library Review every success. The&lt;br /&gt;
Author cannot choose but welcome every new&lt;br /&gt;
attempt to create and maintain an interest in&lt;br /&gt;
literature, especially if it be remembered in each&lt;br /&gt;
new venture that literature belongs to those who&lt;br /&gt;
make it, not to those who sell it.&lt;br /&gt;
The Publishers&amp;#039; Circular shows that the number&lt;br /&gt;
of books published in England in 1891 was 5,706&lt;br /&gt;
&mdash;4,429 new books and 1,277 ncw editions. These&lt;br /&gt;
figures show a slight decrease from those of the pre-&lt;br /&gt;
vious year, a larger decrease from 1889, and a still&lt;br /&gt;
larger when compared with the number in 1888,&lt;br /&gt;
which was 6,5gi. Since 1880 the number of&lt;br /&gt;
novels (new and old) published in a year has&lt;br /&gt;
increased from 58o to 1,216, while &amp;quot; miscellaneous&amp;quot;&lt;br /&gt;
(including pamphlets) has increased from 353 to&lt;br /&gt;
731. Books relating to the arts and sciences, and&lt;br /&gt;
illustrated works, have decreased from 479 to 116,&lt;br /&gt;
and theology from 975 to 627.&lt;br /&gt;
The increase in the number of novels during the&lt;br /&gt;
last ten years, so that there are now produced&lt;br /&gt;
annually double the numl&amp;gt;er of the year 1880, is&lt;br /&gt;
very remarkable. But in considering this increase&lt;br /&gt;
we must remember that the Board schools have&lt;br /&gt;
given us new readers by the million. This is&lt;br /&gt;
shown in many ways, but especially by the immense&lt;br /&gt;
circulation of the popular weeklies. We hope it is&lt;br /&gt;
not libellous to say that Tit-Bits is reported to&lt;br /&gt;
circulate 600,000 every week, while Pearson&amp;#039;s has&lt;br /&gt;
3oo,ooo. At the same time the old favourites,&lt;br /&gt;
such as Cliambers&amp;#039;s, the Family Herald, and others&lt;br /&gt;
maintain the position which they liave held for so&lt;br /&gt;
many years. Then the increase of story books for&lt;br /&gt;
school prizes and presentation becomes greater&lt;br /&gt;
every year; and every year the demand for books&lt;br /&gt;
from the colonies and India becomes greater. Nor&lt;br /&gt;
must it be forgotten that of the novels intended&lt;br /&gt;
for adult readers and those of the better class, a&lt;br /&gt;
large proportion are actually paid for by the&lt;br /&gt;
authors, while the better class politely decline to&lt;br /&gt;
read them.&lt;br /&gt;
Houghton, Mifflin and Co. will publish in March&lt;br /&gt;
the first number of the Neio World, &amp;quot;a quarterly&lt;br /&gt;
review of religion, ethics, and theology.&amp;quot; It will&lt;br /&gt;
be under the charge of an editorial committee&lt;br /&gt;
consisting of Profs. Charles Carroll Everett and&lt;br /&gt;
Crawford Howell Toy of Harvard; the Rev. Orello&lt;br /&gt;
Cone, D.D., President of Buehtel College, and the&lt;br /&gt;
Rev. Nicholas Paine Oilman (managing editor).&lt;br /&gt;
The new periodical will have 200 pages in each&lt;br /&gt;
issue, a fourth of which will be given to the careful&lt;br /&gt;
review of important books in its field.&lt;br /&gt;
A new magazine has appeared in America called&lt;br /&gt;
the Philosophical Review, the first number of&lt;br /&gt;
which, for January of this year, now lies before us.&lt;br /&gt;
It is edited by Prof. J. G. Schurman of Cornell,&lt;br /&gt;
and is supported in part by funds in the control&lt;br /&gt;
of the same institution. &amp;quot;It will aim,&amp;quot; says the&lt;br /&gt;
editor, &amp;quot; at the organization, the diffusion and the&lt;br /&gt;
increase of philosophical knowledge and activity in&lt;br /&gt;
America.&amp;quot; It will deal with all subjects that have&lt;br /&gt;
hitherto been embraced by the term philosophy.&lt;br /&gt;
A new weekly, literary and artistic in its aims,&lt;br /&gt;
the Mahogany Tree, appeared at Boston with&lt;br /&gt;
the new year. The first few numbers of such a&lt;br /&gt;
venture rarely afford grounds for an exact and&lt;br /&gt;
infallibly just appreciation of it.&lt;br /&gt;
More criticism! The prospectus of another new&lt;br /&gt;
venture, this time a quarterly review of very high&lt;br /&gt;
aspirations, is now being sent out. It is to be&lt;br /&gt;
called the Knight Errant, and devoted to criticism&lt;br /&gt;
of all the arts, &amp;quot; working to this end without hope&lt;br /&gt;
or, indeed, desire of pecuniary return.&amp;quot; The&lt;br /&gt;
expenses of the first year are assumed by forty&lt;br /&gt;
guarantors.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 334 (#738) ############################################&lt;br /&gt;
&lt;br /&gt;
334&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Under the title &amp;quot;Some Aspects and Tendencies&lt;br /&gt;
of Current Fiction,&amp;quot; Mr. J. Stanley Little will&lt;br /&gt;
contribute a series of articles on contemporary&lt;br /&gt;
fiction to the Library Review, a journal for&lt;br /&gt;
librarians and general readers, the first number of&lt;br /&gt;
which appears this month.&lt;br /&gt;
The Leadenhall Press has l&amp;gt;een turned into a&lt;br /&gt;
limited liability company, with Mr. Andrew W. Tuer&lt;br /&gt;
as managing director. No prospectus is issued.&lt;br /&gt;
Who is &amp;quot; John Oliver Hobbes,&amp;quot; author of &amp;quot; Some&lt;br /&gt;
Emotions and a Moral &amp;quot;? There have been guesses&lt;br /&gt;
and suggestions. Mr. Oscar Wilde has been con-&lt;br /&gt;
fidently proposed as the probable author of the&lt;br /&gt;
1xk)1c. But it is not given to many to discover the&lt;br /&gt;
author from internal evidence alone. It is not&lt;br /&gt;
Mr. Oscar Wilde. Then many have thought that&lt;br /&gt;
it was the work of a woman. They are quite&lt;br /&gt;
right. John Oliver Hobbes is a woman. Further&lt;br /&gt;
than that I am not allowed by my informant to go.&lt;br /&gt;
Meantime, in the hope that these lines may reach&lt;br /&gt;
her&mdash;since I have not been told her address&mdash;I&lt;br /&gt;
venture to express, very humbly, the hope that&lt;br /&gt;
we may, before long, enjoy more Emotions with or&lt;br /&gt;
without a Moral.&lt;br /&gt;
Mr. W. A. Gibbs is about to bring out a con-&lt;br /&gt;
tinuation of his &amp;quot; Idylls of a Queen&amp;quot; in April, as&lt;br /&gt;
an &amp;quot;Easter Offering to a Princess.&amp;quot; The book&lt;br /&gt;
will be published by Sampson Low and Co.&lt;br /&gt;
In the last number, &amp;quot;Maisie Derrick&amp;quot; should&lt;br /&gt;
have been announced as the work of Mrs. Katharine&lt;br /&gt;
S. Macquoid.&lt;br /&gt;
Mrs. Leith Adams (Mrs. Laffan) has just brought&lt;br /&gt;
out her latest volume with Eden, Remington &amp;amp; Co.&lt;br /&gt;
It is in one volume, and is called a &amp;quot;Garrison&lt;br /&gt;
Romance.&amp;quot; Bright, lively, natural, true, and&lt;br /&gt;
womanly. One cannot use all these adjectives at&lt;br /&gt;
once for many books. The serial current in House-&lt;br /&gt;
hold Words, &amp;quot;Estelle,&amp;quot; is also by Mrs. Laffan.&lt;br /&gt;
Mr. W. Carlton Dawe&amp;#039;s new Australian romance,&lt;br /&gt;
&amp;quot;Mount Desolation,&amp;quot; will be issued by Messrs.&lt;br /&gt;
Cassells early in this month.&lt;br /&gt;
Lady Fairlio Cunningham&amp;#039;s new novel, &amp;quot;A&lt;br /&gt;
Wandering Star,&amp;quot;&mdash;3 volumes&mdash;will be published&lt;br /&gt;
about the 20th of March (Ward and Downey).&lt;br /&gt;
D. Appleton and Co. are bringing out the third&lt;br /&gt;
volume of McMaster&amp;#039;s &amp;quot; History of the People of&lt;br /&gt;
the United States.&amp;quot; It covers the period from the&lt;br /&gt;
Louisiana purchase down to the beginning of the&lt;br /&gt;
War of 1812 and Hull&amp;#039;s surrender at Detroit, and&lt;br /&gt;
thus includes Burr&amp;#039;s conspiracy, the Embargo and&lt;br /&gt;
it effects, and a review of the social, economical,&lt;br /&gt;
and political development of the people since&lt;br /&gt;
178+.&lt;br /&gt;
Scribner&amp;#039;s for March will contain the last poem&lt;br /&gt;
written by James Russell Lowell, and &amp;quot;the only&lt;br /&gt;
one of consequence that ho left in manuscript.&amp;quot;&lt;br /&gt;
It is called &amp;quot;On a Bust of Gen. Grant.&amp;quot; One of&lt;br /&gt;
the stanzas will be given in facsimile.&lt;br /&gt;
A selection of Moltke&amp;#039;s letters to his mother and&lt;br /&gt;
to his brothers is promised by the Harpers.&lt;br /&gt;
Mr. T. P. O&amp;#039;Connor, M.P., has translated Pierre&lt;br /&gt;
Loti&amp;#039;s work, &amp;quot;The Book of Pity and of Death,&amp;quot;&lt;br /&gt;
and it will be published by Messrs. Cassell.&lt;br /&gt;
Mr. Joseph Knight, perhaps the l&amp;gt;est-kno\vn of&lt;br /&gt;
London critics, is about to publish a volume of&lt;br /&gt;
reminiscences of the stage.&lt;br /&gt;
Fiction is to have a magazine all to itself.&lt;br /&gt;
Under the title the Long Quarterly Mr. Elliot&lt;br /&gt;
Stock will publish every three months a new novel.&lt;br /&gt;
The Long Quarterly will be published at half-a-&lt;br /&gt;
crown. The first number will be entitled &amp;quot; Until&lt;br /&gt;
My Lord Returns,&amp;quot; by Admiral Hinton.&lt;br /&gt;
A new translation of the &amp;quot;Memoirs of Mar-&lt;br /&gt;
guerite de Valois, Queen of Navarre.&amp;quot; (Ninnuo.)&lt;br /&gt;
The book will be provided with an introduction&lt;br /&gt;
and notes by the translator, Violet Fane, and will&lt;br /&gt;
be illustrated by portraits from contemporary en-&lt;br /&gt;
gravings. It is dedicated to the Due d&amp;#039;Aumale.&lt;br /&gt;
Mr. Fronde&amp;#039;s masterly papers on the Spanish&lt;br /&gt;
Story of the Armada, with other essays, are to be&lt;br /&gt;
published in book form before long. (Longmans.)&lt;br /&gt;
Mr. Charles Booth has ready for publication a&lt;br /&gt;
book called &amp;quot;A Picture of Pauperism, with some&lt;br /&gt;
remarks on the Endowment of Old Age.&amp;quot;&lt;br /&gt;
(Macmillan.)&lt;br /&gt;
Sir Edwin Arnold&amp;#039;s new volume will be called&lt;br /&gt;
&amp;quot;Potiphar&amp;#039;s Wife and other Poems.&amp;quot; (Long-&lt;br /&gt;
mans.)&lt;br /&gt;
Lord Lytton&amp;#039;s last Poems will probably appear&lt;br /&gt;
this month. (Longmans.) The volume is entitled&lt;br /&gt;
&amp;quot;Marah.&amp;quot;&lt;br /&gt;
The last poems of Philip Bourke Marston will&lt;br /&gt;
be published in Boston by Roberts Brothers, with a&lt;br /&gt;
preface and biographical sketch by Mrs. Louise&lt;br /&gt;
Chandler Moult on.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 335 (#739) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
335&lt;br /&gt;
Mr. Lowell&amp;#039;s &amp;quot;Lectures on the English&lt;br /&gt;
Dramatists&amp;quot; will be published in book form&lt;br /&gt;
next autumn by Messrs. Houghton, Mifliin and Co.&lt;br /&gt;
Professor Karl Pearson has almost ready a book&lt;br /&gt;
willed &amp;quot; The new University for London.&amp;quot; (Fisher&lt;br /&gt;
Unwin.)&lt;br /&gt;
David Wingate, the poet, is dead at the age of&lt;br /&gt;
sixty-four.&lt;br /&gt;
Mrs. Spender&amp;#039;s last three-volume novel &amp;quot;Lady&lt;br /&gt;
Hazleton&amp;#039;s Confessions&amp;quot; will be published imme-&lt;br /&gt;
diately by Messrs. Sonnensehein. Her new novel,&lt;br /&gt;
originally called &amp;quot; For better, for worse,&amp;quot; has been&lt;br /&gt;
run by a newspaper syndicate. That title has&lt;br /&gt;
been already used, and it is now called &amp;quot;A&lt;br /&gt;
Waking.&amp;quot;&lt;br /&gt;
The author of a &amp;quot;Game at Bluff&amp;quot; is getting&lt;br /&gt;
steadily to the front. A man is always at a dis-&lt;br /&gt;
advantage who has an elder brother in the same&lt;br /&gt;
line and already successful, but Henry Murray is&lt;br /&gt;
like Henry Kingsley. He cannot be mistaken for&lt;br /&gt;
his brother, and he has a following of his own.&lt;br /&gt;
The &amp;quot; Song of Sixpence,&amp;quot; just out, is distinctly&lt;br /&gt;
&amp;quot;clever,&amp;quot; in the best sense of the word&mdash;dex-&lt;br /&gt;
terous in construction, and possessed of the&lt;br /&gt;
&amp;quot;grip&amp;quot; which the bad novelist toils after in vain,&lt;br /&gt;
and the real novelist has by nature.&lt;br /&gt;
&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Eyton, Preb. Robert. The Lord&amp;#039;s Prayer. Sermons.&lt;br /&gt;
Kegan Paul.&lt;br /&gt;
Fleming, Rev. James, B.D. Recognition in Eternity : a&lt;br /&gt;
Sermon preached before their Royal Highnesses the&lt;br /&gt;
Prince and Princess of Wales in Sandringham Church&lt;br /&gt;
on Sunday morning, January 24, 1892. Printed by&lt;br /&gt;
command of their Royal Highnesses the Prince and&lt;br /&gt;
Princess of Wales. Skeffington and Son, 16 3, Picca-&lt;br /&gt;
dilly, is.&lt;br /&gt;
Kempis, Thomas X. Meditations on the Life of Christ.&lt;br /&gt;
Translated and edited by Archdeacon Wright, M.A.,&lt;br /&gt;
and the Rev. S. Kettlewell, M.A., with a preface by&lt;br /&gt;
the latter. Parker and Co.&lt;br /&gt;
MacLaughlin, Rev. J. Is one Religion as Good as&lt;br /&gt;
Another? 27th thousand. Hums and Oatcs. 2&raquo;.&lt;br /&gt;
Magee, the late W. C., D.D. Christ the Light of all&lt;br /&gt;
Scripture. Edited by Charles S. Magee. Isbister,&lt;br /&gt;
Tavistock Street, Covent Garden. ys. id.&lt;br /&gt;
Maurice, F. D. Sermons preached in Lincoln&amp;#039;s Inn&lt;br /&gt;
Chapel. In 6 vols. Vol. IV. New edition. Macmillun.&lt;br /&gt;
3&laquo;. 6d.&lt;br /&gt;
Metropolitan Tabernacle PoLrrr. Sermons preached&lt;br /&gt;
and revised by C. H. Spurgeon during 1891. Vol.&lt;br /&gt;
XXXVII. 7*.&lt;br /&gt;
Metrics:, Frederick, M.A. The Church in Spain. With&lt;br /&gt;
Map. The &amp;quot;National Churches&amp;quot; Series. Wells,&lt;br /&gt;
Gardner, Darton.&lt;br /&gt;
Rawlinson, Canon. The Pulpit Commentary&mdash;Job. Ex-&lt;br /&gt;
position. Homilectics by the Rev. T. Whitelaw, D.D.&lt;br /&gt;
Homilies by various authors. Kegan Paul.&lt;br /&gt;
Robertson, James, D.D. The Early Religion of Israel.&lt;br /&gt;
The Baird Lecture for 1889. Blackwood.&lt;br /&gt;
Taylor, Rev. E. H. Messages from the Cross to the&lt;br /&gt;
World. Griffith Farran. is. 6d.&lt;br /&gt;
Voysey, Rev. Charles. The Bible and Modern Criticism:&lt;br /&gt;
Three Sermons preached at the Theistic Church.&lt;br /&gt;
Williams and Norgate. Paper covers, $d.&lt;br /&gt;
Wickham, Rev. E. C. The Church Catechism. Notes&lt;br /&gt;
and Questions intended to help towards its teaching in&lt;br /&gt;
the middle forms of public schools. Percival and Co.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Adam, G. Mercer. The Life and Career of Sir John A.&lt;br /&gt;
Macdonald. Based on the work of Edmund Collins j&lt;br /&gt;
revised, with additions to date. Sampson Low. i6&raquo;.&lt;br /&gt;
Aitkin, George A. The Life and Works of John&lt;br /&gt;
Arbuthnot, M.D., F.R.C.P. With Portrait. Clarendon&lt;br /&gt;
Press. 16s.&lt;br /&gt;
Beesly, E. Spencer. Queen Elizabeth. &amp;quot;Twelve English&lt;br /&gt;
Statesmen&amp;quot; Scries. Macmillan. is. 6d.&lt;br /&gt;
Carlyle, Thomas. Lectures on the History of Literature.&lt;br /&gt;
Delivered by, April to July, 1838. Now printed for&lt;br /&gt;
the first time. Edited, with preface and notes, by&lt;br /&gt;
Professor J. Reay Greene. Ellis and Elvey. 5*.&lt;br /&gt;
Lectures on the History of Literature, delivered&lt;br /&gt;
in i838 by. Now first published from the Anstey MS.&lt;br /&gt;
in the library of the Bombay Branch, Royal Asiatic&lt;br /&gt;
Society. Edited, with an introduction and notes, by&lt;br /&gt;
R. P. Karkaria. Johnson, Times of India Office,&lt;br /&gt;
Fleet Street. 12J.&lt;br /&gt;
Cotton Smith, Rev. H. A History of Spilsby in Lincoln-&lt;br /&gt;
shire, with notes on Ercsby and other places connected&lt;br /&gt;
therewith&mdash;&amp;quot; The Town of Sir John Franklin.&amp;quot; The&lt;br /&gt;
Spilsby Printing Company.&lt;br /&gt;
Dunbar-Ingram, T., LL.D. England and Rome: a&lt;br /&gt;
History of the Relations between the Papacy and the&lt;br /&gt;
English State and Church from the Norman Conquest&lt;br /&gt;
to the Revolution of 1688. Longmans. 141.&lt;br /&gt;
Fyfe, H. Hamilton. Annals of Our Times, a record of&lt;br /&gt;
events sccial and political,home and foreign. Vol. III.&lt;br /&gt;
Part II., 1891. Macmillan. Paper covers. 1*. Also&lt;br /&gt;
in cloth boards.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 336 (#740) ############################################&lt;br /&gt;
&lt;br /&gt;
336&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Hosmer, .Tames K. A Short History of German Literature.&lt;br /&gt;
Itevised edition. Sampson Low. 7s. Sd.&lt;br /&gt;
Keene, H. G., CLE. Mddhava Rao Sindhia, otherwise&lt;br /&gt;
called Madhoji. &amp;quot;Rulers of India&amp;quot; Series. Edited&lt;br /&gt;
by Sir W. W. Hunter. Clarendon Press. 2s. 6d.&lt;br /&gt;
Lecky, W. E. H. A History of England in the Eighteenth&lt;br /&gt;
Century. New edition. Vol. II. Longmans. 6s.&lt;br /&gt;
Oxdcastle, John. Memorials of Cardinal Manning.&lt;br /&gt;
Arranged and edited by. Bums and Oates.&lt;br /&gt;
Old England: Sketches of English History. By E. A. W.&lt;br /&gt;
Hunt and Co., Paternoster Row. 3s. 6d.&lt;br /&gt;
Oliphant, Mrs. Jerusalem: its History and Hope. With&lt;br /&gt;
wood engravings from drawings by Hamilton Aide, and&lt;br /&gt;
photographs by F. M. Good. Macrnillau. 5os.&lt;br /&gt;
Pike, Godfrey H. The Life and Work of Archibald G.&lt;br /&gt;
Brown, preacher and philanthropist. With an intro-&lt;br /&gt;
duction by Sir S. A. Blackwood, is. 6d. Passmore&lt;br /&gt;
and Alabaster.&lt;br /&gt;
Praeger, F. Wagner, as I Knew Him. Longmans.&lt;br /&gt;
7s. 6d.&lt;br /&gt;
Rousset, Camille. Recollections of Marshal Macdonald,&lt;br /&gt;
Duke of Tarentum. Edited by. Translated by Stephen&lt;br /&gt;
Louis Simeon. 2 vols. Bentley.&lt;br /&gt;
Saunders, Wm., L.C.C. History of the First London&lt;br /&gt;
County Council, 1889, 1890, 1891. National Press&lt;br /&gt;
Agency, Whitefriars street, E.C.&lt;br /&gt;
Schwabe, Ludwio. Teuffel&amp;#039;s History of Roman Literature,&lt;br /&gt;
revised and enlarged. Authorised translation from the&lt;br /&gt;
5th German edition, by George C. W. Warr, M.A.&lt;br /&gt;
Vol. II. The Imperial Period. George Bell. iSs.&lt;br /&gt;
Stow, Elizabeth. Stories from Ancient History, from the&lt;br /&gt;
Earliest Records down to B.C. 363. David Stott.&lt;br /&gt;
Symonds, Mrs. J. A. Recollections of a Happy Life, being&lt;br /&gt;
the autobiography of Marianne North, edited by her&lt;br /&gt;
sister. 2 vols. Macrnillau. 17s. net.&lt;br /&gt;
Fiction.&lt;br /&gt;
Allen, Grant. The Duchess of Powysland: a Novel.&lt;br /&gt;
3 vols. Chatto and Windus.&lt;br /&gt;
A Woman&amp;#039;s Victory. By the author of &amp;quot;Ludley&amp;#039;s Widow.&amp;quot;&lt;br /&gt;
Family Story-Teller. Stevens, Strand.&lt;br /&gt;
Baring-Gould, S. Margery of Quether, and other Stories.&lt;br /&gt;
Methuen and Co.&lt;br /&gt;
Boldrewood, Rolf. Nevermore. 3 vols. Macmillan.&lt;br /&gt;
3 is. 6d.&lt;br /&gt;
Braunston-Jones, W. Mithazan: a Secret of Nature.&lt;br /&gt;
3 vols. Fisher Unwin. 3 is. 6d.&lt;br /&gt;
Cambridge, Ada. Not all in Vain. 2 vols. Heinemann&lt;br /&gt;
3 is. 6d.&lt;br /&gt;
Chronicles of Westerly: a Provincial Sketch. By the&lt;br /&gt;
author of &amp;quot; Culmshire Folk.&amp;quot; 3 vols. Blackwood.&lt;br /&gt;
Clark-Russell, W. A Strange Elopement. Illustrated&lt;br /&gt;
by W. H. Overend. Macrnillau. 3s. 6d.&lt;br /&gt;
Cobb, Thomas. Miss Merewether&amp;quot;s Money. 2 vols. Ward&lt;br /&gt;
and Downey.&lt;br /&gt;
. The Westlakes. Griffith, Farran. 6s.&lt;br /&gt;
Crim, Matt. Adventures of a Fair Rebel. Chatto and&lt;br /&gt;
Windus.&lt;br /&gt;
Gerard, Dorothea. Orthodox. Cheap edition. Eden,&lt;br /&gt;
Remington. 3s. 6d.&lt;br /&gt;
■ On the Way Through, and other Tales. Eden,&lt;br /&gt;
Remington.&lt;br /&gt;
Gissing, George. Denzil Quarrier: a Novel. Lawrence&lt;br /&gt;
and Dullen, New Bond Street.&lt;br /&gt;
Grein, J. T. Eline Vere. Translated from the Dutch of&lt;br /&gt;
Louis Conperus by. Chapman and Hall. 5s.&lt;br /&gt;
Harding, Claud. The Bo&amp;#039;s&amp;#039;un of the Psyche. 3 vols.&lt;br /&gt;
Fisher LTnwin. 3 is. 6d.&lt;br /&gt;
Herman, Henry. Eagle Joe: a Wild-West Romance.&lt;br /&gt;
Griffith, Farran. 3s. 6d.&lt;br /&gt;
Hewson, J. J. This and my Pipe. Illustrated. Second&lt;br /&gt;
Edition. Paper covers. Simpkiu, Marshall, is. 3d.&lt;br /&gt;
In Tent and Bungalow. By the nuthor of &amp;quot;Indian&lt;br /&gt;
Idylls.&amp;quot; Methuen.&lt;br /&gt;
Jones, Charles. The Solicitor&amp;#039;s Clerk. Second and&lt;br /&gt;
revised edition. Effingham Wilson. 2s. 6d.&lt;br /&gt;
Leigh-Fry, E. N. A Scots Thistle. 2 vols. Bentley.&lt;br /&gt;
Lytton, Lord. A Strange Story. Caxton Novels.&lt;br /&gt;
Routlcdge.&lt;br /&gt;
Marryat, Florence. There is no Death. Griffith, Farran.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Mitfobd, Bertram. Golden Face, a Tale of the Wild&lt;br /&gt;
West. Trischler. 2s. 6d.&lt;br /&gt;
Nibbet-Bain, R. Pretty Michal. A free translation of&lt;br /&gt;
Maurice Jokai&amp;#039;s romance, &amp;quot;A Szep Mikhal.&amp;quot; Autho-&lt;br /&gt;
rised version. Chapman and Hall. 5s.&lt;br /&gt;
Paterson, Arthur. A Partner from the West. Chapman&lt;br /&gt;
and Hall. 5s.&lt;br /&gt;
Pendleton, Edmund. One Woman&amp;#039;s Way: a Novel.&lt;br /&gt;
Appleton and Company, New York.&lt;br /&gt;
Phillpotts, Eden. Folly and Fresh Air. Trischler.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Pidwell, Ellen. Condemned; or, In the Dark. King,&lt;br /&gt;
Sell, and Railton, Bolt Court, Fleet Street. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Rose, F. W. &amp;quot;I Will Repay.&amp;quot; Eden, Remington.&lt;br /&gt;
&amp;quot;Rox.&amp;quot; Through the Mill, or Rambles in Texas. Sampson&lt;br /&gt;
Low. Paper covers, is.&lt;br /&gt;
Schallenbergeh, V. Green Tea: a Love Story. Vol. of&lt;br /&gt;
the Pseudonym Library. Fisher Unwin. Paper covers,&lt;br /&gt;
is. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 337 (#741) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
337&lt;br /&gt;
Sims, Gkorgk B. Memoirs of a Mother-in-Law. George&lt;br /&gt;
Newnes (Limited), is. 6d.&lt;br /&gt;
Stowe, Harriet Beecher. Uncle Tom&amp;#039;s Cabin. Illus-&lt;br /&gt;
trated by E. W. Kemble. 2 vols. Sampson Low. 16s.&lt;br /&gt;
Terrell, Thomas. The City of the Just. Illustrated by&lt;br /&gt;
Everard Hopkins. Trisehler. is. 6d.&lt;br /&gt;
Yorke, Curtis. Two on an Island. F. V. White. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
General Literature.&lt;br /&gt;
Annandale, Charles, M.A. A Concise Dictionary of&lt;br /&gt;
the English Language. New and enlarged edition.&lt;br /&gt;
Blackie and Son, Old Bailey. Cloth, 5s.; half morocco,&lt;br /&gt;
9s.&lt;br /&gt;
Anstey, E. Mr. Punch&amp;#039;s Young Reciter, with Introduc-&lt;br /&gt;
tion, Remarks, and Stage Directions. Enlarged and&lt;br /&gt;
illustrated edition. Bradbury, Agnew.&lt;br /&gt;
Armatage, George, M.B.C.V.S. Every Man His Own&lt;br /&gt;
Horse Doctor, in which is embodied Blaine&amp;#039;s Veterinary&lt;br /&gt;
Art. Eourth edition, revised and enlarged. E. Warne.&lt;br /&gt;
2 is.&lt;br /&gt;
Arnold, Sir Edion. Seas and Lands. New edition,&lt;br /&gt;
with illustrations. Longmans. 7s. 6rf.&lt;br /&gt;
Attwood&amp;#039;s Volunteer Artilleryman&amp;#039;s Handbook. Re-&lt;br /&gt;
ports of the Shoeburyness meetings from 1865 to 1892.&lt;br /&gt;
Truelove and Shirley, Oxford Street, is. 6d.&lt;br /&gt;
Ancient Facts and Fictions concerning Churches&lt;br /&gt;
and Tithes. By Roundell, Earl of Selborne. Second&lt;br /&gt;
edition, with a Supplement containing remarks on a&lt;br /&gt;
recent history of tithes. Macmillan. 7s. 6d.&lt;br /&gt;
Bennett, A. R. On the Telephoning of Great Cities, and&lt;br /&gt;
on an Electrical Parcel Exchange System. Papers&lt;br /&gt;
read before the British Association. Revised, with&lt;br /&gt;
notes. Whittaker &amp;amp; Co. Paper covers, is.&lt;br /&gt;
Brown, Dr. Robert. The Story of Africa and its Ex-&lt;br /&gt;
plorers. Assisted by eminent African travellers. In&lt;br /&gt;
monthly parts. Part I., with may and illustrations.&lt;br /&gt;
Cassell. Paper covers, yd.&lt;br /&gt;
Bullock, Charles. Temperance Talks. Home Words&lt;br /&gt;
Office, Paternoster Square. Paper covers. $d.&lt;br /&gt;
Britannic Confederation. A series of Papers by&lt;br /&gt;
Admiral Sir John Colomb, Professor E. A. Freeman,&lt;br /&gt;
G. G. Chisholm, Professor Shield Nicholson, Maurice&lt;br /&gt;
H. Hervey, and Lord Thring. Edited, with an intro-&lt;br /&gt;
duction, by Arthur Silva White. Published by the&lt;br /&gt;
authority of the Royal Scottish Geographical Society.&lt;br /&gt;
Reprinted from the Scottish Geographical Magazine.&lt;br /&gt;
With a new map of the British Empire. George&lt;br /&gt;
Philip, Fleet Street. 3s. 6d.&lt;br /&gt;
Cobb, A. Stanley. Metallic Reserves and the Meeting of&lt;br /&gt;
Parliament. Effingham Wilson. Paper covers. 6d.&lt;br /&gt;
Cochrane, Patrick, R. W. Mediaival Scotland: Chapters&lt;br /&gt;
on Agriculture, Manufactures, Factories, Taxation,&lt;br /&gt;
Revenue, Trade, Commerce, Weights and Measures.&lt;br /&gt;
James Maclehose, Glasgow. 7s. &pound;&amp;gt;&amp;lt;/. net.&lt;br /&gt;
Craie, Alexander, F.S.A. America and the Americans. A&lt;br /&gt;
narrative of a tour in the United States and Canada,&lt;br /&gt;
with chapters on American home life. Gardner,&lt;br /&gt;
Paternoster Square.&lt;br /&gt;
Dilke, Sir Charles and Spenser Wilkinson. Imperial&lt;br /&gt;
Defence. Macmillan. 3s. 6d.&lt;br /&gt;
Dredge, James. The Columbian Exposition of 1893.&lt;br /&gt;
What to see, and how to get there. Part I., The City&lt;br /&gt;
of Chicago and her Exposition. Part II., The Poly-&lt;br /&gt;
technic Cheap Trips to Chicago. The Polytechnic,&lt;br /&gt;
Regent Street. Paper covers. 6d.&lt;br /&gt;
Edwards, F. A. Early Hampshire Printers. Hampshire&lt;br /&gt;
Independent Office, Southampton. Paper covers.&lt;br /&gt;
Florence, W. J. The Handbook of Poker. Routledge.&lt;br /&gt;
Flugel, Dr. Felix. A Universal English-German and&lt;br /&gt;
German-English Dictionary. Supplementary part.&lt;br /&gt;
Asher, Bedford Street, Covcut Garden.&lt;br /&gt;
Goschen, Rt. Hon. G. J., M.P. The Theory of the Foreign&lt;br /&gt;
Exchanges. Fifteenth edition. Effingham Wilson.&lt;br /&gt;
Harper, Charles G. English Pen Artists of To-day.&lt;br /&gt;
Examples of their Work, with some Criticisms and&lt;br /&gt;
Appreciations. Percival and Co. 3/. 3s.&lt;br /&gt;
Hessels, J. H. Archives of the London Dutch Church.&lt;br /&gt;
Register of attestations or certificates of membership,&lt;br /&gt;
confessions of guilt, and other papers preserved in the&lt;br /&gt;
Dutch Reformed Church, Austinfriars, London, i568&lt;br /&gt;
to 1872. Edited by David Nutt.&lt;br /&gt;
Hodgkins, J. E., and Edith. Examples of Early English&lt;br /&gt;
Pottery, named, dated, and inscribed. Printed for the&lt;br /&gt;
authors, by private subscription, by Cassell &amp;amp; Co.&lt;br /&gt;
Hoffmann, Prof. Card Tricks with Apparatus, and Card&lt;br /&gt;
Tricks without Apparatus. With illustrations and&lt;br /&gt;
diagrams. E. Wanie. is. each.&lt;br /&gt;
Huish, Marcus B. The Year&amp;#039;s Art. Compiled by. With&lt;br /&gt;
full-page illustrations. J. S. Virtue.&lt;br /&gt;
Ignotus. The Essential Foundation of Real Army Reform.&lt;br /&gt;
Eyre and Spottiswoode. Paper covers. 6d.&lt;br /&gt;
The India Office List for 1892, containing an account&lt;br /&gt;
of the services of officers in the Indian service,&lt;br /&gt;
and other information. Harrison and Sons. 6s.&lt;br /&gt;
The India List, Civil and Military. January, 1892.&lt;br /&gt;
W. H. Allen, Waterloo Place. 10*. 6&amp;lt;f.&lt;br /&gt;
Journal of the Leprosy Investigation Committee.&lt;br /&gt;
Edited by Phiueas S. Abraham, M.A., M.D., Medical&lt;br /&gt;
Secretary to the Committee. No. 4. December, 1891.&lt;br /&gt;
Published for the Committee by Macmillan. 2s. 6d.&lt;br /&gt;
Kalm&amp;#039;s Account of ins Visit to England, on his&lt;br /&gt;
way to America, in 1748. Translated by Joseph&lt;br /&gt;
Lucas, with maps and illustrations. Macmillan. 12s.&lt;br /&gt;
Keene, H. G. The Literature of France. University&lt;br /&gt;
Extension Manual Series. John Murray.&lt;br /&gt;
Kelly&amp;#039;s Handbook to the Titled, Landed, and Official&lt;br /&gt;
Classes for 1892. Kelly &amp;amp; Co., Great Queen&lt;br /&gt;
Street, W.C. 16s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 338 (#742) ############################################&lt;br /&gt;
&lt;br /&gt;
338&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Kennedy, Admiral. Sporting Sketches in South America&lt;br /&gt;
with map and illustrations. E. H. Porter, Princes&lt;br /&gt;
Street, Cavendish Square.&lt;br /&gt;
Lang, Andrew. Books and Bookmen. A new edition.&lt;br /&gt;
Longmans, u. 6d.&lt;br /&gt;
Loeing, G. B., M.D. A Year in Portugal, 1889-1890.&lt;br /&gt;
G. P. Putnam&amp;#039;s Sons, King Willian Street, Strand.&lt;br /&gt;
Lyon, I. Whitall, M.D. The Colonial Furniture of New&lt;br /&gt;
England: A Study of the Domestic Furniture in use&lt;br /&gt;
in the 17th and 18th centuries. Illustrated. Houghton&lt;br /&gt;
and Miffin, Riverside Press, Cambridge.&lt;br /&gt;
&amp;quot;M.&amp;quot; A Prosperous Kingdom : or a Vision of the Possible.&lt;br /&gt;
The problem of pensions for old age discussed, and&lt;br /&gt;
how to empty the workhouses. Slater, Strand. Paper&lt;br /&gt;
covers. 6d.&lt;br /&gt;
Macquere, T. Miller, LL.D. A Summary of the Powers&lt;br /&gt;
and Duties of the London County Council. Second&lt;br /&gt;
edition. Simpkin, Marshall. Paper covers, id.&lt;br /&gt;
Mew, James, and J. Ashton. Drinks of .the World, with&lt;br /&gt;
illustrations. The Leadenhall Press, it. is.&lt;br /&gt;
Morris, Rev. M. C. F. Yorkshire Folk Talk, with&lt;br /&gt;
characteristics of those who speak it in the North and&lt;br /&gt;
East Ridings. Henry Frowde, Amen Corner: York,&lt;br /&gt;
John Sampson. 7s. dd. net.&lt;br /&gt;
Nottklle, L., B.A. The French Peasantry since the&lt;br /&gt;
Revolution of 1789. Simpkin, Marshall. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Picot, M. Georges. Self-Help for Labour: an Address.&lt;br /&gt;
Some French solutions of working-class problems.&lt;br /&gt;
Published by the Liberty and Property Defence League.&lt;br /&gt;
Victoria Street, S.W. Paper covers, id.&lt;br /&gt;
Priestley, Neville. Distance and Route Tables, India:&lt;br /&gt;
showing the shortest distance and route between any&lt;br /&gt;
two stations in India, also alternative routes between&lt;br /&gt;
them. Indian State Railways. Second edition, revised&lt;br /&gt;
and corrected. Printed at the Education Society&amp;#039;s&lt;br /&gt;
Steam Press, Bombay.&lt;br /&gt;
Reeves, Edward. Homeward Bound, after Thirty Years.&lt;br /&gt;
A Colonist&amp;#039;s Impressions of New Zealand, Australia,&lt;br /&gt;
Tangier, and Spain. With illustrations. SwanSonnen-&lt;br /&gt;
schein.&lt;br /&gt;
Richards, H. C., and W. H. C. Payne. The Metropolitan&lt;br /&gt;
Water Supply: a compendium of the history, the law,&lt;br /&gt;
and the transactions relating to the Metropolitan Water&lt;br /&gt;
Companies from earliest times to the present day.&lt;br /&gt;
Collected and collated by. Argus Printing Company,&lt;br /&gt;
Temple Avenue.&lt;br /&gt;
Saintsbury, George. Specimens from Defoe&amp;#039;s Minor&lt;br /&gt;
Novels. Edited by. Volume of the Pocket Library&lt;br /&gt;
of English Literature. P ercival. 3s. 6d.&lt;br /&gt;
Sayce, Professor A. H. Records of the Past: being&lt;br /&gt;
English Translations of the Ancient Monuments of&lt;br /&gt;
Egypt and Western Asia. New series, edited by.&lt;br /&gt;
Vol. V. Samuel Bagster, Paternoster Row.&lt;br /&gt;
Schaffer, D. A. The Impossibility of Social Democracy:&lt;br /&gt;
being a supplement to &amp;quot;Quintessence of Socialism.&amp;quot;&lt;br /&gt;
Authorised English edition, with a preface by Bernard.&lt;br /&gt;
Bosanquet, M.A. Swann Sonnenschcin.&lt;br /&gt;
Scidmore, E. R. Westward to the Far East. A guide to&lt;br /&gt;
the principal cities of China and Japan. Issued by the&lt;br /&gt;
Canadian Pacific Railway Company.&lt;br /&gt;
Smith, Arthur H. Chinese Characteristics. Kegar.&lt;br /&gt;
Paul.&lt;br /&gt;
Smith, H. Gkeenhough. The Romance of History.&lt;br /&gt;
Bentley.&lt;br /&gt;
Teegan, Thomas H. Technical, Industrial, and Commercial&lt;br /&gt;
Education in France. Simpkin, Marshall.&lt;br /&gt;
Tegetemier, W. B., F.Z.A. Poultry for the Table and&lt;br /&gt;
Market versus Fancy Fowls. With an exposition of&lt;br /&gt;
the fallacies of poultry farming. Horace Cox, Field&lt;br /&gt;
Office, E.C.&lt;br /&gt;
Tredwell, Daniel M. A Monograph on Privately&lt;br /&gt;
Illustrated Books: a Plea for Bibliomania. Privately&lt;br /&gt;
printed at Lincoln Road, Flatbush, Long Island, U.S.&lt;br /&gt;
Verga, Giovanni. The House by the Medlar-Tree.&lt;br /&gt;
Translated by Mary A. Craig, with an introduction by&lt;br /&gt;
W. D. Howells. Red Letter Stories Series. Osgood,&lt;br /&gt;
M&amp;#039;llvaine. 3s. 6d.&lt;br /&gt;
Walters, Alan. Palms and Pearls; or, Scenes in Ceylon.&lt;br /&gt;
Bentley.&lt;br /&gt;
Webb, W. S. California and Alaska, and over the Canadian&lt;br /&gt;
Pacific Railway. Second edition. Illustrated. Put-&lt;br /&gt;
nam&amp;#039;s Sons.&lt;br /&gt;
White, W. H. The Architect and his Artists: an essay to&lt;br /&gt;
assist the public in considering the question, Is archi-&lt;br /&gt;
tecture a profession or an art? Spottiswoode and Co.,&lt;br /&gt;
New Street Square.&lt;br /&gt;
Wilkinson, J. Fhome. Pensions and Pauperism. With&lt;br /&gt;
Notes by T. E. Young, B.A., Vice-President of the&lt;br /&gt;
Institute of Actuaries. Mcthuen. is.&lt;br /&gt;
Wright, H. C. Children&amp;#039;s Stories in English Literature,&lt;br /&gt;
from Shakespeare to Tennyson. Fisher Unwin. Ss.&lt;br /&gt;
Educational.&lt;br /&gt;
Baker, Major Eden, R.A. Preliminary Tactics: an&lt;br /&gt;
introduction to the Study of War for the use of junior&lt;br /&gt;
officers. Kegan Paul.&lt;br /&gt;
Bkndall, H., and C. E. Laurence. Graduated Passages&lt;br /&gt;
from Greek and Latin authors for first sight translation.&lt;br /&gt;
Selected and supplied with short notes for beginners.&lt;br /&gt;
Part II. Moderately easy. Cambridge University&lt;br /&gt;
Pres...&lt;br /&gt;
Cameron, D. A. An Arabic-English Vocabulary, for the&lt;br /&gt;
use of English Students of Modern Egyptian Arabic&lt;br /&gt;
Compiled by. Bernard Quariteh.&lt;br /&gt;
Harrison, W. Jerome. Guides to the Examinations in&lt;br /&gt;
Chemistry and Geology, and Answers to Questions.&lt;br /&gt;
Blackie&amp;#039;s Guides to the Science Examinations. Blackie,&lt;br /&gt;
Old Bailey. Paper covers. 6d. each.&lt;br /&gt;
Hughes, Wm., and J. F. Williams. Advanced Classbook&lt;br /&gt;
of Modern Geography, Physical, Political, Commercial.&lt;br /&gt;
George Philip, Fleet Street. 6s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 339 (#743) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
339&lt;br /&gt;
Jaschke, Richard. Nutt&amp;#039;s Conversation Dictionaries,&lt;br /&gt;
English-French. Compiled by. David Nutt.&lt;br /&gt;
Pellissier, Eugene, M.A. French and English Passages&lt;br /&gt;
for Unseen Translation and Composition, with Exami-&lt;br /&gt;
nation Papers in Grammar and Idioms. Senior course.&lt;br /&gt;
Edited by.&lt;br /&gt;
Practical Abithmktic Exercises for Senior Pupils, con-&lt;br /&gt;
taining upwards of 6,ooo Examples, with Answers.&lt;br /&gt;
Blackwood.&lt;br /&gt;
Rotal Atlas op Modern Geography. Part IV. W. and&lt;br /&gt;
A. K. Johnston. Paper covers.&lt;br /&gt;
Stanford&amp;#039;s Handy Atlas op Modern Geography&lt;br /&gt;
3o coloured maps. Stanford, Cockspur Street, S.W.&lt;br /&gt;
10s. 6d.&lt;br /&gt;
Wormell, Richard. Plotting, or Graphic Mathematics,&lt;br /&gt;
is. Arnold&amp;#039;s Mathematical Series. Edward Arnold,&lt;br /&gt;
Bedford Street, W.C.&lt;br /&gt;
Wright, Joseph, Ph.D. A Primer of the Gothic Lan-&lt;br /&gt;
guage, with Grammar, Notes, and Glossary. Clarendon&lt;br /&gt;
Press. 4&laquo;. 6d.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
&amp;quot;A.&amp;quot; Sonnets and Poems. John Flack, High Holborn.&lt;br /&gt;
Blakeney, E. H., and D. M. Panton. Poems by Two&lt;br /&gt;
Friends. Palmer, Little Queen Street, W.C. Paper&lt;br /&gt;
covers. I*, net.&lt;br /&gt;
Dennis, John. The Poetical Works of Sir Walter Scott.&lt;br /&gt;
Edited, with Memoir, by. In 5 vols. Vol. I., with&lt;br /&gt;
portrait. Aldine Edition. George Bell. is. 6d.&lt;br /&gt;
Earle, John, M.A. The Deeds of Beowulf: an English&lt;br /&gt;
Epic of the Eighth Century, done into modern prose.&lt;br /&gt;
With an Introduction and Notes by. Clarendon Press.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Lamb, Charles and Mary. Poetry for Children, i vols.&lt;br /&gt;
The Leadenhall Press. Leather binding.&lt;br /&gt;
Ross, Ronald. The Deformed Transformed: a Play.&lt;br /&gt;
Chapman and Hall. 3j. 6d.&lt;br /&gt;
Saintsbury, George. Political Verse. Edited by. Volume&lt;br /&gt;
of the Pocket Library of English Literature. Percival.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Shorter, C. K. Lyrics and Sonnets of Wordsworth.&lt;br /&gt;
Selected and edited by. The Stott Library. David&lt;br /&gt;
Stott, Oxford Street.&lt;br /&gt;
Towndrow, R. F. A Garden and other Poems. Fisher&lt;br /&gt;
Uuwin. 2S. 6d.&lt;br /&gt;
The Professor and other Poems. By the author of&lt;br /&gt;
&amp;quot;Moods.&amp;quot; Kegan Paul.&lt;br /&gt;
Watson, Wm. Poems. Macmillau. Ss.&lt;br /&gt;
Law.&lt;br /&gt;
Crawley, Charles. The Law of Husband and Wife.&lt;br /&gt;
Clowes and Sons, Fleet Street. ios.&lt;br /&gt;
The Law of Mcstcal and Dramatic Copyright. By&lt;br /&gt;
Edward Cutler, Q.C., Thomas Eustace Smith, and&lt;br /&gt;
Frederick E. Weatherly, Barristers-at-Law. Revised&lt;br /&gt;
edition. Cassell. 3s. 6d.&lt;br /&gt;
Oswald, J. F. Contempt of Court, Committal, and&lt;br /&gt;
Attachment, and Arrest upon Civil Process in the&lt;br /&gt;
Supreme Court, with the Practice and Forms. Clowes.&lt;br /&gt;
us. 6d.&lt;br /&gt;
Practical Hints on the Preparation and Registration&lt;br /&gt;
of Joint Stock Companies&amp;#039; Forms. With prece-&lt;br /&gt;
dents, table of fees, and stamp duties, and an index.&lt;br /&gt;
Waterlow and Sons, London Wall. u. 6d.&lt;br /&gt;
Piooott, F. T. Exterritoriality: the Law relating to&lt;br /&gt;
Consular Jurisdiction and to Residence in Oriental&lt;br /&gt;
Countries. Clowes, lit.&lt;br /&gt;
Warbhrton, Henrt. A Selection of Leading Cases in&lt;br /&gt;
the Criminal Law (founded on Shirley&amp;#039;s leading cases),&lt;br /&gt;
with notes. Stevens, Chancery Lane. 9*.&lt;br /&gt;
Science.&lt;br /&gt;
Bell, Robert, M.D. Tuberculosis and its Successful&lt;br /&gt;
Treatment. David Bryce, Glasgow. i&laquo;. 6d.&lt;br /&gt;
Bcbddicker, Otto. The Milky Way, from the North Pole&lt;br /&gt;
to 10 deg. of south declination. Drawn at the Earl&lt;br /&gt;
of Rosse&amp;#039;s Observatory at Birr Castle. Longmans.&lt;br /&gt;
3os.&lt;br /&gt;
Meyer, Lothar. Outlines of Theoretical Chemistry.&lt;br /&gt;
Translated by P. P. Bedson, D.Sc, and W. Carleton&lt;br /&gt;
Williams, B.Sc. With a preface by the author.&lt;br /&gt;
Longmans, qs.&lt;br /&gt;
Shaw, John, M.D. Epitome of Mental Diseases. For&lt;br /&gt;
practitioners and students. Simpkin, Marshall; and&lt;br /&gt;
Wright, Bristol.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Analysis of the evidence taken before the House of Lords&lt;br /&gt;
Committee on Metropolitan Hospitals (i&laquo;.). Agree-&lt;br /&gt;
ment between Great Britain and Tonga relative to the&lt;br /&gt;
Trial of British Subjects by the &amp;#039;J&amp;#039;ongan Courts (&pound;&amp;lt;/.).&lt;br /&gt;
Protocol between Great Britain and Uruguay amending&lt;br /&gt;
the Treaty of March 26, 1884, for the Mutual Extra-&lt;br /&gt;
dition of Fugitive Criminals (J&amp;lt;/.). Treaty between&lt;br /&gt;
Great Britain and Spain for the Suppression of the&lt;br /&gt;
African Slave Trade (id.). Declaration between the&lt;br /&gt;
Governments of Great Britain and Belgium respecting&lt;br /&gt;
the North Sea Fisheries (id.). Declaration between&lt;br /&gt;
the Governments of Great Britain and France for the&lt;br /&gt;
execution of the agreement signed last year for the re-&lt;br /&gt;
gulation of the Telephonic Service between the two&lt;br /&gt;
countries (id.). Return of Tramways (Street and&lt;br /&gt;
Road) Statistics for the year ended June 3o last (3d.).&lt;br /&gt;
Consumption of Opium in India. Letter from the&lt;br /&gt;
Government of India (is.). Annual Report of the&lt;br /&gt;
Educational Endowments (Ireland) Commissioners for&lt;br /&gt;
1890-91 with abstract of the minutes of the Commis-&lt;br /&gt;
sion, minutes of evidence and appendices (3s. qd.).&lt;br /&gt;
Foreign Office, miscellaneous series. Netherlands,&lt;br /&gt;
report on the evidence taken at Rotterdam and Amster-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 340 (#744) ############################################&lt;br /&gt;
&lt;br /&gt;
34&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
dam by the Dutch Labour Commission (i|d.). further&lt;br /&gt;
Correspondence respecting the Egyptian Exiles in&lt;br /&gt;
Ceylon (i&pound;d.). Comparative statement of Pauperism&lt;br /&gt;
for December, 1891 (2d.). Return as to Alien&lt;br /&gt;
Immigration for January (jd.). Report by the Board&lt;br /&gt;
of Trade upon all the Railway, &amp;amp;c. Bills of Session&lt;br /&gt;
1891 (5jd.). Foreign Office&mdash;Miscellaneous Series,&lt;br /&gt;
Nos. 209 to 219, reports of the subjects of general and&lt;br /&gt;
commercial interest. Foreign Office&mdash;Annual Series,&lt;br /&gt;
Nos. 938 to 978, Diplomatic and Consular reports on&lt;br /&gt;
trade and finance. Annual Report on the instruction&lt;br /&gt;
carried on at the School of Musketry, Hythe, during&lt;br /&gt;
1890, and on the progress of musketry instruction iu&lt;br /&gt;
the Army during the year ended March 3i, 1891 (63.),&lt;br /&gt;
Report on the Strikes and Lock-outs of 1890, by the&lt;br /&gt;
Labour Correspondent of the Board of Trade (2s. 1 id.).&lt;br /&gt;
Return as to Licensed Premises in Scotland (2s. 3d.).&lt;br /&gt;
Reports of the Chief Registrar of Friendly Societies&lt;br /&gt;
for the year ending December 3i, 1890, Part O,&lt;br /&gt;
Appendix (L), Trade Unions (2^/.). Comparative&lt;br /&gt;
Statement of Pauperism (England and Wales) for&lt;br /&gt;
November, 1891 (2d.). Foreign Office Annual Series.&lt;br /&gt;
Report for 1891 on the Trade of France (i^d.).&lt;br /&gt;
Accounts relating to Trade and Navigation of the&lt;br /&gt;
United Kingdom for January, 1892 (4^/.). Ten&lt;br /&gt;
Years&amp;#039; Sunshine in the British Isles, 1881-1890 (ts.).&lt;br /&gt;
Harmonic Analysis of Hourly Observations of Air,&lt;br /&gt;
Temperature, and Pressure at British Observatories&lt;br /&gt;
(12s.). Hourly Means of the Readings obtained from&lt;br /&gt;
the Self-recording Instruments at the Four Observa-&lt;br /&gt;
tories under the Meteorological Council, 1888 (20s.).&lt;br /&gt;
Post Office Telegraphs (Capital Account) (id.).&lt;br /&gt;
Chelsea Hospital, account 1890-91 (id.). Imperial&lt;br /&gt;
Defence Act, 1888; Ports and Coaling Stations,&lt;br /&gt;
account 1890-91 (id.). Irish Land Commission,&lt;br /&gt;
report on sales completed within the six months ended&lt;br /&gt;
June 3o, 1891 (id.). Post Office Contract as to the&lt;br /&gt;
Portsmouth and Ryde mails (id.). Military Forces&lt;br /&gt;
Localization, Account 1890-91 (id.). Official Paper:&lt;br /&gt;
Agricultural Returns of Great Britain, with Abstract&lt;br /&gt;
Returns for the United Kingdom, British Possessions,&lt;br /&gt;
and Foreign Countries (nd.). Census of Ireland,&lt;br /&gt;
1891. Part I., vol. I, Leinster. No. 2, County and&lt;br /&gt;
City of Dublin (is. 8d.). Report of the Irish Laud&lt;br /&gt;
Commissioners for the period from August 22, 1890,&lt;br /&gt;
to August 22, 1891 (7jd.). Statistical Tables and&lt;br /&gt;
Report 011 Trade Unions for the years 1889 and 1890&lt;br /&gt;
(5*. ijd.). Barracks Act, 1890, Account 1890-91&lt;br /&gt;
(id.). Supreme Court of Judicature, Account 1890-91&lt;br /&gt;
(3Jd.). Report to the Home Secretary on an Explo-&lt;br /&gt;
sion of Gunpowder at Kaines Factor}&amp;#039; on September 11,&lt;br /&gt;
1891 (id.). Army (Ordnance Factories) Appropria-&lt;br /&gt;
tion Account, 1890-91 (2^d.). Church Temporalities&lt;br /&gt;
(Ireland)&mdash;Report upon the account for the year ended&lt;br /&gt;
March 3i, 1891, with the account for that period, and&lt;br /&gt;
that from July 26, 1869, to March 3i, 1891 (2^d.).&lt;br /&gt;
Duchy of Lancaster&mdash;account for the year ended&lt;br /&gt;
December 21 last (id.) Bank, of England&mdash;annual&lt;br /&gt;
accounts of Exchequer Bills, &amp;amp;c. (id.). Universities&lt;br /&gt;
of Oxford and Cambridge Act, 1877&mdash;amendment to&lt;br /&gt;
the statutes of Peterhouse College, Cambridge (^d.).&lt;br /&gt;
Reports, &amp;amp;c., respecting Peterhead Harbour Works&lt;br /&gt;
(id.). Returns showing particulars relating to Im-&lt;br /&gt;
migration of Indian and Chinese Coolies into Trinidad&lt;br /&gt;
since 1871 ($d.), and into British Guiana since the&lt;br /&gt;
report of the Commission of Inquiry in 1871 (id.).&lt;br /&gt;
Annual Local Taxation Returns for 1889-90 (3s. 4&sect;d.).&lt;br /&gt;
Return as to Licensed Houses in England and Wales&lt;br /&gt;
(id.). Return of the Proceedings of the Irish Land&lt;br /&gt;
Commission during August, December, 1891 (3d.).&lt;br /&gt;
Scheme for the Union of the Benefices of Upper&lt;br /&gt;
Chelsea and St. Jude, Upper Chelsea (id.). Report&lt;br /&gt;
of the Comptroller and Auditor-General upon the&lt;br /&gt;
account of the Irish Land Commission for year&lt;br /&gt;
ended March 3i, 1891, with the account for the period&lt;br /&gt;
from August 22, 1881, to March 3i, 1891 (2d.).&lt;br /&gt;
Royal University of Ireland&mdash;accounts for year ended&lt;br /&gt;
March 3l, 1891 (Jd.). Abstract Accounts of Woods,&lt;br /&gt;
Forests, and Land Revenues, 1890-91 (2^d.). Foreign&lt;br /&gt;
Office Annual Series Report for 1892 on the Finances&lt;br /&gt;
of the Netherlands (ijd.). Report for 1891 on the&lt;br /&gt;
Trade of Patras (Greece) (id.). Report for 1891 on&lt;br /&gt;
the Trade of Zanzibar (zid.). Report of Experiments&lt;br /&gt;
conducted by the Irish Land Commission (Agricul-&lt;br /&gt;
tural Department) in testing the value of Applications&lt;br /&gt;
of Sulphate of Copper to the Potato Crop, and ap-&lt;br /&gt;
pendix to the report. Thorn and Company, Dublin.&lt;br /&gt;
Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 341 (#745) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
341&lt;br /&gt;
THE AUTHORS&amp;#039; SYNDICATE.&lt;br /&gt;
HIS Association is established for the purpose of syndicating or selling&lt;br /&gt;
J_ the serial rights of authors in magazines, journals, and newspapers. It&lt;br /&gt;
has now been at work for more than a year, and has transacted a very&lt;br /&gt;
satisfactory amount of business during this period. It has also entered upon&lt;br /&gt;
a great number of engagements for the future.&lt;br /&gt;
The following points are submitted for consideration :&mdash;&lt;br /&gt;
1. The management is voluntary and unpaid. No one makes any profit&lt;br /&gt;
out of the Syndicate, except the authors who use its services.&lt;br /&gt;
2. The commission charged on the amounts received covers the expenses&lt;br /&gt;
of clerks, travellers, rent, and printing. As work increases this&lt;br /&gt;
may be still further reduced.&lt;br /&gt;
3. Only the serial rights are sold for the author. He receives his&lt;br /&gt;
volume rights and copyright.&lt;br /&gt;
4. The Syndicate has an American agent.&lt;br /&gt;
5. The Syndicate will only work for members of the Society.&lt;br /&gt;
6. Its offices are on the same floor as those of the Society, and its&lt;br /&gt;
assistance and advice are always at the service of the Society.&lt;br /&gt;
7. Authors are warned that no syndicating is possible for them until&lt;br /&gt;
they have already attained a certain amount of popularity.&lt;br /&gt;
8. The Syndicate acts as agent in every kind of literary property.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4, Portugal Street,&lt;br /&gt;
Lincoln&amp;#039;8 Inn Fields.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 342 (#746) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
Not Work, but Play.&lt;br /&gt;
Leave the drudgery of the Pen&mdash;Soiled Fingers&mdash;Blotted and Obscure&lt;br /&gt;
Manuscript, to those who prefer darkness to light. Quick, up-to-date&lt;br /&gt;
writers use&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER.&lt;br /&gt;
Easiest Managed; Soonest Learned; Most Durable; &amp;quot;Writing Always&lt;br /&gt;
Visible; does best work, and never gets out of repair.&lt;br /&gt;
Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals&mdash;&lt;br /&gt;
Edinburgh (1890) and Jamaica (1891) Exhibitions; is used in principal&lt;br /&gt;
Government Departments, and greatest number of English business&lt;br /&gt;
houses.&lt;br /&gt;
We send interesting supply offurther information free.&lt;br /&gt;
THE TYPE-WRITER COMPANY, LIMITED,&lt;br /&gt;
11*14, Queen Victoria Street. London. E.C.; 2J. Market Street. Mnnrliester: i. South John Street, Liverpool;&lt;br /&gt;
32, Rcntield Street. Glasgow ; a, Charle* Street, Mrndford.&lt;br /&gt;
MISS H.. V. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C.&lt;br /&gt;
TYPEWRITING OPPICE,&lt;br /&gt;
ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from i*. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge. Instruction given in&lt;br /&gt;
Pitman&amp;#039;s System of Shorthand and in type-&lt;br /&gt;
writing. References kindly permitted to Walter&lt;br /&gt;
Besant, Esq.&lt;br /&gt;
FURTBER PARTICULARS ON APPLICATION.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
ilVEISS PATTEJT,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TYPIST,&lt;br /&gt;
44, Oakley Street Flats, Chelsea, S.W.&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Peatnre.&lt;br /&gt;
Authors&amp;#039; MSS. Carefully Transcribed. References&lt;br /&gt;
39, Lombard Street, E.C.&lt;br /&gt;
KINDLY rERMITTKD TO GEORGE AUGUSTUS SaLA, Esq.&lt;br /&gt;
Office No. 5!) (clou to Lift).&lt;br /&gt;
Particulars an Application.&lt;br /&gt;
AUTHORS.&mdash;The New York Bureau of Revision aids Authors in completing&lt;br /&gt;
their books; gives competent and unbiassed criticism of Prose or Verse; and offers MSS. and&lt;br /&gt;
proofs in the American Market. Address&mdash;&lt;br /&gt;
Dr. TITUS MUNSON COAN,&lt;br /&gt;
20, West lith Street, New York.&lt;br /&gt;
THE ORIGINAL AUTHORS&amp;#039; AGENCY. Established 1879. Proprietor, Mr. A. M. BURGHES,&lt;br /&gt;
1, PaternOSter ROW. The interests of Authors capably represented. Proposed agreements and estimates&lt;br /&gt;
examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years&amp;#039;&lt;br /&gt;
practical experience in all kinds of publishing nnd book producing. Consultation free. Terms and testimonials from&lt;br /&gt;
leading Authors on application to Mr. A. M. Burghes, Authors&amp;#039; Agent, I, Paternoster Row.&lt;br /&gt;
London: Printed by Kyrk and SrOTTiswooiiE, Printers to the Queen&amp;#039;s most Excellent Majesty.&lt;br /&gt;
Why?</td><td>https://historysoa.com/files/original/5/261/1892-03-01-The-Author-2-10.pdf</td><td>publications, The Author</td></tr><tr><td>262</td><td>https://historysoa.com/items/show/262</td><td>The Author, Vol. 02 Issue 11 (April 1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+11+%28April+1892%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 11 (April 1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1892-04-01-The-Author-2-11</td><td></td><td></td><td></td><td></td><td>343&ndash;380</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892-04-01&quot;&gt;1892-04-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>11</td><td></td><td></td><td>18920401</td><td>Hbe Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESA1TT.&lt;br /&gt;
Vol. II.&mdash;No. ii.]&lt;br /&gt;
APRIL i, 1892.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
[Prick Sixpence.&lt;br /&gt;
TAQE&lt;br /&gt;
Warnings 345&lt;br /&gt;
Notices 345&lt;br /&gt;
Literary Property&mdash;&lt;br /&gt;
I.&mdash;Transfer of Contract 347&lt;br /&gt;
II.&mdash;Literary Agents 348&lt;br /&gt;
11L&mdash;The supposed Increase of Magnalnra 348&lt;br /&gt;
IV.&mdash;The Output 349&lt;br /&gt;
The Authors&amp;#039; Syndicate 349&lt;br /&gt;
American Authors&mdash;&lt;br /&gt;
1.&mdash;The American Society of Authors 3S&raquo;&lt;br /&gt;
II&mdash;The Book of the Authors&amp;#039; Club 35&amp;#039;&lt;br /&gt;
The Report of 1891 352&lt;br /&gt;
The Story or Anita 354&lt;br /&gt;
Notes from Paris 35s&lt;br /&gt;
Spring. Bv F. Bayrord Harrison 300&lt;br /&gt;
T^../..l D&laquo;&laquo;l... .. .. 3OO&lt;br /&gt;
361&lt;br /&gt;
Useful Books&lt;br /&gt;
Notes and News. By Walter Besant&lt;br /&gt;
PAOB&lt;br /&gt;
An Old Master 3&amp;lt;&amp;gt;4&lt;br /&gt;
Scott on the Art of Fiction 365&lt;br /&gt;
Author and Editor&mdash;&lt;br /&gt;
I.&mdash;&amp;quot; Advice to Contributors&amp;quot; 367&lt;br /&gt;
II. &mdash;No Use in Writing 3*8&lt;br /&gt;
III. &mdash;A Kindness and its Sequel 30S&lt;br /&gt;
IV. &mdash;Returned Unread 3&amp;#039;9&lt;br /&gt;
V.&mdash;With no Name 3(&amp;#039;9&lt;br /&gt;
VI.&mdash;Long Kept, and then Returned 369&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I.&mdash;Novels on Commission 3&amp;amp;9&lt;br /&gt;
II&mdash; The Library Stamp 37&deg;&lt;br /&gt;
III. &mdash;How Books are not Read 37&deg;&lt;br /&gt;
IV. &mdash;Mr. Traill&amp;#039;s List of Poets 37&amp;lt;&lt;br /&gt;
V.&mdash;The Great Use of a Table of Conteuts 37 &amp;gt;&lt;br /&gt;
VI.&mdash;Compositors&amp;#039; Errors 37&amp;#039;&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 371&lt;br /&gt;
New Books and New Editions 373&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
INVESTMENTS. A List of 1,600 British, Colonial, and&lt;br /&gt;
Foreign Securities, with the highest and lowest prices quoted&lt;br /&gt;
for the last twenty-two years. 25. 6(7.&lt;br /&gt;
&amp;quot;A useful work of reference.&amp;quot;&mdash;Money.&lt;br /&gt;
PHILOSOPHICAL NOTES ON BOTANICAL SUB-&lt;br /&gt;
JECTS. By E. Bonayia, M.D., BrigadeSurL-eon, I.M.D.&lt;br /&gt;
With 160 Illustrations, a*, 6(7.&lt;br /&gt;
KEAL ARMY REFORM, THE ESSENTIAL FOUNDA-&lt;br /&gt;
TION OF. By Ioxo-rra. 6d.&lt;br /&gt;
&amp;quot;Those who would understand the general argument of those&lt;br /&gt;
who favour conscription cannot do better than read this pamphlet.&amp;quot;&lt;br /&gt;
&mdash;Army and Navy Gazette.&lt;br /&gt;
MY GARDENER (Illustrated). By H. W. Ward, Head&lt;br /&gt;
Hardener to the Right Hon. the Earl of Radnor, Longford&lt;br /&gt;
Castle, Salisbury, zs. t&amp;gt;d.&lt;br /&gt;
&amp;quot;The l&amp;gt;ook is replete with valuable cultural notes indispensable&lt;br /&gt;
to the millions who arc now turning to gardening as a source of&lt;br /&gt;
pleasure and profit.&amp;quot;&mdash;Gardener&amp;#039;s Chronicle.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the State Trials&lt;br /&gt;
Committee. Edited by John Macdonell, M.A. io&raquo;.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3s.&lt;br /&gt;
Contains all the Public Acts passed during the year, with&lt;br /&gt;
Index, also Tables showing the etfeot of the .year&amp;#039;s Legislation,&lt;br /&gt;
together with complete and elassitied Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
REVISED STATUTES. (Second Revised Edition.) Royal&lt;br /&gt;
8vo. Prepared under the direction of the Statute law-&lt;br /&gt;
Revision Committee, and Edited by G. A. R. Fitzgerald,&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles of. By the Hon. Ralph: Abeeceomuy, F.R. Met.&lt;br /&gt;
Soc. as.&lt;br /&gt;
HYGIENE AND DEMOGRAPHY. Transactions of the&lt;br /&gt;
Seventh International Congress of. To be published in thirteen&lt;br /&gt;
volumes. Vol. XII. (Municipal Hygiene and Demography).&lt;br /&gt;
Now ready, as. (id. List of the Series on application.&lt;br /&gt;
METEOROLOGICAL INSTRUMENTS, Instructions in&lt;br /&gt;
the use of. a&laquo;. 6&amp;lt;7.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Royal 8vo. Cloth, 2*. (id.&lt;br /&gt;
COPYRIGHT LAW REFORM: an Exposition of Lord&lt;br /&gt;
Monkswell&amp;#039;s Copyright Bill. With Extracts from the Report of&lt;br /&gt;
the Commission or 1S78. and an Appendix containing the Berne&lt;br /&gt;
Convention and the American Copyright Bill. By J. M. Lelv,&lt;br /&gt;
Esq., Itarrister-at-Law. i*. 6(7.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, id. Appendices,&lt;br /&gt;
ad. each. Annual Subscription, including postage, )s. gd.&lt;br /&gt;
Volume for 1S91, 3s. yr/.. by post.&lt;br /&gt;
MUSICAL INSTRUMENTS. Descriptive Catalogue of&lt;br /&gt;
the Musiral Instruments exhibited at the Royal Military Exhi-&lt;br /&gt;
bition. 1S90. Compiled by Capt. Day, Oxford Light Infantry.&lt;br /&gt;
Illustrated. 21s.&lt;br /&gt;
&amp;quot;Unique, as no earlier l&raquo;ook exists in English dealing exhaus-&lt;br /&gt;
tively with the same subject A very important con-&lt;br /&gt;
tribution to the history of orchestration.&amp;quot;&mdash; Athenaum.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
Scaegill-Birp. F.S.A. 11.&lt;br /&gt;
&amp;quot;The value of such a work as Mr. ScargillBird&amp;#039;s con scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash; Times.&lt;br /&gt;
Esq. Vols. I. to IV. now ready, price 7*. 6(7. each.&lt;br /&gt;
TEN YEARS&amp;#039; SUNSHINE. Record of the Registered&lt;br /&gt;
Sunshine at 46 Stations in the British Isles, 1881-1890. a&laquo;.&lt;br /&gt;
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, an&amp;quot;.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay.&lt;br /&gt;
GOVERNMENT AND GENERAL PIHLIKHERS.&lt;br /&gt;
KVKK awl SPOTTISWOODE, Her Majesty&amp;#039;s Printers, East Harding Street, Loudon, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 344 (#748) ############################################&lt;br /&gt;
&lt;br /&gt;
344&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Cfje ^orietg of 8utfiora (finrorporatelO.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sir Edwin Arnold, K.C.I.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Bergne, K.C.M.G.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. D. Blackmore.&lt;br /&gt;
Rev. Prof. Bonney, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Crawfurd, C.M.G.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
The Earl of Desart.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.l).&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Rudyard Kipling.&lt;br /&gt;
Prof. E. Ray Lankkster, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Muller, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
Pembroke and&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptists Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
Baron Henry de Worms,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
MP.,&lt;br /&gt;
A- W. k Beckett.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprioge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary-&lt;br /&gt;
Property. Issued to all Members.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Press.) 2*. The Keport of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Kooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By \V. Morris Colles, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
95, Strand, W.C.) 3s.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost of Production. In this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
Henry Glaisher, 95, Strand, W.C. 2s. 6d.&lt;br /&gt;
7. The Various Methods of Publication. By S. Squire Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Henry Glaisher,&lt;br /&gt;
95, Strand, W.C. 3s.&amp;#039;&lt;br /&gt;
8. Copyright Law Eeform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Keport of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode.&lt;br /&gt;
i*. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 345 (#749) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbot\&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. n.] APRIL i, 1892. [Price Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that are&lt;br /&gt;
signed or initialled the Authors alone are&lt;br /&gt;
responsible.&lt;br /&gt;
&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, until you have proved the&lt;br /&gt;
figures.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especialli/ with those who&lt;br /&gt;
advertise for MSS., who are not recom-&lt;br /&gt;
mended by experienced friends or by this&lt;br /&gt;
Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
until you have ascertained exactly what&lt;br /&gt;
the agreement gives to the author and&lt;br /&gt;
what to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(6.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
productionjofjthejwork.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
(8.) Keep control over the advertisements by&lt;br /&gt;
clause in the agreement. Reserve a veto.&lt;br /&gt;
If you are yourself ignorant of the subject,&lt;br /&gt;
make the Society your agent.&lt;br /&gt;
(9.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Societi/&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
&lt;br /&gt;
NOTICES.&lt;br /&gt;
THE Secretary will be much obliged if any&lt;br /&gt;
members who have kept the Report for 1890&lt;br /&gt;
will kindly send their copies to him.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
B b 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 346 (#750) ############################################&lt;br /&gt;
&lt;br /&gt;
346&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The official directions for the .seeming of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colics, the&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
An American Success.&lt;br /&gt;
&amp;quot;There are,&amp;quot; writes an American author, &amp;quot;in&lt;br /&gt;
our country as in yours, various kinds of success.&lt;br /&gt;
Thus, the late Mr. E. P. Roe has obtained a&lt;br /&gt;
success ; Mr. Howells is successful; and a certain&lt;br /&gt;
writer, whom we will call Mr. Smith, to prevent&lt;br /&gt;
jealousies, is also successful. But Mr. Hoe&amp;#039;s success,&lt;br /&gt;
if it is measured by sales, compared with Mr.&lt;br /&gt;
Howells&amp;#039;, and that again with Mr. Smith&amp;#039;s, may&lt;br /&gt;
be represented in the continued proportion of&lt;br /&gt;
1,000 : 7 : i.&lt;br /&gt;
&amp;quot;The general method of publication with novels,&lt;br /&gt;
by which the greatest successes are obtained, has&lt;br /&gt;
hitherto been to bring them out at a dollar or a&lt;br /&gt;
dollar and a half at first, and afterwards in&lt;br /&gt;
paper at i*. or 2s., as a cheap edition. Let&lt;br /&gt;
me give you one or two experiences. A novel was&lt;br /&gt;
published two or three years ago by one of our&lt;br /&gt;
most successful men. It was his most successful&lt;br /&gt;
work. He published it first in serial form, for&lt;br /&gt;
which he obtained the price of a thousand pounds,&lt;br /&gt;
or perhaps more. His English publishers set it up&lt;br /&gt;
in this country, and gave him&mdash;for sole remunera-&lt;br /&gt;
tion&mdash;the plates, which he handed to his American&lt;br /&gt;
publishers, who allowed him a i5 per cent, royalty,&lt;br /&gt;
in consideration of having the plates given to them,&lt;br /&gt;
which saved composition. There were sold 2,000&lt;br /&gt;
copies at 4s., or one dollar, and 16,000 at I*. You&lt;br /&gt;
may easily calculate the royalty to the author. He&lt;br /&gt;
got &pound;180 only. His publisher, for his share,&lt;br /&gt;
supposing the returns to have been honest, of which&lt;br /&gt;
there was no proof, made about &pound;260. And this&lt;br /&gt;
with a man who stands in the front rank of American&lt;br /&gt;
writers.&lt;br /&gt;
&amp;quot;Here is another experience. A novel was&lt;br /&gt;
brought out by a new writer. Here was risk, it&lt;br /&gt;
may be said. But the publisher owned that he&lt;br /&gt;
had sufficient prestige to plant at least 1,200&lt;br /&gt;
copies of every work he produced. And in this&lt;br /&gt;
case the book was heralded by a letter of praise,&lt;br /&gt;
written by one of the best known and best trusted&lt;br /&gt;
critics in the country. The author was to receive&lt;br /&gt;
10 per cent, on all copies after the first 5oo. There&lt;br /&gt;
were subscribed 7,000 copies at a dollar, and&lt;br /&gt;
20,000 copies at is. The author obtained &pound;240&lt;br /&gt;
for his work. The publisher, for his share, netted&lt;br /&gt;
&pound;480 or &pound;5oo&mdash;just twice as much. This with a&lt;br /&gt;
book about which no risk at all could be pretended.&lt;br /&gt;
You English authors will do well to be on your&lt;br /&gt;
guard when you deal with our publishers.&lt;br /&gt;
&amp;quot;But, above all, do not expect too great results.&lt;br /&gt;
A circulation of 2,5oo copies of a dollar book is a&lt;br /&gt;
remarkable&mdash;a noteworthy&mdash;success. That of 5,ooo&lt;br /&gt;
copies is a most unusual success. One of 10,000&lt;br /&gt;
is phenomenal. Tilings may alter in accordance&lt;br /&gt;
with the new Copyright Bill, but let your antici-&lt;br /&gt;
pations be moderate and you will not be dis-&lt;br /&gt;
appointed. For you, as for us, the serial right will&lt;br /&gt;
remain the most valuable,&amp;quot;&lt;br /&gt;
The Pantheon.&lt;br /&gt;
This is a gratis advertisement for the man&lt;br /&gt;
Morgan, for the International Society of Literature,&lt;br /&gt;
Science, and Art, and for the official journal of&lt;br /&gt;
that institution. Undismayed by repeated exposure,&lt;br /&gt;
this precious Association still sends out numberless&lt;br /&gt;
circulars, and perhaps still receives a fair proportion&lt;br /&gt;
of guineas in return. Blue Books and Bed Books,&lt;br /&gt;
Clergy lists, and Calendars have all been ransacked,&lt;br /&gt;
with the result that everyone of the slightest&lt;br /&gt;
official position has been assured, that by a special&lt;br /&gt;
resolution of the Council he can become a Fellow of&lt;br /&gt;
the Society, without further formula, upon payment&lt;br /&gt;
of one guinea. And now the Pantheon has arrived,&lt;br /&gt;
the official organ of the Society. We reproduce&lt;br /&gt;
from this sheet part of the article headed, &amp;quot; the&lt;br /&gt;
Literary Department.&amp;quot; &amp;quot;The Department under-&lt;br /&gt;
takes the whole cost of the revision, production,&lt;br /&gt;
and publication of Fellows&amp;#039; and Members&amp;#039; work,&lt;br /&gt;
where more than usual merit is apparent (even&lt;br /&gt;
though it be the Author&amp;#039;s//&amp;#039;&laquo;Y work), paying to the&lt;br /&gt;
Author an agreed share of the profits. In other&lt;br /&gt;
cases the Author will be required to pay one-half&lt;br /&gt;
of the estimated cost&amp;quot; (whose estimate ?) &amp;quot; taking&lt;br /&gt;
one-half of the net proceeds arising from the Sides,&lt;br /&gt;
but in no instance will the entire estimated cost of&lt;br /&gt;
an accepted Work be required of the Author, as&lt;br /&gt;
demanded by ordinary publishers. Works that are&lt;br /&gt;
likely to prove a failure will not be undertaken.&lt;br /&gt;
Arrangements have been made whereby all Works&lt;br /&gt;
published will be reviewed by the press. Thus&lt;br /&gt;
Authors will secure the two essentials to success&lt;br /&gt;
too often denied them, viz., production of their&lt;br /&gt;
first works and publicity.&amp;quot; (Italics are the&lt;br /&gt;
Pantheon&amp;#039;s.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 347 (#751) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
34;&lt;br /&gt;
To anyone with the least idea of what a bona fide&lt;br /&gt;
publishing offer looks like, these suggestions form&lt;br /&gt;
a very clear case. But probably many people will&lt;br /&gt;
be caught by them. &amp;quot;Here,&amp;quot; will the aspirant&lt;br /&gt;
siiy, &amp;quot; is my chance. Production and advertisement&lt;br /&gt;
secured, with only half the risk to lie run! And&lt;br /&gt;
to be dubbed an Author with a capital A ! and to&lt;br /&gt;
see my MSS. called Work with a capital \V!&amp;quot; Of&lt;br /&gt;
course the Secretary of the Literary Department&lt;br /&gt;
will receive MSS. by the thousand. The particular&lt;br /&gt;
method is so obvious to readers of the . tut/tor, and&lt;br /&gt;
to all who know, that we refer to it apologetically.&lt;br /&gt;
A Novel Book Club.&lt;br /&gt;
A new kind of Book Club has been started at&lt;br /&gt;
Bridgwater. It is designed partly to furnish new&lt;br /&gt;
books for the Free Library in that town. A small&lt;br /&gt;
library has been founded, consisting of about 400&lt;br /&gt;
volumes, selected with some care. Those who use&lt;br /&gt;
the library find in every volume one of the deposit&lt;br /&gt;
forms used in the Post Office. Every member&lt;br /&gt;
affixes a postage stamp before returning the book.&lt;br /&gt;
If, therefore, a l&amp;gt;ook is kept for four days and is&lt;br /&gt;
then taken out, it will earn, not counting Sundays,&lt;br /&gt;
78 pence in the year. Now, with 78 pence, or&lt;br /&gt;
6*. 6d., certainly two, and possibly three, books&lt;br /&gt;
can be bought for the library. And if there is a&lt;br /&gt;
steady circulation of 3oo out of the 400 books&lt;br /&gt;
on the shelves, the amount realised would be&lt;br /&gt;
nearly &pound;100 a year. Everything depends upon the&lt;br /&gt;
honesty of the reader. In these little things&lt;br /&gt;
honesty may perhaps be expected, especially pro-&lt;br /&gt;
vided the readers feci a certain assurance that they&lt;br /&gt;
may be detected in dishonesty.&lt;br /&gt;
Here is a circular which runs as follows :&mdash;&lt;br /&gt;
&amp;quot;Of Paramount Importance, and should be&lt;br /&gt;
Bead by every Author!&lt;br /&gt;
HINTS TO AUTHORS and LITERARY&lt;br /&gt;
ASPIRANTS,&lt;br /&gt;
by&lt;br /&gt;
Liber.&lt;br /&gt;
Cr. 8vo., 6d. a copy, sent post free on receipt&lt;br /&gt;
of 7 stamps.&lt;br /&gt;
Contents:&mdash;&lt;br /&gt;
Advice to Authors and Literary Aspirants,&lt;br /&gt;
Publisfters and Publishing, on makin;/ a&lt;br /&gt;
Booh, Poetry, MSS., Proof-correctimj, SfC,&lt;br /&gt;
Remuneration.&amp;quot;&lt;br /&gt;
It was with an expectant eye that we glanced&lt;br /&gt;
over the pages of this little work, for the contents,&lt;br /&gt;
as advertised, ought to interest us much, if they&lt;br /&gt;
were properly done, and should be of much service&lt;br /&gt;
to authors. We give an introductory sentence,&lt;br /&gt;
which rendered it unnecessary to read more.&lt;br /&gt;
&amp;quot;No one can write poetry, unless they have the&lt;br /&gt;
poetic vein or gift, and most assuredly they cannot&lt;br /&gt;
write books, or for the press, &amp;lt;$c, unless they have&lt;br /&gt;
those natural endowments which ensures an ap-&lt;br /&gt;
preciative public.&amp;quot;&lt;br /&gt;
We did, however, read a little more. The rest of&lt;br /&gt;
the work is full of vague encouragement to all&lt;br /&gt;
who have MSS. to print them, and in an accom-&lt;br /&gt;
panying letter, Messrs. Alder &amp;amp; Co., &amp;quot;who have&lt;br /&gt;
twenty years of experience in publishing,&amp;quot; offer&lt;br /&gt;
to revise MSS. and to generally assist the fortunate&lt;br /&gt;
author. We give the firm this credit&mdash;it is not likely&lt;br /&gt;
that their pamphlet will bring even the youngest&lt;br /&gt;
of aspirants to them for advice. Their wording is&lt;br /&gt;
too clumsy. When we remember the letters of the&lt;br /&gt;
London Literary Society, of the City of London&lt;br /&gt;
Publishing Company, of Mr. MeGuire, and of&lt;br /&gt;
Messrs. Bevington and Co., and recall the fact that&lt;br /&gt;
these letters secured applicants by the score, it is&lt;br /&gt;
hard to believe that any lwit can be too coarse.&lt;br /&gt;
But &amp;quot; Liber&amp;#039;s&amp;quot; utter freedom from syntax would&lt;br /&gt;
shake a baby&amp;#039;s confidence in his advice.&lt;br /&gt;
&diams;&bull;&raquo;&bull;&bull;&diams;&lt;br /&gt;
LITERARY PROPERTY.&lt;br /&gt;
1.&lt;br /&gt;
Transfer of Contract.&lt;br /&gt;
&amp;quot;fTMIE Author calls attention to a recent advet*-&lt;br /&gt;
I tisement in the Times, in which a firm&lt;br /&gt;
of publishers, having more MSS. of novels&lt;br /&gt;
in their possession than they can for some time&lt;br /&gt;
publish, offer to part with the contracts relating&lt;br /&gt;
to several MSS. by good authors (some being&lt;br /&gt;
subject on publication to a royalty), and point&lt;br /&gt;
out &amp;#039;this is an admirable opjwrtunity for a young&lt;br /&gt;
lirm who want to start with a good lot of&lt;br /&gt;
publications without any loss of time,&amp;#039; the adver-&lt;br /&gt;
tisement being addressed to 4 Young Publish-&lt;br /&gt;
ing Firms or others commencing a publishing&lt;br /&gt;
business.&amp;#039; The Author 4 has always been of opinion&lt;br /&gt;
that a contract by one author with one publisher,&lt;br /&gt;
except in the case of sale, could not be passed on&lt;br /&gt;
to another publisher without the author&amp;#039;s consent,&amp;#039;&lt;br /&gt;
but thinks that the question is one for lawyers to&lt;br /&gt;
consider. The general rule as to assignability of&lt;br /&gt;
contracts is that all contracts are assignable by&lt;br /&gt;
either party on notice to the other, but without the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 348 (#752) ############################################&lt;br /&gt;
&lt;br /&gt;
348&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
consent of the other, except in cases where the&lt;br /&gt;
individual skill or other personal qualifications of&lt;br /&gt;
the assigning contractor were relied on by the&lt;br /&gt;
party contracting with him, and the modern ten-&lt;br /&gt;
dency of the Courts appears to be in favour rather&lt;br /&gt;
of extending than narrowing the assignability of&lt;br /&gt;
contracts (see &amp;#039;Chitty on Contracts,&amp;#039; 12th edit, at&lt;br /&gt;
p. 862, citing The British Waggon Company v.&lt;br /&gt;
Lea, 44 Law J. Rep. Q. B. 321). In two cases,&lt;br /&gt;
however&mdash;that of Stevens v. Benning, 6 De G. M.&lt;br /&gt;
&amp;amp; G. 2 23, and Hole v. Bradbury, 48 Law J. Kep.&lt;br /&gt;
Chane. 673&mdash;contracts between author and pub-&lt;br /&gt;
lisher have been held not to be assignable. In&lt;br /&gt;
Stevens v. Benning, a complicated case arising out&lt;br /&gt;
of &amp;#039;Forsyth on the Law of Composition with&lt;br /&gt;
Creditors,&amp;#039; it was held that an agreement on the&lt;br /&gt;
half-profit system was of a personal nature on both&lt;br /&gt;
sides, so that the benefit of it was not assignable&lt;br /&gt;
by either party without the other&amp;#039;s consent. In&lt;br /&gt;
Hole t\ Bradbury, another half-profit agreement&lt;br /&gt;
between Canon Hole and Messrs. Bradbury and&lt;br /&gt;
Evans for the production of &amp;#039;A Little Tour in&lt;br /&gt;
Ireland, with Illustrations by John Leech,&amp;#039; was held&lt;br /&gt;
also to be personal, and to be put an end to by a&lt;br /&gt;
complete change of partnership in the publishing&lt;br /&gt;
firm. From the language of Lord Justice Fry in&lt;br /&gt;
delivering judgment, it is clear that that learned&lt;br /&gt;
and literary judge was of opinion that, except&lt;br /&gt;
where the copyright passes, the contract between&lt;br /&gt;
author and publisher is personal and not assignable,&lt;br /&gt;
but that there is a great distinction arising if the&lt;br /&gt;
copyright is sold to the publisher, and in such a&lt;br /&gt;
case we cannot but think that as a copyright is&lt;br /&gt;
assignable ad infinitum, a contract to produce&lt;br /&gt;
copyright must be assignable ad infinitum also,&lt;br /&gt;
but assignable by the publisher only, and not by&lt;br /&gt;
the author also. At any rate, authors would do&lt;br /&gt;
well, in contracting to produce a work of which&lt;br /&gt;
they sell the copyright and receive no further re-&lt;br /&gt;
muneration, to restrain the assignability of the&lt;br /&gt;
contract in some reasonable manner, as it is obvious&lt;br /&gt;
that publishers must differ very much from one&lt;br /&gt;
another in capability to get a book sold.&amp;#039;&amp;#039;&lt;br /&gt;
In ordinary cases, therefore, publishers&amp;#039; contracts&lt;br /&gt;
are not assignable, and those authors who find their&lt;br /&gt;
works passing into the hands of publishers others&lt;br /&gt;
than those with whom they originally contracted,&lt;br /&gt;
will do well either to consult their own solicitors&lt;br /&gt;
or to apply to our secretary forthwith. It seems&lt;br /&gt;
also to be worth while to restrict assignability in&lt;br /&gt;
cases where the copyright is sold, otherwise an&lt;br /&gt;
author who expects to be published in London may&lt;br /&gt;
suddenly find himself published in Cornwall, and&lt;br /&gt;
in Cornwall only.&mdash;Law Journal (March 19).&lt;br /&gt;
II.&lt;br /&gt;
Literary Agents.&lt;br /&gt;
Two or three letters have been received on the&lt;br /&gt;
subject of literary agents and their use in the&lt;br /&gt;
literary world. A good deal of doubt and of mis-&lt;br /&gt;
understanding exists on the subject. For instance,&lt;br /&gt;
those, who think that an agent can succeed in&lt;br /&gt;
placing work that has l&amp;gt;een already refused by&lt;br /&gt;
editors and publishers arc certain to be disap-&lt;br /&gt;
pointed. They may get the agent to make the&lt;br /&gt;
attempt; in the end they will grumble at paying for&lt;br /&gt;
services which have proved useless; they may&lt;br /&gt;
suspect that these services have never been rendered&lt;br /&gt;
at all. No one&mdash;not a literary friend, not a well-&lt;br /&gt;
known man of mark, not an agent&mdash;can succeed in&lt;br /&gt;
getting editors to accept MSS. unsuitable, or pub-&lt;br /&gt;
lishers to produce work of no commercial value.&lt;br /&gt;
No one can help the author but himself. He alone&lt;br /&gt;
has to besiege the fort. Very often he has to&lt;br /&gt;
retire; in some few cases the fort presently sur-&lt;br /&gt;
renders. Of what use, then, is the agent? Of&lt;br /&gt;
every use to the writer tcho has already created a&lt;br /&gt;
demand. The agent undertakes his work, esti-&lt;br /&gt;
mates his market value, keeps him out of mischief,&lt;br /&gt;
and leaves him free from money worries. There&lt;br /&gt;
are so few, comparatively, who have succeeded in&lt;br /&gt;
creating this demand for their work, that they may&lt;br /&gt;
reasonably Ijc siipj&amp;gt;osed to know the agents who&lt;br /&gt;
can be trusted. A bad ageut&mdash;one who plays into&lt;br /&gt;
the hands of fraudulent publishers&mdash;audits and&lt;br /&gt;
passes fraudulent accounts&mdash;is a worse shark than&lt;br /&gt;
the most dishonest of publishers. Beware of him!&lt;br /&gt;
In a word. Let no one go to any agent on the&lt;br /&gt;
faith of an advertisement. And let no one who&lt;br /&gt;
is not already on the ladder of popularity go to&lt;br /&gt;
any agent at all.&lt;br /&gt;
III.&lt;br /&gt;
The supposed Increase of Magazines.&lt;br /&gt;
On the subject of magazines, we are always&lt;br /&gt;
ready to cry out at the increase in their numbers&lt;br /&gt;
of late years. The following, however, is a list of&lt;br /&gt;
monthly magazines published in the year 1807,&lt;br /&gt;
with their prices. It will be observed that, com-&lt;br /&gt;
paring the population of Great Britain in 1807 with&lt;br /&gt;
that of 1892, there were many more magazines in&lt;br /&gt;
proportion to population than there are now; and&lt;br /&gt;
comparing the proportion of reading classes, very&lt;br /&gt;
many more. And if we consider the Colonies and&lt;br /&gt;
India, there is no comparison possible. Then iu&lt;br /&gt;
1807 the population of England alone was 9,000,000.&lt;br /&gt;
In 1892, it is 27,000,000, or three times that of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 349 (#753) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
349&lt;br /&gt;
the former year. Now, consider the magazines of&lt;br /&gt;
1807. They were :&mdash;&lt;br /&gt;
Athenaeum, 2*. Monthly Repository,&lt;br /&gt;
Agricultural, is. 6d. is.&lt;br /&gt;
Britannic, 1*. Methodist, 6d.&lt;br /&gt;
Botanical, 3s. Monthly, is. 6d.&lt;br /&gt;
Christian Observer, is. Monthly Mirror, is. 6d.&lt;br /&gt;
Evangelical, 6d. Naval Chronical, is.Sd.&lt;br /&gt;
European, is. 6d. Naturalist&amp;#039;s Miscellany,&lt;br /&gt;
Gentleman&amp;#039;s, is. 6d. 2*. 6d.&lt;br /&gt;
Gospel, gd. Orthodox Churchman,&lt;br /&gt;
Literary Recreations, is. 6d.&lt;br /&gt;
is. 6d. Philosophical Mining,&lt;br /&gt;
Literary Panorama, 2s. 6d.&lt;br /&gt;
2s. 6d. Philosophical, 2s. 6d.&lt;br /&gt;
Ladies&amp;#039;, is. Repertory of Arts and&lt;br /&gt;
Ladies&amp;#039;Museum, is. Manufactures, 2s.6d.&lt;br /&gt;
La Belle Assemblee, Records of Literature,&lt;br /&gt;
2S. 6d. 2 s. 6(7.&lt;br /&gt;
Le Beau Monde, 2s. 6d. Sporting, i&raquo;. id.&lt;br /&gt;
Medical and Physical, Theological and Bibli-&lt;br /&gt;
2s. 6d. cal, 6d.&lt;br /&gt;
Universal, is. 6d.&lt;br /&gt;
Besides these there were the reviews:&mdash;&lt;br /&gt;
The Annual, &pound;1 is. Literary, 2s. 6d.&lt;br /&gt;
Anti-Jacobin, 2s. 6d. Monthly, 2s. 6d.&lt;br /&gt;
British Critic, 2s. 6d. Medical and Surgical,&lt;br /&gt;
Critical, 2s. 6d. is. 6d.&lt;br /&gt;
Eleetric, is. 6d. Oxford, 2s. 6d.&lt;br /&gt;
Edinburgh, 5s.&lt;br /&gt;
In short, there were in 1807,40 magazines to&lt;br /&gt;
9,000,000 people. But, at the very least, five-sixths&lt;br /&gt;
of these, rustics, children and the working classes,&lt;br /&gt;
read nothing. That makes one magazine for every&lt;br /&gt;
40,000 people. Observe again that these magazines&lt;br /&gt;
touched only the better class. At the same rate&lt;br /&gt;
we ought now to have 700 magazines of the higher&lt;br /&gt;
class.&lt;br /&gt;
IV.&lt;br /&gt;
The Output.&lt;br /&gt;
The autumn harvest of books is followed by a&lt;br /&gt;
spring gathering almost as rich. The Laureate,&lt;br /&gt;
our President, contributes his new drama, advertised&lt;br /&gt;
for the last day of March. Lord Lytton&amp;#039;s posthu-&lt;br /&gt;
mous volume &amp;quot; Marah &amp;quot; is out. Sir Edwin Arnold&lt;br /&gt;
has produced his &amp;quot; Potiphar&amp;#039;s Wife &amp;quot;; Dr. Abbott,&lt;br /&gt;
his book on the &amp;quot;Anglican Career of Cardinal&lt;br /&gt;
Newman&amp;quot;; Mr. Molesworth, his &amp;quot;Stories of&lt;br /&gt;
Saints for Children &amp;quot;; Prof. Earle, his &amp;quot;Deeds of&lt;br /&gt;
Beowulf &amp;quot;; the Dean of &amp;quot;Winchester, his &amp;quot; History&lt;br /&gt;
of France &amp;quot;; Prof. Jebb, the &amp;quot; Fifth Part of his&lt;br /&gt;
Sophocles&amp;quot;; Archdeacon Farrar, his new Volume&lt;br /&gt;
of Sermons; Grant Allen, his new novel, the&lt;br /&gt;
&amp;quot;Duchess of Powysland&amp;quot;; a popular edition of&lt;br /&gt;
Mrs. Oliphant&amp;#039;s &amp;quot;Life of Laurence Oliphant&amp;quot;;&lt;br /&gt;
Mr. S. Baring Gould, his new novel, &amp;quot; Margery of&lt;br /&gt;
Quether&amp;quot;; Mr. Dubourg, whose silences are too&lt;br /&gt;
prolonged, is ready with his romantic drama&lt;br /&gt;
&amp;quot;Angelica&amp;quot;; &amp;quot;Melmoth the &amp;quot;Wanderer&amp;quot; is revived&lt;br /&gt;
once more; Mr. George Gissing produces his&lt;br /&gt;
&amp;quot;Denzil Quarrier&amp;quot;; Churchill&amp;#039;s &amp;quot;Rosciad&amp;quot; is&lt;br /&gt;
reprinted. And when we consider the long lists&lt;br /&gt;
which are not advertised in the ordinary channels&lt;br /&gt;
and never appear in the Saturday, the Spectator,&lt;br /&gt;
or the Athaneum, there is little reason to doubt&lt;br /&gt;
that the output of 1892 will equal that of the&lt;br /&gt;
preceding years. All the more reason to keep&lt;br /&gt;
hammering into the minds of those who are terrified&lt;br /&gt;
at this output the fact that it is intended for an&lt;br /&gt;
enormous multitude of readers, every day growing&lt;br /&gt;
greater and more greedy for literary food. Wc&lt;br /&gt;
need not l&amp;gt;e afraid about the quantity; that concerns&lt;br /&gt;
the purveyors only; as for the quality, let us&lt;br /&gt;
remember that it is what our educators make it.&lt;br /&gt;
If the quality is low, raise the standard by&lt;br /&gt;
education&mdash;or by example. Meantime, let us do&lt;br /&gt;
our Iwst to prevent the publishing of books worth-&lt;br /&gt;
less and not wanted.&lt;br /&gt;
THE AUTHORS* SYNDICATE.&lt;br /&gt;
THE progress of this offshoot of the Society&lt;br /&gt;
has already fulfilled the expectations of those&lt;br /&gt;
who are responsible for its formation and&lt;br /&gt;
management. An Honorary Council is now formed,&lt;br /&gt;
and the work is being put on an extended basis,&lt;br /&gt;
so that it may now undertake the management of&lt;br /&gt;
all forms of literary property. The difficulties&lt;br /&gt;
which had to be overcome at the outset were not&lt;br /&gt;
inconsiderable. The natural distrust of a new and&lt;br /&gt;
unknown organisation, the active competition of&lt;br /&gt;
rivals, and the overt or covert opposition of a few&lt;br /&gt;
who regarded the association as &amp;quot; superfluous &amp;quot; were&lt;br /&gt;
so far successful that they prevented progress from&lt;br /&gt;
being as rapid as could be desired. Much time&lt;br /&gt;
was occupied in establishing business relations with&lt;br /&gt;
publishers and with the periodical press in all parts&lt;br /&gt;
of the world. Our agents and travellers have been&lt;br /&gt;
actively engaged in introducing the association and&lt;br /&gt;
explaining its method of working. The result so&lt;br /&gt;
far is as satisfactory as could be wished. A large&lt;br /&gt;
number of publishing houses in this country&lt;br /&gt;
and in America have not only expressed their&lt;br /&gt;
willingness to co-operate but have entrusted tlx?&lt;br /&gt;
Syndicate with negotiations on their behalf. It&lt;br /&gt;
is not perhaps putting it too high to say that&lt;br /&gt;
we have the ear of the British Press throughout&lt;br /&gt;
the world. We are efficiently represented in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 350 (#754) ############################################&lt;br /&gt;
&lt;br /&gt;
35&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
America by agents of tried integrity. From this&lt;br /&gt;
it will be seen that the encouragement which the&lt;br /&gt;
association has received is highly promising. Many&lt;br /&gt;
publishers, nearly every journal of standing in the&lt;br /&gt;
kingdom, many journals in the colonies, and in&lt;br /&gt;
India, and either directly, or through our agents,&lt;br /&gt;
a large number of established journals in the&lt;br /&gt;
United States have requested that we will keep&lt;br /&gt;
them constantly informed of the rights we have to&lt;br /&gt;
offer. In addition, a large number of periodicals&lt;br /&gt;
have expressed their willingness to deal through&lt;br /&gt;
the Syndicate, provided it can supply them with&lt;br /&gt;
the material they require. Only two journals and&lt;br /&gt;
one magazine have expressed any unwillingness to&lt;br /&gt;
do business, in each cast; simply on the ground&lt;br /&gt;
that their conductors object to the intervention of&lt;br /&gt;
such an intermediary. The applications which&lt;br /&gt;
reach the Syndicate for the work of the best&lt;br /&gt;
writers are steadily increasing. There is, too, a&lt;br /&gt;
small but growing demand for work on its merits,&lt;br /&gt;
apart from name, and the Syndicate has even been&lt;br /&gt;
asked to send out work of all kinds with its&lt;br /&gt;
imprimatur. When the necessary arrangements&lt;br /&gt;
have been completed a reading staff will be esta-&lt;br /&gt;
blished, whose recommendation shall be given with&lt;br /&gt;
as much jealousy as that of a publisher&amp;#039;s reader.&lt;br /&gt;
It is obvious that work which secures so valuable&lt;br /&gt;
a recommendation is certain to receive favourable&lt;br /&gt;
attention. Again, the knowledge possessed by the&lt;br /&gt;
advisers of the Syndicate of the markets for literary&lt;br /&gt;
property will be, at least, instrumental in sparing&lt;br /&gt;
members much disappointment.&lt;br /&gt;
It must bo understood that this department is&lt;br /&gt;
quite distinct from the reading department of the&lt;br /&gt;
Society. The Syndicate does not give an educa-&lt;br /&gt;
tional opinion, but passes judgment upon the&lt;br /&gt;
commercial value of a MSS. submitted to it.*&lt;br /&gt;
The Syndicate, it must lie repeated, acts merely&lt;br /&gt;
as the agent of members, and its e.\j&amp;gt;enses are met&lt;br /&gt;
by a commission charged upon moneys received. It&lt;br /&gt;
is now in a position to look after all rights that may&lt;br /&gt;
be entrusted to it. The information accumulated&lt;br /&gt;
in the archives of the Society is at its service, and&lt;br /&gt;
it is simply impossible to exaggerate the value of&lt;br /&gt;
that information. Its conductors are by means&lt;br /&gt;
of this knowledge acquainted with the methods of&lt;br /&gt;
business of every publishing house in the trade.&lt;br /&gt;
The future of the Syndicate now depends only on&lt;br /&gt;
the support it receives from the members of the&lt;br /&gt;
Society, and it is hoped that they will, in their own&lt;br /&gt;
interests, strengthen the hands of its conductors.&lt;br /&gt;
Members who receive applications for work from the&lt;br /&gt;
manager will materially advance the interests of the&lt;br /&gt;
Syndicate if they will endeavour, as far as possible, to&lt;br /&gt;
meet its demands, although these must, necessarily,&lt;br /&gt;
* No MSS. whatever must be sent to the .Syndicate&lt;br /&gt;
without previous communication with the secretaries.&lt;br /&gt;
often be somewhat peremptory. None of the work&lt;br /&gt;
of the association is more important than that it&lt;br /&gt;
should, as far as possible, satisfy the needs of its&lt;br /&gt;
clients. It has been objected that the Syndicate is&lt;br /&gt;
designed to sow distrust between authors and&lt;br /&gt;
editors or publishers. Nothing could be further&lt;br /&gt;
from the fact. The jiersonal relations of publishers&lt;br /&gt;
and editors with authors will most certainly con-&lt;br /&gt;
tinue cordial so long as their business negotiations&lt;br /&gt;
are conducted for them by means of such an asso-&lt;br /&gt;
ciation as our own. Nothing is so conducive to a&lt;br /&gt;
rupture of the entente cordiale as those misunder-&lt;br /&gt;
standings which constantly arise when an author&lt;br /&gt;
conducts his own business for himself. The&lt;br /&gt;
history .of literature is full of such misunderstand-&lt;br /&gt;
ings and quarrels. It is a preposterous condition&lt;br /&gt;
to insist that a distinguished author shall do his own&lt;br /&gt;
&amp;quot;marketing.&amp;quot; And it must be remembered that&lt;br /&gt;
the only way in which authors can act with each&lt;br /&gt;
other, and for themselves, is by means of such an&lt;br /&gt;
association as this, in which they are not e.rploites&lt;br /&gt;
for the advantage and interests of one |&amp;gt;erson. It&lt;br /&gt;
is the interest of the Syndicate to advance the&lt;br /&gt;
position of everyone who takes advantage of its&lt;br /&gt;
services. There are no traps or secret profits.&lt;br /&gt;
W. M. C.&lt;br /&gt;
&lt;br /&gt;
AMERICAN AUTHORS.&lt;br /&gt;
I.&lt;br /&gt;
The Amekican Society of Authors.&lt;br /&gt;
Prospectus:&lt;br /&gt;
PltOTECTION of authors and of literary&lt;br /&gt;
property.&lt;br /&gt;
First. By advice before publishing; by arbi-&lt;br /&gt;
tration or by appeal to law in all cases&lt;br /&gt;
where members have been swindled or&lt;br /&gt;
oppressed by publishers.&lt;br /&gt;
Second. By enacting here the French statutes&lt;br /&gt;
in regard to!literary property; in particular&lt;br /&gt;
that one which compels the publisher to&lt;br /&gt;
affix to each book printed by him a stamp&lt;br /&gt;
furnished by the author of said book&lt;br /&gt;
and inflicting legal penalties if he neglects&lt;br /&gt;
or refuses to do so. (A law which would&lt;br /&gt;
do away entirely with the wholesale&lt;br /&gt;
cheating of the author by the publisher&lt;br /&gt;
in the return of books sold.)&lt;br /&gt;
Third. Extension of the present term of copy-&lt;br /&gt;
right to the lifetime of the author, or fifty&lt;br /&gt;
years.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 351 (#755) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
35*&lt;br /&gt;
Fourth. Carriage of literary property (MSS.)&lt;br /&gt;
through the mails at the same rates&lt;br /&gt;
charged for property not literary.&lt;br /&gt;
Fifth. Co-operation with the British Society&lt;br /&gt;
of Authors for needed amendments to&lt;br /&gt;
the present International Copyright Law.&lt;br /&gt;
Sixth. Cultivation of a fraternal spirit among&lt;br /&gt;
writers by monthly meetings for discussion&lt;br /&gt;
and the reading of papers on literary&lt;br /&gt;
topics, and by the publication of a monthly&lt;br /&gt;
journal devoted to the interests of authors&lt;br /&gt;
and of the Society.&lt;br /&gt;
Seventh. Reading of MSS. for authors, and&lt;br /&gt;
opinions as to its value, &amp;amp;c.&lt;br /&gt;
Membership.&lt;br /&gt;
All persons, male or female, who have written a&lt;br /&gt;
book, or are engaged in writing for the press, to&lt;br /&gt;
be eligible to membership.&lt;br /&gt;
Annual Dues.&lt;br /&gt;
Limited to $5 (the dues of the British Society),&lt;br /&gt;
in return, each member to be entitled to legal and&lt;br /&gt;
expert advice gratis, and, if wronged, to have his&lt;br /&gt;
case prosecuted by the Society; also to one year&amp;#039;s&lt;br /&gt;
subscription to the Society&amp;#039;s journal.&lt;br /&gt;
Officers.&lt;br /&gt;
A President, Secretary, and Board of Managers,&lt;br /&gt;
to be elected by members at an annual meeting, the&lt;br /&gt;
Secretary to be executive officer, the Board of&lt;br /&gt;
Managers to control the affairs and shape the policy&lt;br /&gt;
of the Society.&lt;br /&gt;
The above prospectus is followed by a letter, of&lt;br /&gt;
which the following is an extract:&mdash;&lt;br /&gt;
&amp;quot;We ought to have in America a society of at&lt;br /&gt;
least 5,ooo members. If such a society did nothing&lt;br /&gt;
more than force Congress to enact the French&lt;br /&gt;
statutes (noticed above), it would prove abundantly&lt;br /&gt;
its &amp;quot;raison d&amp;#039;etre.&amp;quot; But it could do much more.&lt;br /&gt;
Will you join us in creating such a society, by&lt;br /&gt;
pledging your name as a member when organised,&lt;br /&gt;
and, if convenient, by attending a meeting for&lt;br /&gt;
organisation, to be held privately in New York not&lt;br /&gt;
later than May 1 st? If 100 favourable replies to&lt;br /&gt;
this circular are received, it is proposed to organise&lt;br /&gt;
such a society at once.&lt;br /&gt;
&amp;quot;To those who fear to incur the resentment of&lt;br /&gt;
publishers by joining such a society, we would say&lt;br /&gt;
that its proceedings and lists of members could be&lt;br /&gt;
kept secret, if desired, but no publisher would be&lt;br /&gt;
so foolhardy as to antagonise such a body, since&lt;br /&gt;
with the British Society (whose co-operation is&lt;br /&gt;
VOL. 11.&lt;br /&gt;
pledged by their Committee) and the French Society,&lt;br /&gt;
it would control nearly the entire literary output&lt;br /&gt;
of the world.&lt;br /&gt;
&amp;quot;Charles Burr Todd,&amp;quot;&lt;br /&gt;
Author of &amp;quot;Life and Letters of Joel Barlow.&amp;quot;&lt;br /&gt;
&amp;quot;Story of the City of New York.&amp;quot;&lt;br /&gt;
&amp;quot;Story of Washington, D.C.&amp;quot;&lt;br /&gt;
II.&lt;br /&gt;
The Book of the Authors&amp;#039; Club.&lt;br /&gt;
An erroneous account of a project recently&lt;br /&gt;
entered upon by the Authors&amp;#039; Club appeared in&lt;br /&gt;
several of the New York daily papers a few days&lt;br /&gt;
since. The enterprise has proceeded so far that its&lt;br /&gt;
success is no longer problematical, but the Club&lt;br /&gt;
was not quite ready to announce it. Now, how-&lt;br /&gt;
ever, the Critic is authorized to set forth the&lt;br /&gt;
matter as it is.&lt;br /&gt;
The Club will publish a sumptuous volume,&lt;br /&gt;
made up of stories, poems, essays, and sketches,&lt;br /&gt;
written specially for it by 100 or more of the&lt;br /&gt;
members. One hundred and six have definitely&lt;br /&gt;
promised to contribute. The length of the con-&lt;br /&gt;
tributions will vary from one page to a dozen pages.&lt;br /&gt;
Those contributors who are artists as well as&lt;br /&gt;
authors arc asked to illustrate their articles. The&lt;br /&gt;
volume will be as handsome typographically as the&lt;br /&gt;
De Vinne Press can make it. The head of that&lt;br /&gt;
establishment, by the way, is himself an author and&lt;br /&gt;
a member of the Club, and will contribute to the&lt;br /&gt;
book an article on &amp;quot; Typographic Fads.&amp;quot; But one&lt;br /&gt;
edition will be printed, and that one limited to 251&lt;br /&gt;
numbered copies, 25o of which are to be sold to&lt;br /&gt;
subscribers. In every copy of the book, each&lt;br /&gt;
article will be signed, in pen and ink, by its author.&lt;br /&gt;
The subscription price is 8100, and the Club may&lt;br /&gt;
reserve the right to raise the price after the first&lt;br /&gt;
100 copies have been sold.&lt;br /&gt;
Type-written copies of the articles are prepared&lt;br /&gt;
for the printer; and the original manuscripts, clean&lt;br /&gt;
and whole, are to be bound up by themselves and&lt;br /&gt;
sold to the highest bidder.&lt;br /&gt;
About 5o of the contributors have already placed&lt;br /&gt;
their articles in the hands of the Committee.&lt;br /&gt;
These include, among others, essays by Poultney&lt;br /&gt;
Bigelow, James Howard Bridge, Andrew Carnegie,&lt;br /&gt;
George Cary Eggleston, Henry R. Elliott, George&lt;br /&gt;
H. Ellwanger, Parke Godwin, Laurence Hutton,&lt;br /&gt;
Rossiter Johnson, Albert Mathews, Brander&lt;br /&gt;
Matthews, Oscar S. Straus and Charles Dudley&lt;br /&gt;
Warner; poems by Henry Abbey, Elbridge S.&lt;br /&gt;
Brooks, John Vance Cheney, Richard Watson&lt;br /&gt;
Gilder, Arthur Sherburne Hardy, Henry Harland&lt;br /&gt;
(&amp;quot; Sidney Luska &amp;quot;), John Hay, James B. Kenyon,&lt;br /&gt;
Walter Learned, William Starbuck Mayo, James&lt;br /&gt;
Herbert Morse, David L. Proudfit, Clinton Scollard&lt;br /&gt;
C c&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 352 (#756) ############################################&lt;br /&gt;
&lt;br /&gt;
35*&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
and &amp;quot;William Hayes Ward; stories by William H.&lt;br /&gt;
Carpenter, John D. Champlin, Jr., Maurice F.&lt;br /&gt;
Egan, Harold Frederic, Charles Ledyard Norton,&lt;br /&gt;
Horace Porter, Theodore Roosevelt and George E.&lt;br /&gt;
Waring, Jr.; sketches by Samuel L. Clemens&lt;br /&gt;
(&amp;quot; Mark Twain &amp;quot;), Moncure D. Conway, Thomas&lt;br /&gt;
W. Knox, James M. Ludlow and Horace E.&lt;br /&gt;
Scudder.&lt;br /&gt;
The intention is to carry the book through the&lt;br /&gt;
press during the spring and summer, and have it&lt;br /&gt;
ready for delivery next autumn. The Club has not&lt;br /&gt;
yet formally opened a subscription list, but a good&lt;br /&gt;
many subscriptions have been sent in. Letters re-&lt;br /&gt;
lating to it should be addressed to the Secretary of&lt;br /&gt;
the Club, Mr. Rossiter Johnson, i, Bond Street,&lt;br /&gt;
New York. The money to be raised by this publi-&lt;br /&gt;
cation will be held as the nucleus of a building&lt;br /&gt;
fund; but as the Club has never been in debt, and&lt;br /&gt;
its finances have always been managed remarkably&lt;br /&gt;
well (belying the popular dictum that literary men&lt;br /&gt;
do not understand business), it is not probable that&lt;br /&gt;
a clubhouse will be erected very soon.&mdash;New York&lt;br /&gt;
Critic.&lt;br /&gt;
&lt;br /&gt;
THE REPORT OF 1891.&lt;br /&gt;
f | ^HIS Report is, in every respect, the most&lt;br /&gt;
i satisfactory that the Society has had to show.&lt;br /&gt;
There is advance in every direction. First,&lt;br /&gt;
as regards numbers. The election of over 200&lt;br /&gt;
during the year; the loss, by death or retirement,&lt;br /&gt;
of no more than 3o or so; the increase of members&lt;br /&gt;
to 800; these are very satisfactory figures. They&lt;br /&gt;
have not, as yet, assumed the proportions which&lt;br /&gt;
we desire, but a list of 800 means a very consider-&lt;br /&gt;
able advance in power. We now have among our&lt;br /&gt;
members nearly all the best known writers of the&lt;br /&gt;
day. The opposition which we formerly received&lt;br /&gt;
has, in great measure, disappeared. It still pleases&lt;br /&gt;
certain journals persistently to misrepresent the aims&lt;br /&gt;
and the work of the Society. They have, no doubt,&lt;br /&gt;
their motives and their inspiration. Meantime, it&lt;br /&gt;
is now generally understood that our chief raison&lt;br /&gt;
d&amp;#039;etre is the definition and the maintenance of&lt;br /&gt;
literary property. With this end in view, we have&lt;br /&gt;
investigated the exact meaning of the various&lt;br /&gt;
systems of publication&mdash;&amp;quot; half-profits,&amp;quot; royalties,&lt;br /&gt;
&amp;amp;c.&mdash;and have shown what these mean to publisher&lt;br /&gt;
and to author, and have exposed the various frauds&lt;br /&gt;
practised under their methods.&lt;br /&gt;
Wc therefore continually and earnestly entreat&lt;br /&gt;
everyone who has nn agreement submitted to him&lt;br /&gt;
to ascertain, before he signs it, what proportion in&lt;br /&gt;
the returns of his own property is offered him, and&lt;br /&gt;
what is reserved for the publisher. If he has any&lt;br /&gt;
doubt on the point, let him ask the publisher for&lt;br /&gt;
an estimate of this proportion on the supposition of&lt;br /&gt;
certain results. Or, which is simpler, let him refer&lt;br /&gt;
the agreement to the Secretary, remembering to&lt;br /&gt;
forward not only the agreement, but the length of&lt;br /&gt;
the MS. and the kind of form in which it is to&lt;br /&gt;
appear.&lt;br /&gt;
There has been, from the beginning of the&lt;br /&gt;
Society, a persistent attempt made to represent it&lt;br /&gt;
as hostile to publishers. This is, of course, the&lt;br /&gt;
trick of the fraudulent publisher in order to cover&lt;br /&gt;
his own iniquity. He pretends that not only he&lt;br /&gt;
himself, but all the fraternity, are attacked. We&lt;br /&gt;
will repeat, if necessary, with every number of the&lt;br /&gt;
Author, that the Society fully recognises the&lt;br /&gt;
necessity and the justice of allowing the publisher&lt;br /&gt;
his just fees and share of the property whose rents&lt;br /&gt;
he collects and which he manages. Like the&lt;br /&gt;
solicitor, too, he must be paid first- But he must&lt;br /&gt;
not make secret&mdash;which are fraudulent&mdash;profits.&lt;br /&gt;
And in every agreement it must be clearly&lt;br /&gt;
understood what share he is to receive, without&lt;br /&gt;
any other secret&mdash;and fraudulent&mdash;profits. What&lt;br /&gt;
is this share? Is it possible to arrive at a&lt;br /&gt;
method of publishing which can be applied to every&lt;br /&gt;
form of book alike, whether cheap or dear, large&lt;br /&gt;
or small? Perhaps. Let us try. We will state&lt;br /&gt;
the problem in plain language, and refer it to our&lt;br /&gt;
members. Perhaps between us all an answer&lt;br /&gt;
may be found. Suppose that answer will not be&lt;br /&gt;
accepted by publishers? Well, in the present&lt;br /&gt;
competitive condition of business no method based&lt;br /&gt;
upon fair play is in the least likely to be refused by&lt;br /&gt;
the better houses. If it were refused, the next&lt;br /&gt;
step would be easy.&lt;br /&gt;
In point of fact, men and women of letters have&lt;br /&gt;
their independence in their own hands, if they&lt;br /&gt;
choose to accept it on the only possible terms.&lt;br /&gt;
They must cease, absolutely and at once, from&lt;br /&gt;
believing that the material side of literature is a&lt;br /&gt;
branch of gambling; they must cease from prating&lt;br /&gt;
nonsense about publishers&amp;#039; generosity&mdash;a jargon&lt;br /&gt;
as degrading to letters as it is mischievous and&lt;br /&gt;
false in fact; they must regard their work as&lt;br /&gt;
property for the administration of which they&lt;br /&gt;
must pay; they must regard those who want to&lt;br /&gt;
administrate it as they regard solicitors, of whom&lt;br /&gt;
some are good and honourable, some indifferent,&lt;br /&gt;
many dishonest and incapable; and, above all,&lt;br /&gt;
thev must desist from talking as if the material&lt;br /&gt;
side was beneath their dignity. The material side&lt;br /&gt;
is everything; properly treated it gives indepen-&lt;br /&gt;
dence and freedom to the artistic side; it must be&lt;br /&gt;
watched jealously, closely, continually. Where&lt;br /&gt;
wealth is gathered, thither flock the thieves;&lt;br /&gt;
where property is to be administered, thither flock&lt;br /&gt;
the rogues who hope to steal that property. Not&lt;br /&gt;
to watch over property is the attitude of a madman;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 353 (#757) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
353&lt;br /&gt;
to drop contentedly into the nttitudc of a mendi-&lt;br /&gt;
cant is the act of a slave. What literature&mdash;what&lt;br /&gt;
art&mdash;comes from the bondsman? What&mdash;where&lt;br /&gt;
&mdash;of what quality&mdash;are the fruits of Grub Street?&lt;br /&gt;
All this is very different from clutching greedily&lt;br /&gt;
after guineas. One does not desire that literature&lt;br /&gt;
should be followed as a means of acquiring&lt;br /&gt;
immense fortunes, nor does one envy in the&lt;br /&gt;
least a successful publisher who honourably&lt;br /&gt;
accumulates an immense fortune. But we must&lt;br /&gt;
no longer ask what a publisher will give; the&lt;br /&gt;
question henceforth must be what the book will&lt;br /&gt;
bring in&mdash;if anything&mdash;on a definite system. That&lt;br /&gt;
this will be the attitude&mdash;this the question&mdash;of the&lt;br /&gt;
future admits of no doubt. That it will become&lt;br /&gt;
immediately the attitude of all writers is matter of&lt;br /&gt;
considerable doubt. Let those begin, at least, who&lt;br /&gt;
have already achieved such a measure of success as&lt;br /&gt;
will make that attitude possible.&lt;br /&gt;
Consider, for a moment, the change which will&lt;br /&gt;
be effected by the adoption of a common and&lt;br /&gt;
recognised method of publishing. The author will&lt;br /&gt;
have no trouble in bargaining; he will simply offer&lt;br /&gt;
his book; he will understand his own popularity&mdash;&lt;br /&gt;
if ho has any; the extent and nature of his own&lt;br /&gt;
following; he will be in true partnership with his&lt;br /&gt;
publisher; be will be under no delusions; ho will&lt;br /&gt;
suspect no tricks; the accounts which concern his&lt;br /&gt;
work will be his own, for inspection whenever he&lt;br /&gt;
pleases. There will be no affectation of generosity&lt;br /&gt;
on the one hand, no attitude of mendicancy on the&lt;br /&gt;
other; there will bo no suspicion of trickery; both&lt;br /&gt;
parties to the agreement will stand upright, man&lt;br /&gt;
with man. Compare this independence, this&lt;br /&gt;
openness, with the sullen suspicion, the jealousy,&lt;br /&gt;
the smouldering wrath, the outspoken accusations&lt;br /&gt;
which prevail at the present day. Listen to the&lt;br /&gt;
talk of authors among themselves; listen to the&lt;br /&gt;
stories they whisper or suggest of fraud and&lt;br /&gt;
treachery ; some of them get into these columns, but&lt;br /&gt;
not a fiftieth of what arc told. Are they all true?&lt;br /&gt;
Those that we give are true, not all the rest; but&lt;br /&gt;
they are all founded on suspicion, or on cases that&lt;br /&gt;
are, unhappily, true to the letter. One would have&lt;br /&gt;
thought that men engaged in this business would&lt;br /&gt;
catch at anything&mdash;anything&mdash;that promised to&lt;br /&gt;
relieve them of this atmosphere of suspicion. This,&lt;br /&gt;
however, has not generally proved to be the case.&lt;br /&gt;
Everything is in the hands of men and women&lt;br /&gt;
of letters. But they must learn to act together,&lt;br /&gt;
with common objects and that amount of confidence&lt;br /&gt;
which springs from the possession of common&lt;br /&gt;
interests. The Society has from the outset re-&lt;br /&gt;
garded common action as one of the most inq&amp;gt;ortiint&lt;br /&gt;
objects to be realised. Understand. No con-&lt;br /&gt;
cession of individual freedom is desired. In the&lt;br /&gt;
world of letters, foolishly called a Bepublic, where&lt;br /&gt;
there is no equality jwssible, every man must stand&lt;br /&gt;
apart and individual. But every man is not&lt;br /&gt;
necessarily the enemy of every other man. There&lt;br /&gt;
are common interests. Where these are concerned&lt;br /&gt;
let us be friends; where they are not concerned,&lt;br /&gt;
we need not be deadly enemies to each other, even&lt;br /&gt;
though there may be disagreements. It is time&lt;br /&gt;
that the old brutal slogging and hammering of&lt;br /&gt;
author by author should cease&mdash;most of it, indeed,&lt;br /&gt;
has ceased; it is more than time that men&lt;br /&gt;
of letters should adopt those outward forms&lt;br /&gt;
of respect towards each other which are enforced&lt;br /&gt;
in the professions of the law and medicine. This&lt;br /&gt;
does not preclude criticism. When a man sends&lt;br /&gt;
his book to be criticised, he invites a judgment;&lt;br /&gt;
he has no right to complain if that judgment is&lt;br /&gt;
harsh; he has invited an opinion. But for a man&lt;br /&gt;
to go out of his way in order to attack, wantonly,&lt;br /&gt;
spitefully, and maliciously a man of the same calling,&lt;br /&gt;
deliberately to sit down unasked, unprovoked, in&lt;br /&gt;
order to stab a member of the same calling; deli-&lt;br /&gt;
berately to besmirch a reputation by throwing mud,&lt;br /&gt;
like a dirty little schoolboy; deliberately to insult&lt;br /&gt;
another writer for the mere enjoyment of insult&mdash;■&lt;br /&gt;
all this is plainly and simply brutal and black-&lt;br /&gt;
guard. A barrister who should dare to do such a&lt;br /&gt;
thing would be disbarred; a physician would be&lt;br /&gt;
expelled the college; in private life a man who&lt;br /&gt;
should wantonly insult another man at a club&lt;br /&gt;
would have his name removed. There ought to bo&lt;br /&gt;
&mdash;there must be&mdash;found some way in which such&lt;br /&gt;
men shall be made to feel that they arc exactly in&lt;br /&gt;
the same position as those lawyers, physicians, or&lt;br /&gt;
club men who have been expelled from the society&lt;br /&gt;
of their brethren. Who, it may be asked, does&lt;br /&gt;
such things? Perhaps, no one. The question&lt;br /&gt;
may be answered by any reader for himself.&lt;br /&gt;
The dependence of writers is, no doubt, greatly&lt;br /&gt;
increased by the continual influx of those who have&lt;br /&gt;
no business to take up literature as a profession, and&lt;br /&gt;
no capacity to do more than the production of&lt;br /&gt;
books which are not wanted, and of literary work&lt;br /&gt;
which is purely hack. There must always be such&lt;br /&gt;
writers. Let us do our best to urge and persuade&lt;br /&gt;
those who would swell the unhappy ranks that in&lt;br /&gt;
any other line&mdash;any other&mdash;a more easy living,&lt;br /&gt;
with more money, more independence, more self-&lt;br /&gt;
respect can be obtained than in the lowest walks of&lt;br /&gt;
literature. If they must and will write&mdash;the&lt;br /&gt;
impulse is sometimes as strong for the incompetent&lt;br /&gt;
as for those who have the gift&mdash;let them take up&lt;br /&gt;
some other position and give to writing their spare&lt;br /&gt;
hours.&lt;br /&gt;
Every member who sends his yearly guinea&lt;br /&gt;
enables the Society to act for other members.&lt;br /&gt;
This is the first step towards common action in&lt;br /&gt;
matters connected with law and property. The&lt;br /&gt;
creation of public opinion as regards literature as a&lt;br /&gt;
calling has yet to be achieved. It may prove&lt;br /&gt;
C c 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 354 (#758) ############################################&lt;br /&gt;
&lt;br /&gt;
354&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
difficult, but so much has been done already, owing&lt;br /&gt;
to the efforts of the Society, that it does not seem&lt;br /&gt;
impossible. And we look for the co-operation of&lt;br /&gt;
editors in the enforcement of these outward forms&lt;br /&gt;
of respect. Without them, indeed, the profession&lt;br /&gt;
of letters would long since have been an arena&lt;br /&gt;
of maddened gladiators.&lt;br /&gt;
The newly formed Authors&amp;#039; Club will also prove&lt;br /&gt;
of assistance in this respect. The club, even if it&lt;br /&gt;
does nothing more, will make it difficult for men&lt;br /&gt;
who meet in friendliness to go away and stab each&lt;br /&gt;
other in spite and malice. The newly formed&lt;br /&gt;
Writers&amp;#039; Club should exercise a similarly beneficent&lt;br /&gt;
effect upon ladies.&lt;br /&gt;
We have spoken of the work already effected by&lt;br /&gt;
this Society. It. has already taught those who&lt;br /&gt;
have work to produce what it will cost to produce;&lt;br /&gt;
it has enabled them to understand, for the first&lt;br /&gt;
time in the history of literature, what agreements&lt;br /&gt;
mean. And it has made publishers far more care-&lt;br /&gt;
ful in the agreements which they submit to authors.&lt;br /&gt;
The old cynical impudence with which arrange-&lt;br /&gt;
ments, ridiculously unfair, used to be offered, has&lt;br /&gt;
almost vanished, while certain firms which a year&lt;br /&gt;
or two ago were remarkable for barefaced trading&lt;br /&gt;
on the ignorance of their clients, are now offering&lt;br /&gt;
agreements which leave little to desire. The&lt;br /&gt;
Society does not propose to arrogate to itself the&lt;br /&gt;
functions of a judge; it neither protends to punish,&lt;br /&gt;
nor does it bear malice; where fair agreements are&lt;br /&gt;
offered, the past may be forgotten. But it does its&lt;br /&gt;
best to keep away from fraudulent houses as much&lt;br /&gt;
work as it possibly can. This course it has&lt;br /&gt;
pursued for seven years with satisfactory success;&lt;br /&gt;
it. has mulcted certain houses in many thousands of&lt;br /&gt;
pounds; it has taken out of their hands authors&lt;br /&gt;
by the dozen j and this course it will still continue&lt;br /&gt;
to pursue.&lt;br /&gt;
&laquo;~*-&raquo;&lt;br /&gt;
THE STORY OF ANITA.&lt;br /&gt;
IT became ridiculous; it became proverbial; it&lt;br /&gt;
became maddening. What was there in the&lt;br /&gt;
commonplace work of this commonplace girl&lt;br /&gt;
&mdash;they liked the double use of the adjective-&lt;br /&gt;
commonplace, they said&mdash;that caused her work&lt;br /&gt;
to be taken by magazines&mdash;paid for properly,&lt;br /&gt;
mind, with good sound substantial cheques&mdash;to&lt;br /&gt;
be accepted by publishers and issued in series&lt;br /&gt;
which included some of the very biggest names?&lt;br /&gt;
Other maidens with similar ambitions, curiously&lt;br /&gt;
turned over the leaves of her stories and tossed&lt;br /&gt;
them contemptuously one to the other. Some&lt;br /&gt;
said, &amp;quot; Well!&amp;quot; and it was as if there were rivers&lt;br /&gt;
and lakes dammed up behind. Others said, &amp;quot; Ah!&amp;quot;&lt;br /&gt;
and it was as if a cataract was ready to leap&lt;br /&gt;
and bound. Others again looked round them and&lt;br /&gt;
asked of the silent heavens, the patient earth, and&lt;br /&gt;
the unsympathetic ocean, &amp;quot; Can anyone tell me&lt;br /&gt;
why?&amp;quot; For it could not be denied, even by&lt;br /&gt;
Anita&amp;#039;s worst enemies, to say nothing of her most&lt;br /&gt;
bosomly friends, that her tales were commonplace&lt;br /&gt;
in the conception, slovenly in their execution, and&lt;br /&gt;
vulgar in sentiment; that her plots were old, feeble,&lt;br /&gt;
and ridiculous, and the style was what is commonly&lt;br /&gt;
called that of the school girl.&lt;br /&gt;
&amp;quot;Anita Palaska has got a story in the Chcapside&lt;br /&gt;
this month!&amp;quot; It was in one of the halls of the&lt;br /&gt;
British Museum. There were half-a-dozen girls&lt;br /&gt;
talking together. She who spoke had the dis-&lt;br /&gt;
cordant tones of envy.&lt;br /&gt;
&amp;quot;She had one in the Hat/market last month!&amp;quot;&lt;br /&gt;
With a wail of pain.&lt;br /&gt;
&amp;quot;And one in the Regent Street the month&lt;br /&gt;
before!&amp;quot; The voice was that of one who prefers&lt;br /&gt;
an accusation against fate.&lt;br /&gt;
&amp;quot;And she is doing a weekly fashion letter for&lt;br /&gt;
the Young Ductess!&amp;quot; This in a minor key, as of&lt;br /&gt;
one reciting a Penitential Psalm.&lt;br /&gt;
&amp;quot;And oh !&amp;quot; cried another, &amp;quot;Mr. Cyril Muckle-&lt;br /&gt;
more is announcing a new novel by Anita Palaska.&lt;br /&gt;
&amp;#039;Preparing. Will be ready in a month.&amp;#039; Ah!&lt;br /&gt;
Can anyone&mdash;will anyone&mdash;anyone tell me why?&amp;quot;&lt;br /&gt;
It was as the cry of a Lost Soul, antl along the&lt;br /&gt;
sonorous ceiling of that vast hall rolled the notes,&lt;br /&gt;
echoing as they rolled, &amp;quot; tell me why&mdash;why&mdash;hy&mdash;y&lt;br /&gt;
&mdash;y&mdash;y.&amp;quot;&lt;br /&gt;
&amp;quot;I have read everything Anita has ever written,&amp;quot;&lt;br /&gt;
said one, &amp;quot; and there is not a lino, or a sentence, or&lt;br /&gt;
a character&mdash;not a situation or a thought&mdash;which&lt;br /&gt;
is not feeble and commonplace. Not one. All&lt;br /&gt;
as commonplace as her appearance.&amp;quot;&lt;br /&gt;
&amp;quot;Well, my dear,&amp;quot; murmured a bosom friend,&lt;br /&gt;
&amp;quot;you certainly ought to be a judge of the&lt;br /&gt;
commonplace.&amp;quot; But she said aloud, &amp;quot;I have&lt;br /&gt;
tried to read our Anita, and I confess that I&lt;br /&gt;
cannot.&amp;quot;&lt;br /&gt;
They all had desks and drawers and chests and&lt;br /&gt;
boxes full of MSS.&mdash;these inky Graces.&lt;br /&gt;
They were all mad&mdash;insatiably mad&mdash;for literary&lt;br /&gt;
fame. They were all poor, badly dressed, and&lt;br /&gt;
insufficiently fed; they wanted dollars almost as&lt;br /&gt;
much as they wanted literary fame. And here was&lt;br /&gt;
Anita&mdash;one of themselves&mdash;who twelve months&lt;br /&gt;
before had been in the same quagmire of neglect&lt;br /&gt;
and contempt with themselves, now blossoming&lt;br /&gt;
into a popular author. The thing called for a&lt;br /&gt;
universal sniff to begin with&mdash;wrath could come&lt;br /&gt;
after, but the sniff came first&mdash;a thing so absurd,&lt;br /&gt;
so foolish, so unjust&mdash;a popular&mdash;popular&mdash;Hear!&lt;br /&gt;
Oh Heavens! Anita Palaska was already a&lt;br /&gt;
popular&mdash;popular&mdash;popular author, while they&mdash;&lt;br /&gt;
they&mdash;they&mdash;the unsuccessful&mdash;those of the inky&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 355 (#759) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
355&lt;br /&gt;
fingers&mdash;were as much on the outside as the Foolish&lt;br /&gt;
Virgins! What did it mean? By what magic did&lt;br /&gt;
Anita persuade editors to take her stuff? Let the&lt;br /&gt;
truth be told plainly&mdash;her skimble skamble, foolish,&lt;br /&gt;
futile, commonplace, weary, dreary, languid,&lt;br /&gt;
miserable, copied, imitated, second-hand, humbug-&lt;br /&gt;
ging stuff&mdash;while her sisters had their works&mdash;far&lt;br /&gt;
better&mdash;everyone knew it, and was not ashamed&lt;br /&gt;
to say it&mdash;better? Gracious! Comparison was&lt;br /&gt;
out of the question.&mdash;Their lovely work returned,&lt;br /&gt;
hurled back in their faces, with a slap of contempt,&lt;br /&gt;
so that all the cheeks of all these maidens were&lt;br /&gt;
always red and glowing, and their eyes aflame&lt;br /&gt;
with rage, and their tongues like forked serpents&lt;br /&gt;
charged with venom and hatred, and spite, and all&lt;br /&gt;
uncharitablcness. There is nothing in the world&lt;br /&gt;
for these cpialities like a disappointed literary&lt;br /&gt;
woman, unless it is the disappointed literary man.&lt;br /&gt;
It will be readily understood tiiat whenever&lt;br /&gt;
these angry and defeated ladies met together the&lt;br /&gt;
conversation speedily turned on the success&mdash;&lt;br /&gt;
tenqwrary only &mdash; everyone agreed upon that&mdash;&lt;br /&gt;
of their more fortunate sister. And the talk&lt;br /&gt;
always assumed such a character as that indicated&lt;br /&gt;
above.&lt;br /&gt;
One day, then, while three or four of them were&lt;br /&gt;
gathered together in the luncheon room of the&lt;br /&gt;
Museum, that Tavern with the sign of the Inky&lt;br /&gt;
Finger, the Spirit of Envy being in their midst,&lt;br /&gt;
the subject of their discourse appeared. She&lt;br /&gt;
opened the door and stood there for a moment&lt;br /&gt;
smiling. By the quick snap of all the mouths;&lt;br /&gt;
by the quick glance of all the eyes; by the little&lt;br /&gt;
shudder which ran round the group; by the little&lt;br /&gt;
blush of shame; by the sudden silence, it was&lt;br /&gt;
plain to Anita, being a woman of at least ordinary&lt;br /&gt;
intelligence, that they were talking about her. At&lt;br /&gt;
this she was not surprised; she knew even the&lt;br /&gt;
kind of discourse they would be holding about&lt;br /&gt;
her. In such matters a girl has but one rule of&lt;br /&gt;
judgment. She puts herself in the place of the&lt;br /&gt;
others.&lt;br /&gt;
Anita Palaska was a tall and rather fine-looking&lt;br /&gt;
girl &mdash; her friends said that her real name &mdash; but&lt;br /&gt;
that matters nothing. She looked English and&lt;br /&gt;
had a foreign name&mdash;a Servian name? A Polish&lt;br /&gt;
name? A Czetch name ?&mdash;what does it matter?&lt;br /&gt;
Almost a handsome woman, large and generous in&lt;br /&gt;
her proportions, and about 24 years of age.&lt;br /&gt;
&amp;quot;Commonplace in her appearance,&amp;quot; said her friends.&lt;br /&gt;
Not quite. These ladies were not, perhaps, the&lt;br /&gt;
best judges of what is attractive in a woman&lt;br /&gt;
where man is concerned. Nor did they understand&lt;br /&gt;
in the least&mdash;certainly they had never had an oppor-&lt;br /&gt;
tunity of observing&mdash;the latent power in Anita&amp;#039;s&lt;br /&gt;
eyes. They could not even guess how those eyes&lt;br /&gt;
could dilate; how they could tremble; how they could&lt;br /&gt;
fascinate; how they could flicker; how they could&lt;br /&gt;
mean wonderful inexpressible things; how they were,&lt;br /&gt;
as she pleased, persuasive, coaxing, innocent, limpid,&lt;br /&gt;
loving, fresh, candid, sincere, alluring, promising,&lt;br /&gt;
saintly. Her friends never even suspected the&lt;br /&gt;
magic, and said she was as commonplace in her&lt;br /&gt;
style as in her manner. Poor deluded girls! As&lt;br /&gt;
for literary style, that may be conceded. For her&lt;br /&gt;
manner, however&mdash;&lt;br /&gt;
&amp;quot;I have been correcting my new proofs,&amp;quot; she&lt;br /&gt;
said, addressing the assemblage. &amp;quot;My story is&lt;br /&gt;
going into the Cheapside this month.&amp;quot;&lt;br /&gt;
&amp;quot;So we see,&amp;quot; said the eldest of the damsels,&lt;br /&gt;
with a little prolongation of the sibilant. &amp;quot;We&lt;br /&gt;
were just asking each other if you would be kind&lt;br /&gt;
enough to tell us the secret of your success, which,&lt;br /&gt;
indeed, we cannot understand. Your stories, of&lt;br /&gt;
course, are taken on their merits. . . .&amp;quot; She&lt;br /&gt;
tossed her head.&lt;br /&gt;
Anita laughed softly. &amp;quot;Outside the profession&lt;br /&gt;
I should say, &amp;#039; Send in good work and it will be&lt;br /&gt;
taken.&amp;#039; To you I cannot say that.&amp;quot;&lt;br /&gt;
&amp;quot;No, no.&amp;quot; They all hastened to exclaim&lt;br /&gt;
assent. Had they not all&mdash;to a female&mdash;sent in&lt;br /&gt;
good work which had been sent back to them?&lt;br /&gt;
And Anita had sent in bad work and it was&lt;br /&gt;
accepted.&lt;br /&gt;
&amp;quot;No. To you I say this: There are just a few&lt;br /&gt;
living writers who really have got the art of writing&lt;br /&gt;
attractively. They are very few. Everybody&lt;br /&gt;
wants their work, and there isn&amp;#039;t enough to go&lt;br /&gt;
round. Then there are a great many who all write&lt;br /&gt;
up to a certain level, and that a low level. Now&lt;br /&gt;
do you begin to understand?&amp;quot;&lt;br /&gt;
They did not. They shook their heads. Each&lt;br /&gt;
one felt that she, in fact, was a good bit above&lt;br /&gt;
the level achieved by her sisters.&lt;br /&gt;
&amp;quot;Well, it is so, however. And the great diffi-&lt;br /&gt;
culty of editors is to select from this vast expanse&lt;br /&gt;
of commonplace something a little better than the&lt;br /&gt;
rest. Now do you see?&amp;quot;&lt;br /&gt;
She spoke very sweetly, and they began to see,&lt;br /&gt;
and the gleam of that new light brought fire into&lt;br /&gt;
their hearts which burned them up, internally.&lt;br /&gt;
&amp;quot;I am not a ltudyard Kipling nor a Barrie,&amp;quot;&lt;br /&gt;
Anita went on, modestly, &amp;quot; I don&amp;#039;t pretend to such&lt;br /&gt;
great ness. But I may be&mdash;you see&mdash;a little&mdash;just a&lt;br /&gt;
wee bit&mdash;above the general level of those who send in&lt;br /&gt;
contributions. That is why I am accepted. Only&lt;br /&gt;
ever so little above the commonplace. The expla-&lt;br /&gt;
nation is quite easy. You have only to be a little,&lt;br /&gt;
very little, bit above the average level.&amp;quot; She&lt;br /&gt;
nodded pleasantly, and took a table by herself,&lt;br /&gt;
where she taxed the resources of the establishment&lt;br /&gt;
for her selfish gourmandise. And the rest felt&lt;br /&gt;
themselves&mdash;all&mdash;all&mdash;lying on the low, cold, watery,&lt;br /&gt;
despised levels of incompetence. They crept back&lt;br /&gt;
to their work, one after the other, unhappy, crushed,&lt;br /&gt;
trodden upon.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 356 (#760) ############################################&lt;br /&gt;
&lt;br /&gt;
356&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Anita, luncheon despatched, took a MS. out of&lt;br /&gt;
her hand bag, and run through it hurriedly. &amp;quot;I&lt;br /&gt;
think it will do,&amp;quot; she said. &amp;quot;At all events, if it&lt;br /&gt;
won&amp;#039;t do he must make it do. If it is not good&lt;br /&gt;
when he&amp;#039;s dressed it up, it is his fault, not mine.&amp;quot;&lt;br /&gt;
She put it back&mdash;rose&mdash;and walked away.&lt;br /&gt;
The editor of the Ilaymarltct sat in his room&lt;br /&gt;
at work. It was a cosy room, with one or two&lt;br /&gt;
comfortable chairs and a bright fire and the appear-&lt;br /&gt;
ance of seclusion, with a window which looked&lt;br /&gt;
out upon a quiet churchyard, not yet turned into a&lt;br /&gt;
playground. A boy brought him a card. He read&lt;br /&gt;
it; he changed colour; he put it down. &amp;quot;I am&lt;br /&gt;
busy,&amp;quot; he said. &amp;quot;Lady says she can wait any&lt;br /&gt;
time,&amp;quot; replied the boy. &amp;quot;She&amp;#039;s taken a chair and&lt;br /&gt;
a book.&amp;quot; &amp;quot;In that case&mdash;show her up,&amp;quot; replied the&lt;br /&gt;
editor desperately.&lt;br /&gt;
She came in smiling sweetly. She gave him&lt;br /&gt;
her hand; nay, she pressed his hand tenderly with&lt;br /&gt;
her softly gloved fingers. For purposes of pres-&lt;br /&gt;
sure, the persuasive cover of a Swede is better than&lt;br /&gt;
the nudity of bony and knuckly fingers.&lt;br /&gt;
&amp;quot;Best of editors,&amp;quot; she murmured.&lt;br /&gt;
&amp;quot;What can I do for you, Miss Palaska?&amp;quot;&lt;br /&gt;
&amp;quot;Fie! last time it was Anita&mdash;so&mdash;now we are&lt;br /&gt;
friends again. Between friends everything is easy.&lt;br /&gt;
I have brought you&mdash;&amp;quot; she opened her bag and af-&lt;br /&gt;
fected not to hear his groan&mdash;&amp;quot;a MS. This is really&lt;br /&gt;
very, very much better than the last. Oh ! I know&lt;br /&gt;
there were weak&mdash;terribly weak&mdash;points about that&lt;br /&gt;
tale, though your beautiful touches improved it so&lt;br /&gt;
wonderfully. This, however, is much better. It&lt;br /&gt;
is quite, quite an original story. I will tell it you in&lt;br /&gt;
brief. There are two most charming lovers&mdash;girl like&lt;br /&gt;
me, you know&mdash;and the man&mdash;vain creature! you&lt;br /&gt;
look in the glass! They are separated by a horrid&lt;br /&gt;
lack of money. There is little hope, but when&lt;br /&gt;
things arc desperate, her long-lost uncle comes&lt;br /&gt;
from India. Oh! it is beautifully original and full&lt;br /&gt;
of pathos. I know you will like it. I wrote it on&lt;br /&gt;
purpose for you&mdash;for you&mdash;my best of editors.&lt;br /&gt;
She laid the MS. on the table, and touched his&lt;br /&gt;
hand with her&amp;#039;s accidentally. Were there ever&lt;br /&gt;
such eyes, so full of admiration, of respect, of&lt;br /&gt;
humble handmaidenly devotion? Was there ever&lt;br /&gt;
a face so full of tender interest and sympathy?&lt;br /&gt;
&amp;quot;You are quite well?&amp;quot; she asked, &amp;quot;Quite&mdash;&lt;br /&gt;
quite well? Do they watch you enough? You&lt;br /&gt;
are not working too hard or anything? You are&lt;br /&gt;
not in love, are you?&amp;quot; She laughed softly and&lt;br /&gt;
consciously. Now this wretched man had a wife&mdash;&lt;br /&gt;
but he trembled and he reddened, and he murmured,&lt;br /&gt;
&amp;quot;Except with you, Anita? Impossible.&amp;quot;&lt;br /&gt;
He leaned his face; he kissed her forehead. She&lt;br /&gt;
held his hand, and her eyes lay upon his face like&lt;br /&gt;
sunshine, filling it with glow and radiance.&lt;br /&gt;
Then she rose. &amp;quot;You will put it in the very&lt;br /&gt;
next number? Dear friend! make any altera-&lt;br /&gt;
tions&mdash;any. Farewell!&amp;quot;&lt;br /&gt;
She left him. The moment after she left the&lt;br /&gt;
room, the spell of those eyes died away. He took&lt;br /&gt;
up the MS.&mdash;looked into it&mdash;fell into a blind rage&lt;br /&gt;
over it&mdash;hurled it on the floor and jumped upon it.&lt;br /&gt;
Then he picked it up and smoothed it out, and&lt;br /&gt;
spent the rest of that day and the whole of the next&lt;br /&gt;
in correcting it and re-writing it. But it still&lt;br /&gt;
remained, after his corrections, about as bad a paper&lt;br /&gt;
as the magazine had ever seen. And he knew that&lt;br /&gt;
unkind things would be said about it, and perhaps&lt;br /&gt;
the proprietor might ....&lt;br /&gt;
Anita went away with a dancing step and a&lt;br /&gt;
laughing eye. This time she was going to see the&lt;br /&gt;
publisher of her new novel, Mr. Cyril Mueklemore.&lt;br /&gt;
He was an aged gentleman whose brows had long&lt;br /&gt;
been frosted. As for his reputation, it was like unto&lt;br /&gt;
that of the nether millstone. Anita possessed an&lt;br /&gt;
agreement-signed by Mr. Cyril Mueklemore&mdash;the&lt;br /&gt;
beautiful Christian name inspired confidence&mdash;in&lt;br /&gt;
which the firm agreed and bargained to give her a&lt;br /&gt;
deferred royalty. She was to receive 16s. a copy after&lt;br /&gt;
the first 500 had been sold. It was a noble offer.&lt;br /&gt;
No other house, Mr. Cyril Mueklemore assured&lt;br /&gt;
her, would possibly make such an offer. In fact,&lt;br /&gt;
as the libraries did not give him so much for a&lt;br /&gt;
copy, it was what the world would call princely.&lt;br /&gt;
Mr. Mucklemore&amp;#039;s record is full of such princely&lt;br /&gt;
episodes. But the good and generous patron of&lt;br /&gt;
literature could very well afford these noble terms,&lt;br /&gt;
because, you see, he knew very well that 3oo copies&lt;br /&gt;
would be the very utmost that he could cram down&lt;br /&gt;
the throats of the libraries, and nobody outside&lt;br /&gt;
the libraries would buy one single copy. Therefore&lt;br /&gt;
he had had an edition of 35o, and no more, printed,&lt;br /&gt;
and he had already distributed the type. But&lt;br /&gt;
this he did not tell the author. When the proper&lt;br /&gt;
time came, he would be the first to lament the failure&lt;br /&gt;
of the work, and to express regrets more on the&lt;br /&gt;
author&amp;#039;s account than on his own. As a matter&lt;br /&gt;
of fact, he proposed to make a nice little profit of&lt;br /&gt;
&pound;100 and more, to the author&amp;#039;s double duck&amp;#039;s egg.&lt;br /&gt;
&amp;quot;You think,&amp;quot; said a certain adviser of Anita&mdash;a&lt;br /&gt;
male novelist&mdash;&amp;quot; that old Mueklemore mains to&lt;br /&gt;
let you have any money? Not he. I know his&lt;br /&gt;
tricks and his ways. Not a penny will you ever&lt;br /&gt;
get out of him.&amp;quot; In fact, this good old man had&lt;br /&gt;
the warm heart and the kind word of every author&lt;br /&gt;
who had ever gone to him. Hence his princely&lt;br /&gt;
fortune; hence, too, or closely connected with the&lt;br /&gt;
warm heart and the kind word, was his eminent piety,&lt;br /&gt;
for he was of a very advanced and stalwart form of&lt;br /&gt;
Christianity, and in his will he has endowed a&lt;br /&gt;
college for decayed&mdash;but this is anticipating the&lt;br /&gt;
charitable intentions of a good and great man.&lt;br /&gt;
&amp;quot;I think,&amp;quot; said Anita, &amp;quot;that Mr. Mueklemore will&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 357 (#761) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
357&lt;br /&gt;
be persuaded to give me a cheque on account.&amp;quot;&lt;br /&gt;
Her adviser laughed scornfully. Anita smiled&lt;br /&gt;
darkly, mysteriously. &amp;quot;If you are a witch, Anita&lt;br /&gt;
. . .&amp;quot; She smik&amp;#039;d again, and she sallied forth.&lt;br /&gt;
&amp;quot;Dear Mr. Mucklemore !&amp;quot; said Anita, sinking&lt;br /&gt;
into a chair and holding the hand of this Christian&lt;br /&gt;
person in her own. &amp;quot;You are well? You look&lt;br /&gt;
anxious. Do they consider you enough? Do they&lt;br /&gt;
watch over you? You are not worried about&lt;br /&gt;
anything? Have wicked men written you angry&lt;br /&gt;
letters? You are not&mdash;Oh! you are not&mdash;anxious&lt;br /&gt;
about my little book, are you? Dear Mr. Muckle-&lt;br /&gt;
more! I could never forgive myself if I thought&lt;br /&gt;
you were going to lose money over my little&lt;br /&gt;
venture.&amp;quot;&lt;br /&gt;
&amp;quot;No, I shall not lose much money,&amp;quot; said Mr.&lt;br /&gt;
Mucklemore. A benevolent smile stole over his&lt;br /&gt;
countenance. &amp;quot;Not more than I can afford, over&lt;br /&gt;
your little book, Miss Palaska.&amp;quot; He looked down&lt;br /&gt;
upon her with a certain growing interest. The&lt;br /&gt;
damsel was comely, and she met bis wrinkled old&lt;br /&gt;
eyes with looks so full of sympathy, that he began&lt;br /&gt;
to forget his seventy years. She certainly did show&lt;br /&gt;
for him a tenderness and a consideration&mdash;and,&lt;br /&gt;
could he be seventy? Those eyes&mdash;those eyes&mdash;&amp;quot; I&lt;br /&gt;
feel your kindness so much, dear Mr. Mucklemore&lt;br /&gt;
&mdash;Oh! so very, very much. I feel almost like a&lt;br /&gt;
daughter to you.&amp;quot;&lt;br /&gt;
&amp;quot;Yet I can never feel like a father to you,&amp;quot;&lt;br /&gt;
replied the Inflammatory Old.&lt;br /&gt;
&amp;quot;No? Well you are quite as kind as a father to&lt;br /&gt;
me, anyhow. You may call your kindness what&lt;br /&gt;
you please, dear Mr. Mucklemore.&amp;quot;&lt;br /&gt;
They were quite alone. Mr. Mucklemore&lt;br /&gt;
melted. He felt less and less like a father. He&lt;br /&gt;
told her that she reminded him of his young days,&lt;br /&gt;
and that she made him lament his youth, and that&lt;br /&gt;
he thought such an interest in a girl as he now felt&lt;br /&gt;
had long since gone, and presently he had his&lt;br /&gt;
benevolent old arms round her slender waist.&lt;br /&gt;
Nobody would have recognised at that beatific&lt;br /&gt;
moment the saintly Mr. Mucklemore.&lt;br /&gt;
Presently Anita drew herself slowly away from&lt;br /&gt;
this glimpse of Eden. &amp;quot;Dear Mr. Mucklemore,&amp;quot;&lt;br /&gt;
she murmured, &amp;quot;you must not take advantage of&lt;br /&gt;
woman&amp;#039;s weakness. But you will always be young&lt;br /&gt;
in heart.&amp;quot;&lt;br /&gt;
&amp;quot;Um&mdash;urn&mdash;urn,&amp;quot; murmured the Inflammatory&lt;br /&gt;
over her fingers.&lt;br /&gt;
&amp;quot;And oh!&amp;quot; continued Anita, &amp;quot;How good it is&lt;br /&gt;
when one no longer&mdash;quite&mdash;so young is so young.&amp;quot;&lt;br /&gt;
&amp;quot;To you, Miss Palaska&mdash;Anita &amp;quot;&mdash;he became&lt;br /&gt;
poetical with passion&mdash;the Passionate Publisher&mdash;&lt;br /&gt;
&amp;quot;Methusalem would be young, and old Parr&lt;br /&gt;
himself a boy in buttons.&amp;quot;&lt;br /&gt;
&amp;quot;Flatterer! But why did I call here this&lt;br /&gt;
morning? You make me forget everything, even&lt;br /&gt;
that I am wasting your most valuable time, and&lt;br /&gt;
outside&mdash;outside,&amp;quot; she said this without a ghost&lt;br /&gt;
of a smile, &amp;quot;there are a dozen people at least&lt;br /&gt;
waiting to bless your generous heart.&amp;quot; Ho caught&lt;br /&gt;
her by the hand, again murmuring his &amp;quot; Um&mdash;um&lt;br /&gt;
&mdash;um.&amp;quot; &amp;quot;What I came to say is only this, dear&lt;br /&gt;
Mr. Mucklemore. You have given me an agree-&lt;br /&gt;
ment by which you promise me a royalty&mdash;a most&lt;br /&gt;
generous royalty&mdash;of 16s. a copy when ooo have&lt;br /&gt;
been sold. You are the only man in the profession,&lt;br /&gt;
everybody tells me, who would ever make such&lt;br /&gt;
a splendid offer to a novelist. How can I ever&lt;br /&gt;
sufficiently thank you? Meanwhile sit down, my&lt;br /&gt;
dear friend, and write me a cheque for a &pound;100&mdash;a&lt;br /&gt;
little &pound;i5o &mdash; that will do&mdash;in advance, and on&lt;br /&gt;
account of those royalties.&amp;quot;&lt;br /&gt;
He did it. He did it without a word, as if it&lt;br /&gt;
was the most natural thing in the world to do, and&lt;br /&gt;
yet, as you have heard, he had only printed 35o&lt;br /&gt;
copies, and the type was already distributed.&lt;br /&gt;
Now you understand the secret of Anita&amp;#039;s&lt;br /&gt;
success, and yet they said she was as commonplace&lt;br /&gt;
in appearance as in style.&lt;br /&gt;
Something has happened, however. No one&lt;br /&gt;
knows how these things do happen. Some one&lt;br /&gt;
must have communicated the thing under promise&lt;br /&gt;
of secrecy; then it got whispered in a club smoking-&lt;br /&gt;
room&mdash;but nobody knows. Only one day, when&lt;br /&gt;
Anita called with a new MS. upon one of her&lt;br /&gt;
editors, she was coldly received, and was presently&lt;br /&gt;
informed in plain words that her work could no&lt;br /&gt;
longer be received in exchange for the pressure of&lt;br /&gt;
a hand, and the kindly light of pretty eyes. She&lt;br /&gt;
went away, feeling sad, and called on another editor.&lt;br /&gt;
The same reception awaited her, almost in the&lt;br /&gt;
same words. And good old Mr. Cyril Mucklemore&lt;br /&gt;
has gone, and his heir has discovered that Anita&amp;#039;s&lt;br /&gt;
last novel resulted in a real loss.&lt;br /&gt;
&amp;quot;I am going&amp;quot;&mdash;Anita was sitting with her&lt;br /&gt;
friends, the Children of Defeat, in the Tavern of&lt;br /&gt;
the Inky Finger at the British Museum&mdash;&amp;quot; I am&lt;br /&gt;
going very soon to New York. I have been very&lt;br /&gt;
much disgusted of late about several little things.&lt;br /&gt;
I thought that editors were gentlemen. Well, you&lt;br /&gt;
will hardly believe it, but I have met once or twice&lt;br /&gt;
with things&mdash;things, you know&mdash;one of them once&lt;br /&gt;
actually wanted to kiss me.&amp;quot;&lt;br /&gt;
&amp;quot;Imposs sible,&amp;quot; cried the young lady who&lt;br /&gt;
had called Anita commonplace.&lt;br /&gt;
&amp;quot;True&mdash;and another&mdash;and another. What is&lt;br /&gt;
the world coming to? Well, of course I cannot&lt;br /&gt;
any longer offer to contribute when such insults&lt;br /&gt;
have been attempted, and I have been considering.&lt;br /&gt;
Now, I find that the American magazines are far&lt;br /&gt;
better, richer, and finer than our own; that they&lt;br /&gt;
welcome good work .&amp;quot;&lt;br /&gt;
Everybody coughed slightly.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 358 (#762) ############################################&lt;br /&gt;
&lt;br /&gt;
358&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
&amp;quot;Work above the average, when they can get it&lt;br /&gt;
&mdash;they pay four times as well&mdash;and their editors&lt;br /&gt;
are high-souled gentlemen, incapable of insulting a&lt;br /&gt;
lady. Oh! America is fast becoming the only&lt;br /&gt;
country in the world for a gentlewoman. Chivalry&lt;br /&gt;
has a new and a better home in Broadway.&amp;quot;&lt;br /&gt;
She got up and went away, conscious that she&lt;br /&gt;
could not make a better exit. Yet they had called&lt;br /&gt;
her as commonplace in style as in manner!&lt;br /&gt;
&amp;quot;Oh!&amp;quot; cried one of them, who spoke for all,&lt;br /&gt;
&amp;quot;what does it mean? Can anyone&mdash;anyone&mdash;tell&lt;br /&gt;
me why?&amp;quot;&lt;br /&gt;
Along the lofty walls and along the cornice of&lt;br /&gt;
the panelled ceiling rolled, and rang, and echoed&lt;br /&gt;
her question, &amp;quot;Tell me&mdash;tell me&mdash;why&mdash;why&mdash;by&lt;br /&gt;
&mdash;hy&mdash;y&mdash;y&mdash;y&mdash;.&amp;quot;&lt;br /&gt;
&mdash;&mdash;-&mdash;&diams;-&diams;-&laquo;&lt;br /&gt;
NOTES FROM PARIS.&lt;br /&gt;
SEVERAL paragraph-writers, commenting on&lt;br /&gt;
what I wrote last month about Ishmael&lt;br /&gt;
sweating Ishmael, have asked me why I did&lt;br /&gt;
not give the names of the &amp;quot; reputed author &amp;quot; who&lt;br /&gt;
sweated, and of the &amp;quot; unfortunate youth&amp;quot; who was&lt;br /&gt;
sweated in the case I cited. My principal reason&lt;br /&gt;
was to avoid giving offence to the latter, who, being&lt;br /&gt;
now a successful feuilletonist on his own account,&lt;br /&gt;
would hardly have; liked the record of his early&lt;br /&gt;
struggles made public. A secondary reason was&lt;br /&gt;
that the &amp;quot;reputed author&amp;quot; would certainly have&lt;br /&gt;
sent me a challenge, and I have had all the duelling&lt;br /&gt;
I care for. It is not dangerous, but each duello&lt;br /&gt;
cost you&mdash;for landau, refreshments, doctor&amp;#039;s fee for&lt;br /&gt;
attendance, and lunch to one&amp;#039;s seconds at the Cafe&lt;br /&gt;
Anglais after the affair&mdash;a matter of &pound;i5, and,&lt;br /&gt;
what is worse, obliges you to rise at the unearthly&lt;br /&gt;
hour of half-past live. Now I do not think I could&lt;br /&gt;
get up at half-past five even to be guillotined.&lt;br /&gt;
Apropos of duelling, it is perhaps to be regretted&lt;br /&gt;
that the fashion of it has gone out so completely&lt;br /&gt;
in England. I fancy if it existed still the critics&lt;br /&gt;
of one&amp;#039;s works and persons would be more civil.&lt;br /&gt;
I could not help thinking this as I read the notices&lt;br /&gt;
about Mr. John Gray&amp;#039;s translation of &amp;quot; Lc Baiser,&amp;quot;&lt;br /&gt;
produced at the beginning of this month at the&lt;br /&gt;
Independent Theatre, and the abominably offensive&lt;br /&gt;
personalities which were indulged in against him.&lt;br /&gt;
I understand that he has commenced one suit for&lt;br /&gt;
libel, but the majority of the critiques were not&lt;br /&gt;
such as could be attacked in a court of law, and&lt;br /&gt;
in this way would very summarily have been dealt&lt;br /&gt;
with.&lt;br /&gt;
English literary criticism, by the way, is a thing&lt;br /&gt;
which French men of letters are totally unable to&lt;br /&gt;
understand. I remember reading some of those&lt;br /&gt;
malevolent critiques, for which a particular paper&lt;br /&gt;
has gained a reputation and a sale amongst our&lt;br /&gt;
splenetic fellow citizens, to a very prominent&lt;br /&gt;
novelist here. He said, &amp;quot;If a Paris newspaper&lt;br /&gt;
were to publish such critiques, everybody would be&lt;br /&gt;
convinced that it was attempting to blackmail&lt;br /&gt;
either the author or the publisher.&amp;quot; I had con-&lt;br /&gt;
siderable difficulty in persuading him that these&lt;br /&gt;
notices were written with a certain amount of bona&lt;br /&gt;
fides on the part of their authors.&lt;br /&gt;
There is little or no criticism of general literature&lt;br /&gt;
in Paris. In sending you a book for review the&lt;br /&gt;
Paris publisher also sends you his card, and&mdash;with&lt;br /&gt;
a priere (Tinserer-&mdash;a small printed notice of the&lt;br /&gt;
book. If one can find room the notice goes in, if&lt;br /&gt;
not it does not. One would never think of reading&lt;br /&gt;
the book for the sake of writing a few lines&lt;br /&gt;
about it, unless the author were a friend and one&lt;br /&gt;
wanted to oblige him. It would not pay to do so.&lt;br /&gt;
Three hours is the least one would spend in&lt;br /&gt;
gaining an honest opinion of a book, and there are&lt;br /&gt;
very few books on which, in justice to one&amp;#039;s journal&lt;br /&gt;
and to one&amp;#039;s public, one could write a critique of&lt;br /&gt;
more than, say, twenty lines. Fourpenee a line is&lt;br /&gt;
the maximum rate for articles in a leading Paris&lt;br /&gt;
paper, so that the remuneration for three hours of&lt;br /&gt;
such labour would amount at the utmost to eight&lt;br /&gt;
francs. Three francs would, however, be nearer&lt;br /&gt;
the average. With coals at 5os. the ton in Paris,&lt;br /&gt;
men of letters cannot work at those rates, and so&lt;br /&gt;
literary critiques are not supplied to the Paris&lt;br /&gt;
papers. Of course, when any big novel or book&mdash;&lt;br /&gt;
a Daudet or a de Maupassant, a Zola or a Dumas&lt;br /&gt;
&mdash;appears, all the papers review it. It is the&lt;br /&gt;
actuality and is dealt with in the leading article or&lt;br /&gt;
premier Paris. But the minor authors do not get&lt;br /&gt;
reviewed at all and seem none the worse for it.&lt;br /&gt;
Spiteful criticism of the kind which helps to sell&lt;br /&gt;
a number of moribund publications in England is&lt;br /&gt;
practically unknown here. It would soon be put a&lt;br /&gt;
stop to were any innovator to introduce it. That&lt;br /&gt;
innovator would have to be getting up early most&lt;br /&gt;
days in the week, to have an excellent balance at&lt;br /&gt;
his bank, or to have a very tough hide. The only&lt;br /&gt;
man of letters here who is attacked in the British&lt;br /&gt;
fashion of attack is George Ohnet, who is a cripple&lt;br /&gt;
and cannot defend himself. It is all the more cniel&lt;br /&gt;
that he feels it deeply. I have often found him&lt;br /&gt;
almost prostrate with mortification at spiteful&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 359 (#763) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
359&lt;br /&gt;
tilings which have appeared against him. I&lt;br /&gt;
remember his once pathetically exclaiming to me,&lt;br /&gt;
&amp;quot;I wonder why they so hate me, I am sure I have&lt;br /&gt;
never done anything wrong. I never stole any&lt;br /&gt;
spoons, and am a decent lived man as a whole.&amp;quot; I&lt;br /&gt;
suppose it is the phenomenal success of his books&lt;br /&gt;
stirs the gale. It is fair to say that the attacks&lt;br /&gt;
are made by nonentities, the same class, I presume,&lt;br /&gt;
who harass the British author.&lt;br /&gt;
George Ohnet works three hours a day regularly,&lt;br /&gt;
during which time he writes four pages of small&lt;br /&gt;
MS., amounting to about one thousand words. He&lt;br /&gt;
then revises carefully, and, having finished his&lt;br /&gt;
corrections, hands his MS. to his wife, who makes&lt;br /&gt;
a beautifully neat fair copy for the printer. She is&lt;br /&gt;
an immense admirer of his talent, but never allows&lt;br /&gt;
herself to make any suggestions.&lt;br /&gt;
A thing which always astonishes French men of&lt;br /&gt;
letters is to hear a British author talking about the&lt;br /&gt;
number of words his novel is to consist of. When&lt;br /&gt;
you tell him that custom has it that a book to be&lt;br /&gt;
sold at such a price has to contain a minimum of&lt;br /&gt;
so many words, incredulity first, and then pity&lt;br /&gt;
comes into their eyes. The commercial side of&lt;br /&gt;
literary production is what they never can and&lt;br /&gt;
never want to grasp.&lt;br /&gt;
It may be accepted as a general rule that all&lt;br /&gt;
lwoks, other than those of authors who have made a&lt;br /&gt;
name, which are published in Paris are produced&lt;br /&gt;
at the author&amp;#039;s cost. A French publisher would&lt;br /&gt;
never dream of risking a farthing in a publication.&lt;br /&gt;
When Charpentier settled a small income on Emile&lt;br /&gt;
Zola, to enable him to have leisure to write, he did&lt;br /&gt;
a most unusual thing. On the other hand, I have&lt;br /&gt;
never heard of any Parisian publisher practising&lt;br /&gt;
the frauds by which most British amateur authors&lt;br /&gt;
are victimised. An ordinary French novel or&lt;br /&gt;
volume of poems will be produced in good style at&lt;br /&gt;
from &pound;20 to &pound;32. As soon as a man gets a little&lt;br /&gt;
known the best he can hope for is a sum of &pound;10&lt;br /&gt;
on account of royalties for a novel or a volume of&lt;br /&gt;
poems. The author in Paris who wants to make&lt;br /&gt;
money tries for the newspaper serial stories.&lt;br /&gt;
These are splendidly remunerated. The majority&lt;br /&gt;
of French authors and poets, however, write for&lt;br /&gt;
glory. It would be considered lunacy on a man&amp;#039;s&lt;br /&gt;
part to look for a living to the production of books.&lt;br /&gt;
Those here&mdash;barring a few exceptions&mdash;who live&lt;br /&gt;
by their pens are engaged in journalism or in&lt;br /&gt;
writing for the stage. Many well-known writers&lt;br /&gt;
VOL. II.&lt;br /&gt;
follow commercial or professional pursuits. Huys-&lt;br /&gt;
mann, for instance, is employed at one of the&lt;br /&gt;
Government offices, and is partner in a bookbinding&lt;br /&gt;
business.&lt;br /&gt;
Alexander Dumas is tired of life in Paris. He&lt;br /&gt;
is selling his mansion in the Avenue Villiers, and&lt;br /&gt;
all the art treasures it contains, and is about to&lt;br /&gt;
retire definitely to the country. Most enviable&lt;br /&gt;
Alexander, tired of worlds to conquer.&lt;br /&gt;
The catalogue of the books in the French&lt;br /&gt;
National Library has at last, after years of labour,&lt;br /&gt;
been completed. Some time, however, must elapse&lt;br /&gt;
liefore this most interesting work can be published.&lt;br /&gt;
It appears that the money for its publication is not&lt;br /&gt;
forthcoming, and cannot be hoped for for some&lt;br /&gt;
time. Yet France spends &pound;40 a minute on her&lt;br /&gt;
army.&lt;br /&gt;
I wonder if ever we shall succeed in getting the&lt;br /&gt;
author&amp;#039;s rights to the benefit of his work as fully&lt;br /&gt;
recognised in England as they are in France. Here&lt;br /&gt;
is an instance of this recognition in France. A&lt;br /&gt;
friend of mine, who is just now collaborating with&lt;br /&gt;
Catulle Mendes on a play, told me a night or two&lt;br /&gt;
ago that he receives annually a few sous as heir of&lt;br /&gt;
his grandfather, who many years ago wrote the&lt;br /&gt;
libretto of a certain operette, of which Offenbach,&lt;br /&gt;
I think, wrote the music. Of this operette only&lt;br /&gt;
one air has survived the change of taste, and it is&lt;br /&gt;
constantly being fitted to fresh words of topical&lt;br /&gt;
interest. During the Exhibition, for instance, it&lt;br /&gt;
was to this tune that a song about the Eiffel Tower&lt;br /&gt;
was set. The original libretto in general and the&lt;br /&gt;
song to this air in particular have long since been&lt;br /&gt;
forgotten, but French justice holds that the writer&lt;br /&gt;
of the libretto to some extent suggests the music&lt;br /&gt;
to the composer, and is therefore entitled to a&lt;br /&gt;
certain share in the proceeds of the music, even if&lt;br /&gt;
his words are no longer used. Accordingly, when-&lt;br /&gt;
ever that song is sung, the heir of the man who&lt;br /&gt;
wrote the original words to it is credited by the&lt;br /&gt;
agencies with a certain per-centage of the composer&amp;#039;s&lt;br /&gt;
droits cTauteun&lt;br /&gt;
I hear from Madrid that the widow of de&lt;br /&gt;
Gonzales has just died in an almshouse. Gonzales&lt;br /&gt;
was the Dumas of Spain, and his works are still&lt;br /&gt;
immensely popular. He received very large sums&lt;br /&gt;
from his publishers, but was a sad spendthrift, and&lt;br /&gt;
would only work when need pressed him. At last&lt;br /&gt;
his publishers agreed to give &pound;12 a day against so&lt;br /&gt;
much copy to be delivered daily. He used to fetch&lt;br /&gt;
D d&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 360 (#764) ############################################&lt;br /&gt;
&lt;br /&gt;
36&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
his money every evening at six, then hasten off&lt;br /&gt;
to a cafe and keep it up all night till five in the&lt;br /&gt;
morning. Then he would begin dictating to a&lt;br /&gt;
couple of secretaries, and his task lx&amp;#039;iug finished,&lt;br /&gt;
would go to bed until the time came for fetching a&lt;br /&gt;
fresh supply of doubloons. As a rule, he never&lt;br /&gt;
had enough money left to pay the cab that took&lt;br /&gt;
him to his publishers. These, by the way, are all&lt;br /&gt;
millionaires, chiefly thanks to the Gonzales copy-&lt;br /&gt;
rights. Why did they let his widow die in a work-&lt;br /&gt;
house?&lt;br /&gt;
It may not be generally known that Mr. Oscar&lt;br /&gt;
Wilde is by maternal descent the grand-nephew of&lt;br /&gt;
Charles Maturin, where &amp;quot; Melmoth the Wanderer&amp;quot;&lt;br /&gt;
is at List attracting attention in England. I say&lt;br /&gt;
&amp;quot;at last,&amp;quot; inasmuch as it has been a classic for&lt;br /&gt;
nearly sixty-five years in France and Germany. It&lt;br /&gt;
won for its author the admiration of Balzac, and&lt;br /&gt;
was a livre de chevet of Baudelaise. It contributed&lt;br /&gt;
greatly to the literary movement in France in&lt;br /&gt;
i83o.&lt;br /&gt;
In the course of a conversation I had the other&lt;br /&gt;
day with Mr. Ernest Renan, I happened to ask&lt;br /&gt;
him his opinion about Emile Zola&amp;#039;s work. These&lt;br /&gt;
are his own words: &amp;quot;Zola! Nay, Monsieur, you&lt;br /&gt;
must not ask me about him, for I have no opinion&lt;br /&gt;
on him. It is low, far away, beneath. It is the&lt;br /&gt;
mud, and a pity for French literature. I have a&lt;br /&gt;
horror for what is coarse. At Pompeii, all that&lt;br /&gt;
was coarse was secreted and hidden away. It is a&lt;br /&gt;
pity we do not do the same in these days. I confess&lt;br /&gt;
that I cannot understand how the French, so&lt;br /&gt;
lettered, so scholarly and so full of taste, can&lt;br /&gt;
tolerate such horrors as are the modern French&lt;br /&gt;
novels.&amp;quot; I must now ask Zola what he thinks of&lt;br /&gt;
Mr. Renan&amp;#039;s work.&lt;br /&gt;
SPKING.&lt;br /&gt;
Oil! to wake at early morning, and to hear the thrushes&lt;br /&gt;
sing,&lt;br /&gt;
To watch the steady sunshine stealing over everything.&lt;br /&gt;
And to know that now, at last, is come the first wann day&lt;br /&gt;
of spring!&lt;br /&gt;
Oh! to open wide the window, and to taste the scented&lt;br /&gt;
bree/e&mdash;&lt;br /&gt;
Sweet and pungent from the breathing of the flowers and&lt;br /&gt;
tlie trees,&lt;br /&gt;
And to listen to the humming of the discontented bees!&lt;br /&gt;
Oh! to step out on the grassplot and to note the sprinkled&lt;br /&gt;
dew,&lt;br /&gt;
To look above the lurk&amp;#039;s song at the deep unfathomed blue,&lt;br /&gt;
And to feel the world is still the same as springs ago we&lt;br /&gt;
knew!&lt;br /&gt;
Oh! to sit at noontide idle in the chestnut&amp;#039;s flickering&lt;br /&gt;
shade,&lt;br /&gt;
To hear the cuckoo calling from every knoll and glade,&lt;br /&gt;
And to catch the perfect harmony by Nature&amp;#039;s discords&lt;br /&gt;
made!&lt;br /&gt;
Oh! to wander in the evening, with the pink clouds over-&lt;br /&gt;
head,&lt;br /&gt;
To listen to the nightingale when his song is freely shed,&lt;br /&gt;
With one companion by my side, one dear friend, long&lt;br /&gt;
since dead!&lt;br /&gt;
Oh ! to tell out all my thoughts to her, my loneliuess and&lt;br /&gt;
pain,&lt;br /&gt;
Pale hopes and glowing memories, the toil of heart and&lt;br /&gt;
brain,&lt;br /&gt;
And all my deep delight and grief that Spring is come&lt;br /&gt;
again &amp;#039;.&lt;br /&gt;
Oh 1 to lie at night and listen to her solemn whispering,&lt;br /&gt;
While I strain my soul to try and hear what tidings she&lt;br /&gt;
may bring,&lt;br /&gt;
And to learn if I may dare to look for everlasting Spring!&lt;br /&gt;
F. Baykord Harrison.&lt;br /&gt;
&lt;br /&gt;
USEFUL BOOKS.&lt;br /&gt;
It is reported that the Parisian publishers are&lt;br /&gt;
organising an immense lottery by means of which&lt;br /&gt;
to rid themselves of huge accumulations of unsold&lt;br /&gt;
stock. The prizes will lie assortments of reading&lt;br /&gt;
with a work of art (cruel distinction) thrown in.&lt;br /&gt;
One publisher declares himself ready to contribute&lt;br /&gt;
one hundred thousand volumes. And still the pens&lt;br /&gt;
run on&lt;br /&gt;
Robert H. Shekard.&lt;br /&gt;
Paris, March, 20th, 1892.&lt;br /&gt;
ACORRESPONDENT recently suggested the&lt;br /&gt;
formation of a list of useful books, i.e.,&lt;br /&gt;
books useful to those engaged in literary&lt;br /&gt;
work. Here is a contribution to such a list. No&lt;br /&gt;
doubt others will help to swell the list and to make&lt;br /&gt;
it really serviceable :&mdash;&lt;br /&gt;
P. M. Roget. Thesaurus of English Words and&lt;br /&gt;
Phrases. (Longmans.)&lt;br /&gt;
T. Stormonth. Etymological and pronouncing&lt;br /&gt;
Dictionary of the English Language. (Black-&lt;br /&gt;
wood.)&lt;br /&gt;
Webster&amp;#039;s Complete Dictionary of the English&lt;br /&gt;
Language. Authorised and unabridged&lt;br /&gt;
Edition. New Edition. (Bell and Sons.)&lt;br /&gt;
T. Walker. The Rhyming Dictionary of the&lt;br /&gt;
English Language. (Routledge.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 361 (#765) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
361&lt;br /&gt;
W. B. Hodgson. Errors in the use of English.&lt;br /&gt;
(Edinburgh. Douglas.)&lt;br /&gt;
E. A. Abbot. How to write clearly. (Seeley,&lt;br /&gt;
Jackson, and Halliday.)&lt;br /&gt;
Chambers&amp;#039;s Encyclopaedia. New Edition.&lt;br /&gt;
(Chambers.)&lt;br /&gt;
E. C. Brewer. Dictionary of Phrase and Fable.&lt;br /&gt;
Cassell.&lt;br /&gt;
E. C. Brewer. The Header&amp;#039;s Handbook. (Chatto&lt;br /&gt;
and Windus.)&lt;br /&gt;
W. J. Lowndes. Reference Catalogue of Current&lt;br /&gt;
Literature.&lt;br /&gt;
(t. K. Portescne. Subject Index of Modern&lt;br /&gt;
Works added to the Library of the British&lt;br /&gt;
Museum from 1880 to 1885.&lt;br /&gt;
W. J. Stead. Annual Index of Periodicals and&lt;br /&gt;
Photographs.&lt;br /&gt;
E. B. Sargeant and B. Whitshaw. A Guide Hook&lt;br /&gt;
to Books.&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
THE literary event of the month, the appear-&lt;br /&gt;
ance of the President&amp;#039;s Drama, occurs just&lt;br /&gt;
as these proofs have been ptssed, too late for&lt;br /&gt;
notice here.&lt;br /&gt;
American rights, long sighed after, have now&lt;br /&gt;
become American expectations. We have been&lt;br /&gt;
accustomed to think of the United States as&lt;br /&gt;
the author&amp;#039;s land of milk and honey. Every-&lt;br /&gt;
body who produces a book now looks to its&lt;br /&gt;
reproduction and a wide popularity in America.&lt;br /&gt;
With this view every publisher and most editors&lt;br /&gt;
in the States are deluged with offers, and books&lt;br /&gt;
are given to newspapers for nothing in order&lt;br /&gt;
to get copyright. -Time will, of course, bring its&lt;br /&gt;
experiences and its disappointments. It will be&lt;br /&gt;
discovered that it is not enough to lie a British&lt;br /&gt;
author in order to command success; but that one&lt;br /&gt;
must also write what the American public want,&lt;br /&gt;
anil that will be done very largely for them by their&lt;br /&gt;
own authors. In the. case, however, of the men&lt;br /&gt;
thev do want, an American author, on p. 346, shows&lt;br /&gt;
pretty clearly what they may expect. The figures&lt;br /&gt;
will come to some of us as a revelation.&lt;br /&gt;
I commend for our very serious consideration&lt;br /&gt;
certain passages in Mr. Itoliert Sherard&amp;#039;s Notes&lt;br /&gt;
from Paris in this number. French men of letters&lt;br /&gt;
are, he says, wholly unable to understand the&lt;br /&gt;
criticisms, spiteful and cruel, which appear in cer-&lt;br /&gt;
tain English papers. The love of insult is kept in&lt;br /&gt;
check by the fear of the duel. No French publisher&lt;br /&gt;
ever dreams of risking a farthing in the production&lt;br /&gt;
of a book. Strange! Every English publisher is&lt;br /&gt;
vol.. n.&lt;br /&gt;
always dreaming that he risks immense sums.&lt;br /&gt;
Perhaps Mr. Sherard will give us more information&lt;br /&gt;
on this side of French literature.&lt;br /&gt;
Here is a very curious and complete coincidence.&lt;br /&gt;
One day last year an unfortunate girl connected&lt;br /&gt;
with one of the theatres in London committed&lt;br /&gt;
suicide on account of some love disappointment.&lt;br /&gt;
Just, before this event a story was given in at the&lt;br /&gt;
office of the New York Herald, for the London&lt;br /&gt;
Sunday edition, in which the life of this girl&mdash;of&lt;br /&gt;
whom the author had never heard&mdash;her love&lt;br /&gt;
business, and her suicide were all faithfully pour-&lt;br /&gt;
trayed, anil her very name, with one vowel wrong,&lt;br /&gt;
was also used. This curious coincidence happened&lt;br /&gt;
to Mr. Joseph Forster. It was mentioned in the&lt;br /&gt;
New York Herald&mdash;in the American edition&mdash;nt&lt;br /&gt;
the time, but seems not to have attracted any&lt;br /&gt;
attention.&lt;br /&gt;
The New York Critic, referring to a certain&lt;br /&gt;
paper on the work of the Society of Authors in&lt;br /&gt;
the Forum for March, sums up the situation by&lt;br /&gt;
saying that &amp;quot;the cases brought forward against&lt;br /&gt;
certain publishers could very easily be parallelled in&lt;br /&gt;
every other branch of business.&amp;quot; That is very&lt;br /&gt;
likely. Does that, however, concern us? Do a&lt;br /&gt;
thousand wrongs justify one other wrong? But&lt;br /&gt;
there are certain considerations which make our&lt;br /&gt;
position different from that of other producers.&lt;br /&gt;
We are for the most part robbed under the guise of&lt;br /&gt;
friendship; the fraudulent publisher will not, if he&lt;br /&gt;
can help it, allow the business to be treated as&lt;br /&gt;
business; he must be considered as the confidential&lt;br /&gt;
adviser and friend&mdash;the generous, disinterested,&lt;br /&gt;
large-hearted friend. If these things, and things&lt;br /&gt;
like them, go on in all other lines of business, then&lt;br /&gt;
a time will come when the whole edifice of cor-&lt;br /&gt;
ruption will fall to pieces; and if these things are&lt;br /&gt;
done in the holv name of religion, then it is the&lt;br /&gt;
worse for that, religion, and for the people who&lt;br /&gt;
should be guided by that religion.&lt;br /&gt;
Walt Whitman is dead. It is a long time since&lt;br /&gt;
we heard that he was paralysed, though he has&lt;br /&gt;
gone on working almost to the end. When, many&lt;br /&gt;
years ago, his earliest volume came over here, it&lt;br /&gt;
was handled at first by critics and by readers with&lt;br /&gt;
disgust and contempt. Then came a reaction: the&lt;br /&gt;
book so gross, so coarse, so misshapen, was found&lt;br /&gt;
to have great thoughts in it. The reaction pre-&lt;br /&gt;
vailed; the reputation of Walt Whitman has been&lt;br /&gt;
growing steadily higher. He is said to have, now,&lt;br /&gt;
more readers in this than in his own country.&lt;br /&gt;
E e&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 362 (#766) ############################################&lt;br /&gt;
&lt;br /&gt;
362&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
On Wednesday, March the 9th, a bust of Richard&lt;br /&gt;
Jefferies, executed by Miss Margaret Thomas, was&lt;br /&gt;
unveiled in Salisbury Cathedral by the Bishop in&lt;br /&gt;
the presence of the Dean and a small company.&lt;br /&gt;
The inscription on the bust is as follows :&mdash;&amp;quot; To&lt;br /&gt;
the memory of Richard Jefferies, born at. Coate,&lt;br /&gt;
in the Parish of Chiseldon and County of Wilts,&lt;br /&gt;
6th November 1848. Died at Goring, in the&lt;br /&gt;
County of Sussex, 14th August 1887. Who, ob-&lt;br /&gt;
serving the works of Almighty God with a poet&amp;#039;s&lt;br /&gt;
eye, has enriched the literature of his country, and&lt;br /&gt;
won for himself a place among those who have&lt;br /&gt;
innde men happier and wiser.&amp;quot;&lt;br /&gt;
The Bishop made a short speech, followed by the&lt;br /&gt;
Dean, who spoke; at greater length.&lt;br /&gt;
It is very much to be regretted that not one of&lt;br /&gt;
those who had promoted the acquisition of this&lt;br /&gt;
monument, nor a single man of letters, except Mr.&lt;br /&gt;
Lcith Derwent, who resides in Salisbury, was present,&lt;br /&gt;
on this occasion. Not even the sculptor was in-&lt;br /&gt;
vited to be present or informed of the time at which&lt;br /&gt;
the ceremony would take place. The committee&lt;br /&gt;
were absolutely ignored. This discourtesy, or&lt;br /&gt;
neglect, was the sole cause of the absence from the&lt;br /&gt;
ceremony of those who would otherwise have&lt;br /&gt;
marked their respect and affection to the illustrious&lt;br /&gt;
author by their presence.&lt;br /&gt;
The chief credit for the idea of this bust must&lt;br /&gt;
be assigned to Mr. A. W. Kinglake, of Haines&lt;br /&gt;
Hill, Taunton. He it was who conceived the idea&lt;br /&gt;
and would have carried it out single handed, but&lt;br /&gt;
for ill-health, which obliged him to hand over the&lt;br /&gt;
matter to a London committee. It is not the last,&lt;br /&gt;
one hopes, of the many acts of national recognition&lt;br /&gt;
which have been instituted by the creator of the&lt;br /&gt;
Somersetshire Valhalla.&lt;br /&gt;
The placing of the bust of Jefferies in Salisbury&lt;br /&gt;
Cathedral reminds us of the great increase of&lt;br /&gt;
interest in everything connected with the world&lt;br /&gt;
of Fields and Hedges. To be sure, he was only&lt;br /&gt;
one of a succession&mdash;Gilbert White of Selborne,&lt;br /&gt;
Thomas Burrows, Jefferies&mdash;a very fine procession,&lt;br /&gt;
not to speak of the scientific explorers, Romanes,&lt;br /&gt;
Lubbock and others. But the succession has not&lt;br /&gt;
ceased, it is carried on by more than one diligent&lt;br /&gt;
and peacef ul lover of nature. One of the new books,&lt;br /&gt;
by one of Gilbert White&amp;#039;s successors, is in my&lt;br /&gt;
hands. It is &amp;quot; Nature&amp;#039;s Fairy Land,&amp;quot; by H. W. S.&lt;br /&gt;
Worsley-Benison, already in its fourth edition; a&lt;br /&gt;
book that one may take up in the evening for&lt;br /&gt;
a quiet hour; which carries you away into country&lt;br /&gt;
scenes, and to lovely places; on the sands; among&lt;br /&gt;
the gorse; in the garden. If one who is not a&lt;br /&gt;
student of nature, yet a humble reader of books on&lt;br /&gt;
nature&mdash;may name with commendation such a book,&lt;br /&gt;
I venture to do so. It is never tedious; nor is it a&lt;br /&gt;
catalogue, as some of Jefferies&amp;#039; earlier books were&lt;br /&gt;
cruelly said to be; it is always pleasant, and always&lt;br /&gt;
instructive.&lt;br /&gt;
The late Lord Lytton died, pen in hand, correct-&lt;br /&gt;
ing and finishing the verses which, under the name&lt;br /&gt;
of &amp;quot; Marah,&amp;quot; have just been produced in a collected&lt;br /&gt;
form, and in a daintily bound volume (Longman).&lt;br /&gt;
One more poem still remains to be published, after&lt;br /&gt;
which there will be no more of Owen Meredith.&lt;br /&gt;
Perhaps many of the readers of the Author may&lt;br /&gt;
like to possess this volume as a memento of a&lt;br /&gt;
man who valued the Society so highly, and hoped&lt;br /&gt;
so much for its future. The following lines are&lt;br /&gt;
from the Epilogue :&mdash;&lt;br /&gt;
1&lt;br /&gt;
My songs flit away on the wing;&lt;br /&gt;
They are fledged with a smile or a sigh;&lt;br /&gt;
Anil away with the songs that I sing&lt;br /&gt;
Flit my joys, and my sorrows, and I.&lt;br /&gt;
2.&lt;br /&gt;
For time, as it is, cannot stay,&lt;br /&gt;
Nor again as it was, can it be;&lt;br /&gt;
Disappearing and passing away&lt;br /&gt;
Are the world, and the ages, and we.&lt;br /&gt;
3.&lt;br /&gt;
Gone, even before we can go,&lt;br /&gt;
Is our past, with its passions forgot,&lt;br /&gt;
The tears of its wept-away woe,&lt;br /&gt;
And its laughters that gladden us not.&lt;br /&gt;
4-&lt;br /&gt;
The builder of heaven and of earth&lt;br /&gt;
Is our own fickle fugitive breath;&lt;br /&gt;
As it comes in the moment of birth,&lt;br /&gt;
So it goes in the moment of death.&lt;br /&gt;
5.&lt;br /&gt;
As the years were before we l&amp;gt;egan&lt;br /&gt;
Shall the years be when we are no more;&lt;br /&gt;
And between them the years of a man&lt;br /&gt;
Are as waves the wind drives to the shore.&lt;br /&gt;
6.&lt;br /&gt;
Back into the Infinite tend&lt;br /&gt;
The creations that out of it start;&lt;br /&gt;
Unto every beginning an end,&lt;br /&gt;
And whatever arrives shall depart.&lt;br /&gt;
7-&lt;br /&gt;
But I and my songs, for awhile,&lt;br /&gt;
As together away on the wing&lt;br /&gt;
We are borne with a sigh or a smile,&lt;br /&gt;
Have been given this message to sing.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 363 (#767) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
8.&lt;br /&gt;
The Now is an atom of sand,&lt;br /&gt;
And the near is a perishing clod;&lt;br /&gt;
But Afar is as Faery Land,&lt;br /&gt;
And Beyond is the Bosom of God.&lt;br /&gt;
In a talk on things literary, one chanced to say,&lt;br /&gt;
&amp;quot;I am convinced that an uncomfortable pen, or&lt;br /&gt;
paper of a kind to which I am not accustomed,&lt;br /&gt;
makes twenty per cent, difference in the quantity&lt;br /&gt;
I write under ordinary circumstances in a given&lt;br /&gt;
time. I know that it is absurd to be affected by&lt;br /&gt;
such trifles&mdash;but that is so.&amp;quot; &amp;quot;It is not absurd&lt;br /&gt;
at all,&amp;quot; replied the other, a man of science, &amp;quot; but&lt;br /&gt;
perfectly natural. You speak of the point of a&lt;br /&gt;
pen, or the degree of rugosity of the surface&lt;br /&gt;
of the paper as small things. Have you ever&lt;br /&gt;
considered how very much smaller things are the&lt;br /&gt;
molecules of the brain, and the infinitesimal changes&lt;br /&gt;
taking place in them that are all the time guiding&lt;br /&gt;
your hand and thought? It is only reasonable to&lt;br /&gt;
suppose that living fibres of a delicacy so infinite&lt;br /&gt;
would bo very much affected by finding their&lt;br /&gt;
operations hindered by objects comparatively so&lt;br /&gt;
large as the point of a pen, or the grain of the&lt;br /&gt;
surface of a sheet of paper.&amp;quot;&lt;br /&gt;
Those who have visited the Shakespeare house&lt;br /&gt;
at Stratford-on-Avon of late years will regret to&lt;br /&gt;
learn that the curator who did so much to give&lt;br /&gt;
interest to every object preserved there, Mr. Joseph&lt;br /&gt;
Skipsey, has resigned the post. He has returned&lt;br /&gt;
to his native country, and now resides at Newcastle.&lt;br /&gt;
A volume of his collected poems has just been pub-&lt;br /&gt;
lished by Walter Scott . Many of the pieces have,&lt;br /&gt;
no doubt, been seen already by the poet&amp;#039;s friends.&lt;br /&gt;
The whole form a collection of singular interest.&lt;br /&gt;
The charm of the verse lies chiefly in its simplicity&lt;br /&gt;
and purity. The source of inspiration is the&lt;br /&gt;
village, the country, the coal mine, the village&lt;br /&gt;
beauty. For instance&mdash;there are certainly poems&lt;br /&gt;
of a higher flight than this, but everybody will&lt;br /&gt;
recognise the sweetness and simplicity of the&lt;br /&gt;
following lines :&mdash;&lt;br /&gt;
Coal black are the tresses of Fanny;&lt;br /&gt;
But never a mortal could see&lt;br /&gt;
The coal-coloured tresses of Annie,&lt;br /&gt;
And be as a body could be.&lt;br /&gt;
White, white is her forehead, and bonnie;&lt;br /&gt;
And when she goes down to the well,&lt;br /&gt;
The beat of the footsteps of Annie,&lt;br /&gt;
The wrath of a tiger would quell.&lt;br /&gt;
Bed, red are her round cheeks, and bonnie;&lt;br /&gt;
And when she is knitting, her tone&mdash;&lt;br /&gt;
The charm of the accents of Annie,&lt;br /&gt;
Would ravish the heart of a stone.&lt;br /&gt;
Nay, rare are her graces and many;&lt;br /&gt;
But nothing whatever can be&lt;br /&gt;
Compared to the sweet glance of Annie,&lt;br /&gt;
The glance she has given to me.&lt;br /&gt;
At the dinner held in aid of the Booksellers&amp;#039;&lt;br /&gt;
Provident Institution, Mr. F. Macmillan, the chair-&lt;br /&gt;
man, in support of his contention that MSS. are&lt;br /&gt;
really read and considered, made an interesting&lt;br /&gt;
statement. Out of 166 books, including new&lt;br /&gt;
editions, issued by his firm last year, no fewer&lt;br /&gt;
than 22, he said, were printed from 3i5 MSS.&lt;br /&gt;
sent in without being invited. I have always stated&lt;br /&gt;
my own conviction that in the more important&lt;br /&gt;
houses all MSS. are fairly read and honestly&lt;br /&gt;
considered, and it is satisfactory to obtain this&lt;br /&gt;
confirmation of my view. There are, of course,&lt;br /&gt;
only some people can never be persuaded of this,&lt;br /&gt;
houses and houses, publishers and publishers, just&lt;br /&gt;
as there are lawyers and lawyers. From informa-&lt;br /&gt;
tion received one is quite certain that in some firms&lt;br /&gt;
MSS. are not properly considered. The per-cent-&lt;br /&gt;
age of books accepted, 22 out of 315, or 7 per cent.,&lt;br /&gt;
is much higher than that which other publishers&lt;br /&gt;
have reported as the result of careful reading.&lt;br /&gt;
Mr. F. Macmillan is reported to have dwelt&lt;br /&gt;
with some emphasis on the identity of interests&lt;br /&gt;
of author, publisher, and bookseller. It was rather&lt;br /&gt;
dangerous, unless the chairman was willing to&lt;br /&gt;
accept the logical consequence, to dwell too strongly&lt;br /&gt;
on identity of interests, though no one in this&lt;br /&gt;
Society has ever questioned this identity. For, if&lt;br /&gt;
we are all agreed, as we should be, alxwt this&lt;br /&gt;
identity of interests, we must therefore be agreed&lt;br /&gt;
upon the necessity of a mutual understanding as to&lt;br /&gt;
a just division of these interests. At present&lt;br /&gt;
things are so constituted that the publisher knows&lt;br /&gt;
the share of interest which goes to the bookseller,&lt;br /&gt;
but the bookseller does not know the share that&lt;br /&gt;
goes to the publisher. In the same way the author&lt;br /&gt;
knows his share, but has l)een hitherto care-&lt;br /&gt;
fully prevented from knowing the publisher&amp;#039;s share.&lt;br /&gt;
What recognition of identity of interests is that&lt;br /&gt;
in which the publisher stands in the middle and&lt;br /&gt;
says to the bookseller, &amp;quot;Here, my identically in-&lt;br /&gt;
terested friend, is your share,&amp;quot; and to the author,&lt;br /&gt;
&amp;quot;Here is your share out of our identical interests.&lt;br /&gt;
Mine? Oh &amp;#039;. mine is my own affair to myself.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 364 (#768) ############################################&lt;br /&gt;
&lt;br /&gt;
364&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Here, for instance, is a little sum for booksellers&lt;br /&gt;
and authors alike to consider. For book, our old&lt;br /&gt;
friend the 6s. novel. A successful book. Cost&lt;br /&gt;
of production, say iod., in order to be liberal.&lt;br /&gt;
The bookseller gives, say, 3s. ^d. for it, and sells it&lt;br /&gt;
for 4.S. 6d. The author gets, say, 2d. in the&lt;br /&gt;
shilling, or is. a copy. The publisher pays iorf.&lt;br /&gt;
for it to the printer, binder, paper maker, and&lt;br /&gt;
advertisements. lie gives the author is., and he&lt;br /&gt;
gets 3s. \d.&lt;br /&gt;
The interest of all three parties are identical, says&lt;br /&gt;
Mr. F. Maemillan. Quite so. Identical must, I&lt;br /&gt;
apprehend, be taken to mean equal. If not, what&lt;br /&gt;
does it mean? Here, then, are the actual shares&lt;br /&gt;
of the three persons concerned in the publication&lt;br /&gt;
of that book :&mdash;&lt;br /&gt;
The publisher gets 15. 6d.&lt;br /&gt;
The bookseller gets 1*. zd.&lt;br /&gt;
The author gets 1 s.&lt;br /&gt;
Suppose it were agreed&mdash;no fraudulent cost of&lt;br /&gt;
production being allowed, no charging for adver-&lt;br /&gt;
tisements where nothing has been paid&mdash;to make&lt;br /&gt;
the interests of all three actually identical, then&lt;br /&gt;
each would make is. 3d. by every copy on a large&lt;br /&gt;
sale. Shall we &amp;quot;go&amp;quot; for a real identity of&lt;br /&gt;
interests? But in many cases the trade pays more&lt;br /&gt;
than 3s, $d., and in many cases the author does not&lt;br /&gt;
get so large a royalty as a sixth.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
AN OLD MASTER.&lt;br /&gt;
AMONG the best books of this season is&lt;br /&gt;
&amp;quot;Melmoth the Wanderer,&amp;quot; of which Messrs.&lt;br /&gt;
Bentley and Son have just issued a new edi-&lt;br /&gt;
tion, together with a portrait of the author, a very&lt;br /&gt;
interesting account of his life, a chronology of&lt;br /&gt;
his work, and a scholarly estimate of his literary&lt;br /&gt;
position.&lt;br /&gt;
&amp;quot;Melmoth the Wanderer&amp;quot; has been known to&lt;br /&gt;
most readers by name, and many attracted by the&lt;br /&gt;
chance mention of the work in the writings of&mdash;&lt;br /&gt;
among others&mdash;Scott, Thackeray, and especially&lt;br /&gt;
Balzac, have promised themselves that at some time&lt;br /&gt;
or another they would read Maturin&amp;#039;s masterpiece.&lt;br /&gt;
Few, however, have carried out this resolution, for&lt;br /&gt;
the book has been very hard to come by. One or&lt;br /&gt;
two incomplete versions have been presented to the&lt;br /&gt;
public in cheap form, hut for most of the people&lt;br /&gt;
whose curiosity had been stimulated by Balzac,&lt;br /&gt;
such editions have no existence, and for many&lt;br /&gt;
years &amp;quot; Melmoth the Wanderer&amp;quot; has been rather a&lt;br /&gt;
book-collector&amp;#039;s prize. It has never fetched any&lt;br /&gt;
maniacal price, but its rarity has l&amp;gt;een sufficiently&lt;br /&gt;
pronounced to make it a stimulating object for a&lt;br /&gt;
collector, and to preclude any wide knowledge of&lt;br /&gt;
the story. And now that the story is offer*! to&lt;br /&gt;
the public in a complete, convenient, and hand ome&lt;br /&gt;
form, it will be interesting to see in what spirit it&lt;br /&gt;
is read, and, indeed, if it is widely read at all. For&lt;br /&gt;
undoubtedly &amp;quot;Melmoth&amp;quot; l&amp;gt;elongs to an old-&lt;br /&gt;
fashioned class of books. It is one long record of&lt;br /&gt;
horror and mystery, and the author&amp;#039;s designs to&lt;br /&gt;
produce thrills are such as are now-a-days likely to&lt;br /&gt;
have but little effect. Satanic compacts and the&lt;br /&gt;
crimes of the Inquisition have had their day, with&lt;br /&gt;
the terrors of oubliettes and of madhouse cells.&lt;br /&gt;
The latter have been pictured for us now so often,&lt;br /&gt;
that they have not only lost through familiarity&lt;br /&gt;
their power of shocking, but they have actually&lt;br /&gt;
become forbidden subjects for an author, taking&lt;br /&gt;
their place in the category of rescues from mad-&lt;br /&gt;
bulls or rapidly incoming tides, of the heroine&amp;#039;s&lt;br /&gt;
sprained ankle, and of mistakes in the identity of&lt;br /&gt;
twin-brethren. And of treaties with the devil,&lt;br /&gt;
what is to be said? Does the consideration of these&lt;br /&gt;
blood-signed contracts cause the skin to tighten or&lt;br /&gt;
the scalp to lift? No longer. It is to be feared&lt;br /&gt;
that our growth in wisdom has led to serious dimi-&lt;br /&gt;
nution of our happiness in many ways, notably, that&lt;br /&gt;
what we have gained in solid knowledge we have&lt;br /&gt;
lost in airy illusion. A story of diablerie, to be&lt;br /&gt;
successful as such, must at this time have something&lt;br /&gt;
of the sad, cynical, humourous, extravagant touch,&lt;br /&gt;
for as a l&amp;gt;ogey-man Satan has got behindhand.&lt;br /&gt;
&amp;quot;Melmoth the Wanderer,&amp;quot; though it is extravagant&lt;br /&gt;
enough, is certainly not sad, humourous, or cynical.&lt;br /&gt;
Yet it is very possible that the book will be a popular&lt;br /&gt;
success, though its subject is rococo, its incidents&lt;br /&gt;
familiar, and its treatment not too artistic. Then&lt;br /&gt;
the Reverend C. Robert Maturin is about to enjoy&lt;br /&gt;
at the end of the century some little measure of the&lt;br /&gt;
fame that he enjoyed at its commencement. For&lt;br /&gt;
the hare-brained Irish parson has a magnificent&lt;br /&gt;
power of story-telling. His romancing is consistent&lt;br /&gt;
and spontaneous, and the action of his drama is so&lt;br /&gt;
quick that the absurdities pass unnoticed in the&lt;br /&gt;
whirl of events. Though the mysterious appearance&lt;br /&gt;
of the &amp;quot;Wanderer&amp;quot; may not bring terror to our&lt;br /&gt;
souls, nor the baleful glare of his eyes seem to us to&lt;br /&gt;
gain in malignity by the origin that is suggested for&lt;br /&gt;
it, yet the note of horror is struck&mdash;even for us.&lt;br /&gt;
And it is the author&amp;#039;s triumph that this should l&amp;gt;e,&lt;br /&gt;
for our own horror is a direct tribute to his skill in&lt;br /&gt;
telling the story. It means that the reader has&lt;br /&gt;
been convinced that what frightens all the bold&lt;br /&gt;
bad men in the book so really and so terribly, must&lt;br /&gt;
have its real and terrible side. He takes this for&lt;br /&gt;
granted, and hurries on to see what is going to&lt;br /&gt;
happen.&lt;br /&gt;
It is something in the nature of an experiment to&lt;br /&gt;
issue such a book in these davs, but it is more than&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 365 (#769) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
365&lt;br /&gt;
possible that the excellence of the story will outweigh&lt;br /&gt;
its absurdities, and will secure for it a big public.&lt;br /&gt;
The cheap mutilated editions seem to have had a&lt;br /&gt;
vogue, and was certainly directed rather to meet&lt;br /&gt;
the demands of an uncritical public, asking only for&lt;br /&gt;
a good interesting story, than to supply cultured&lt;br /&gt;
taste with a curio to speculate over, or a text upon&lt;br /&gt;
which to hang essays in celebration of the improve-&lt;br /&gt;
ment of fiction. This new issue, with its elaborate&lt;br /&gt;
and trustworthy editorial additions, should secure for&lt;br /&gt;
Maturin a fresh crop of admirers.*&lt;br /&gt;
O. J.&lt;br /&gt;
&lt;br /&gt;
OBSERVATIONS ON &amp;quot;THE TALE-TELLING&lt;br /&gt;
ART&amp;quot; IN SIR WALTER SCOTT&amp;#039;S&lt;br /&gt;
INTRODUCTIONS TO THE &amp;quot;WAVERLEY&lt;br /&gt;
NOVELS.&amp;quot;&lt;br /&gt;
11.&lt;br /&gt;
HAVING learned what, in Sir Walter Scott&amp;#039;s&lt;br /&gt;
opinion, constitutes perfection in a romance,&lt;br /&gt;
and in what quarters an author should&lt;br /&gt;
seek for the elements of his stories, it will be&lt;br /&gt;
natural next to enquire what Sir Walter Scott has&lt;br /&gt;
to say respecting the choice of subjects. Here,&lt;br /&gt;
may well be placed first an observation, which,&lt;br /&gt;
though it says no more than Horace&amp;#039;s&mdash;&lt;br /&gt;
Sumite materiam vestris, qui scribitis, scquam&lt;br /&gt;
Viribus.f&lt;br /&gt;
and indeed, contains but a very trite truism, still&lt;br /&gt;
expresses happily a fact with which all authors&lt;br /&gt;
must reckon.&lt;br /&gt;
&amp;quot;It is not sufficient that a mine be in itself rich&lt;br /&gt;
and easily accessible; it is necessary that the engi-&lt;br /&gt;
neer who explores it should himself, in mining&lt;br /&gt;
phrase, have an accurate knowledge of the country,&lt;br /&gt;
and possess the skill necessary to work it to&lt;br /&gt;
advantage.&amp;quot;&mdash;(Introduction to St. Ronan&amp;#039;s Well.)&lt;br /&gt;
In several passages bearing generally upon the&lt;br /&gt;
choice of subject, Sir Walter Seott insists upon&lt;br /&gt;
attaching paramount importance to novelty. This&lt;br /&gt;
is not novelty in the sense of some theme or motif&lt;br /&gt;
never before attempted. That kind of novelty,&lt;br /&gt;
indeed, many would assert to be impossible of dis-&lt;br /&gt;
covery: though it seems more temperate to doubt&lt;br /&gt;
whether all the possible combinations of human&lt;br /&gt;
existence could ever be exhausted; whilst La&lt;br /&gt;
Fontaine has pertinently remarked&mdash;&lt;br /&gt;
La feinte est an pays plcin de terres desertes,&lt;br /&gt;
Tons les jours dos autcurs y font des decouvertes.J&lt;br /&gt;
* Maturin, Charles Eobert. &amp;quot;Mclmoth the Wanderer.&amp;quot;&lt;br /&gt;
Bcntley. A new edition from the original text with n&lt;br /&gt;
memoir and bibliography of Maturin&amp;#039;s works. Frontispiece.&lt;br /&gt;
3 vols.&lt;br /&gt;
t Ars Poetica, 38. J Fables, Livre 3, 1.&lt;br /&gt;
The novelty, however, upon which Sir Walter&lt;br /&gt;
Scott insists, consists in the choice by an author of&lt;br /&gt;
subjects of a sort that he himself has never pre-&lt;br /&gt;
viously treated. This the great novelist seems to&lt;br /&gt;
hold indispensable to success. It would be inte-&lt;br /&gt;
resting to know how far the experience of the&lt;br /&gt;
living novelists of the present day corroborates or&lt;br /&gt;
goes against Sir Walter Scott&amp;#039;s view. Do they&lt;br /&gt;
really find that they recruit additional readers, and&lt;br /&gt;
increase the circulation of their works when they&lt;br /&gt;
quit the particular kind of romance in which they&lt;br /&gt;
have hitherto laboured, to attempt a story of an&lt;br /&gt;
entirely different description? Or is their ex-&lt;br /&gt;
perience quite the contrary? Certainly, it is a very&lt;br /&gt;
common thing to hear the enthusiastic readers of a&lt;br /&gt;
well-known author cry out at once, when he quits&lt;br /&gt;
the themes with which be has hitherto dealt to&lt;br /&gt;
break some new ground. &amp;quot;So-and-so&amp;#039;s new book,&amp;quot;&lt;br /&gt;
they promptly declare, &amp;quot; is not a bit like any of the&lt;br /&gt;
others. It is just like a tale by such-an-onc.&amp;quot; And&lt;br /&gt;
the speaker almost always goes on to say that he hates&lt;br /&gt;
such-an-one&amp;#039;s books. This seems to indicate that&lt;br /&gt;
to continue to excel in stories of the type an author&lt;br /&gt;
has found most congenial to his taste should lie his&lt;br /&gt;
aim, rather than to attempt novelties. And that is&lt;br /&gt;
what most of our present authors appear to do.&lt;br /&gt;
But Sir Walter Scott very distinctly expresses his&lt;br /&gt;
opinion, that no author should write many books of&lt;br /&gt;
the same kind, and that, if he wishes to maintain&lt;br /&gt;
his popularity, new departures are indispensable.&lt;br /&gt;
So, after the publication of his Scotch novels,&lt;br /&gt;
commencing with &amp;quot;Waverley,&amp;quot; and ending with&lt;br /&gt;
&amp;quot;The Bride of Lammermoor,&amp;quot; Sir Walter Scott&lt;br /&gt;
writes in the preface to &amp;quot; Ivanhoe &amp;quot;&mdash;&lt;br /&gt;
&amp;quot;The author of the &amp;#039;Waterley Novels&amp;#039; had&lt;br /&gt;
hitherto proceeded in an unabated course of popu-&lt;br /&gt;
larity, and might, in his peculiar district of lite-&lt;br /&gt;
rature, have been termed L&amp;#039;Enfant Gate of success.&lt;br /&gt;
It was plain, however, that frequent publication&lt;br /&gt;
must finally wear out the public favour, unless&lt;br /&gt;
some mode could be devised to give an appearance&lt;br /&gt;
of novelty to subsequent productions. Scottish&lt;br /&gt;
manners, Scottish dialect, and Scottish characters&lt;br /&gt;
of note being those with which the author was&lt;br /&gt;
most intimately and familiarly acquainted, were&lt;br /&gt;
the groundwork upon which he had hitherto relied&lt;br /&gt;
for giving effect to his narrative. It was, however,&lt;br /&gt;
obvious that this kind of interest must in the end&lt;br /&gt;
occasion a degree of sameness and repetition. . . .&lt;br /&gt;
Nothing can be more dangerous for the fame of&lt;br /&gt;
a professor of the fine arts than to permit (if ho&lt;br /&gt;
can possibly prevent it) the character of a mannerist&lt;br /&gt;
to be attached to him, or that he should be supposed&lt;br /&gt;
capable of success only in a particular and limited&lt;br /&gt;
style.&amp;quot;&lt;br /&gt;
In his very next novel, &amp;quot; The Monastery,&amp;quot; he is&lt;br /&gt;
again in quest of something new.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 366 (#770) ############################################&lt;br /&gt;
&lt;br /&gt;
366&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
&amp;quot;There was a disadvantage ... in treading&lt;br /&gt;
the Border district, for it had already been ran-&lt;br /&gt;
sacked by the author himself, as well as others,&lt;br /&gt;
and, unless presented uuder a new light, was likely&lt;br /&gt;
to afford ground to the objection of crambe bis&lt;br /&gt;
cocta. To attend the indispensable quality of&lt;br /&gt;
novelty, something, it was thought, might be&lt;br /&gt;
gained by contrasting the character of the vassals&lt;br /&gt;
of the Church with those of the dependants of the&lt;br /&gt;
Barons.&amp;quot;&mdash;(Introduction to &amp;quot; The Monastery.&amp;quot;)&lt;br /&gt;
And again, in the &amp;quot;Introduction to St. Ronan&amp;#039;s&lt;br /&gt;
Well &amp;quot;: &amp;quot;This style of composition was adopted&lt;br /&gt;
by the author rather from the tempting circum-&lt;br /&gt;
stance of its offering some novelty in his com-&lt;br /&gt;
positions, and avoiding worn-out characters and&lt;br /&gt;
positions.&amp;quot;&lt;br /&gt;
It seems, therefore, that, in Sir Walter Scott&amp;#039;s&lt;br /&gt;
opinion, novelty in choice of subject is indis-&lt;br /&gt;
pensable.&lt;br /&gt;
Some general remarks upon how Sir Walter&lt;br /&gt;
proceeded in the construction of his plots, con-&lt;br /&gt;
tained in the &amp;quot;Prefatory Letter&mdash;Dr. Dryasdust&lt;br /&gt;
to Captain Clutterbuck,&amp;quot; preceding &amp;quot;Peveril&lt;br /&gt;
of the Peak,&amp;quot; have been already quoted in the&lt;br /&gt;
previous paper. To these may be added a con-&lt;br /&gt;
siderable number of hints and passages, some of&lt;br /&gt;
them too long to be here quoted at full length,&lt;br /&gt;
bearing upon several different sorts of romance.&lt;br /&gt;
Historical romance may be first mentioned. On&lt;br /&gt;
this important kind of fiction, in the opinion of&lt;br /&gt;
many the highest form of which romance is&lt;br /&gt;
capable, Sir Walter Scott has written a complete&lt;br /&gt;
short treatise in the &amp;quot;Dedicatory Epistle to the&lt;br /&gt;
Rev. Dr. Dryasdust,&amp;quot; preceding &amp;quot;Ivanhoe.&amp;quot; In&lt;br /&gt;
the &amp;quot;Introduction to Ivanhoe&amp;quot; this letter is&lt;br /&gt;
mentioned as a formal statement of the author&amp;#039;s&lt;br /&gt;
views respecting historical romance&mdash;&amp;quot;expressing&lt;br /&gt;
the author&amp;#039;s purpose and opinions in undertaking&lt;br /&gt;
this species of composition.&amp;quot; It is full of remarks&lt;br /&gt;
of the highest suggestiveness, but the reader must&lt;br /&gt;
be referred to it. The &amp;quot;Letter&amp;quot; is too long to be&lt;br /&gt;
quoted in extenso, and the connection of the whole&lt;br /&gt;
so close that the value of the remarks it contains&lt;br /&gt;
would be seriously impaired by the separation of&lt;br /&gt;
selected passages from the context. The &amp;quot; Letter&amp;quot;&lt;br /&gt;
deals with most of the difficulties of historical&lt;br /&gt;
romance, and, whilst replying to many of the ob-&lt;br /&gt;
jections that have been raised against this form&lt;br /&gt;
of fiction, enunciates those general principles which&lt;br /&gt;
now seem to be pretty widely accepted as rules&lt;br /&gt;
of the legitimate treatment of historical facts in&lt;br /&gt;
fiction.&lt;br /&gt;
Respecting stories whose date is, to quote the&lt;br /&gt;
dramatist, &amp;quot;the present,&amp;quot; Sir Walter Scott nowhere&lt;br /&gt;
offers any particular suggestions, saving a few&lt;br /&gt;
remarks upon &amp;quot; St. Ronan&amp;#039;s Well,&amp;quot; in the Introduc-&lt;br /&gt;
tion to that story, which will be again mentioned&lt;br /&gt;
presently. In the first chapter of &amp;quot;Waverley,&amp;quot;&lt;br /&gt;
however, he makes a remark which shows his&lt;br /&gt;
opinion to have differed from that of more recent&lt;br /&gt;
authors, who have found themes for successful&lt;br /&gt;
fiction in every epoch.&lt;br /&gt;
&amp;quot;A tale of manners, to be interesting, must,&lt;br /&gt;
either refer to antiquity so great as to have&lt;br /&gt;
become venerable, or it must bear a vivid reflec-&lt;br /&gt;
tion of those scenes which are pissing daily before&lt;br /&gt;
our eyes, and are interesting from their novelty.&amp;quot;&lt;br /&gt;
We seem to possess no English equivalent for&lt;br /&gt;
the expressive German term Tendcnz-Roman.&lt;br /&gt;
&amp;quot;The novel with a purpose&amp;quot; is undeniably an&lt;br /&gt;
awkward phrase. Of the value of &amp;quot;the novel with&lt;br /&gt;
a purpose&amp;quot; opinions differ widely. Not even&lt;br /&gt;
Horace&amp;#039;s dictum&mdash;&lt;br /&gt;
Ouine tulit punctual, qui miscuit utile dulci.*&lt;br /&gt;
can persuade some people to like powders in their&lt;br /&gt;
jam. And it would seem that these may claim Sir&lt;br /&gt;
Walter Scott as a supporter of their opinion. In&lt;br /&gt;
the &amp;quot;Introduction to the Fortunes of Nigel &amp;quot; he&lt;br /&gt;
writes, &amp;quot;I am, I own, no great believer in the&lt;br /&gt;
moral utility to be derived from fictitious composi-&lt;br /&gt;
tions.&amp;quot; In the &amp;quot;Introductory Epistle &amp;quot; preceding&lt;br /&gt;
the same work, he says frankly, &amp;quot; I write, I care&lt;br /&gt;
not who knows it, for the general amusement.&amp;quot;&lt;br /&gt;
Romance with a supernatural element is at&lt;br /&gt;
present extraordinarily popular. Respecting this&lt;br /&gt;
supernatural element Sir Walter Scott has a good&lt;br /&gt;
deal to say in the &amp;quot; Introductory Epistle&mdash;Captain&lt;br /&gt;
Clutterbuck to Dr. Dryasdust,&amp;quot; placed before &amp;quot; The&lt;br /&gt;
Fortunes of Nigel&amp;quot; (dated 1822; &amp;quot;The Monas-&lt;br /&gt;
tery&amp;quot; was published in 1820), and in the &amp;quot; Intro-&lt;br /&gt;
duction to the Monastery &amp;quot; (dated 183o). All has&lt;br /&gt;
reference to the &amp;quot; White Lady of Avenel,&amp;quot; of whom&lt;br /&gt;
he writes, &amp;quot;There is a general feeling that the&lt;br /&gt;
AVhite Lady is no favourite.&amp;quot; &amp;quot;The formidable&lt;br /&gt;
objection of incrcditltis odi was applied to the&lt;br /&gt;
White Lady.&amp;quot; In the &amp;quot;Introductory Epistle&amp;quot;&lt;br /&gt;
Sir AValter Scott makes rather merry over his&lt;br /&gt;
unsuccessful introduction of the supernatural,&lt;br /&gt;
confessing the White Lady &amp;quot; too fine drawn for&lt;br /&gt;
the present taste of the public,&amp;quot; and promising that&lt;br /&gt;
his next novel shall contain &amp;quot;no dreams, or&lt;br /&gt;
presages, or obscure allusions to future events.&lt;br /&gt;
Not a Cock-lane scratch, my son&mdash;not one bounce&lt;br /&gt;
or drum of Jedworth&mdash;not so much as a poor tick&lt;br /&gt;
of a solitary death-watch in the wainscot. All is&lt;br /&gt;
clear and above board&mdash;a Scots metaphysician&lt;br /&gt;
might believe every word of it.&amp;quot; Writing the&lt;br /&gt;
&amp;quot;Introduction to the Monastery&amp;quot; eight years&lt;br /&gt;
afterwards, Sir Walter Scott enters into a more&lt;br /&gt;
serious discussion of his &amp;quot;White Lady,&amp;quot; concluding&lt;br /&gt;
by saying &mdash;&lt;br /&gt;
&amp;quot;Either . . . the author executed his pur-&lt;br /&gt;
pose indifferently, or the public did not approve of&lt;br /&gt;
* Ars Poetica, 340.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 367 (#771) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
367&lt;br /&gt;
it. For the White Lady of Avenel was far from&lt;br /&gt;
being popular. He does not now make the present&lt;br /&gt;
statement in the view of arguing readers into a&lt;br /&gt;
more favourable opinion on the subject, but merely&lt;br /&gt;
with the purpose of exculpating himself from the&lt;br /&gt;
charge of having wantonly intruded into the&lt;br /&gt;
narrative a being of inconsistent powers and&lt;br /&gt;
propensities.&amp;quot;&lt;br /&gt;
This certainly reads as if Sir Walter Scott&lt;br /&gt;
would have liked to find his supernatural incidents&lt;br /&gt;
acceptable to the public, even whilst he keenly felt&lt;br /&gt;
the force of Horace&amp;#039;s terrible incredulus odi.&lt;br /&gt;
Indeed, the tone of the &amp;quot;Introduction to the&lt;br /&gt;
Monastery&amp;quot; contrasts strongly with the scathing&lt;br /&gt;
satire which Henry Fielding, in the first chapter of&lt;br /&gt;
the eighth book of &amp;quot; Tom Jones,&amp;quot; pours upon &amp;quot; that&lt;br /&gt;
species of writing which is called the marvellous.&amp;quot;&lt;br /&gt;
The &amp;quot;Introduction to the Pirate &amp;quot; contains an&lt;br /&gt;
interesting remark on &amp;quot;the explained super-&lt;br /&gt;
natural.&amp;quot; It refers to Morna.&lt;br /&gt;
&amp;quot;The professed explanation of a tale, where&lt;br /&gt;
appearances or incidents of a supernatural character&lt;br /&gt;
are explained on natural causes, has often, in the&lt;br /&gt;
winding up of the story, a degree of improbability&lt;br /&gt;
almost equal to an absolute goblin tale.&amp;quot;&lt;br /&gt;
To come to the plots of particular novels. Four&lt;br /&gt;
prefaces present features of more interest than&lt;br /&gt;
others. The &amp;quot;Introduction to the Monastery&amp;quot;&lt;br /&gt;
relates the whole genesis of that romance from the&lt;br /&gt;
selection of the first elements upon which it was&lt;br /&gt;
built. The &amp;quot;Introduction to the Fortunes of&lt;br /&gt;
Nigel&amp;quot; is much more brief, but of a similar&lt;br /&gt;
character. Sir Walter Scott himself says that it&lt;br /&gt;
presents &amp;quot; the materials to which the author stands&lt;br /&gt;
indebted for the composition of the . . novel.&amp;quot;&lt;br /&gt;
The short &amp;quot;Introduction to the Pirate&amp;quot; plainly&lt;br /&gt;
shows that romance to have been principally sug-&lt;br /&gt;
gested by a locality and its scenery, whilst some of&lt;br /&gt;
the dramatic elements the author has worked into&lt;br /&gt;
his tale are contained in the &amp;quot;Advertisement.&amp;quot;&lt;br /&gt;
Finally, the short &amp;quot;Introduction to St. Ronan&amp;#039;s&lt;br /&gt;
Well&amp;quot; affords a few hints of how the elements of&lt;br /&gt;
Sir AValter Scott&amp;#039;s one tale of contemporary man-&lt;br /&gt;
ners were selected. It is impossible to present the&lt;br /&gt;
substance of these Introductions in any form better&lt;br /&gt;
than that in which they stand, and the reader is&lt;br /&gt;
therefore referred to them.&lt;br /&gt;
The result of a novelist&amp;#039;s labours in shaping his&lt;br /&gt;
plot is his scenario. Sir Walter Scott only twice&lt;br /&gt;
alludes, incidentally, to any kind of sketch or plan&lt;br /&gt;
of his romances. Waverley was written without a&lt;br /&gt;
scenario.&lt;br /&gt;
&amp;quot;I must frankly confess that the mode in which&lt;br /&gt;
I conducted the story scarcely deserved the success&lt;br /&gt;
which the romance afterwards attained. The tale&lt;br /&gt;
of &amp;quot; Waverley &amp;quot; was put together with so little care&lt;br /&gt;
that I cannot boast of having sketched any distinct&lt;br /&gt;
plan of the work.&amp;quot;&mdash;(General Preface to the&lt;br /&gt;
Waverley Novels.)&lt;br /&gt;
In the &amp;quot; Introductory Epistle &amp;quot; preceding &amp;quot; The&lt;br /&gt;
Fortunes of Nigel&amp;quot; Sir AValter Scott speaks of&lt;br /&gt;
finding a great difficulty in keeping to the scenario&lt;br /&gt;
after he had made it.&lt;br /&gt;
&amp;quot;You should take time at least to arrange your&lt;br /&gt;
story,&amp;quot; observes the captain.&lt;br /&gt;
&amp;quot;Author. That is a sore point with me, my son.&lt;br /&gt;
Believe me, I have not been fool enough to neglect&lt;br /&gt;
ordinary precautions. I have repeatedly laid down&lt;br /&gt;
my future work to scale. . . . But I think&lt;br /&gt;
there is a demon who seats himself on the feather&lt;br /&gt;
of my pen when I begin to write, and leads it&lt;br /&gt;
astray from the purpose. Characters expand under&lt;br /&gt;
my hand; incidents are multiplied; the story&lt;br /&gt;
lingers, while the materials increase; my regular&lt;br /&gt;
mansion turns out a gothic anomaly, and the work&lt;br /&gt;
is closed long before I have attained the point I&lt;br /&gt;
proposed.&amp;quot;&lt;br /&gt;
Some remarks of Sir Walter Scott&amp;#039;s on characters,&lt;br /&gt;
titles, and a few other matters remain, and shall&lt;br /&gt;
form the subjects of another paper.&lt;br /&gt;
Henry Cbesswell.&lt;br /&gt;
AUTHOR AND EDITOE.&lt;br /&gt;
1.&lt;br /&gt;
&amp;quot;Advice to Conthiijutors.&amp;quot;&lt;br /&gt;
THE &amp;quot; advice to contributors &amp;quot; published in the&lt;br /&gt;
March number of the Author, although good,&lt;br /&gt;
is not, in my opinion, the best that could be&lt;br /&gt;
given to the ordinary or casual contributor, for (i)&lt;br /&gt;
if you, a comparatively unknown writer, suggest a&lt;br /&gt;
good subject to the editor of a magazine or news-&lt;br /&gt;
paper he probably knows someone who will treat the&lt;br /&gt;
subject in a manner which will surely commend&lt;br /&gt;
itself to him, whilst with your treatment of it he&lt;br /&gt;
may not be satisfied, consequently it often happens&lt;br /&gt;
that the only reply received to a suggestion or offer&lt;br /&gt;
of this kind is that the same subject is being&lt;br /&gt;
treated by one of the regular staff, or that an&lt;br /&gt;
article upon it is already in hand. (2.) To put&lt;br /&gt;
any price on your contribution is a sure method of&lt;br /&gt;
obtaining its prompt return unread and without&lt;br /&gt;
thanks. To the third and fourth rules no objection&lt;br /&gt;
can be raised, but with respect to the fifth,&lt;br /&gt;
whether you keep one copy, or fifty, of your MS.&lt;br /&gt;
is nothing whatever to do with the editor, although&lt;br /&gt;
some editors assume that you do keep a copy, and,&lt;br /&gt;
consequently, take less care of MSS. sent in.&lt;br /&gt;
The best advice that can be given to intending&lt;br /&gt;
contributors is that they obtain a personal intro-&lt;br /&gt;
duction to the editor of the magazine to which they&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 368 (#772) ############################################&lt;br /&gt;
&lt;br /&gt;
368&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
wish to contribute. To produce good work,&lt;br /&gt;
readable work, marketable work, is not to obtain&lt;br /&gt;
the open sesame of the market, the entrance to&lt;br /&gt;
which can be effected easily by the intervention of&lt;br /&gt;
one of the select few in possession of it. This&lt;br /&gt;
method is that usually followed, and is the plan&lt;br /&gt;
adopted by many now successful writers; an&lt;br /&gt;
entrance may be forced, but in this few succeed.&lt;br /&gt;
Why should editors treat MSS. so badly? What&lt;br /&gt;
right have they to scrawl hieroglyphics and ciphers&lt;br /&gt;
of their own upon a neatly named and signed&lt;br /&gt;
manuscript? What right have they to scribble&lt;br /&gt;
&amp;quot;Declined with thanks upon paper which is not&lt;br /&gt;
theirs? Is it editorial etiquette or sheer careless-&lt;br /&gt;
ness that results in MSS. being returned stained&lt;br /&gt;
with coffee and porter; torn and creased, and&lt;br /&gt;
without a wrapper; with the author&amp;#039;s name scrawled&lt;br /&gt;
by an office lx&amp;gt;y on the back thereof, and a postage&lt;br /&gt;
stamp of the lowest denomination affixed thereto,&lt;br /&gt;
although the correct postage for return was&lt;br /&gt;
forwarded?&lt;br /&gt;
Publishers of the highest standing and editors&lt;br /&gt;
of the most successful periodicals are the worst&lt;br /&gt;
offenders: the second-rate men cannot afford to be&lt;br /&gt;
rude: those wonderfully kind letters which the&lt;br /&gt;
great literary men are said to write when they are&lt;br /&gt;
forced to return a manuscript are things we never&lt;br /&gt;
receive, but of which we frequently read. As&lt;br /&gt;
often as not MSS. are returned without a word,&lt;br /&gt;
printed or otherwise, sometimes with a stereotyped&lt;br /&gt;
refusal, still less frequently they are refused by&lt;br /&gt;
postcard; a most reprehensible method, although&lt;br /&gt;
practised by at least one London quarterly and one&lt;br /&gt;
London monthly.&lt;br /&gt;
At the Authors&amp;#039; Club there should be an album&lt;br /&gt;
for the original &amp;quot; D. W. T.&amp;quot; forms of all periodicals;&lt;br /&gt;
the future generation of editors may then learn&lt;br /&gt;
which to avoid. There is enough and to spare of&lt;br /&gt;
editorial etiquette in London, but the home of&lt;br /&gt;
editorial courtesy is, at present, north of the Tweed,&lt;br /&gt;
as the place aVhonneur will be accorded to the&lt;br /&gt;
Scotch firms.&lt;br /&gt;
G. W.&lt;br /&gt;
If.&lt;br /&gt;
No Use in Writing.&lt;br /&gt;
&amp;quot;I have had so much trouble to get my MSS. stories&lt;br /&gt;
out of the Family Hearthrug that I must give you&lt;br /&gt;
my experience, and beg you, if you have not had&lt;br /&gt;
yours back, to act somewhat as I did. First, I&lt;br /&gt;
wrote and called in all five times. Then I wrote&lt;br /&gt;
saying I should be obliged for an answer, &amp;#039;Yes&amp;#039;&lt;br /&gt;
or &amp;#039;No&amp;#039; as to whether they had the MSS. or had&lt;br /&gt;
lost them, and enclosed a stamped envelope. Still&lt;br /&gt;
dead silence. Then I sailed down to the office&lt;br /&gt;
with a new novel&mdash;not in MS.&mdash;under my arm,&lt;br /&gt;
and said I had come to stop until my packet was&lt;br /&gt;
found, or till the editor could give me an explana-&lt;br /&gt;
tion. The man in charge was exceedingly rude,&lt;br /&gt;
but I did not care in the least. I sat down on a&lt;br /&gt;
shelf in front of the counter (not at all uncom-&lt;br /&gt;
fortable if you get your back against the window),&lt;br /&gt;
pulled out my book, and read steadily from 11.4.5&lt;br /&gt;
till 2 o&amp;#039;clock, without speaking or stirring, except&lt;br /&gt;
to cut the page. At 2 p.m., the man in charge, who&lt;br /&gt;
had spent the time in staring at me, and shuffling&lt;br /&gt;
in and out of a back hole (where presumably the&lt;br /&gt;
editor was hiding), suddenly found my story and&lt;br /&gt;
handed it to me, but with no explanation. I&lt;br /&gt;
thanked him, and begged him to request the editor&lt;br /&gt;
to accept the stamped envelopes I had showered on&lt;br /&gt;
him, as a slight recognition of his trouble, and caine&lt;br /&gt;
off triumphant. I tell you all this, because I am&lt;br /&gt;
convinced that you will not get your story back by&lt;br /&gt;
writing for it.&amp;quot;&lt;br /&gt;
[The lady to whom this letter was written sent it&lt;br /&gt;
on to us, and we are happy to reproduce it for the&lt;br /&gt;
benefit of other people who may be thinking of&lt;br /&gt;
sending manuscripts to the Family Hearthrug, so&lt;br /&gt;
that they may consider before doing so, if they are&lt;br /&gt;
of the temperament to stand such treatment, if they&lt;br /&gt;
can afford to give stamps away by the hand-full,&lt;br /&gt;
and to spend half a working day in recovering their&lt;br /&gt;
own property from a person who proposes to keep&lt;br /&gt;
it. There is also another point on which we must&lt;br /&gt;
add a few lines of warning. When the MSS. have&lt;br /&gt;
once been despatched, we arc often powerless to&lt;br /&gt;
help the author. If they have been destroyed we&lt;br /&gt;
cannot recover them. If it should be denied that&lt;br /&gt;
they have ever been received, we cannot prove the&lt;br /&gt;
opposite. If they have been lost we cannot find&lt;br /&gt;
them. But if the author will only consult us before&lt;br /&gt;
sending his MSS. to the editor at all we can advise&lt;br /&gt;
him as to the course he should pursue.]&lt;br /&gt;
III.&lt;br /&gt;
A Kindness and its Sequel.&lt;br /&gt;
Here is a case of kindness not often met with&lt;br /&gt;
and worthy of record. Years ago I sent a MS. to&lt;br /&gt;
an editor, who, declining it for his own paper, told&lt;br /&gt;
me he had sent it on to a friend who would print&lt;br /&gt;
it, and pay the same price per column. This was&lt;br /&gt;
my first entrance into a periodical which has&lt;br /&gt;
printed a number of articles during some 10 or 12&lt;br /&gt;
years.&lt;br /&gt;
The periodicals were published respectively in&lt;br /&gt;
New York and Boston; the editors were, or rather&lt;br /&gt;
are, both Americans. Is such kindness only to be&lt;br /&gt;
found across the ocean? Such certainly is my&lt;br /&gt;
experience.&lt;br /&gt;
S. B.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 369 (#773) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
369&lt;br /&gt;
IV.&lt;br /&gt;
Returned Unread.&lt;br /&gt;
&amp;quot;I should like to relate my recent experiences&lt;br /&gt;
with MSS. I was careful to observe the rules of&lt;br /&gt;
the magazine to which I sent them. I had them&lt;br /&gt;
type-written, so that they should be clear to read.&lt;br /&gt;
I then started the MS. on their travels, forwarding&lt;br /&gt;
in my letter an addressed postcard to acknowledge&lt;br /&gt;
the arrival of the parcel. One editor used the&lt;br /&gt;
postcard to state that the work was not suitable,&lt;br /&gt;
und sent it back without opening the parcel. Most&lt;br /&gt;
editors stated that they were flooded with con-&lt;br /&gt;
tributions, and unable to consider anything for&lt;br /&gt;
months. Only two attempts were made to read&lt;br /&gt;
the MS. Now, I conduct a provincial journal.&lt;br /&gt;
Whenever I put in work of my own the circulation&lt;br /&gt;
increases. My work, therefore, suits my readers.&lt;br /&gt;
Why not the general mass of readers? How can&lt;br /&gt;
I, however, get editors to consider it?&amp;quot;&lt;br /&gt;
V.&lt;br /&gt;
With no Name.&lt;br /&gt;
May I call attention to a fact in my literary&lt;br /&gt;
exi&amp;gt;erience which has puzzled me a good deal, but&lt;br /&gt;
which some of your readers may be able to explain.&lt;br /&gt;
Here it is. I have contributed verse of a&lt;br /&gt;
lyrical type to a certain high class, well-known&lt;br /&gt;
London journal. I was most liberally and promptly&lt;br /&gt;
paid by them. But&mdash;and here the shoe pinches&mdash;&lt;br /&gt;
they would not append either my name or initials to&lt;br /&gt;
the poems. This omission, to a poet feeling his way,&lt;br /&gt;
as it were, amid the labryinths leading to Fame&amp;#039;s&lt;br /&gt;
Temple, is a fatal one. The increase of reputation&lt;br /&gt;
was the desideratum in my case, even more than&lt;br /&gt;
the &amp;quot;jingle of the guineas,&amp;quot; and I may safely&lt;br /&gt;
say, my reputation would have been increased&lt;br /&gt;
materially, owing to the high standing of the&lt;br /&gt;
journal in question, had only my name appeared.&lt;br /&gt;
The omission seems to me rather &amp;quot;rough&amp;quot; on&lt;br /&gt;
the contributor. What should we think of a pub-&lt;br /&gt;
lisher who accepted a volume of poems from a&lt;br /&gt;
young author, conditionally on his name not&lt;br /&gt;
appearing on the title page? The author might&lt;br /&gt;
tell his friends, of course, but the world at large&lt;br /&gt;
would be in the dark, unless he turned egotist, and&lt;br /&gt;
wrote to all the papers avowing the authorship!&lt;br /&gt;
His reputation would not be increased one jot, at&lt;br /&gt;
any rate, for some time. The puzzle for me lies&lt;br /&gt;
in the reason the editor in question had for omit&lt;br /&gt;
ting my name or initials. I cannot conceive any&lt;br /&gt;
possible reason. If good enough for insertion, why&lt;br /&gt;
conceal the writer&amp;#039;s name.&lt;br /&gt;
B.&lt;br /&gt;
VI.&lt;br /&gt;
Long Kept, and then Returned.&lt;br /&gt;
Here is a case in which a writer was invited by&lt;br /&gt;
the editor of a certain magazine to send him a&lt;br /&gt;
paper on a definite subject. This he did. The&lt;br /&gt;
paper was kept for three years and a half (!) and&lt;br /&gt;
then returned with a curt note to the effect that&lt;br /&gt;
the editor could not use it &amp;quot;this year,&amp;quot; and there-&lt;br /&gt;
fore returned it. What is to be done in such a&lt;br /&gt;
case? Obviously, a claim for compensation, for&lt;br /&gt;
the editor was bound, having invited the work, to&lt;br /&gt;
return it if it was not suitable within a reasonable&lt;br /&gt;
time.&lt;br /&gt;
&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
Novels on Commission.&lt;br /&gt;
Sir,&lt;br /&gt;
You have advised many an author on the&lt;br /&gt;
production of his own books, and by far the most&lt;br /&gt;
frequent advice that you have felt it your duty&lt;br /&gt;
to give him has been&mdash;do not do it. &amp;quot;Our first&lt;br /&gt;
impulse,&amp;quot; says the Author of January last, &amp;quot;has&lt;br /&gt;
always been to try and turn him (the would-be&lt;br /&gt;
author) from his project, because it is our general&lt;br /&gt;
experience that these undertakings end in dis-&lt;br /&gt;
appointment.&amp;quot; But although you thus make it&lt;br /&gt;
your usual rule to dissuade authors from publishing&lt;br /&gt;
upon commission you allow that in more than one&lt;br /&gt;
special case it is to the author&amp;#039;s advantage to bear&lt;br /&gt;
the cost of production himself, and, indeed, in the&lt;br /&gt;
article from which I have just quoted you pointed&lt;br /&gt;
out&mdash;to me convincingly&mdash;that this was the right&lt;br /&gt;
course to pursue with regard to certain scientific&lt;br /&gt;
and professional books. I should like to persuade&lt;br /&gt;
you to go one step further, and admit that it may&lt;br /&gt;
be the right course to pursue when an author&amp;#039;s&lt;br /&gt;
first novel is the work under consideration.&lt;br /&gt;
I recognise that it would be a dangerous ad-&lt;br /&gt;
mission for our Society to make, and that once&lt;br /&gt;
made it would expose the Society to the insinuation&lt;br /&gt;
that it was ready to encourage incompetency&mdash;&lt;br /&gt;
for a consideration. Now, Sir, as this is exactly&lt;br /&gt;
what I understand we do not do, and as for one&lt;br /&gt;
person who wants to publish a scientific treatise&lt;br /&gt;
there must always be 20 who want to publish&lt;br /&gt;
a romance, I venture to think that some steps&lt;br /&gt;
might be taken to assist them in this object&mdash;some-&lt;br /&gt;
times. Not generally, but sometimes. In fact, I&lt;br /&gt;
think there should be added to the classes of books&lt;br /&gt;
where the author is encouraged by you to take the&lt;br /&gt;
actual cost upon himself&mdash;scientific books and&lt;br /&gt;
trade books&mdash;a third class, viz., first novels. At the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 370 (#774) ############################################&lt;br /&gt;
&lt;br /&gt;
37&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
risk of taking up too much of your valuable space,&lt;br /&gt;
I have set clown a few facts which appear to iue&lt;br /&gt;
to support my proposition :&mdash;&lt;br /&gt;
(i.) It is extremely difficult for a new author&mdash;&lt;br /&gt;
good, bad, or indifferent&mdash;to get an immediate&lt;br /&gt;
hearing.&lt;br /&gt;
(2.) Yet every distinguished author&mdash;good, bad,&lt;br /&gt;
or indifferent, and some distinguished writers are by&lt;br /&gt;
no means good writers&mdash;must have been a new&lt;br /&gt;
author at the beginning.-&lt;br /&gt;
(3.) It is a fact that more than one master-piece&lt;br /&gt;
of fiction, in more than one language, has been&lt;br /&gt;
rejected by publishers, and only readied the public&lt;br /&gt;
after much delay, with infinite mortification to the&lt;br /&gt;
author.&lt;br /&gt;
(4.) At the present day a work of fiction does&lt;br /&gt;
not require to be a masterpiece at all, to be a very&lt;br /&gt;
saleable piece of property: certainly more copies&lt;br /&gt;
have been sold of The Mystery of a Hansom Cab&lt;br /&gt;
in five years, than of Rhoda Fleming in over twenty&lt;br /&gt;
years.&lt;br /&gt;
I think it must appear from those that there are&lt;br /&gt;
arguments in favour of occasionally relaxing your&lt;br /&gt;
rule, and of occasionally encouraging the new&lt;br /&gt;
author to publish his own romance for himself.&lt;br /&gt;
If a book is not good enough for a good publisher,&lt;br /&gt;
it may be urged that it is not good enough for the&lt;br /&gt;
public. But the public is not as critical either as&lt;br /&gt;
the young critic would have it, or as the first-class&lt;br /&gt;
publisher seems to consider it, and surely our&lt;br /&gt;
society must beware, lest in attempting to act as a&lt;br /&gt;
check upon the excesses of the incompetent, we&lt;br /&gt;
withhold from the public, matter that it would have&lt;br /&gt;
welcomed. And more care will have to be exer-&lt;br /&gt;
cised on this point from day to day, as more people&lt;br /&gt;
begin to wield a facile and fluent pen, and, as by&lt;br /&gt;
the spread of education a larger public is provided,&lt;br /&gt;
whose hunger for fiction is not attended with an&lt;br /&gt;
over-critical palate.&lt;br /&gt;
I believe that many a story-teller&mdash;no great&lt;br /&gt;
genius, no possessor of a Vanity Fair or a Jane&lt;br /&gt;
Eyre&mdash;but still able to write as good a book as&lt;br /&gt;
many that are in print, might with advantage be&lt;br /&gt;
encouraged to try his luck for himself. There is&lt;br /&gt;
much against him, but if he does not do this, how&lt;br /&gt;
is be to start, yet, once started, though, as I have&lt;br /&gt;
said, no great genius, he may fill a want and make&lt;br /&gt;
nn income. And what matter that two or three&lt;br /&gt;
people fail, if the Society should be the means of&lt;br /&gt;
one such success.&lt;br /&gt;
I would respectfully urge that every new author&amp;#039;s&lt;br /&gt;
MS., when it has been read by one of our readers,&lt;br /&gt;
and has met with some commendation, should be&lt;br /&gt;
looked at by our secretary, or by a sub-committee&lt;br /&gt;
appointed for the purpose. If on such scrutiny&lt;br /&gt;
the work appeared saleable&mdash;not, perhaps, a work&lt;br /&gt;
of high genius, if I may be excused the repetition,&lt;br /&gt;
but saleable&mdash;the author may be encouraged, nay,&lt;br /&gt;
helped to publish at his own risk, if no publisher&lt;br /&gt;
could be found for him. Again, if such a com-&lt;br /&gt;
mittee proved instrumental in placing on the market&lt;br /&gt;
one or two good books, there are many publishers&lt;br /&gt;
who would seriously consider MSS. vouched for by&lt;br /&gt;
people who had shown their discrimination.&lt;br /&gt;
A Member op the Society.&lt;br /&gt;
[The Syndicate can always find for such a work&lt;br /&gt;
an honourable publisher, who will take it on com-&lt;br /&gt;
mission. The warning offered every month against&lt;br /&gt;
paying for publication is directed against the ac-&lt;br /&gt;
ceptance of the terms proposed by low-class firms,&lt;br /&gt;
who delude their victims with hopes of great&lt;br /&gt;
returns when failure is certain. In the case&lt;br /&gt;
suggested by our correspondent, of a work well&lt;br /&gt;
thought of by readers, yet refused by good houses,&lt;br /&gt;
prolwbly on the ground of risk, and also refused&lt;br /&gt;
by editors of magazines, it might be the best thing&lt;br /&gt;
possible for the author to get it&mdash;with the advice and&lt;br /&gt;
help of the Syndicate&mdash;printed at his own expense,&lt;br /&gt;
and placed in the hands of a publisher on com-&lt;br /&gt;
mission. This, for example, is exactly what was&lt;br /&gt;
done by myself twenty years ago with my&lt;br /&gt;
collaborateur in our first novel, with admirable&lt;br /&gt;
results.&mdash;Ed.]&lt;br /&gt;
II.&lt;br /&gt;
The Library Stamp.&lt;br /&gt;
A number of copies of my first book were taken&lt;br /&gt;
on approval by a certain library, but as some of&lt;br /&gt;
them failed to be sold, they were ultimately returned.&lt;br /&gt;
All these were stamped with the ineffacable name&lt;br /&gt;
of the library. Now, sir, when a person buys an&lt;br /&gt;
old library book from this firm, an additional stamp&lt;br /&gt;
is made on the fly-leaf, &amp;quot; Sold.&amp;quot; Anyone, however,&lt;br /&gt;
who now buys these returned copies of my book&lt;br /&gt;
finds nothing but the name of the library&lt;br /&gt;
embossed inside, and to all intents and purposes it&lt;br /&gt;
would appear as though they had purloined them.&lt;br /&gt;
I do not think it fair on the part of the firm&lt;br /&gt;
thus to deface the books.&lt;br /&gt;
It may be of interest to note, perhaps, that I&lt;br /&gt;
have just had an article accepted by a magazine to&lt;br /&gt;
which I forwarded it twenty-two months ago.&lt;br /&gt;
Everything comes to him who waits.&lt;br /&gt;
A Waiting One.&lt;br /&gt;
III.&lt;br /&gt;
How Books are not Read.&lt;br /&gt;
The last number of the Author contained an&lt;br /&gt;
interesting reply to a correspondent who wished&lt;br /&gt;
to know &amp;quot;bow books get read.&amp;quot; Recently I met&lt;br /&gt;
with an amusing instance of how books come not&lt;br /&gt;
to be read.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 371 (#775) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
371&lt;br /&gt;
I was witli a young lady, a great novel reader,&lt;br /&gt;
in the chief circulating library of a large and&lt;br /&gt;
fashionable watering place. My fair companion&lt;br /&gt;
was complaining that she could find nothing new&lt;br /&gt;
to read, and I suggested a recent novel, in my&lt;br /&gt;
opinion a very good one, by a well-known author.&lt;br /&gt;
&amp;quot;What, one of So-and-so&amp;#039;s books!&amp;quot; exclaimed the&lt;br /&gt;
lady indignantly. &amp;quot;As if I would read anything&lt;br /&gt;
written by that man! Why, he lircs here!&amp;quot;&lt;br /&gt;
IV.&lt;br /&gt;
Mr. Traill&amp;#039;s List of Poets.&lt;br /&gt;
To my note of omissions in Mr. Traill&amp;#039;s list of&lt;br /&gt;
poets I would now add Mr. Joseph Skipsey &amp;quot; the&lt;br /&gt;
poet of the coalfields,&amp;quot; Mr. Alexander Anderson,&lt;br /&gt;
&amp;quot;the railway surface-man,&amp;quot; and, may I be per-&lt;br /&gt;
mitted? Mr. Traill himself. Presumably Mr.&lt;br /&gt;
Traill does not intend his list to include, living&lt;br /&gt;
hymn writers, however excellent their work, or it&lt;br /&gt;
would be easy to mention the Rev. Sabine Baring-&lt;br /&gt;
Gould, Dr. Walsham How, the Rev. H. R. Haweis,&lt;br /&gt;
and others.&lt;br /&gt;
Mackenzie Bell.&lt;br /&gt;
V.&lt;br /&gt;
The Great Use of a Table of Contents.&lt;br /&gt;
Permit me to congratulate the Author on the&lt;br /&gt;
very good example it has set in having a good&lt;br /&gt;
table of contents printed on the page which soonest&lt;br /&gt;
meets the eye.&lt;br /&gt;
Why do not all newspapers, magazines, and&lt;br /&gt;
reviews do this? Some of them come out with no&lt;br /&gt;
tables of contents at all, with the result that an&lt;br /&gt;
author who wishes to consult some back number&lt;br /&gt;
for information valuable to him may have to expend&lt;br /&gt;
an hour on a search which ought not to take up&lt;br /&gt;
more than a minute.&lt;br /&gt;
I suppose the reason for placing a table of con-&lt;br /&gt;
tents either in a bad place or in no place at all is&lt;br /&gt;
that the best place is wanted for advertisements.&lt;br /&gt;
But surely advertisers might fairly be asked to pay&lt;br /&gt;
a little more for space in a page to which readers&lt;br /&gt;
would be so much more frequently sent by a good&lt;br /&gt;
table of contents.&lt;br /&gt;
SCRIPTOR IgNOTUS.&lt;br /&gt;
VI.&lt;br /&gt;
Compositors&amp;#039; Errors.&lt;br /&gt;
In the &amp;quot;long ago,&amp;quot; before I had ventured to&lt;br /&gt;
tread the thorny paths of authorship, or to&lt;br /&gt;
commit my &amp;quot;flights of fancy&amp;quot; to the public&lt;br /&gt;
gaze, I was accustomed, in all good faith, to&lt;br /&gt;
attribute whatever mistakes or absurdities appeared&lt;br /&gt;
in story or article to the carelessness or ignorance&lt;br /&gt;
of the author, and many were the derisive&lt;br /&gt;
epithets and contemptuous criticisms launched, in&lt;br /&gt;
consequence, at his unconscious head. I no longer&lt;br /&gt;
make that mistake; experience, aggravating and&lt;br /&gt;
reiterated, has taught me to &amp;quot;saddle the right&lt;br /&gt;
horse,&amp;quot; which is (in nine cases out of ten) the&lt;br /&gt;
compositor. Not, I hasten to add, in wholesome&lt;br /&gt;
dread lest the present philippic should never see the&lt;br /&gt;
light, your compositor in particular, Mr. Editor,&lt;br /&gt;
but everybody&amp;#039;s compositor. For from all quarters&lt;br /&gt;
of the scribbling world the cry goes up. Even&lt;br /&gt;
across the sacred pages of the Author itself is seen&lt;br /&gt;
the &amp;quot;trail of the&amp;quot;&mdash;again discretion stays my&lt;br /&gt;
hand.&lt;br /&gt;
Now, in accordance with the axiom, old as&lt;br /&gt;
the hills&mdash;older&mdash;that &amp;quot;where there is smoke&lt;br /&gt;
there must bo fire,&amp;quot; so, for a practice thus widely&lt;br /&gt;
extended, there must be a reason. What is it?&lt;br /&gt;
&amp;quot;The reason is soon given,&amp;quot; replies the cynic,&lt;br /&gt;
&amp;quot;you authors write so execrably that the unfortu-&lt;br /&gt;
nate compositor, in despair of deciphering, makes&lt;br /&gt;
a dash at the nearest word.&amp;quot;&lt;br /&gt;
Well, &amp;quot;I&amp;#039;m no denyin&amp;#039;,&amp;quot; as Mrs. Poyser says,&lt;br /&gt;
that some authors do write execrably, and some&mdash;&lt;br /&gt;
do not&mdash;yet the result in print, is so nearly the&lt;br /&gt;
same that there is no difference. My own cali-&lt;br /&gt;
graphy, for instance, has frequently been &amp;quot; awarded&lt;br /&gt;
honourable mention &amp;quot;; yet, when in a praiseworthy&lt;br /&gt;
endeavour to be abreast of the times, I ventured to&lt;br /&gt;
transform an ancient &amp;quot;spook&amp;quot; into a &amp;quot;Kama&lt;br /&gt;
Rupa,&amp;quot; Mr. Compositor swooped down upon the&lt;br /&gt;
(presumably) unknown word, and promptly changed&lt;br /&gt;
&amp;quot;Ka &amp;quot; into&amp;#039; &amp;quot; Ye &amp;quot;! By what peculiar obliquity of&lt;br /&gt;
mental or physical vision he &amp;quot; mistook&amp;quot; such utterly&lt;br /&gt;
dissimilar letters I do not pretend to say, but&lt;br /&gt;
&amp;quot;Icama Rupa&amp;quot; the unfortunate ghost appeared&lt;br /&gt;
&mdash;and remains. Should it meet the eye of any&lt;br /&gt;
wandering tlicophist, I shall get the credit of&lt;br /&gt;
having discovered (or invented) a new denizen of&lt;br /&gt;
the &amp;quot; Astral Plane &amp;quot; !&amp;quot; You expect too much of&lt;br /&gt;
the genus compositor,&amp;quot; urge other apologists,&amp;quot; they&lt;br /&gt;
do not profess to be highly educated men, nor to lie&lt;br /&gt;
gifted with an intuitive perception of the ortho-&lt;br /&gt;
graphy of strange and obscure words.&amp;quot;&lt;br /&gt;
Granted. Then why not, in doubtful cases, act on&lt;br /&gt;
the supposition that possibly the author may be the&lt;br /&gt;
best judge of what he intended to convey, and just&lt;br /&gt;
content themselves with copying the letters of the&lt;br /&gt;
text? To illustrate once more from my own&lt;br /&gt;
experience&mdash;it is nearest to hand, wherefore the&lt;br /&gt;
egotism&mdash;I am addicted to the (from a compositor&amp;#039;s&lt;br /&gt;
point of view) reprehensible practice of occasionally&lt;br /&gt;
using out-of-the-way words. People say &amp;#039;tis&lt;br /&gt;
&amp;quot;characteristic,&amp;quot; which may be intended as a&lt;br /&gt;
compliment&mdash;and may not. Anyway it is slightly&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 372 (#776) ############################################&lt;br /&gt;
&lt;br /&gt;
372&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
disconcerting when reading over one&amp;#039;s productions&lt;br /&gt;
in print, to find the word upon which one had&lt;br /&gt;
relied to give a touch to the picture, or point to&lt;br /&gt;
the story, transformed into something altogether&lt;br /&gt;
different. &amp;quot;Homey,&amp;quot; for instance (meaning home-&lt;br /&gt;
lihe), invariably appears as &amp;quot;homely&amp;quot;; a good&lt;br /&gt;
enough word in its way, but not at all carrying the&lt;br /&gt;
meaning I wished to convey. Again, why should&lt;br /&gt;
a compositor when &amp;quot;setting up &amp;quot; a chatty descrip-&lt;br /&gt;
tion of a country ramble, substitute &amp;quot;lump&amp;quot; for&lt;br /&gt;
&amp;quot;tump &amp;quot;(my &amp;quot;Is&amp;quot; and &amp;quot;ts &amp;quot; are not identical)?&lt;br /&gt;
&amp;quot;Tump&amp;quot; means, as even his attendant imp could&lt;br /&gt;
have told him, a &amp;quot; hillock&amp;quot;; while &amp;quot; lump&amp;quot; might&lt;br /&gt;
be anything (from putty to pudding), but one would&lt;br /&gt;
scarcely choose to sit down upon it! Then why,&lt;br /&gt;
oh why, should the well-known process of expelling&lt;br /&gt;
an obnoxious member from clubland be transformed&lt;br /&gt;
into &amp;quot; blackmailing,&amp;quot; suggesting Hounslow Heath&lt;br /&gt;
rather than Piccadilly.&lt;br /&gt;
But now the apologist waxes wrath and demands,&lt;br /&gt;
&amp;quot;Did it never strike you that compositors often&lt;br /&gt;
discharge their duties under extreme pressure,&lt;br /&gt;
especially in newspaper work, which renders&lt;br /&gt;
mistakes unavoidable? You would substitute a&lt;br /&gt;
wrong letter now and then with the &amp;#039; devil&amp;#039; waiting&lt;br /&gt;
importunately at your elbow.&amp;quot; I should&mdash;more&lt;br /&gt;
than one! And doubtless hurry has much to&lt;br /&gt;
answer for. I am sure it had when a devout old&lt;br /&gt;
lady, who figures in a story for which I am respon-&lt;br /&gt;
sible, was represented as indulging in &amp;quot;irreverent&lt;br /&gt;
(irrelevant) remarks &amp;quot;! But, Inn ing conceded so&lt;br /&gt;
much, I return to the charge, and, on the strength&lt;br /&gt;
of accumulated evidence, culled from observation&lt;br /&gt;
no less than experience, I assert (sealing thereby&lt;br /&gt;
the fate of this article !) that &amp;quot; compositors&amp;#039; errors&amp;quot;&lt;br /&gt;
are not chiefly due to bad writing, to ignorance,&lt;br /&gt;
nor to haste, but to the compositor&amp;#039;s overweening&lt;br /&gt;
conceit. He thinks he knows better than the&lt;br /&gt;
author, and &amp;quot;acts accordin&amp;#039;.&amp;quot; On what other&lt;br /&gt;
possible supposition could that unfortunate &amp;quot;spook&amp;quot;&lt;br /&gt;
have been re-christened?&lt;br /&gt;
Sylvia Neun.&lt;br /&gt;
-c-&amp;gt;oc&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
&amp;quot;rpHE ^aw of the Press,&amp;quot; by Joseph E. Fisher,&lt;br /&gt;
I B.A., and James A. Strahan, LL.B., is a most&lt;br /&gt;
valuable work, and editors and proprietors of&lt;br /&gt;
newspapers are strongly recommended to keep a copy&lt;br /&gt;
by them. The whole of the law relating to the&lt;br /&gt;
press in this country has been gathered into a&lt;br /&gt;
single volume, and the result is not only a compre-&lt;br /&gt;
hensive but a lucid digest. The book contains&lt;br /&gt;
the answers to numerous questions that have been&lt;br /&gt;
put to us at this office, different chapters being&lt;br /&gt;
devoted to the registration of newspapers, to the&lt;br /&gt;
postal regulations, to lottery advertisements, to&lt;br /&gt;
copyright of articles, to contributors&amp;#039; piracy, to&lt;br /&gt;
libel as a civil injury, to criminal libel, i-.nd to the&lt;br /&gt;
foreign press laws. The want of such a book must&lt;br /&gt;
often have been felt by persons connected with the&lt;br /&gt;
press, to whom a knowledge of their legal rights&lt;br /&gt;
and of the responsibilities incurred in their business&lt;br /&gt;
must be very valuable. The book is published by-&lt;br /&gt;
Messrs. Clowes and Sons at 27, Fleet Street.&lt;br /&gt;
A volume of short stories by the late Mr. Bales-&lt;br /&gt;
tier, &amp;quot;The Average Woman,&amp;quot; is to be issued, with&lt;br /&gt;
a memoir by Mr. Henry James.&lt;br /&gt;
Mrs. Edmonds has translated another Greek&lt;br /&gt;
novel, which will be published by Fisher Unwin.&lt;br /&gt;
Its title is &amp;quot;The Herb of Love,&amp;quot; and it is a tale of&lt;br /&gt;
peasant life laid in Eubcea. The customs and&lt;br /&gt;
superstitions of that district form the groundwork&lt;br /&gt;
of the story.&lt;br /&gt;
Mr. Horace Victor&amp;#039;s novel &amp;quot;Mariam&amp;quot; has been&lt;br /&gt;
issued by Macmillan &amp;amp; Co. simultaneously in&lt;br /&gt;
England and America. A Colonial edition has&lt;br /&gt;
also been prepared.&lt;br /&gt;
Messrs. Bentley and Son have done the lovers of&lt;br /&gt;
old books and old fashions of sensation a veritable&lt;br /&gt;
kindness in reprinting Maturin&amp;#039;s &amp;quot;Melmoth the&lt;br /&gt;
Wanderer.&amp;quot; It is the book of the month, and its&lt;br /&gt;
anonymous editor must be heartily congratulated&lt;br /&gt;
on his prefatory notes.&lt;br /&gt;
Mr. Evelyn Ballantyne contributes a paper on&lt;br /&gt;
&amp;quot;Some Impressions of the Australian Stage&amp;quot; to&lt;br /&gt;
the April number of the Theatre.&lt;br /&gt;
An article on &amp;quot;The Milky Way,&amp;quot; by Mr. J. E.&lt;br /&gt;
Gore, F.R.A.S., appears in the Gentleman&amp;#039;s&lt;br /&gt;
Magazine for March; and another on &amp;quot; New and&lt;br /&gt;
Variable Stars,&amp;quot; with especial reference to the new&lt;br /&gt;
star which recently blazed out in the Milky Way&lt;br /&gt;
in Auriga, will appear in the same magazine for&lt;br /&gt;
April.&lt;br /&gt;
Messrs. Jarrold and Son have published &amp;quot;A&lt;br /&gt;
Charge to keep,&amp;quot; by Mr. P. A. Blyth; and the&lt;br /&gt;
Religious Tract Society have published &amp;quot;The&lt;br /&gt;
Inheritance of Little Amen,&amp;quot; and &amp;quot;A Tale of a&lt;br /&gt;
Sign Post,&amp;quot; by the same author.&lt;br /&gt;
Mr. Alfred H. Miles, editor of &amp;quot;The Poets and&lt;br /&gt;
Poetry of the Century,&amp;quot; is about to issue a new&lt;br /&gt;
volume. It will discuss the women poets from&lt;br /&gt;
Joanna Baillie to Mathilde Blind. The principle&lt;br /&gt;
contributors of articles are Dr. Garnett, Mr. Ash-&lt;br /&gt;
croft Noble, Dr. Japp, and Mr. Mackenzie Bell.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 373 (#777) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
373&lt;br /&gt;
.Mrs. Grimwood&amp;#039;s first novel begins this week&lt;br /&gt;
(April 2ii&amp;lt;l) in Mrs. Stannard&amp;#039;s periodical, Winter&amp;#039;s&lt;br /&gt;
Magazine, as a serial. The profound impression&lt;br /&gt;
created by the heroism of Mrs. Grimwood at&lt;br /&gt;
Manipur, and the immense success of her book&lt;br /&gt;
&amp;quot;My Three Years in Manipur,&amp;quot; will doubtless&lt;br /&gt;
cause her first effort in fiction to be read with&lt;br /&gt;
unusual interest and curiosity. The story will&lt;br /&gt;
afterwards be issued in volume form by Messrs. F.&lt;br /&gt;
V. White &amp;amp; Co.&lt;br /&gt;
John Strange Winter&amp;#039;s latest shilling story has&lt;br /&gt;
just made its appearance under the title of &amp;quot;Mere&lt;br /&gt;
Luck.&amp;quot; This is the twenty-first novel published by&lt;br /&gt;
Messrs. White &amp;amp; Co. for this author. During the&lt;br /&gt;
present month the same publishers will bring out&lt;br /&gt;
.her long novel, which is now running in Lloyd&amp;#039;s&lt;br /&gt;
News under the title of &amp;quot;Justice.&amp;quot; It will be&lt;br /&gt;
remembered that Mr. Herbert Spencer produced a&lt;br /&gt;
book under this title a few weeks before John&lt;br /&gt;
Strange Winter&amp;#039;s story began in Lloyd&amp;#039;s New.&lt;br /&gt;
Mr. Spencer very courteously waived all objection&lt;br /&gt;
to the title being retained&mdash;thereby avoiding the&lt;br /&gt;
great expense and inconvenience a change of title&lt;br /&gt;
at the last moment would have involved. When&lt;br /&gt;
the book appears in two-volume form next week&lt;br /&gt;
it will bear the title of &amp;quot;Only Human.&amp;quot;&lt;br /&gt;
A new work of fiction by Mr. J. A. Steuart will&lt;br /&gt;
appear during the present month. It will be&lt;br /&gt;
published in the &amp;quot;Whitefriars&amp;#039; Library of Wit&lt;br /&gt;
and Humour &amp;quot; under the title of &amp;quot;Life&amp;#039;s Medley:&lt;br /&gt;
or the Order of the Jolly Pashas.&amp;quot; Mr. Steuart&amp;#039;s&lt;br /&gt;
last novel, &amp;quot; Kilgroom: a Story of Ireland,&amp;quot; besides&lt;br /&gt;
being very favourably received by the press,&lt;br /&gt;
attracted the attention of Mr. Gladstone, who wrote&lt;br /&gt;
to the author that &amp;quot; The praises deservedly given&lt;br /&gt;
to Miss Lawless for her &amp;#039; Hurrish&amp;#039; &amp;quot; were due to&lt;br /&gt;
him,&amp;quot; but in a higher degree for a fuller and better&lt;br /&gt;
adjusted picture.&amp;quot; Mr. Gladstone adds that he&lt;br /&gt;
finds the story &amp;quot; truthful, national, and, highly inte-&lt;br /&gt;
resting.&amp;quot; The book is receiving attention abroad&lt;br /&gt;
too. The Allr/cmcine Zeitung, in reviewing it the&lt;br /&gt;
other day, called it a &amp;quot;striking romance,&amp;quot; and,&lt;br /&gt;
speaks of &amp;quot;the fine flow of the narrative, and the&lt;br /&gt;
delicate characterization of the individual person-&lt;br /&gt;
ages,&amp;quot; adding that it gives an &amp;quot;unusually vivid&lt;br /&gt;
picture of the Ireland of to-day.&amp;quot; A new edition&lt;br /&gt;
of &amp;quot;Kilgroom&amp;quot; will shortly be issued.&lt;br /&gt;
&diams;-&raquo;&bull;&diams;-&mdash;&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Davidson, Rev. A. B., D.D. The Book of the Prophet&lt;br /&gt;
Eiekiel. With Notes and Introduction. &amp;quot;Cambridge&lt;br /&gt;
Bihlc for Schools and Colleges.&amp;quot; At the University&lt;br /&gt;
I&amp;#039;ress. 5*.&lt;br /&gt;
Ellicott, C. J., D.D. A New Testament Commentary for&lt;br /&gt;
English readers. Edited by. Part I. Cassell.&lt;br /&gt;
Paper covers, yd.&lt;br /&gt;
Fleming, Canon, D.D. The Clcud of Witnesses. A&lt;br /&gt;
Sermon preached at Windsor Castle on Sunday morn-&lt;br /&gt;
ing, Feb. 28. Lamer ;md Stokes, Chester Square.&lt;br /&gt;
Paper covers. 6d.&lt;br /&gt;
Fowler, Rev. G. H. Things Old and New. Sermons&lt;br /&gt;
and Papers by the. With a Preface by the Rev. E.&lt;br /&gt;
S. Talbot, D.D., Vicar of Leeds. Percival. 5s.&lt;br /&gt;
Huntingdon, Rev. S. P., and Metcalf, Rev. H. A. Tho&lt;br /&gt;
Treasury of the Psalter. An aid to the better under-&lt;br /&gt;
standing of the Psalms. Compiled by. With a&lt;br /&gt;
Preface by the Bishop of Central New York. Third&lt;br /&gt;
edition, revised and enlarged. Eyre and Spottiswoodo.&lt;br /&gt;
Cloth, 7.5. 6d. Leather, lot. 6d.&lt;br /&gt;
James, Rev. C. C. A Harmony of the Gospels, in the&lt;br /&gt;
Words of the Revised Version, with copious references,&lt;br /&gt;
tables, &amp;amp;c. Arranged by. C. J. Clay, Ave Maria&lt;br /&gt;
Lane. 5s.&lt;br /&gt;
Lewis, W. Sutherland, M.A. Festival Hymns. &amp;quot;Church&lt;br /&gt;
Monthly &amp;quot; office, New Bridge Street, K.C.&lt;br /&gt;
Lias, Rev. J. J. The Second Epistle to the Corinthians.&lt;br /&gt;
With Notes and Introduction. &amp;quot;Cambridge Greek&lt;br /&gt;
Testament.&amp;quot; At the University Press.&lt;br /&gt;
Liddon, H. P., D.D. Sermons on Some Words of Christ.&lt;br /&gt;
Longmans. 55.&lt;br /&gt;
Mollot, J. F. The Faiths of the People. Ward and&lt;br /&gt;
Downey. 2 vols. 21*.&lt;br /&gt;
Moore, Canon Aubrey L. From Advent to Advent.&lt;br /&gt;
Sermons preached at the Chapel Royal, Whitehall.&lt;br /&gt;
Percival. 6s.&lt;br /&gt;
Percival, Henry R. The Doctrine of the Episcopal&lt;br /&gt;
Church so far as it is set forth in the Prayer Book.&lt;br /&gt;
Digested and arranged by. G. P. Putnam, is.&lt;br /&gt;
Scott-Holland, H., M.A. Sermons. The Contemporary&lt;br /&gt;
Pulpit Library. Swan Sonnenschein.&lt;br /&gt;
Vauohan, C. J., D.D. The Faith and the Bible and Tho&lt;br /&gt;
Sympathy of Jesus Christ with Sickness and Sorrow.&lt;br /&gt;
Sermons preached in the Temple Church on February 7,&lt;br /&gt;
and on January 514 (the Sunday after the funeral of&lt;br /&gt;
the Duke of Clarence and Avondalc). Macmillan.&lt;br /&gt;
Paper covers.&lt;br /&gt;
Wakefield, Bishop of. The Knowledge of God and&lt;br /&gt;
other Sermons. Preachers of the Age series. With&lt;br /&gt;
Portrait. Sampson Low. 3*. 6d.&lt;br /&gt;
Whitehousk, W. F., M.A. The Redemption of the&lt;br /&gt;
Body. An examination of Romans viii. 18-23.&lt;br /&gt;
Elliot Stock.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Abbotts, Evelyn, M.A. A History of Greece. Part II.&lt;br /&gt;
From the Ionian Revolt to the Thirty Years&amp;#039; Peace,&lt;br /&gt;
500-445 B.C. Longmans. 10s. 6d.&lt;br /&gt;
Browning, Oscar. The Flight to Varcnncs, and other&lt;br /&gt;
Historical Essays. Swan Sonnenschein.&lt;br /&gt;
Cassell&amp;#039;s History of England. The Jubilee Edition.&lt;br /&gt;
Vol. V. From the Peninsular War to the death of Sir&lt;br /&gt;
Robert Peel. Text revised throughout and illustrated.&lt;br /&gt;
Cassell. 9s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 374 (#778) ############################################&lt;br /&gt;
&lt;br /&gt;
374&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Cook, Theodore Andrea, B.A. Old Touraine: the Life&lt;br /&gt;
aud History of the famous Chateaux of France,&lt;br /&gt;
z vols. Percival and Co. 16s.&lt;br /&gt;
Fane, Violet. Memoirs of Marguerite de Valois, Queen&lt;br /&gt;
of Navarre; written by her own hand. Newly trans-&lt;br /&gt;
lated into English, with an Introduction and Notes.&lt;br /&gt;
With Eight Portraits from contemporary engravings.&lt;br /&gt;
John C. Nimmo, King William Street, Strand. 211.&lt;br /&gt;
net.&lt;br /&gt;
Graetz, Prof. H. History of the Jews, from the Earliest&lt;br /&gt;
Times to the Present Day. Specially revised for this&lt;br /&gt;
Euglish edition by the Author. Edited, and in part&lt;br /&gt;
translated, by Bella Lowy. Vols. III., IV., and V.,&lt;br /&gt;
concluding. David Nutt.&lt;br /&gt;
Griffith, Rev. H. A History of Strathfield Sayc. Com-&lt;br /&gt;
piled by. Murray. 10*. 6d. net.&lt;br /&gt;
Jessofp, Kev. Augustus. The Coming of the Friars, and&lt;br /&gt;
other Historic Essays. Fifth Edition. Fisher Unwin.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
TiEckv, W. E. II. A History of England in the Eighteenth&lt;br /&gt;
Century. New edition. Vol. III. Longmans. 6*.&lt;br /&gt;
Lydk, L. W. A History of Scotland, for junior classes.&lt;br /&gt;
Percival and Co.&lt;br /&gt;
Matthew, James E. Manual of Musical History. With&lt;br /&gt;
Illustrations, Portraits, and Facsimiles of rare and&lt;br /&gt;
curious works. H. Grevel, King Street, Goveut&lt;br /&gt;
Garden. 10s. 6&amp;lt;/.&lt;br /&gt;
Oliphant, M. O. W. Memoir of the Life of Laurence&lt;br /&gt;
Oliphant and of Alice Oliphant, his Wife. New&lt;br /&gt;
edition. Blackwood. 75. 6&amp;lt;i.&lt;br /&gt;
Sharp, William. The Life and Letters of Joseph Severn.&lt;br /&gt;
Sampson Low.&lt;br /&gt;
Shindler, Kev. K. From the Usher&amp;#039;s Desk to the&lt;br /&gt;
Tabernacle Pulpit: the Life aud Labours of Pastor&lt;br /&gt;
C. H. Spurgcon. Passmore and Alabaster. 25. 6d.&lt;br /&gt;
Sienkiewiez, Hkxry K. With Fire and Sword: an&lt;br /&gt;
Historical Novel of Poland and Kussia. Translated&lt;br /&gt;
from the Polish by Jeremiah Curtin. Osgood,&lt;br /&gt;
M&amp;#039;llvaine.&lt;br /&gt;
Sutherland, J. Middleton. William Wordsworth: the&lt;br /&gt;
Story of His Life, with critical remarks on his writings.&lt;br /&gt;
Second edition, revised and enlarged. Elliot Stock.&lt;br /&gt;
Worthy, Charles. The History of the Suburbs of Exeter.&lt;br /&gt;
Henry Gray, Leicester Square, W.C 8s.&lt;br /&gt;
Fiction.&lt;br /&gt;
Adair-Fitzgerald, S. J. The Wonders of the Secret&lt;br /&gt;
Cavern: an original fairy whimsicality. With illus-&lt;br /&gt;
trations. Sutton, Drowlcy. 2s. 6d.&lt;br /&gt;
Barrie, J. M. The Little Minister. 1 vol. Cassell.&lt;br /&gt;
7s. 6d.&lt;br /&gt;
Barr, Robert (Luke Sharp). In a Steamer Chair, and&lt;br /&gt;
other shipboard stories. Chatto and Windus.&lt;br /&gt;
Carpenter, Edward. Towards Democracy. T. Fisher&lt;br /&gt;
Unwin. 5s.&lt;br /&gt;
Chilton, H. H. Woman Unsexed: a Novel. Foulsham&lt;br /&gt;
and Co., Pilgrim Street, Ludgate Hill, E.C.&lt;br /&gt;
Conway, Hugh. A Cardinal Sin: a Story. Eden&lt;br /&gt;
Remington.&lt;br /&gt;
Corelli, Marie. The Soul of Lilith. 3 vols. Bcntley.&lt;br /&gt;
Cregan, Conway. A Strange Case of a Missing Man:&lt;br /&gt;
a Romance. Gale and Polden, Amen Corner. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Dickinson, Evelyn. A Vicar&amp;#039;s Wife: a Story. Methuen.&lt;br /&gt;
Doyle, A. Conan. The Doings of Raffles Haw. Cassell.&lt;br /&gt;
5s.&lt;br /&gt;
Francis, Francis. Eternal Enmity: a Novel. 2 vols.&lt;br /&gt;
F. V. White.&lt;br /&gt;
Foster, Hanna. Zululu, the Maid of Anahuae. G. P.&lt;br /&gt;
Putnam.&lt;br /&gt;
Glyn, A. L. Fifty Pounds for a Wife. Arrowsmith.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Gordon, J. E. H. Eunice Anscombe: a Story. Sampson&lt;br /&gt;
Low.&lt;br /&gt;
Grken, Anna K. The Old Stone House, and other Stories.&lt;br /&gt;
G. P. Putnam, is.&lt;br /&gt;
Hale, Edward E. Sybil Knox j or, Home Again.&lt;br /&gt;
Cassell. 7s. 6d.&lt;br /&gt;
Harland, Marion. His Great Self. F. Warner. 6s.&lt;br /&gt;
Harris, J. Chandler (&amp;quot; Uncle Remus &amp;quot;). A Plantation&lt;br /&gt;
Printer: the Adventures of a Georgia Boy during the&lt;br /&gt;
War. Osgood, M&amp;#039;llvaine.&lt;br /&gt;
Howard, B. W., and W. Sharp. A Fellow aud His Wife.&lt;br /&gt;
Osgood, M&amp;#039;llvaine. 6&raquo;.&lt;br /&gt;
Hungerfohd, Mrs. Nor Wife, nor Maid: a Novel.&lt;br /&gt;
3 vols. Ileinemann.&lt;br /&gt;
James, Fred. Fred James under a Spell. Illustrated.&lt;br /&gt;
Tin; Lcadenhall Press.&lt;br /&gt;
Lawless, Hon. Emily. Grania: the Story of an Island.&lt;br /&gt;
2 vols. Smith, Elder, and Co.&lt;br /&gt;
Lib, Jonas. The Commodore&amp;#039;s Daughters. Translated&lt;br /&gt;
from the Norwegian by H. L. Brcekstad and Gertrude&lt;br /&gt;
Hughes. Volume of the International Library.&lt;br /&gt;
William Heinemann. Paper covers, 2s. 6d.; cloth,&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Lucas, Reginald. Dunwell Parva. F. Warne. 3s. 6d.&lt;br /&gt;
Maartens, Maarten. The Sin of Joost Avelingh. 1 vol.&lt;br /&gt;
Beutley and Son. 6s.&lt;br /&gt;
MacDonald, George. Castle Warlock: a Homely&lt;br /&gt;
Romance. New edition. Kcgan Paul.&lt;br /&gt;
Macquoid, K. S. Maisie Derrick: a Story. A. D. Inncs&lt;br /&gt;
and Co. 21s.&lt;br /&gt;
Manville Fenn, G. King of the Castle: a Novel. 3 vols.&lt;br /&gt;
Ward and Downey.&lt;br /&gt;
Marks, Mr. Alfred. Dr. Willoughby Smith. 3 vols.&lt;br /&gt;
Bentley.&lt;br /&gt;
Mathers, Helen. T&amp;#039;Other Dear Charmer: a Novel.&lt;br /&gt;
F. V. White. Paper covers, is.&lt;br /&gt;
Maturin, C. R. Melmoth the Wanderer. A new edition&lt;br /&gt;
from the original text, with a memoir and bibliography&lt;br /&gt;
of Maturin&amp;#039;s works. 3 vols. Bentley. 24s.&lt;br /&gt;
Meredith, Owen. Marah. Longmans. 6s. 6d.&lt;br /&gt;
Mouat, James. The Rise of the Australian Wool Kings:&lt;br /&gt;
a Romance of Port Phillip. Swan Sonneuschein.&lt;br /&gt;
Mr. Facey Romford&amp;#039;s Hounds. By the author of&lt;br /&gt;
&amp;quot;Sponge&amp;#039;s Sporting Tour.&amp;quot; The &amp;quot;Jorrocks&amp;quot; edition.&lt;br /&gt;
Bradbury, Agnew.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 375 (#779) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
375&lt;br /&gt;
Naillen, A. Van der. On the Heights of Hiinalay: a&lt;br /&gt;
Theosophical Novel. Illustrated edition. Gay and&lt;br /&gt;
Bird. 3s. 3d.&lt;br /&gt;
Oliphant, Mrs. The Marriage of Elinor. 3 vols. Mac-&lt;br /&gt;
millr.ii.&lt;br /&gt;
Page, Thomas Nelson. Elskct, and other Stories.&lt;br /&gt;
Osgood, M&amp;#039;llvaine. 3s. 6d.&lt;br /&gt;
Philips, F. C. Jack and Three Jills: a Novel. New&lt;br /&gt;
edition. Griffith, Farran. Paper covers. is.&lt;br /&gt;
Boss, Clinton. Improbable Tales. G. P. Putnam.&lt;br /&gt;
is. M.&lt;br /&gt;
The Adventures of Three Worthies. G. P.&lt;br /&gt;
Putnam, as. 6d.&lt;br /&gt;
&amp;quot;Boy Tellett.&amp;quot; Pastor and Prelate: a Story of Clerical&lt;br /&gt;
Life. 3 vols. Blackwood.&lt;br /&gt;
Warden, Florence. Balph Byder of Brent: a Novel.&lt;br /&gt;
3 vols. Bcntlcy.&lt;br /&gt;
Wills, C. J. His Sister&amp;#039;s Hand: a Novel. 3 vols.&lt;br /&gt;
Griffith, Farran. 3 is. 6rf.&lt;br /&gt;
Winter, John Strange. Mere Luck : a Novel. F. V.&lt;br /&gt;
White, is.&lt;br /&gt;
General Literature.&lt;br /&gt;
Adams, Francis. Australian Life. Chapman and Hall.&lt;br /&gt;
Aknold-Forstkh, H. O. Our Home Army. A reprint of&lt;br /&gt;
letters published in the Times in November and&lt;br /&gt;
December, 1891, with a preface and notes, to which&lt;br /&gt;
are appended suggestions for remedying some of the&lt;br /&gt;
existing defects in the condition of the British Army&lt;br /&gt;
on the Home Establishment. Beprinted by permission&lt;br /&gt;
of the Editor of the Times. Casscll. Paper covers.&lt;br /&gt;
IX.&lt;br /&gt;
The Badmington Library.&mdash;Skating. By J. M. Heath-&lt;br /&gt;
cote and C. G. Tebbutt. Figure Skating. By T.&lt;br /&gt;
Maxwell Withaui. With contributions on Curling&lt;br /&gt;
(the Bev. John Kerr), Tobogganing (Ormond Hake),&lt;br /&gt;
Ice Sailing (H. A. Hack), Bandy (G. C. Tebbutt).&lt;br /&gt;
Illustrated. Longmans. Large paper. i5o copies&lt;br /&gt;
only.&lt;br /&gt;
Beattt-Kingston, W. Intemperance: its causes and its&lt;br /&gt;
remedies. Second edition. Boutledge. Paper covers.&lt;br /&gt;
6d.&lt;br /&gt;
Buckland, F. O. Health Springs of Germany and Austria.&lt;br /&gt;
Second edition. W. H. Allen.&lt;br /&gt;
Burke, Edmund. Thoughts on the Present Discontents,&lt;br /&gt;
and Speeches. Casscll&amp;#039;s National Library. Cloth.&lt;br /&gt;
6d.&lt;br /&gt;
Buxton, Sydney, M.P. A Handbook to Political Questions&lt;br /&gt;
of the Day, and the arguments on either side, with an&lt;br /&gt;
introduction. Eighth edition, revised, and with new&lt;br /&gt;
subjects. John Murray, 10*. 6d.&lt;br /&gt;
The Clergy Directory and Parish Guide for 1892.&lt;br /&gt;
J. S. Phillips, Fleet Street, E.C. 4s. 6rf.&lt;br /&gt;
Coohlan, T. A. The Wealth and Progress of New South&lt;br /&gt;
Wales, 1890-91. Petherick and Co., Sydney and&lt;br /&gt;
London.&lt;br /&gt;
The Complete Annual Digest of every Beported Case&lt;br /&gt;
in all niE Courts for 1891. Edited by Alfred&lt;br /&gt;
Emden, compiled by Herbert Thompson, M.A., assisted&lt;br /&gt;
by W. A. Briggs, M.A., all of the Inner Temple.&lt;br /&gt;
Clowes. 1 5j.&lt;br /&gt;
Davies, D. C. A Treatise on Metalliferous Minerals aud&lt;br /&gt;
Mining. Fifth edition, revised and enlarged by his&lt;br /&gt;
son, E. H. Davies. With illustrations. Crosby Lock-&lt;br /&gt;
wood.&lt;br /&gt;
Dowsett, C. F. The Ground Values Delusion. Dowsett&lt;br /&gt;
and Company, Lincoln&amp;#039;s Inn Fields. Paper covers.&lt;br /&gt;
3rf.&lt;br /&gt;
Engels, Frederick. The Condition of the Working&lt;br /&gt;
Class in England in 1844. With a preface written in&lt;br /&gt;
1891. Translated by Florence Kclley Wischncwetzky.&lt;br /&gt;
Swan Sonnenschein. 3s. 6d.&lt;br /&gt;
The English Catalogue of Books: an alphabetical list&lt;br /&gt;
of works published in the United Kingdom, and of the&lt;br /&gt;
principal works published in America, with dates of&lt;br /&gt;
publication, indication of size, price, edition, and&lt;br /&gt;
publisher&amp;#039;s name. Vol. IV. January 1891 to&lt;br /&gt;
December, 1889. Sampson Low.&lt;br /&gt;
Falkneh, Edward. Games Ancient aud Oriental and&lt;br /&gt;
How to Play them. With photographs, diagrams, &amp;amp;c.&lt;br /&gt;
Longmans, lis.&lt;br /&gt;
Greville, Lady. The Gentlewoman&amp;#039;s Book of Sports. I.&lt;br /&gt;
Edited by. Henry, Bouverie Street. 6s.&lt;br /&gt;
Harrison, Mary. Cookery for Busy Lives and Small&lt;br /&gt;
Incomes. Longmans, is.&lt;br /&gt;
Heales, Major A. The Architecture of the Churches cf&lt;br /&gt;
Denmark. Kegar. Paul.&lt;br /&gt;
Heron-Allen, E. I)e Fidiculis Bibliographia: the basis&lt;br /&gt;
of a bibliography of the violin. Part II. Book sections&lt;br /&gt;
and extracts, (■rillitli, Farnin. Paper covers.&lt;br /&gt;
Hultzsch, E. South Indian Inscriptions. Edited and&lt;br /&gt;
translated by. Vol. II., Part I. (Archaeological Survey&lt;br /&gt;
of India.) W. II. Allen. Four rupees.&lt;br /&gt;
Hyndman, II. M. Commercial Crisis of the Nineteenth&lt;br /&gt;
Century. Swan Sonnenschein. 2s. 6d.&lt;br /&gt;
Inglis, Hon. Lady. The Siege of Lucknow. A Diary.&lt;br /&gt;
Osgood, M&amp;#039;llvaine. 10s. 6&amp;lt;l.&lt;br /&gt;
Lowndes, F. W. Beasons why the Office of Coroner&lt;br /&gt;
should be held by a Member of the Medical Profession.&lt;br /&gt;
J. and A. Churchill, New Burlington Street, W. Paper&lt;br /&gt;
covers. 6d.&lt;br /&gt;
Marsh, John B. St. Paul&amp;#039;s Cross, the most famous spot&lt;br /&gt;
in London. Baithby, Lawrence, and Company,&lt;br /&gt;
Imperial Buildings, Ludgate Circus, E.C.&lt;br /&gt;
Middletok, J. H. The Lewis Collection of Gems and&lt;br /&gt;
Bings, in the possession of Corpus Christi College,&lt;br /&gt;
Cambridge; with an Introductory Essay on Ancient&lt;br /&gt;
Gems. C. J. Clay, Cambridge University Press.&lt;br /&gt;
Millais, J. G. Game Birds and Shooting Sketches.&lt;br /&gt;
Illustrating the Habits, Modes of Capture, Stages of&lt;br /&gt;
Plumage, and the Hybrids aud Varieties which occur&lt;br /&gt;
among them. Containing coloured plates, woodcuts,&lt;br /&gt;
and autotypes, with frontispiece by Sir J. E. Millais,&lt;br /&gt;
B.A. Henry Sotheran, Piccadilly. SI. 5s. net.&lt;br /&gt;
Morley, Henry. English Writers&mdash;an Attempt Towards&lt;br /&gt;
a History of English Literature. VIII. From Surrey&lt;br /&gt;
to Spencer. Cassel. 5s.&lt;br /&gt;
Mi nro, JonN H. M. Soils and Manures. With chapters&lt;br /&gt;
on Drainage and Land Improvement by John Wright-&lt;br /&gt;
son, M.B.A.C. Casscll&amp;#039;s Agricultural Text-book&lt;br /&gt;
Scries. 2s. 6d.&lt;br /&gt;
Nicknames and Traditions in the Army: the most&lt;br /&gt;
complete record ever published. Third edition. Gale&lt;br /&gt;
and Polden, Amen Corner. Paper covers, is.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 376 (#780) ############################################&lt;br /&gt;
&lt;br /&gt;
37$&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Pensions for all at Sixty and an Eight Hours Day.&lt;br /&gt;
By the Chairman of a. Yorkshire School Board.&lt;br /&gt;
Sampson Low. Paper covers. 6c/.&lt;br /&gt;
Pickard, A. S. The Labrador Coast: a Journal of Two&lt;br /&gt;
Summer Cruises to that Begion. With maps and&lt;br /&gt;
illustrations. Kegan Paul.&lt;br /&gt;
Pott, Mrs. Henry. Francis Bacon and His Secret Society:&lt;br /&gt;
an attempt to collect and unite the lost links of a long&lt;br /&gt;
and strong chain. Sampson Low.&lt;br /&gt;
Public Opinion on hie Intended Interference with&lt;br /&gt;
the New Forest, under the Ranges Act, 1891. Issued&lt;br /&gt;
by the New Forest Association (Morton K. Peto, Hon.&lt;br /&gt;
Sec., Littlecroft, Lyndhurst). Paper covers.&lt;br /&gt;
Bansome, J. S. Capital at Bay. Articles reprinted from&lt;br /&gt;
the Globe. S. II. Cowell, Ludgate Hill. Paper&lt;br /&gt;
covers. 6rf.&lt;br /&gt;
Begistkk of Weather. (Forms for daily registration of&lt;br /&gt;
thermometer and barometer readings, remarks, &amp;amp;c.)&lt;br /&gt;
Duncan Campbell, St. Vincent Street, Glasgow.&lt;br /&gt;
Kunciman, James. The Ethics of Drink and other Social&lt;br /&gt;
Questions: or Joints in Our Social Armour. Dodder&lt;br /&gt;
and Sloughton. 3s. (id.&lt;br /&gt;
Eye, Walter. The Bights of Fishing, Shooting, and&lt;br /&gt;
Sailing 011 the Norfolk Broads. Considered by.&lt;br /&gt;
Jarrold, Paternoster Buildings, is.&lt;br /&gt;
Salford, Bishop of. A Catechism on the Bights and&lt;br /&gt;
Duties of the Working Classes, arranged by the.&lt;br /&gt;
Burns and Oates. Paper covers, id.&lt;br /&gt;
Shore, Lt. the Hon. H. N. Smuggling Days and Smug-&lt;br /&gt;
gling Ways, or, The Story of a Lost Art. With plans&lt;br /&gt;
and drawings by the author. Cassell. 7s. Oil.&lt;br /&gt;
Sinnett, A. P. The Rationale of .Mesmerism. Began&lt;br /&gt;
Paul.&lt;br /&gt;
Smith, A. H., M.A. A Catalogue of Sculpture in the&lt;br /&gt;
Department of Greek and Roman Antiquities&mdash;British&lt;br /&gt;
Museum. Vol. I. Printed by order of the Trustees.&lt;br /&gt;
Snei.l, Simeon. Miners&amp;#039; Nystagmus, and its relation to&lt;br /&gt;
position at work and the manner of illumination.&lt;br /&gt;
Sinipkin, Marshall.&lt;br /&gt;
Spender, J. A., M.A. The State and Pensions in GUI Age.&lt;br /&gt;
With an introduction by Arthur H. D. Acland, M.P.&lt;br /&gt;
Swan Sonnenschein. 18. 6d.&lt;br /&gt;
Stevenson, E. H. and Borstal, E. K. Metropolitan Water&lt;br /&gt;
Supply, considerations affecting its adequacy and&lt;br /&gt;
control. King, Bolt Court, Fleet Street. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Streeteu, E. W. Precious Stones and Gems: their History&lt;br /&gt;
Sources, and Characteristics. Illustrated. Fifth edi-&lt;br /&gt;
tion, revised and largely re-written, with chapters on&lt;br /&gt;
the Ruby Mines of Burma. George Bell. 15s. 6d.&lt;br /&gt;
The Statesman&amp;#039;s Year Book, statistical and historical&lt;br /&gt;
annual of the States of the World for 1892. Edited&lt;br /&gt;
by J. Scott Keltic, Librarian to the Royal Geographical&lt;br /&gt;
Society. Bcvised after official returns. Macniillan.&lt;br /&gt;
1 os. fid.&lt;br /&gt;
Ward, H. Marshall. The Oak: a Popular Introduction&lt;br /&gt;
to Forest Botany. &amp;quot;Modern Science &amp;quot; Series. Edited&lt;br /&gt;
by Sir John Lubbock. Kegan Paul.&lt;br /&gt;
Warner, Charles Dudley. The American Italy (Our&lt;br /&gt;
Italy). With illustrations. Osgood, M&amp;#039;Hvaine.&lt;br /&gt;
Warner, G. F. The Nicholas Papers: Correspondence of&lt;br /&gt;
Sir Edward Nicholas, Secretary of State. Edited by.&lt;br /&gt;
Vol. 2. January i653&mdash;June 1655. Printed for the&lt;br /&gt;
Camden Society.&lt;br /&gt;
Wiixson, Heckles. Harold: An Experiment. Fifth edi-&lt;br /&gt;
tion. Globe Publishing Company, Bream&amp;#039;s Buildings,&lt;br /&gt;
Chancery Lane. Paper covers.&lt;br /&gt;
Wintringham, W. II. The Birds of Wordsworth, Poeti-&lt;br /&gt;
cally, Mythologically, and Comparatively examined.&lt;br /&gt;
Edition limited to 2S0 copies. Hutchinson &amp;amp; Co.&lt;br /&gt;
I os. 6d.&lt;br /&gt;
Yorke-Davies, Dr. N. E. Foods for the Fat : the Scientific&lt;br /&gt;
Cure of Corpulency. Fourth edition, 14th thousand.&lt;br /&gt;
Chatto and Windus.&lt;br /&gt;
Educational.&lt;br /&gt;
Crellin, Philip. Hook-keeping for Teachers and Pupil:-.&lt;br /&gt;
Whittaker and Co.&lt;br /&gt;
Davis, J. F. Army Examination Papers in Mathematics,&lt;br /&gt;
with Answers. Whittaker and Co.&lt;br /&gt;
Enc.i.emann, Dr., and Anderson, W. C. H. Pictorial&lt;br /&gt;
Atlas to Homer&amp;#039;s Iliad and Odyssey. Illustrations&lt;br /&gt;
from works of ancient art, with descriptive text and an&lt;br /&gt;
epitome of the contents of each book, for the use of&lt;br /&gt;
schools and students of literature and art. H. Grevel,&lt;br /&gt;
King Street, Coveut Garden. 7s. 6d.&lt;br /&gt;
Goodyear, W. H. A History of Art, for classes, art&lt;br /&gt;
students, and tourists in Europe. 3rd edition revised,&lt;br /&gt;
with new illustrations. Sampson Low.&lt;br /&gt;
G res well, Eev. W. P. Geography of Africa, South of&lt;br /&gt;
the Zambesi. With Notes on the Industries, Wealth,&lt;br /&gt;
and Social Progress of the States and Peoples. With&lt;br /&gt;
three maps. Under the auspices of the Royal Colonial&lt;br /&gt;
Institute. Clarendon Press. 7s. 6d.&lt;br /&gt;
Lockie&amp;#039;s Marine Engineers&amp;#039; Drawing-book, adapted to&lt;br /&gt;
the requirements of the Board of Trade examinations.&lt;br /&gt;
By John Lockie, C.E. (Whitworth Scholar). Crosby&lt;br /&gt;
Lockwood. 3s. 6rf.&lt;br /&gt;
Marshall, Alfred. Elements of Economics of Industry,&lt;br /&gt;
being the first volume of Elements of Economics.&lt;br /&gt;
Macniillan. 3s. 6&amp;lt;/.&lt;br /&gt;
Oughton, Frederick. Students&amp;#039; nnd Amateurs&amp;#039; Note-&lt;br /&gt;
book on Oil Colour Technique, &amp;amp;c. Moffatt and&lt;br /&gt;
Paige, Warwick Lane, Paternoster Bow. is.&lt;br /&gt;
Pruen, G. G., M.A. Latin Examination Papers. Specially&lt;br /&gt;
adapted for the use of Army Candidates. Whittaker&lt;br /&gt;
and Co.&lt;br /&gt;
Storb, F., B.A. The School Calendar and Handbook of&lt;br /&gt;
Examinations, Scholarships, and Exhibitions, 1892,&lt;br /&gt;
with a Preface by. George Bell. is.&lt;br /&gt;
Swan, H. Travellers&amp;#039; Colloquial Italian. Idiomatic Italian&lt;br /&gt;
phrases with the exact pronunciation, represented on a&lt;br /&gt;
new system, based upon a scientific analysis of Italian&lt;br /&gt;
sounds. David Nutt. is.&lt;br /&gt;
Tisdall, Bev. W. St. Clair. A simplified Grammar of&lt;br /&gt;
the Gujarati Language, with a short Beading-book and&lt;br /&gt;
Vocabulary. Kegan Paul.&lt;br /&gt;
U.nderhill, G. E. Plutarch&amp;#039;s Lives of the Gracchi.&lt;br /&gt;
Edited, with introduction, notes, and indices by.&lt;br /&gt;
Clarendon Press. 4s. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 377 (#781) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
377&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Aizlewood, J. W. Warbeck: an Historical Play, in two&lt;br /&gt;
parts, partly founded on &amp;quot;The Perkin Warbeck of&lt;br /&gt;
Ford.&amp;quot; Kegan Paul.&lt;br /&gt;
Arnold, Sib E. Potiphar&amp;#039;s Wife and other poems. Long-&lt;br /&gt;
mans. St. net.&lt;br /&gt;
Buchanan, Kobkkt. The Buchanan Ballads, old and new.&lt;br /&gt;
Haddon and Co., Salisbury Square, K.C. is.&lt;br /&gt;
Gipps, L. M. Jael and other Poems. David Stott.&lt;br /&gt;
3&laquo;. 6d.&lt;br /&gt;
Leioh-Joynes, James. On Lonely Shores and other&lt;br /&gt;
Rhymes. Printed for the Author at the Chiswick&lt;br /&gt;
Press. Ss.&lt;br /&gt;
Old English Drama, Select Plays: Marlowe, &amp;quot; Tragical&lt;br /&gt;
History of Dr. Faustus &amp;quot;: Greene, &amp;quot;Honourable&lt;br /&gt;
History of Friar Bacon and Friar Bungay.&amp;quot; Edited by&lt;br /&gt;
Adolphus William Ward, Litt.D., Principal of the&lt;br /&gt;
Owens College. Third edition, revised and enlarged.&lt;br /&gt;
Clarendon Press. 6s. 6d.&lt;br /&gt;
Pinero, A. W. The Hobby-horse. A Comedy in three&lt;br /&gt;
Acts. Heinemann. Paper covers, is. 6d. Cloth,&lt;br /&gt;
is. id.&lt;br /&gt;
The Song op Dermot and the Earl, an old French Poem.&lt;br /&gt;
From the Carew Manuscript, No. 596, in the Arehi-&lt;br /&gt;
episcopal Library at Lambeth Palace. Edited, with&lt;br /&gt;
literal Translation and Notes, a Facsimile and a Map,&lt;br /&gt;
by Goddard Henry Orpen, late Scholar of Trinity&lt;br /&gt;
College, Dublin, and of the Inner Temple, Barrister-at-&lt;br /&gt;
Law. Clarendon Press. 8s. 6d.&lt;br /&gt;
Law.&lt;br /&gt;
Anson, Sir William R. The Law and Custom of the&lt;br /&gt;
Constitution, Part II. The Crown. Clarendon Press.&lt;br /&gt;
14s.&lt;br /&gt;
Bodkin, A. H. Wigram&amp;#039;s Justices Note Book. Sixth&lt;br /&gt;
edition. Stevens and Son. 12s. 6d.&lt;br /&gt;
Forbes, Urquhart A. The Statutory Laws relating to&lt;br /&gt;
Savings Banks (1863-1891), with the Treasury Regu-&lt;br /&gt;
lations and the scheme for the appointment of the&lt;br /&gt;
Inspection Committee of Trustee Savings Banks.&lt;br /&gt;
Stevens and Haynes, Bell Yard, Temple Bar. Paper&lt;br /&gt;
covers, Ss.&lt;br /&gt;
Lely, J. M., M.A. Wharton&amp;#039;s Law Lexicon, forming an&lt;br /&gt;
Epitome of the Law of England. Ninth edition.&lt;br /&gt;
Stevens, Chancery Lane. 38*.&lt;br /&gt;
Manson, Edward. The Law of Trading and other&lt;br /&gt;
Companies formed or registered under the Companies&lt;br /&gt;
Act, 1862. Clowes.&lt;br /&gt;
Neale, J.A., D.C.L. An Exposition of English Law by&lt;br /&gt;
English Judges. Compiled for the use of layman and&lt;br /&gt;
lawyer from the most recent decisions (1886-1891).&lt;br /&gt;
Clowes. 12*. 6d.&lt;br /&gt;
Smith, J. W., B.A. A Handy Book on the Law of Banker&lt;br /&gt;
and Customer. 22nd thousand. Effingham Wilson. Ss.&lt;br /&gt;
Wheeler, Percy F. Partnership and Companies: a&lt;br /&gt;
Manual cf Practical Law. A. and C. Black. Ss.&lt;br /&gt;
Science.&lt;br /&gt;
Carns, Dr. Paul. Homilies of Science. Edward Arnold.&lt;br /&gt;
6&raquo;. bd.&lt;br /&gt;
Douglas, W. D. The Geometrical Problem Solved. A&lt;br /&gt;
manual for scientists and students. How to trisect or&lt;br /&gt;
divide any angle into any number of equal parts or&lt;br /&gt;
fractions of parts. Davis, Douglas, aud Co., Cardiff.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Supplement to the 20th Annual Report of the Local&lt;br /&gt;
Government Board, 1890-91&mdash;Report of the Medical&lt;br /&gt;
Officer for 1890 (4s.). Report of the Meteorological&lt;br /&gt;
Council to the Royal Society for the year ended&lt;br /&gt;
March 31, 1891 (5\&amp;lt;l.). Summaries of the Statistical&lt;br /&gt;
Portion of the Reports of Her Majesty&amp;#039;s Inspectors&lt;br /&gt;
of Mines for 1891 (6d.). Civil Service Estimates,&lt;br /&gt;
1892-93, Class III.&mdash;Law and Justice (is.). Irish&lt;br /&gt;
Land Commission&mdash;Return of Judicial Rents fixed&lt;br /&gt;
during August, 1891 (is. Sd.). Ordinances made by&lt;br /&gt;
the Scottish Universities Commissioners with regard&lt;br /&gt;
to Degrees and Examinations. Army, Appropriation&lt;br /&gt;
Account, 1890-91, with the report of the Comptroller&lt;br /&gt;
and Auditor-General thereon (is. 6&amp;lt;/.). Report of the&lt;br /&gt;
Emigrants Information Office for 1891 (id.). Duchy&lt;br /&gt;
of Cornwall&mdash;Account for 1891 (id.). Royal Irish&lt;br /&gt;
Constabulary Return as to Free Quota and Extra&lt;br /&gt;
Force for the year ended March 3i, 1891 (Jd.). Copy&lt;br /&gt;
of Rule by Secretary for Scotland as to Jedburgh&lt;br /&gt;
Police Cells (id.). Agricultural Statistics, Ireland-&lt;br /&gt;
Tables showing the Extent in Statute Acres and the&lt;br /&gt;
Produce of the Crops for 1891 (3id.). Reports of the&lt;br /&gt;
Chief Registrar of Friendly Societies for 1890&mdash;Part B,&lt;br /&gt;
Industrial and Provident Societies (8|d.). The Annual&lt;br /&gt;
Local Taxation Returns, 1889-90&mdash;Parts 4 (8d.),&lt;br /&gt;
5 (5Jd.), and 6 (yd.). Post Office Telegraphs-&lt;br /&gt;
Accounts for the year ended March 3i, 1891 (id.).&lt;br /&gt;
Report on a Journey in the Me-Kong Valley, by-&lt;br /&gt;
Mr. J. W. Archer, of the Consular Service |in Siaiu&lt;br /&gt;
(6d.). Report of the Committee appointed by the&lt;br /&gt;
Secretary of State for War to consider the Terms aud&lt;br /&gt;
Conditions of Service in the Army. Scotch Education&lt;br /&gt;
Department Code of Regulations, with Appendixes&lt;br /&gt;
(3d.). Roll of the Lords Spiritual and Temporal&lt;br /&gt;
(i^d.). Alphabetical List of the same. Greenwich&lt;br /&gt;
Hospital (Age Pensions) Correspondence (2d.). Eyre&lt;br /&gt;
and Spottiswoode.&lt;br /&gt;
Returns of Evictions from Agricultural Holdings (Ireland)&lt;br /&gt;
(id.). Twenty-seventh detailed Annual Report of the&lt;br /&gt;
Registrar-General for Ireland (is. 6d.). Betuni of&lt;br /&gt;
Particulars of Relief Works in certain parts of Ireland&lt;br /&gt;
in 1890 and 1891 (6d.). Alex. Thom and Co., Dublin.&lt;br /&gt;
Census of Ireland&mdash;Part I., Vol. II., Munster, No. 5, Tip-&lt;br /&gt;
perary (is. 6d.). Supreme Court of Judicature (Ire-&lt;br /&gt;
land&mdash;Accounts in respect of the Funds of Suitors in&lt;br /&gt;
the year to September 3o, 1891 (Jd.). Accounts&lt;br /&gt;
relating to Trade and Navigation of the I&amp;#039;nited King-&lt;br /&gt;
dom for February (6d.). Consolidated Fund. Abstract&lt;br /&gt;
Account, 1890-91 (2d.). Irish Land Commission&lt;br /&gt;
(Tithe Rentcharge and Instalments in lieu of Tithe&lt;br /&gt;
Rentcharge) (id.). Rule as to the Visiting Committee&lt;br /&gt;
of Cambridge Prison (^d.). Reports of the Board of&lt;br /&gt;
Trade on the Great Western Railway (Neath River&lt;br /&gt;
Crossing, &amp;amp;c.) and the Rhondda and Swansea Bay&lt;br /&gt;
Railway Bills (id.). On the North-Eastern Railway&lt;br /&gt;
(Hull Docks) Bill (Jd ). On the Southampton Docks&lt;br /&gt;
Bill (id.). And of the Proceedings of the Board as&lt;br /&gt;
to Piers aud Harbours (1 id.). Amendment to Statute 13&lt;br /&gt;
of Corpus Christi College, Oxford (Jd.). Navy Esti-&lt;br /&gt;
mates for 1892-93 (is. Sjd.). Estimates for Civil&lt;br /&gt;
Services for the year ending March 3i, 1893 (2d.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 378 (#782) ############################################&lt;br /&gt;
&lt;br /&gt;
3;8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Civil Service Estimates, 1892-93, Class L, Public&lt;br /&gt;
Works and Buildings (7(1.). Memorandum of the&lt;br /&gt;
Financial Secretary to the Treasury relating to the&lt;br /&gt;
Civil Service Estimates, 1892-93 (2d.). Alien Immi-&lt;br /&gt;
gration Return for February (id.). Accounts of the&lt;br /&gt;
Russian, Dutch, Greek, and Sardinian Loans (id. each).&lt;br /&gt;
Reports on the Malago Vale Colliery Explosion (jd.).&lt;br /&gt;
Imperial Defence Act, 1888 (Naval Section), Austral-&lt;br /&gt;
asian Agreement, Account, 1890-91 (\d.). Report&lt;br /&gt;
of the Hoard of Trade on the Cork Harbour Pilotage&lt;br /&gt;
Dill (id.). Amendment to the Statutes of Corpus&lt;br /&gt;
Christi College, Oxford (id.). Further Correspondence&lt;br /&gt;
respecting Anti-Foreign Riots in China (is. Sd.).&lt;br /&gt;
First Report from the Select Committee on the House&lt;br /&gt;
of Lords Offices (id.). Civil Services, 1890-91,&lt;br /&gt;
.Statement of Excesses (^d.). Eastbourne Improve-&lt;br /&gt;
ment Act, 1885 (Prosecutions for Open-Air Services,&lt;br /&gt;
&amp;amp;c), Return of Charges under the Act between&lt;br /&gt;
June 1, 1891, and February 18, 1892 (iJ.). Trustee&lt;br /&gt;
Savings Hanks Inspection Committee Scheme (id.).&lt;br /&gt;
Nationality in Brazil&mdash;Article 69 of the Brazilian&lt;br /&gt;
Constitution (id.). Census of Ireland, Part I.,&lt;br /&gt;
Vol, II. Minister. No. 4. Limerick (is. id.).&lt;br /&gt;
Return as to Schools in Ireland (3s. id.). Census of&lt;br /&gt;
Ireland, Part I., Vol. 2, Minister, No. 3, Kerry (n.).&lt;br /&gt;
Returns as to Loans raised respectively in India and&lt;br /&gt;
in Kugland, Chargeable on the Revenues of India out-&lt;br /&gt;
standing at the beginning of the half-year ended&lt;br /&gt;
September 3o, 1891 (id. each). Petitions of Univer-&lt;br /&gt;
sity and King&amp;#039;s Colleges, praying for the grant of&lt;br /&gt;
a charter for the &amp;quot;Oresham&amp;quot; University, with the&lt;br /&gt;
draft of the proposed charter (2d.). Local Taxation&lt;br /&gt;
(England) Account, 1890-91 (z\d.). Returns of the&lt;br /&gt;
number of Agrarian Outrages reported in Ireland&lt;br /&gt;
during the third and last quarters of 1891 (id. each).&lt;br /&gt;
Naval Manoeuvres, 1891&mdash;The Partial Mobilization of&lt;br /&gt;
the Fleet and the Manoeuvres of Last Year j Civil&lt;br /&gt;
Services and Revenue Departments, Appropriation&lt;br /&gt;
Accounts, 1890-91 (4s. Sd.). Civil Services Estimates,&lt;br /&gt;
1892-93, Class II., Salaries and Expenses of Civil&lt;br /&gt;
Departments. Report of the Commissioners appointed&lt;br /&gt;
to inquire into the Redemption of Tithe Rentcbarge in&lt;br /&gt;
England and Wales (i^d.). Colonial Reports, Annual,&lt;br /&gt;
Victoria: Digest of Statistics for 1890 (3id.). Jamaica j&lt;br /&gt;
Report for 1889-91 (20!.). Income Tax: Return of&lt;br /&gt;
assessments by Counties from 1884-90, and of other&lt;br /&gt;
particulars (10!.). Estimates for Civil Services and&lt;br /&gt;
Revenue Departments, 1892-93 ; Votes on Account&lt;br /&gt;
(id.). Deer Forests, Scotland (return substituted for&lt;br /&gt;
that previously circulated) (id.). Supreme Court of&lt;br /&gt;
Judicature (Circuit Allowances, &amp;amp;c.) (id.). Education&lt;br /&gt;
Department Code of Regulations for 1892, with&lt;br /&gt;
Schedules and Appendices (6d.). Glebe Lands&lt;br /&gt;
(Sales) (^d.). Mr. Hastings&mdash;Record of his Trial&lt;br /&gt;
(id.). Teachers Pension Fund (Ireland), Memorandum&lt;br /&gt;
on the Position of the Fund on December 3i, 1890&lt;br /&gt;
(Jd.). Statistical Tables of Corn Prices for 1891, with&lt;br /&gt;
comparative tables for previous years (3&amp;lt;/.). Report&lt;br /&gt;
of the Committee on Questions connected with the&lt;br /&gt;
Royal Naval Reserve (gd.). Return as to Medical&lt;br /&gt;
Officers of Health appointed by County Councils (i|d.).&lt;br /&gt;
Return as to Courts Martial in 1890 (id.). Civil&lt;br /&gt;
Service Estimates, Class IV., Education, Science, and&lt;br /&gt;
Art (7&amp;lt;Z.). Foreign Office, Annual Series&mdash;Trade of&lt;br /&gt;
Tonga (1890) (id.). Trade of Zanzibar (1891 sup-&lt;br /&gt;
plementary) (i^d.). Trade of Suakin (1891) (\d.).&lt;br /&gt;
Miscellaneous Series&mdash;Netherlands; Report on the&lt;br /&gt;
Effects of the Law of 1889 for the Protection of&lt;br /&gt;
Women and Children engaged in Factory and other&lt;br /&gt;
Work (2d.). Contracts entered into by the Admiralty&lt;br /&gt;
by virtue of the Naval Defence Act, 1889, section 7&lt;br /&gt;
(id.). Civil Sen-ice Estimates, 1892-93, Class V.,&lt;br /&gt;
Foreign and Colonial Services (4$d.). Class VI., Non-&lt;br /&gt;
effective and Charitable Services (3|d.). Parcel Post&lt;br /&gt;
(United States of America and Great Britain), Corre-&lt;br /&gt;
spondence (2d.). Foreign Office, Annual Series&mdash;Trade&lt;br /&gt;
of Galveston (1891) (lid.). Miscellaneous Series&mdash;&lt;br /&gt;
The Aloe Fibre Industry of Somaliland (Egypt) (id.).&lt;br /&gt;
Report on the Administration, Finances, and Condition&lt;br /&gt;
of Egypt, and the Progress of Reforms (4|d.). Report&lt;br /&gt;
to the Secretary of State for the Home Department on&lt;br /&gt;
the Explosion of Fireworks on a Floating Magazine&lt;br /&gt;
below Gravesend (i.&amp;#039;.d.). Index to the Estimates for&lt;br /&gt;
Civil Services, 1892-93 (2d.). Further Papers relating&lt;br /&gt;
to the Malay States. Reports for 1890 (lojd.).&lt;br /&gt;
Revised Instructions to Her Majesty&amp;#039;s Inspectors of&lt;br /&gt;
Schools and Applicable to the Code of 1892 (4d.).&lt;br /&gt;
Elementary Education (Schemes of Charity Commis-&lt;br /&gt;
sioners applying funds to, since 1870) (3d.). Return&lt;br /&gt;
of Railways comprised in the Railway Rates and&lt;br /&gt;
Charges Orders Confirmation Bills, 1 to 26 (id.).&lt;br /&gt;
Accounts of the Lighthouses maintained in British&lt;br /&gt;
Possessions Abroad (id.). Bank of England, applica-&lt;br /&gt;
tions made for Advances to Government from January&lt;br /&gt;
5, 1891, to January 5, 1892 (jd.). Return of the&lt;br /&gt;
Court Martials on Non-Comniissioned Officers for&lt;br /&gt;
Gambling in 1888-89-90 (id.). Foreign Office, Mis-&lt;br /&gt;
cellaneous Series; Report on Legislation for Protection&lt;br /&gt;
of Women and Young Children Employed in Factories&lt;br /&gt;
in the Netherlands (id.). Mr. Magan, Correspondence&lt;br /&gt;
(2id.). Board of Agriculture&mdash;Report of Proceedings&lt;br /&gt;
under various Acts, 1891 (l\d.). Yeomanry Cavalry&lt;br /&gt;
Training Return, 1891 (id.). National Debt&lt;br /&gt;
(Military Savings Banks)&mdash;cash account ({d.). Return&lt;br /&gt;
of Proceedings under the Augmentation of Benefices&lt;br /&gt;
Act, from February 21, 1891, to February 18, 1892&lt;br /&gt;
(id.). Intermediate Education (Ireland)&mdash;Rules&lt;br /&gt;
(|d.). Ordnance Factories Estimate, 1892-93 (id.).&lt;br /&gt;
Army Estimates of Effective and Non-Effective Ser-&lt;br /&gt;
vices for 1892-93 (2s.). Statistics of the Colony of&lt;br /&gt;
New Zealand for 1890. Didsbury, Government&lt;br /&gt;
Printer, Wellington, N.Z. Census of Ireland, Part I.,&lt;br /&gt;
Vol. 2, Munster; No. 2, Cork&mdash;County and City&lt;br /&gt;
(2s. 3d.). Returns of licences for the Sale of Opium&lt;br /&gt;
and Intoxicating Liquors issued in Upper Burma since&lt;br /&gt;
January i, 1888 (6&amp;lt;f.). Foreign Office, Annual Series,&lt;br /&gt;
Trade of Mozambique (Portugal), 1891 (ijd.). Trade&lt;br /&gt;
of Guayaquil (Ecuador), 1891 (id.). Budget of the&lt;br /&gt;
German Empire for 1802-93 (id.). Trade of Galatz&lt;br /&gt;
(ltoumanin), 1891 (ijd.). Miscellaneous Series.&mdash;&lt;br /&gt;
Roumanian Trade, Agriculture and Danube Navigation&lt;br /&gt;
from 1881 to 1890 (id.)&mdash;Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 379 (#783) ############################################&lt;br /&gt;
&lt;br /&gt;
379&lt;br /&gt;
THE AUTHORS&amp;#039; SYNDICATE.&lt;br /&gt;
THIS Association is established for the purpose of syndicating or selling&lt;br /&gt;
the serial rights of authors in magazines, journals, and newspapers. It&lt;br /&gt;
has now been at work for more than a year, and has transacted a very&lt;br /&gt;
satisfactory amount of business during this period. It has also entered upon&lt;br /&gt;
a great number of engagements for the future.&lt;br /&gt;
The following points are submitted for consideration :&mdash;&lt;br /&gt;
1. The management is voluntary and unpaid. No one makes any profit&lt;br /&gt;
out of the Syndicate, except the authors who use its services.&lt;br /&gt;
2. The commission charged on the amounts received covers the expenses&lt;br /&gt;
of clerks, travellers, rent, and printing. As work increases this&lt;br /&gt;
may be still further reduced.&lt;br /&gt;
3. Only the serial rights are sold for the author. He receives his&lt;br /&gt;
volume rights and copyright.&lt;br /&gt;
4. The Syndicate has an American agent.&lt;br /&gt;
5. The Syndicate will only work for members of the Society.&lt;br /&gt;
6. Its offices are on the same floor as those of the Society, and its&lt;br /&gt;
assistance and advice are always at the service of the Society.&lt;br /&gt;
7. Authors are warned that no syndicating is possible for them until&lt;br /&gt;
they have already attained a certain amount of popularity.&lt;br /&gt;
8. The Syndicate acts as agent in every kind of literary property.&lt;br /&gt;
4, Portugal Street,&lt;br /&gt;
Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
W. MORRIS COLLES,&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 380 (#784) ############################################&lt;br /&gt;
&lt;br /&gt;
380&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Not Work, but Play.&lt;br /&gt;
Leave the drudgery of the Pen-Soiled Fingers&mdash;Blotted and Obscure&lt;br /&gt;
Manuscript, to those who prefer darkness to light. Quick, up-to-date&lt;br /&gt;
writers use&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER.&lt;br /&gt;
Why?&lt;br /&gt;
Easiest Managed; Soonest Learned; Most Durable; Writing Always&lt;br /&gt;
Visible; does best work, and never gets out of repair.&lt;br /&gt;
Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals--&lt;br /&gt;
Edinburgh (1890) and Jamaica (1891) Exhibitions; is useil in principal&lt;br /&gt;
Government Departments, and greatest number of English business&lt;br /&gt;
houses.&lt;br /&gt;
We send interesting supply of further information free.&lt;br /&gt;
THE TYPE-WRITER COMPANY, LIMITED,&lt;br /&gt;
12 &amp;amp; 14, Queen Victoria Street, London, E.C.; 25, Market Street, Manchester; 1, South John Street, Liverpool;&lt;br /&gt;
22, Renfield Street, Glasgow ; 35, Charles Street, Bradford.&lt;br /&gt;
MISS R. V. GILI,&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
6, Adam Street, Strand, W.C.&lt;br /&gt;
35, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to di&iacute;ficult&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s. per&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
supplied free of charge. Plays, &amp;amp;c., 18. 3d. per&lt;br /&gt;
and transcribed.&lt;br /&gt;
1,000 words. Carbon copies 18. per Act. Refer-&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
ence kindly permitted to Walter Besant, Esq.&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN, MISS PATTEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS.&lt;br /&gt;
TYPIST,&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
44, Oakley Street Flats, Chelsea, S.W.&lt;br /&gt;
a Special Feature.&lt;br /&gt;
AUTHORS&amp;#039; MSS. CAREFULLY TRANSCRIBED. REFERENCES&lt;br /&gt;
39, LOMBARD STREET, E.C.&lt;br /&gt;
KINDLY PERMITTED TO GEORGE AUGUSTUS SALA, Esq.&lt;br /&gt;
Office No. 59 (close to Lift).&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
MESDAMES BRETT AND BOWSER,&lt;br /&gt;
TYPISTS,&lt;br /&gt;
Selborne Chambers, Bell Yard, Temple Bar.&lt;br /&gt;
Authors&amp;#039; MSS. carefully and expeditiously copied, 1s. per&lt;br /&gt;
1,000 words. Extra carbon copies half price. References&lt;br /&gt;
kindly permitted to Augustine Birrell, Esq., M.P.&lt;br /&gt;
THE AUTHORS&amp;#039; AGENCY. Established 1879. Proprietor, Mr. A. M. BURGHES,&lt;br /&gt;
1Paternoster Row. The interests of Authors capably represented. Proposed agreements and estimates&lt;br /&gt;
examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years&amp;#039;&lt;br /&gt;
practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials from&lt;br /&gt;
leading Authors on application to Mr. A. M. Burghes, Authors&amp;#039; Agent, 1, Paternoster Row.&lt;br /&gt;
LONDON: Printed by EYRE and SPOTTISWOODE, Printers to the Queen&amp;#039;s most Excellent Majesty.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 381 (#785) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. ij.]&lt;br /&gt;
MAY 2, 1892.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGE&lt;br /&gt;
&bull; 3&laquo;3&lt;br /&gt;
■ 3*3&lt;br /&gt;
&bull; 3&laquo;.&amp;lt;&lt;br /&gt;
. 386&lt;br /&gt;
. 3H6&lt;br /&gt;
Warnings&lt;br /&gt;
Notices&lt;br /&gt;
The Authors&amp;#039; Syndicate&lt;br /&gt;
The Lnirrolliad&lt;br /&gt;
&amp;quot;Porta Nascitur, Noli Fit&amp;quot;&lt;br /&gt;
Literary Property&mdash;&lt;br /&gt;
I.&mdash;Literary Theft 3&raquo;6&lt;br /&gt;
II.&mdash;Mr. James Knowles 3&raquo;7&lt;br /&gt;
III. &mdash;Anthony Trollope&amp;#039;s Life 3J7&lt;br /&gt;
IV. &mdash;&amp;quot; Baby Lifting extraordinary 3*7&lt;br /&gt;
V.&mdash;American Piracy 3j&amp;gt;-j&lt;br /&gt;
Tho American Society of Authors &raquo;&raquo;&lt;br /&gt;
Agencies&lt;br /&gt;
Editing and Reviewing:&mdash;&lt;br /&gt;
1.&mdash;The Value of a Favourable Review&lt;br /&gt;
II.&mdash;About Reviewing&lt;br /&gt;
III.&mdash;Magazines and Editors&lt;br /&gt;
3*9&lt;br /&gt;
S90&lt;br /&gt;
391&lt;br /&gt;
391&lt;br /&gt;
3t&amp;gt;&lt;br /&gt;
393&lt;br /&gt;
Hew .192&lt;br /&gt;
VII.&mdash;With no Name 393&lt;br /&gt;
TJneut Leaves 391&lt;br /&gt;
The Literary Agent 393&lt;br /&gt;
IV.&mdash;(&lt;br /&gt;
V.&mdash;I-ong kept and then returned&lt;br /&gt;
VI.&mdash;From the Editor&amp;#039;s Point of Vie&lt;br /&gt;
I&amp;#039;scTnl Books&lt;br /&gt;
Author and Publisher&lt;br /&gt;
Generosity, Litienility, and Equity ..&lt;br /&gt;
Young anil Old&lt;br /&gt;
Notes and News. By Walter Besant&lt;br /&gt;
Feuilletou&lt;br /&gt;
Notes from Paris&lt;br /&gt;
PAGR&lt;br /&gt;
&bull; 394&lt;br /&gt;
&bull; 395&lt;br /&gt;
■ 39&laquo;&lt;br /&gt;
&bull; 398&lt;br /&gt;
&bull; 398&lt;br /&gt;
&bull; 399&lt;br /&gt;
401&lt;br /&gt;
iierature in the Miwnizines 404&lt;br /&gt;
Scott on the Art of Fiction&lt;br /&gt;
Walt &amp;quot;Whitman&lt;br /&gt;
From America&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&lt;br /&gt;
4&deg;J&lt;br /&gt;
410&lt;br /&gt;
410&lt;br /&gt;
4&amp;quot;&lt;br /&gt;
From the Papers :&mdash;&lt;br /&gt;
I.&mdash;The Lowell Memorial 415&lt;br /&gt;
II.&mdash;The Glorious Traditions of the Book Agent .. .. 41 j&lt;br /&gt;
111.&mdash;The Chief Use of the Society 41 j&lt;br /&gt;
IV.&mdash;American Fiction &amp;#039;.. .. 41 j&lt;br /&gt;
V.&mdash;Newspaper Copyright 416&lt;br /&gt;
VI.&mdash;From America 416&lt;br /&gt;
VII.&mdash;The Education of Opinion 416&lt;br /&gt;
VIII.&mdash;An Outside Opinion on the Society 417&lt;br /&gt;
New Books and New Editions.. 417&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
INVESTMENTS. A List of i,6oo British, Colonial, and&lt;br /&gt;
Foreign Securities, with the highest and lowest prices quoted&lt;br /&gt;
for the last twenty-two years, is. bd.&lt;br /&gt;
&amp;quot;A useful work of reference.&amp;quot;&mdash;Money.&lt;br /&gt;
PHILOSOPHICAL NOTES ON BOTANICAL SUB-&lt;br /&gt;
JECTS. By E. B05AVIA, M.D.. Brigade-Surgeon, I.M.I).&lt;br /&gt;
With 160 Illustration*. a&laquo;. bd.&lt;br /&gt;
KEAL ARMY REFORM, THE ESSENTIAL FOUNDA-&lt;br /&gt;
TION OF. By Ionotus. bd.&lt;br /&gt;
&amp;quot;Those who would understand the general argument of those&lt;br /&gt;
who favour conscription cannot do liettcr than read this pamphlet.&amp;quot;&lt;br /&gt;
&mdash;Army and Xavy Gazette.&lt;br /&gt;
MY GARDENER (Illustrated). By II. W. Ward, Head&lt;br /&gt;
Gardener to the Right Hon. the Earl of Radnor, Longford&lt;br /&gt;
Castle, Salisbury, is. bd.&lt;br /&gt;
&amp;quot;The book is replete with valuable cultural notes indispensable&lt;br /&gt;
to the millions who are now turning to gardening as a source of&lt;br /&gt;
pleasure and proiit.&amp;quot;&mdash;Gardener&amp;#039;s Chronicle.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction or the State Trials&lt;br /&gt;
Committee. Edited by Joii.v Macdonell, M.A. km.&lt;br /&gt;
PUBLIC GENERAL ACTS, 1891. Red Cloth, 3*.&lt;br /&gt;
Contains all the Public Acts passed during the year, with&lt;br /&gt;
Index, also Tables showing the etl&amp;#039;rct of tho yenr&amp;#039;s legislation,&lt;br /&gt;
together with complete 111 id classified Lists of the Titles of all&lt;br /&gt;
the Local and Private Acts passed during the Session.&lt;br /&gt;
REVISED STATUTES. (Second Revised Edition.) Royal&lt;br /&gt;
svo. Prepared under the direction of the Statute Law&lt;br /&gt;
Revision Committee, and Edited by G. A. R. Fitzoerald,&lt;br /&gt;
Esq. Vols. I. to IV. now readv, price 7*. bd. each.&lt;br /&gt;
TEN YEARS&amp;#039; SUNSHINE. Record of the Registered&lt;br /&gt;
Sunshine at 46 Stations in the British Isles, 1881-1800. 2*.&lt;br /&gt;
FORECASTING BY MEANS OF WEATHER CHARTS,&lt;br /&gt;
Principles or. By tho Hon. Ralph Abbecromdy, F.R. Met.&lt;br /&gt;
SOC. 2.1.&lt;br /&gt;
HYGIENE AND DEMOGRAPHY. Transactions of the&lt;br /&gt;
Seventh International Congress of. To be published in thirtivn&lt;br /&gt;
volumes. Vol. XII. (Municipal Hygiene and Demography).&lt;br /&gt;
Now ready. 2*. btl. List or the Scries on application.&lt;br /&gt;
METEOROLOGICAL INSTRUMENTS, Instructions in&lt;br /&gt;
the use ot. 2t. bd.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Royal Svo. Cloth, is. bd.&lt;br /&gt;
COPYRIGHT LAW REFORM: an Exposition of Lord&lt;br /&gt;
Monksw ell&amp;#039;s Copyright Bill. With Extracts from the Report of&lt;br /&gt;
the Commission of 1S78. and nn Appendix containing the Berne&lt;br /&gt;
Convention and the American Copyright Bill. By J. M. Lely,&lt;br /&gt;
Esq., liarrist&laquo;r-at-Law. i&raquo;. bd.&lt;br /&gt;
KEW BULLETIN, 1892. Monthly, 2d. Appendices,&lt;br /&gt;
id. each. Annual Subscription, including postage, 341. 9*/.&lt;br /&gt;
Volume for 1891, is. id., by |&amp;gt;ost.&lt;br /&gt;
MUSICAL INSTRUMENTS. Descriptive Catalogue of&lt;br /&gt;
the Muural Instruments exhibited at the Royal Military Exhi-&lt;br /&gt;
bition, 1890. Compiled by Cnpt. Day, Oxford Light Infantry.&lt;br /&gt;
Illustrated, lis.&lt;br /&gt;
&amp;quot;Unique, 11s no earlier liook exists in English dealing exhaus-&lt;br /&gt;
tively with the same subject A very important con-&lt;br /&gt;
tribution to the history of orchestration.&amp;quot;&mdash; Athcnamm.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
Scaucill-Bird, F.S.A. is.&lt;br /&gt;
&amp;quot;Tin- value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely lw&lt;br /&gt;
over-rated.&amp;quot;&mdash;Tiuvts.&lt;br /&gt;
Monthly Lists of Parliamentary Papers vpon Application. Quarterly Lists Post Free, id.&lt;br /&gt;
Miscellaneous List on Application.&lt;br /&gt;
Every Assistance given to Correspondents; and Books not kept in stock obtained without delay.&lt;br /&gt;
GOVERNMENT AIVD GENERAL PUIIEISIIERS.&lt;br /&gt;
KYUK and SPOITISMOODU, Her Majesty&amp;#039;s Printers, East Harding Street, London, H.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 382 (#786) ############################################&lt;br /&gt;
&lt;br /&gt;
383&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
Cfje Jswtetg of gutljors (fincorporatrtO*&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Kight Hon. the LORD TENNYSON, D.C.L.&lt;br /&gt;
Sib Edwin Arnold, K.C.l.E.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Robert Bateman.&lt;br /&gt;
Sir Henry Berone, K.C.M.G.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
Augustine Birrell, M.P.&lt;br /&gt;
R. D. Ulackmore.&lt;br /&gt;
Rev. Prof. Bonnky, F.R.S.&lt;br /&gt;
Lord Brabourne.&lt;br /&gt;
James Bryce, M.P.&lt;br /&gt;
P. W. Clayden.&lt;br /&gt;
Edward Clodd.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Marion Crawford.&lt;br /&gt;
Oswald Cbawfurd, C.M.G.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
The Earl of Dksart.&lt;br /&gt;
A. W. Dubourg.&lt;br /&gt;
John Eric Erichsen, F.R.S.&lt;br /&gt;
Prof. Michael Foster, F.R.S.&lt;br /&gt;
Herbert Gardner, M.P.&lt;br /&gt;
Richard Garnett, LL.D.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
Rudyard Kipling.&lt;br /&gt;
Prof. E. Ray Lankester, F.R.S.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Rev. W. J. Loftie, F.S.A.&lt;br /&gt;
F. Max Mullee, LL.D.&lt;br /&gt;
George Meredith.&lt;br /&gt;
Herman C. Merivale.&lt;br /&gt;
Rev. C. H. Middleton-Wake, F.L.S.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
Pembroke and&lt;br /&gt;
J. C. Parkinson.&lt;br /&gt;
The Earl of&lt;br /&gt;
Montgomery.&lt;br /&gt;
Sir Frederick Pollock, Bart.&lt;br /&gt;
LL.D.&lt;br /&gt;
Walter Herries Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
George Augustus Sala.&lt;br /&gt;
W. Baptists Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
Baron Henry de Worms, M.P.,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Edmund Yatks.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
Hon. John Collier.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
H. Rider Haggard.&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A, Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Meml&amp;gt;ers.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Press.) 2*. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at &amp;quot;Willis&amp;#039;s Eooms, March 1887.&lt;br /&gt;
4. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glaisher,&lt;br /&gt;
g5, Strand, W.C.) 3*.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society, is.&lt;br /&gt;
6. The Cost Of Production. In this work specimens are given of the most important forms of type,&lt;br /&gt;
size of page, &amp;amp;c, with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
Henry Glaisher, g5, Strand, W.C. 2s. 6d.&lt;br /&gt;
7. The Various Methods of Publication. By S. Squire Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have been made possible by the different clauses in their agreements. Henry Glaisher,&lt;br /&gt;
g5, Strand, W.C. 5s.&lt;br /&gt;
8. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Spottiswoode.&lt;br /&gt;
is. 6rf.</td><td>https://historysoa.com/files/original/5/262/1892-04-01-The-Author-2-11.pdf</td><td>publications, The Author</td></tr><tr><td>263</td><td>https://historysoa.com/items/show/263</td><td>The Author, Vol. 02 Issue 12 (May 1892)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+12+%28May+1892%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 12 (May 1892)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1892-05-02-The-Author-2-12</td><td></td><td></td><td></td><td></td><td>343&ndash;380</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1892-05-02&quot;&gt;1892-05-02&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>12</td><td></td><td></td><td>18920502</td><td>TLhc B u t b o t\&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 12.]&lt;br /&gt;
MAY 2, 1892.&lt;br /&gt;
[Prick Sixpence.&lt;br /&gt;
For the Opinions earpressed in papers that are&lt;br /&gt;
signed or initialled the Authors alone are&lt;br /&gt;
responsible.&lt;br /&gt;
WARNINGS.&lt;br /&gt;
Readers of the Author arc earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of&lt;br /&gt;
seven years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, until you have proved the&lt;br /&gt;
figures.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with those who&lt;br /&gt;
advertise for MSS., who are not recom-&lt;br /&gt;
mended by experienced friends or by this&lt;br /&gt;
Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to anyone.&lt;br /&gt;
Never accept any proposal of royalty&lt;br /&gt;
until you have ascertained exactly what&lt;br /&gt;
the agreement gives to the author and&lt;br /&gt;
what to the publisher.&lt;br /&gt;
(5.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
Never, when a MS. has l&amp;gt;een refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(7.) Never sign away American rights. Keep&lt;br /&gt;
them. Refuse to sign an agreement con-&lt;br /&gt;
taining a clause which reserves them for&lt;br /&gt;
the publisher. If the publisher insists,&lt;br /&gt;
take away the MS. and offer it to another.&lt;br /&gt;
(+&bull;)&lt;br /&gt;
(6.)&lt;br /&gt;
(8.) Never sign a receipt which gives away&lt;br /&gt;
copyright without advice.&lt;br /&gt;
(9.) Keep control over the advertisements by&lt;br /&gt;
clause in the agreement. Reserve a veto.&lt;br /&gt;
If you are yourself ignorant of the subject,&lt;br /&gt;
make the Society your agent.&lt;br /&gt;
(10.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
NOTICES.&lt;br /&gt;
T&lt;br /&gt;
HE Secretary will be much obliged if any&lt;br /&gt;
members who have kept the Report for 1890&lt;br /&gt;
will kindly send their copies to him.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of this Society or not, are invited&lt;br /&gt;
to communicate to the Editor any points connected&lt;br /&gt;
with their work which it would be advisable in the&lt;br /&gt;
general interest to publish.&lt;br /&gt;
Members and others who wish their MSS. read&lt;br /&gt;
are requested not to send them to the Office without&lt;br /&gt;
previously communicating with the Secretary. The&lt;br /&gt;
utmost practicable despatch is aimed at, and MSS.&lt;br /&gt;
are read in the order in which they are received.&lt;br /&gt;
It must also be distinctly understood that, the&lt;br /&gt;
Society does not, under any circumstances, under-&lt;br /&gt;
take the publication of MSS.&lt;br /&gt;
K f 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 384 (#788) ############################################&lt;br /&gt;
&lt;br /&gt;
384&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
Communications intended for the Authors&amp;#039; Syndi-&lt;br /&gt;
cate should be addressed to W. Morris Colles, the&lt;br /&gt;
Honorary Secretary.&lt;br /&gt;
The Authors&amp;#039; Club, whose foundation has been&lt;br /&gt;
so long delayed and obstructed by one accident&lt;br /&gt;
after another, is now making a real start. It already&lt;br /&gt;
numbers a very good roll of original members, and it&lt;br /&gt;
is taking temporary premises in St. James&amp;#039;s Place,&lt;br /&gt;
St. James&amp;#039;s Street. The position is rather more to&lt;br /&gt;
the West than is desired for a permanent location.&lt;br /&gt;
The Committee, however, have time to look about&lt;br /&gt;
them, and it is best not to be in a hurry. Mean-&lt;br /&gt;
time readers will please observe that the Club is&lt;br /&gt;
.starting. It will be remembered that at the outset,&lt;br /&gt;
every kind of prophecy was uttered about its&lt;br /&gt;
certainty of failure, its impossibility of success.&lt;br /&gt;
A trick of some importance has been brought&lt;br /&gt;
before us on several occasions of late. A writer&lt;br /&gt;
agrees with an editor to contribute papers to his&lt;br /&gt;
magazine. He is perhaps a writer whose work is&lt;br /&gt;
of more than ephemeral value. He has been&lt;br /&gt;
accustomed to place his work subject to the con-&lt;br /&gt;
dition that he sells serial right only. When the&lt;br /&gt;
cheque arrives it is accompanied by a form of&lt;br /&gt;
receipt which contains the words &amp;quot; for the copy-&lt;br /&gt;
right,&amp;quot; or words to that effect. He often signs&lt;br /&gt;
without noticing the clause, and finds out too late&lt;br /&gt;
what he has thrown away. Let, therefore, every&lt;br /&gt;
one guard carefully against signing such a receipt,&lt;br /&gt;
and let him, for better security, stipulate before-&lt;br /&gt;
hand that it is the serial right alone which he&lt;br /&gt;
assigns to his editor.&lt;br /&gt;
There has been remonstrance. The editorial&lt;br /&gt;
worm has turned. In the short space of three&lt;br /&gt;
months one paper has borrowed from another to&lt;br /&gt;
the following extent. Two important leading&lt;br /&gt;
articles; three sketches of living characters; six-&lt;br /&gt;
teen reviews of books; and various short notes.&lt;br /&gt;
In each case the &amp;quot;conveyance&amp;quot; was accompanied&lt;br /&gt;
by the words, &amp;quot;the &mdash; says.&amp;quot; At last the&lt;br /&gt;
proprietors of the paper have remonstrated, and the&lt;br /&gt;
thing is slopped. The use of articles taken from&lt;br /&gt;
other papers is a thing that concerns the Author,&lt;br /&gt;
because so many of our members arc; journalists as&lt;br /&gt;
well as authors. Surely some rules can be arrived&lt;br /&gt;
at. It is very good in most cases, both for the&lt;br /&gt;
contributor and the paper, to have articles quoted&lt;br /&gt;
with due acknowledgment. On the other hand,&lt;br /&gt;
it cannot be claimed that there is no copyright in the&lt;br /&gt;
daily or the weekly paper. But in any case of&lt;br /&gt;
reproduction it ought to lie made conspicuously&lt;br /&gt;
clear where the article first appeared, and in common&lt;br /&gt;
fairness the author of the article in question should&lt;br /&gt;
receive some more substantial recognition than the&lt;br /&gt;
honour of being reprinted in al) cases in which&lt;br /&gt;
he has reserved his copyright. Perhaps the&lt;br /&gt;
Institute of Journalists would see a way of takin&amp;lt;*&lt;br /&gt;
up the matter.&lt;br /&gt;
With the ratifications of the Literary Convention&lt;br /&gt;
exchanged between Germany and the United States&lt;br /&gt;
on the 15th ultimo, and President Harrison&amp;#039;s&lt;br /&gt;
proclamation extending the benefits of the Ameri-&lt;br /&gt;
can copyright to Germany, German authors enter&lt;br /&gt;
into the enjoyment of such advantages as they may&lt;br /&gt;
be able to secure under the American statute. It&lt;br /&gt;
is to be. feared, however, that the experiences of&lt;br /&gt;
French authors will be repeated. The conditions&lt;br /&gt;
of the American copyright requiring a foreign&lt;br /&gt;
author to be simultaneously printed and published&lt;br /&gt;
in his own country and in the States, have so far&lt;br /&gt;
proved in a large number of cases practically&lt;br /&gt;
prohibitive. In the result, American publishers&lt;br /&gt;
are practically able to make their own terms, so&lt;br /&gt;
that, so far as France, and, it is to be feared,&lt;br /&gt;
Germany is concerned, with the exception of 11&lt;br /&gt;
favoured few, the American Copyright Act leaves&lt;br /&gt;
matters much where it found them.&lt;br /&gt;
There is a prevalent idea that the death of a&lt;br /&gt;
holder of a pension on the Civil List creates&lt;br /&gt;
a vacancy. That is not the case. The number&lt;br /&gt;
of those on the List is not limited. A grant is&lt;br /&gt;
made every year of &pound;1,200. This is spent for the&lt;br /&gt;
most part, as we all know, on persons for whom&lt;br /&gt;
the grant is not made, and for whom the Reso-&lt;br /&gt;
lution of 1837 was not passed. When any person&lt;br /&gt;
on the List dies, that portion of the annual &pound;&amp;#039;1,200&lt;br /&gt;
which he has received is no longer paid. But there-&lt;br /&gt;
is no vacancy to fill up. The amount actually&lt;br /&gt;
expended every year is about &pound;27,000.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 385 (#789) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
385&lt;br /&gt;
The death of the Rev. Dr. Allon removes one&lt;br /&gt;
who was a member of this Society from its very&lt;br /&gt;
commencement, who cordially sympathised with its&lt;br /&gt;
aims, and was most hopeful of its success. This&lt;br /&gt;
alone should ensure his memory a grateful pre-&lt;br /&gt;
servation among us all. But there was more. In&lt;br /&gt;
his capacity as editor of the British Quarterly he&lt;br /&gt;
conducted for many years a review which was&lt;br /&gt;
a formidable rival&mdash;say, rather, an equal&mdash;to the&lt;br /&gt;
Quarterly and the Edinburgh, lie was always&lt;br /&gt;
eager to welcome good work. There are many&mdash;&lt;br /&gt;
the writer of this note among others&mdash;who can bear&lt;br /&gt;
testimony to his kindness and his sympathy. That&lt;br /&gt;
he was also a Prince of Israel in his own Church,&lt;br /&gt;
that he was a personal friend of all who were the&lt;br /&gt;
wisest and the best in his own generation, to what-&lt;br /&gt;
ever Christian community they belonged, are things&lt;br /&gt;
which ltelong to the part of him outside literature.&lt;br /&gt;
Another original member has passed away. Mr.&lt;br /&gt;
Samuel Lee, M.A., Barrister-at-Law, of Lincoln&amp;#039;s&lt;br /&gt;
Inn, the translator of Virgil and Horace, with&lt;br /&gt;
Professor Lonsdale, died suddenly on Thursday,&lt;br /&gt;
April 14th. A constitutional indolence prevented&lt;br /&gt;
him from doing justice to his own abilities. He&lt;br /&gt;
did nothing but those two books. But with him&lt;br /&gt;
has perished a wonderful mass of scholarship and&lt;br /&gt;
information. He was, in addition to his classical&lt;br /&gt;
attainments, a wide reader in Spanish, Italian, and&lt;br /&gt;
French literature. Of a retiring disposition, he&lt;br /&gt;
was seldom to be seen outside his two clubs, the&lt;br /&gt;
Athenaeum and the United University. His col-&lt;br /&gt;
laborateur, Professor Lonsdale, only survived him&lt;br /&gt;
by a fortnight.&lt;br /&gt;
Fiction and Egyptology have sustained a loss in&lt;br /&gt;
Amelia B. Edwards. It is, however, several years&lt;br /&gt;
since Miss Edwards wrote her last novel. It was&lt;br /&gt;
with her Egyptian researches much more than&lt;br /&gt;
her novels that Miss Edwards has been recently&lt;br /&gt;
before the world. She was on the Civil List, but&lt;br /&gt;
lived to enjoy her pension a very short time.&lt;br /&gt;
It is not an uncommon thing in the case of&lt;br /&gt;
disputed accounts or agreements taken up by the&lt;br /&gt;
Society for the publishers to attempt to ignore the&lt;br /&gt;
Secretary by writing to the author.&lt;br /&gt;
The motive is evident.&lt;br /&gt;
First, they wish to complicate the settlement of&lt;br /&gt;
the question by dealing with one whom they have&lt;br /&gt;
already found to be ignorant of the practical side of&lt;br /&gt;
literature, or wanting in business capacity.&lt;br /&gt;
Next, they would, if they could, bring about a&lt;br /&gt;
division 1 Kit ween the Society and its members,&lt;br /&gt;
In such a case the duty of the author is clear.&lt;br /&gt;
He must not answer the letter, but send it on to&lt;br /&gt;
the Secretary. In no case;&mdash;under no circum-&lt;br /&gt;
stances&mdash; must he hold any independent correspon-&lt;br /&gt;
dence with the publishers. Should he do so, the&lt;br /&gt;
Society will return his papers at once, and refuse&lt;br /&gt;
to take any further steps.&lt;br /&gt;
Will members take the trouble to ascertain&lt;br /&gt;
whether thev have paid their subscriptions for the&lt;br /&gt;
year? If they will do this, and remit the amount&lt;br /&gt;
or a banker&amp;#039;s order, it will greatly assist the Secre-&lt;br /&gt;
tary, and save him the trouble of sending out a&lt;br /&gt;
reminder.&lt;br /&gt;
The present number of the Author concludes&lt;br /&gt;
the second volume. Readers are reminded that&lt;br /&gt;
though the paper is sent to every member free of&lt;br /&gt;
charge, every member is also free, if he pleases, to&lt;br /&gt;
remit a year&amp;#039;s subscription of 6s. bd., and that if&lt;br /&gt;
every member would do so, the paper would cost&lt;br /&gt;
nothing to the Society.&lt;br /&gt;
Members are earnestly requested to forward any-&lt;br /&gt;
thing that may be of interest or value to literature,&lt;br /&gt;
whether news, comments, questions, or original&lt;br /&gt;
contributions. The short space at the command of&lt;br /&gt;
the editor forbids any attempt at reviewing, but&lt;br /&gt;
books can always be noticed if they are sent up.&lt;br /&gt;
Members are entreated to attend to the warning&lt;br /&gt;
numbered (3). It is a most foolish and a most&lt;br /&gt;
disastrous thing to bind yourself to anyone for a&lt;br /&gt;
term of years. Let them ask themselves if they&lt;br /&gt;
would give a solicitor the collection of their rents&lt;br /&gt;
for five years to come, whatever his conduct,&lt;br /&gt;
whether In; was honest or dishonest? Of course&lt;br /&gt;
they would not. Why then hesitate for a moment&lt;br /&gt;
when they are asked to sign themselves into&lt;br /&gt;
bondage for three or live years?&lt;br /&gt;
In the April number of the Author, the name of&lt;br /&gt;
Sylvia Pens ([1.372) wrongly appeared as Sylvia&lt;br /&gt;
Nein.&lt;br /&gt;
THE AUTHOES&amp;#039; SYNDICATE.&lt;br /&gt;
MR. Colles desires to inform readers of the&lt;br /&gt;
Author as regards the Syndicate&mdash;&lt;br /&gt;
1. That he undertakes to work for none but&lt;br /&gt;
members of the Society.&lt;br /&gt;
2. That his business is not to advise members of&lt;br /&gt;
the Society, but to manage their affairs for&lt;br /&gt;
them if they please to entrust them to him.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 386 (#790) ############################################&lt;br /&gt;
&lt;br /&gt;
386&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
3. That when ho has any work in hand he must&lt;br /&gt;
have it entirely in his own hands; in other&lt;br /&gt;
words, that authors must not ask him to&lt;br /&gt;
place certain work, nnd then go about&lt;br /&gt;
endeavouring to place it by themselves.&lt;br /&gt;
4. That when a MS. has been sent from pub-&lt;br /&gt;
lisher to publisher, and from editor to&lt;br /&gt;
editor, in vain, it is most likely impossible&lt;br /&gt;
to place it.&lt;br /&gt;
5. That in the face of the present competition,&lt;br /&gt;
authors will do well to moderate their&lt;br /&gt;
expectations.&lt;br /&gt;
To this it may be added, that where advice is&lt;br /&gt;
sought, the Secretary of the Society, and not the&lt;br /&gt;
Syndicate, must be consulted. On his behalf&lt;br /&gt;
members are requested&mdash;&lt;br /&gt;
1. To place on paper briefly the points on which&lt;br /&gt;
advice is asked.&lt;br /&gt;
2. To send up all the letters and papers con-&lt;br /&gt;
nected with the case if it is a case of&lt;br /&gt;
dispute.&lt;br /&gt;
3. Not to conceal or keep back any of the facts.&lt;br /&gt;
■&mdash;&lt;br /&gt;
THE LOGROLLIAD.&lt;br /&gt;
SOME months ago I wrote for the students&amp;#039;&lt;br /&gt;
paper at St. Andrew&amp;#039;s&mdash;College Echoes&mdash;&lt;br /&gt;
part of a satire called the Logrolliad, supposed&lt;br /&gt;
to be the work of an envious failure, named&lt;br /&gt;
McStimey. The lines were preceded by a prose&lt;br /&gt;
explanation, telling how McStimey had died of&lt;br /&gt;
envy on reading a favourable review of someone&lt;br /&gt;
else. By an accident at the printing office, or&lt;br /&gt;
through the discretion of the undergraduate editors,&lt;br /&gt;
the explanation did not appear in the College&lt;br /&gt;
magazine. As the little paper has the very most&lt;br /&gt;
limited circulation I thought the omission of no&lt;br /&gt;
importance. I learn, however, that the verses have&lt;br /&gt;
been published with my name attached to them, in&lt;br /&gt;
one or two newspapers, and that they have been&lt;br /&gt;
sent to the persons satirized by McStimey, one of&lt;br /&gt;
whom was myself.&lt;br /&gt;
Whether intentionally or not, the persons who&lt;br /&gt;
published and circulated the lines have caused mis-&lt;br /&gt;
apprehensions, which I now endeavour to remove.&lt;br /&gt;
I did not suppose anyone capable of believing&lt;br /&gt;
that I would make serious assaults on writers, some&lt;br /&gt;
of whom are my personal friends, and to all of&lt;br /&gt;
whom I owe gratitude for instruction and enter-&lt;br /&gt;
tainment. Nor would my natural modesty urge&lt;br /&gt;
me to remark with seriousness that I teach &amp;quot;by&lt;br /&gt;
precept and example how to fail,&amp;quot; as alleged&lt;br /&gt;
by McStimey.&lt;br /&gt;
A. Lang.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;POETA NASCITUR, NON FIT;&lt;br /&gt;
At niihi jam puero ccelcstia Sacra placebant:&lt;br /&gt;
Inane suum furtira Musa trahebat opus.&lt;br /&gt;
Sacpe pater dixit: &amp;quot;Studiura quid iuutile tentas?&lt;br /&gt;
Moonides nullaa ipse reliquit opes.&amp;quot;&lt;br /&gt;
Motus eram dictis: totoque Helicone rclicto,&lt;br /&gt;
Scriberc couabar verba soluta modis.&lt;br /&gt;
Sponte sua carmen numcros veniebat ad aptos,&lt;br /&gt;
Kt, quod tentabam scribere, versus erat.&lt;br /&gt;
P. Ovidii Nasonis Trist., Lib. iv., El. 10. vv. 18-16.&lt;br /&gt;
Me Harmony delighted from a boy&lt;br /&gt;
As the Muse drew me on to her employ:&lt;br /&gt;
&amp;quot;Why toil for nothing ?&amp;quot; oft my father cried,&lt;br /&gt;
&amp;quot;Homer himself a very pauper died.&amp;quot;&lt;br /&gt;
His chiding! moved me: Poesy I left,&lt;br /&gt;
And sought to write some words of song bereft.&lt;br /&gt;
Put still ray lines flowed, apt to rhyme and scan,&lt;br /&gt;
And as I wrote my thoughts, in verse they ran.&lt;br /&gt;
J. M. Lely,&lt;br /&gt;
[with apologies to P.O.N.].&lt;br /&gt;
&lt;br /&gt;
LITERARY PROPERTY.&lt;br /&gt;
I.&lt;br /&gt;
Literary Theft.&lt;br /&gt;
THE question of literary theft by means of&lt;br /&gt;
reprinting newspaper articles, either in other&lt;br /&gt;
newspapers or in books, now being brought&lt;br /&gt;
into prominence by the Times is a very important&lt;br /&gt;
one, ami it is to be hoped that it will not be allowed&lt;br /&gt;
to drop without some practical remedy being&lt;br /&gt;
discovered and applied.&lt;br /&gt;
It is notorious that much valuable literature first&lt;br /&gt;
appears in newspapers. Thackeray&amp;#039;s &amp;quot;Snobs&amp;quot;&lt;br /&gt;
first appeared in Punch; Sala&amp;#039;s &amp;quot;Twice Round the&lt;br /&gt;
Clock&amp;quot; in the Daily Telegraph; while Mr.&lt;br /&gt;
Russell, Mr. Forbes, and other war correspon-&lt;br /&gt;
dents innumerable have republished their letters in&lt;br /&gt;
book form. For payment and without risk, the&lt;br /&gt;
author (perhaps hitherto unknown) by this mode&lt;br /&gt;
secures a publication which otherwise he might&lt;br /&gt;
have to pay for and lose money by, and he also&lt;br /&gt;
gains the advantage of being able to correct and&lt;br /&gt;
revise after newspaper publication, and before&lt;br /&gt;
re-issue, by the light of such criticism, and with&lt;br /&gt;
the encouragement of such admirers, as newspaper&lt;br /&gt;
readers may bring.&lt;br /&gt;
The enormous and increasing output of literat ure&lt;br /&gt;
in the present day gives every ground of expecta-&lt;br /&gt;
tion that this mode of publication will become more&lt;br /&gt;
and more general.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 387 (#791) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
387&lt;br /&gt;
The points of law to be borne in mind are&lt;br /&gt;
three :&mdash;&lt;br /&gt;
(1.) The copyright belongs to the newspaper&lt;br /&gt;
proprietor, not the author, for 28 years if, and if&lt;br /&gt;
only, the articles are written and paid for on the&lt;br /&gt;
terms that the copyright shall belong to the&lt;br /&gt;
newspaper proprietor.&lt;br /&gt;
(2.) The newspaper proprietor cannot sue for&lt;br /&gt;
breach of copyright without first &amp;quot; registering&amp;quot; his&lt;br /&gt;
newsj&amp;gt;aper.&lt;br /&gt;
(3.) To a certain extent, very difficult to define,&lt;br /&gt;
copying is legitimate.&lt;br /&gt;
By way of cure for these inconveniences to all&lt;br /&gt;
concerned in the production of literature, it was&lt;br /&gt;
proposed (amongst other things) by Lord Monks-&lt;br /&gt;
well&amp;#039;s Copyright Bill, which was read a second&lt;br /&gt;
time in the House of Lords last session (on the&lt;br /&gt;
curious condition, imposed by the Lord Chancellor,&lt;br /&gt;
that it should not be further proceeded with),&lt;br /&gt;
that&mdash;&lt;br /&gt;
(1.) In the case of any article, essay, or other work&lt;br /&gt;
whatsoever, being the subject of copyright, first&lt;br /&gt;
published in and forming part of a collective work&lt;br /&gt;
for the writing, composition, or making of which the&lt;br /&gt;
original copyright owner shall have been paid, or&lt;br /&gt;
shall be entitled to be paid, by the proprietor&lt;br /&gt;
of the collective work, the copyright shall belong&lt;br /&gt;
to the proprietor of the collective work for 3o years&lt;br /&gt;
from publication.&lt;br /&gt;
(2.) Except in the case of an Encyclopedia, the original&lt;br /&gt;
copyright owuer shall have the right to republish&lt;br /&gt;
the article in a separate form at any time after&lt;br /&gt;
3 years from the first publication.&lt;br /&gt;
(3.) Copyright in respect of newspapers shall extend&lt;br /&gt;
only to articles, paragraphs, communications, and&lt;br /&gt;
other parts which are compositions of a literary&lt;br /&gt;
character, and not to any articles, paragraphs,&lt;br /&gt;
communications, or other parts which are designed&lt;br /&gt;
only for the publication of news, or to advertise-&lt;br /&gt;
ments.&lt;br /&gt;
It is, we believe, a not uncommon practice for&lt;br /&gt;
the proprietors of magazines to ask their contri-&lt;br /&gt;
butors to sign receipts containing assignments of&lt;br /&gt;
copyright as well as acknowledgments of payment.&lt;br /&gt;
This we think the contributors should decline to&lt;br /&gt;
do. The contract to assign the copyright can only&lt;br /&gt;
be made when the article is arranged for. Any&lt;br /&gt;
contract made after the article has been published&lt;br /&gt;
is made &amp;quot; without consideration &amp;quot; and void.&lt;br /&gt;
II.&lt;br /&gt;
Mb. James Knowles.&lt;br /&gt;
Two letters on this subject, written by Mr.&lt;br /&gt;
James Knowles, editor of the Nineteenth Century,&lt;br /&gt;
are published in the Times of April 29th and in&lt;br /&gt;
the May number of Mr. Knowles&amp;#039;s magazine. In&lt;br /&gt;
the second letter Mr. Knowles defines what he&lt;br /&gt;
considers legitimate criticism. He says&mdash;we hope&lt;br /&gt;
that our own interest in the diffusion of these views&lt;br /&gt;
will excuse our reproducing the lines&mdash;&lt;br /&gt;
&amp;quot;I can of course make no objection at all to&lt;br /&gt;
&amp;#039;legitimate&amp;#039; criticism, supported by fair and&lt;br /&gt;
moderate extracts of anything which is published&lt;br /&gt;
in my review.&lt;br /&gt;
&amp;quot;What I cannot recognise as &amp;#039;legitimate&amp;#039; is&lt;br /&gt;
extracting the substance of an article or quoting&lt;br /&gt;
from it merely as a notice and apart from proper&lt;br /&gt;
criticism of it.&lt;br /&gt;
&amp;quot;That practice must be stopped by the pro-&lt;br /&gt;
ducers and owners of literature, just as the practice&lt;br /&gt;
of taking all the best cherries out of a basket&lt;br /&gt;
without paying for them &mdash; under pretence of&lt;br /&gt;
obtaining a sample&mdash;would be stopped by the law,&lt;br /&gt;
if necessary, at the instance of the producers and&lt;br /&gt;
owners of the cherries.&lt;br /&gt;
&amp;quot;Your common sense and fairness will see the&lt;br /&gt;
force of the distinction between criticism and&lt;br /&gt;
pillage, and you will doubtless act accordingly&lt;br /&gt;
without further pressure.&amp;quot;&lt;br /&gt;
III.&lt;br /&gt;
Anthony Trollofe&amp;#039;s Life.&lt;br /&gt;
A correspondent writes: &amp;quot;I remember a case&lt;br /&gt;
which very well illustrates the reckless way in&lt;br /&gt;
which extracts are made. It is that of the post-&lt;br /&gt;
humous 4 Recollections of Anthony Trollope.&amp;#039; The&lt;br /&gt;
publishers were good enough to present me with a&lt;br /&gt;
copy. For some reason, I had no time to look at&lt;br /&gt;
it for three months after it appeared. I read&lt;br /&gt;
during this interval the usual reviews and news-&lt;br /&gt;
papers. When I at last cut the pages, I found that&lt;br /&gt;
I knew every single thing of any interest. All had&lt;br /&gt;
been picked out. What was left was rind and&lt;br /&gt;
pulp.&amp;quot;&lt;br /&gt;
IV.&lt;br /&gt;
&amp;quot;Baby&amp;quot; lifting extraordinary.&lt;br /&gt;
The editor of Baby: the Mothers&amp;#039; Magazine&lt;br /&gt;
calls attention to the following barefaced theft:&mdash;&lt;br /&gt;
&amp;quot;Imitation is said to be the sincerest flattery;&lt;br /&gt;
but when it takes the form of a gross piracy and&lt;br /&gt;
wholesale robbery of ideas from a publication of&lt;br /&gt;
which one is the originator, editor, and pro-&lt;br /&gt;
prietor, it cannot be said to be acceptable to the&lt;br /&gt;
person imitated. I may say that my feelings&lt;br /&gt;
with regard to a new American publication, en-&lt;br /&gt;
titled Baby: a Journal for Mothers, the first&lt;br /&gt;
number of which was published in New York&lt;br /&gt;
in January 1892, are of unqualified dissatisfaction&lt;br /&gt;
and disgust at the colossal impudence of the&lt;br /&gt;
proprietor and editor, whoever they may be. In&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 388 (#792) ############################################&lt;br /&gt;
&lt;br /&gt;
388&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the words of my own prospectus, this magazine&lt;br /&gt;
professes that its several departments are edited by&lt;br /&gt;
&amp;quot;well-known writers, and articles will be obtained&lt;br /&gt;
from the highest authorities on the bringing up of&lt;br /&gt;
children.&amp;quot; It would seem that no extraordinary&lt;br /&gt;
expense will be incurred in carrying out this&lt;br /&gt;
programme, as the editor evidently proposes to&lt;br /&gt;
&amp;quot;annex&amp;quot; from my magazine all that may be&lt;br /&gt;
required for the purpose. I have only seen the&lt;br /&gt;
second number of this magnificent speculation as&lt;br /&gt;
yet, but it is evident from this that the editor has&lt;br /&gt;
had the four volumes of Baby: the Mo/hers&amp;#039;&lt;br /&gt;
Magazine open during its preparation, although no&lt;br /&gt;
acknowledgment is made of the fact. On p. 18,&lt;br /&gt;
for example, there is a paragraph about the care of&lt;br /&gt;
the eyes, which I wrote myself, and a hint about&lt;br /&gt;
teething, taken from my third volume. On p. 19&lt;br /&gt;
is a drawing modified from one in my first volume;&lt;br /&gt;
on p. 20 is the paragraph which forms the heading&lt;br /&gt;
of my &amp;quot; Nursery Cookery&amp;quot; department; on p. 21,&lt;br /&gt;
that from the heading of my &amp;quot;Parents&amp;#039; Parlia-&lt;br /&gt;
ment&amp;quot;; and, on the same page, a whole article&lt;br /&gt;
called &amp;quot;Hints about Teething,&amp;quot; by Dr. T. L.&lt;br /&gt;
Browne, stolen bodily from my fourth volume,&lt;br /&gt;
p. 220. Such a production as this is a dishonour&lt;br /&gt;
to journalism, and that it is possible to produce it&lt;br /&gt;
is a disgrace to international law.&amp;quot;&lt;br /&gt;
V.&lt;br /&gt;
American Piracy.&lt;br /&gt;
There are two kinds of piracy: that, of new&lt;br /&gt;
books and that of old books. A correspondent,&lt;br /&gt;
a well-known novelist, writes that the New York&lt;br /&gt;
Sunday Xeics has been presenting its readers with&lt;br /&gt;
a complete story by himself, which was published&lt;br /&gt;
in this country about five years ago. Another&lt;br /&gt;
complete novel by another well-known writer is&lt;br /&gt;
announced for the next week. The piracy of new&lt;br /&gt;
books may be considered pretty well ended, but the&lt;br /&gt;
piracy of old books will go on unchecked so long&lt;br /&gt;
as the books which do not possess copyright&lt;br /&gt;
continue to have any freshness.&lt;br /&gt;
As regards Mr. Collier, whose correspondence&lt;br /&gt;
and advertisements have attracted more attention,&lt;br /&gt;
it is now stated that he has been &amp;quot;laying hands&amp;quot;&lt;br /&gt;
as well on stories whose copyright is uncertain.&lt;br /&gt;
A novel written for Tillotson and Son exclusively&lt;br /&gt;
has very recently figured in three successive issues&lt;br /&gt;
of the American Once a Week. We can only&lt;br /&gt;
repeat our former caution. Do not entrust MSS.&lt;br /&gt;
to any advertiser without careful business agree-&lt;br /&gt;
ments beforehand and proper guarantees.&lt;br /&gt;
. ■&raquo;-&bull;&bull;&diams;&lt;br /&gt;
THE AMERICAN SOCIETY OP AUTHORS.&lt;br /&gt;
AN important feature in this Society is the&lt;br /&gt;
appointment of local secretaries in various&lt;br /&gt;
centres of the country. Thus, at a meeting&lt;br /&gt;
lately held at &amp;quot;Washington, a local auxiliary society&lt;br /&gt;
was formed, at which Mrs. M. D. Lincoln was&lt;br /&gt;
elected Vice-President. At the meeting certain&lt;br /&gt;
plain truths were spoken. Mrs. Katherine Hodges,&lt;br /&gt;
the general secretary, said :&mdash;&lt;br /&gt;
&amp;quot;This is certainly one of the most vital subjects&lt;br /&gt;
for consideration More the country to-day. It is a.&lt;br /&gt;
question, not of war upon any man, or class of&lt;br /&gt;
men, but it is one of principle, upon which the&lt;br /&gt;
constitution of this Republic is founded&mdash;the&lt;br /&gt;
principle of justice and fair dealing to all.&amp;quot;&lt;br /&gt;
Mr. George Smalley, of the iVeio York Tiibunc,&lt;br /&gt;
was quoted in reference to the complete protection&lt;br /&gt;
insured to authors by French law.&lt;br /&gt;
&amp;quot;Why should we sit down contented with 11&lt;br /&gt;
position of inferiority to a nation whom we are not&lt;br /&gt;
in the habit of thinking our superiors in civiliza-&lt;br /&gt;
tion, or in that branch of it which consists in&lt;br /&gt;
protecting the weak against the strong?&amp;quot;&lt;br /&gt;
Mrs. Hodges also read a passage from a letter&lt;br /&gt;
written by Mrs. Potter Palmer, President of the&lt;br /&gt;
Board of Lady Managers of the Columbian&lt;br /&gt;
Exposition, in which she said :&mdash;&lt;br /&gt;
&amp;quot;I sincerely trust that the authors of this nation&lt;br /&gt;
will be able to make such a showing of their&lt;br /&gt;
wrongs, and of their inherent rights to the product&lt;br /&gt;
of their own brains, and so arouse public sentiment&lt;br /&gt;
on the subject, that the Columbian Exposition&lt;br /&gt;
shall be recorded in history as the point beyond&lt;br /&gt;
which such a robbery was made impossible.&amp;quot;&lt;br /&gt;
Continuing, Mrs. Hodges said: &amp;quot;Chaunccy M.&lt;br /&gt;
Depew made a speech on the occasion of a&lt;br /&gt;
celebration 011 the passage of the International&lt;br /&gt;
Copyright Law, in which he said, as nearly as I can&lt;br /&gt;
now quote it from memory: &amp;#039;Piracy on the high&lt;br /&gt;
seas has been abolished for a century, and burglary&lt;br /&gt;
has been under control of the police for a hundred&lt;br /&gt;
years, but it remained for a llepublican Congress&lt;br /&gt;
to abolish the piracy and burglary of the human&lt;br /&gt;
brain.&amp;#039;&lt;br /&gt;
&amp;quot;But this has not been done,&amp;quot; continued the&lt;br /&gt;
lady, &amp;quot;as we can prove conclusively, and by&lt;br /&gt;
unimpeachable testimony of prominent authors,&lt;br /&gt;
who are victims of the piracy and burglary of&lt;br /&gt;
human intellect now in full power in America.&lt;br /&gt;
There is no limit to this practice of piracy, because&lt;br /&gt;
there is no statute to forbid it under the present&lt;br /&gt;
laws, and it is for the abolition of this wrong that&lt;br /&gt;
the American Society of Authors has been orga-&lt;br /&gt;
nized, confident that this enlightened Government&lt;br /&gt;
and people will heed a demand for the protection&lt;br /&gt;
of writers, which other civilized nations of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 389 (#793) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR&lt;br /&gt;
3%&lt;br /&gt;
earth has already accorded to the authors of various&lt;br /&gt;
countries. Every branch of trade and traffic has&lt;br /&gt;
protection under our Government and laws except&lt;br /&gt;
this one. And why should this form the sole&lt;br /&gt;
exception?&amp;quot;&lt;br /&gt;
&amp;quot;What plan do you propose to bring about the&lt;br /&gt;
desired change? &amp;quot; Mrs. Hodges was asked.&lt;br /&gt;
&amp;quot;Organization, as Mr. Smallcy suggests. An&lt;br /&gt;
organization reaching from sea to sea, and through&lt;br /&gt;
every part of the United States. We shall have&lt;br /&gt;
at everv prominent point speakers on the topic,&lt;br /&gt;
who will convey to the people the true situation&lt;br /&gt;
as it has and does exist. At the Columbian&lt;br /&gt;
Exposition, we shall have the world for an audience,&lt;br /&gt;
as from every nation we mean to have those who&lt;br /&gt;
will tell us the means employed for protection&lt;br /&gt;
of their writers, and who will help us to perfect&lt;br /&gt;
plans for the best method of protection here.&lt;br /&gt;
Please be particular to observe that this movement&lt;br /&gt;
is not a war on publishers as a class. Honest&lt;br /&gt;
publishers express themselves as friendly to the&lt;br /&gt;
cause. Such men have nothing to fear from the&lt;br /&gt;
organization of authors for their own protection.&lt;br /&gt;
It is purely a movement to establish the principle&lt;br /&gt;
of just treatment to authors in this country, to&lt;br /&gt;
protect them in their right of literary property in&lt;br /&gt;
commerce, and to defend that right.&amp;quot;&lt;br /&gt;
&amp;quot;Docs not the International Copyright Act&lt;br /&gt;
protect the American author?&amp;quot;&lt;br /&gt;
&amp;quot;Abroad, perhaps, to an extent, but not here.&lt;br /&gt;
The International Copyright Act does not yield the&lt;br /&gt;
least protection to the native author against the&lt;br /&gt;
native publisher. And it is quite as great a hard-&lt;br /&gt;
ship to be robbed by a native as by a foreign&lt;br /&gt;
publisher.&amp;quot;&lt;br /&gt;
&diams;&bull;&raquo;&bull;&diams;&lt;br /&gt;
A&amp;amp;ENCIES.&lt;br /&gt;
I.&lt;br /&gt;
The Agency Bureau.&lt;br /&gt;
INHERE is an institution called the &amp;quot;Agency&lt;br /&gt;
Bureau.&amp;quot; Apparently they&mdash;or he&mdash;advertise&lt;br /&gt;
&amp;quot;for MSS. A certain lady sent them a paper,&lt;br /&gt;
or a book, in MS. She received the following&lt;br /&gt;
reply :&mdash;&lt;br /&gt;
&amp;quot;Dear Madam,&lt;br /&gt;
&amp;quot;I beg to acknowledge receipt of your&lt;br /&gt;
favour enclosing MSS., and- should advise you,&lt;br /&gt;
before proceeding further with them, to have a fair&lt;br /&gt;
copy made of them on a typewriter, as our ex-&lt;br /&gt;
perience has taught us that typewritten MSS. is&lt;br /&gt;
greatly favoured by hard worked editors and&lt;br /&gt;
publishers. Rejections are, without exception,&lt;br /&gt;
eaused by MSS. being badly written.&lt;br /&gt;
&amp;quot;Should you entertain this idea, I shall have&lt;br /&gt;
great pleasure in having same executed in our&lt;br /&gt;
vol. n.&lt;br /&gt;
office at the low charge of 3s. (about 3,5oo words),&lt;br /&gt;
including paper.&lt;br /&gt;
&amp;quot;Should this fail to influence you, I will put your&lt;br /&gt;
writings forward without further delay. Please&lt;br /&gt;
state by return what you think a fair price for&lt;br /&gt;
same.&lt;br /&gt;
&amp;quot;Awaiting your favoured reply,&lt;br /&gt;
&amp;quot;I am, Dear Madam,&lt;br /&gt;
&amp;quot;D. Tomasin,&lt;br /&gt;
&amp;quot;Secretary.&amp;quot;&lt;br /&gt;
The above shows resource. Even if a MS.&lt;br /&gt;
cannot be placed, it may be typewritten. Fifty&lt;br /&gt;
MSS. a week at 3s. would not be such very bad&lt;br /&gt;
business. We have not seen the prospectus of the&lt;br /&gt;
&amp;quot;Agency Bureau.&amp;quot; When we do see &amp;quot; same &amp;quot;&mdash;&lt;br /&gt;
to imitate the excellent style of the secretary&mdash;we&lt;br /&gt;
may have a word or two to say to &amp;quot;same.&amp;quot;&lt;br /&gt;
Meantime, we shall be glad to learn what special&lt;br /&gt;
powers this person has&mdash;what machinery&mdash;to place&lt;br /&gt;
any MS. for anybody? Why will people persist in&lt;br /&gt;
thinking that an agent can do for their MSS.&lt;br /&gt;
what they cannot do by themselves?&lt;br /&gt;
II.&lt;br /&gt;
The Literary and Art Agency.&lt;br /&gt;
(Before Mr. Ji/stice Grantham and a Common&lt;br /&gt;
Jury.)&lt;br /&gt;
Harington r. the Star Newspaper Company&lt;br /&gt;
(Limited).&lt;br /&gt;
This was an action for libel brought by the&lt;br /&gt;
Rev. T. R. S. Harington, who was descril&amp;gt;cd as a&lt;br /&gt;
Congregational minister and a journalist, and who&lt;br /&gt;
for many years had been associated with various&lt;br /&gt;
religious papers as chief and assistant editor, against&lt;br /&gt;
the Star for publishing the following article. It&lt;br /&gt;
was in the form of a letter, addressed by &amp;quot; An out-&lt;br /&gt;
of-work journalist&amp;quot; to the editor of the Star, and&lt;br /&gt;
headed, &amp;quot;The Literary Art, the Royal Road to&lt;br /&gt;
Getting a Living in the Literary Line&amp;quot; :&mdash;&lt;br /&gt;
&amp;quot;Yesterday morning, on the strength of a&lt;br /&gt;
circular which has been pretty widely distributed,&lt;br /&gt;
1 called upon the Rev. T. R. S. Harington, at&lt;br /&gt;
2 2, Furnival Street, Holborn, W.C. The reverend&lt;br /&gt;
gentleman calls himself the London Literary and&lt;br /&gt;
Art Agency, and sends round an invitation to all&lt;br /&gt;
and sundry, couched in the following terms :&mdash;&lt;br /&gt;
&amp;#039;Ladies and gentlemen seeking high-class appoint-&lt;br /&gt;
ments as governesses, tutors, private secretaries,&lt;br /&gt;
journalists, artists, &amp;amp;c, may have their names&lt;br /&gt;
registered by paying a fee of 5*. For this fee&lt;br /&gt;
they will not only l&amp;gt;e entitled to our services at&lt;br /&gt;
all times, but will have their individual require-&lt;br /&gt;
ments advertised in the Times, Mornitiy Post,&lt;br /&gt;
Standard, Daily Xexcs, or some other influential&lt;br /&gt;
G g&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 390 (#794) ############################################&lt;br /&gt;
&lt;br /&gt;
39&deg;&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
and suitable paper. . .&amp;#039; The Literary and Art&lt;br /&gt;
Agency I found was a very small hack room, up two&lt;br /&gt;
flights of stairs, and besides the Rev. T. R. S. Haring-&lt;br /&gt;
ton boasted a desk and a couple of chairs. The&lt;br /&gt;
rev. gentleman welcomed me sympathetically and&lt;br /&gt;
listened with the shrewd air of a consulting&lt;br /&gt;
philanthropist to my tele. ... I thanked him&lt;br /&gt;
and regretted that it was not convenient for me at&lt;br /&gt;
the moment to hand over the 5s. registration fee.&lt;br /&gt;
Well, well, that did not matter. There was a half-&lt;br /&gt;
crown fee, which entitled the applicant to some&lt;br /&gt;
portion of solicitude of the London Literary and Art&lt;br /&gt;
Agency. I regretted that it was not in my power&lt;br /&gt;
to pay that small sum, hut said I would bring it&lt;br /&gt;
round in the morning. . . The rev. gentleman&lt;br /&gt;
in appearance is tall, sandy haired and sandy bearded&lt;br /&gt;
... It is to be hoped that the agency will proves&lt;br /&gt;
of more use to private secretaries than to journalists;&lt;br /&gt;
meanwhile it would perhaps be as well for &amp;#039;gover-&lt;br /&gt;
nesses, tutors, private secretaries, journalists, artists,&lt;br /&gt;
&amp;amp;c.,&amp;#039; to suspend payment of their 5.?. until the rev.&lt;br /&gt;
principal proves his bond fides and the practical&lt;br /&gt;
usefulness of his agency.&amp;quot;&lt;br /&gt;
Mr. Lincoln Reed represented the plaintiff; Mr.&lt;br /&gt;
Lankester the defendants.&lt;br /&gt;
In the course of the case the plaintiff admitted&lt;br /&gt;
he had not been a Congregational minister, but&lt;br /&gt;
considered he had a right to call himself one,&lt;br /&gt;
because he had been called to preach in a Baptist&lt;br /&gt;
chapel in 1862 for two years. Since that date he&lt;br /&gt;
had been sub-editor of the Christian World, but&lt;br /&gt;
had given that up a short time ago, and had started&lt;br /&gt;
this agency for the purpose of introducing people&lt;br /&gt;
who wanted situations in the literary line to those&lt;br /&gt;
who wanted to employ literary men and women.&lt;br /&gt;
When asked by the judge if his scheme was of a&lt;br /&gt;
philanthropic character, the plaintiff said of course&lt;br /&gt;
he expected to be paid fees for his labour. He&lt;br /&gt;
had received &pound;i3 or &pound;14 in fees of 5*. and is. 6d.&lt;br /&gt;
each, but had only obtained two situations for&lt;br /&gt;
people, one as tutor for three months, and the other&lt;br /&gt;
as secretary to the Association for Preventing the&lt;br /&gt;
Immigration of Destitute Aliens; and he had&lt;br /&gt;
received 24s. in one case, and 3os. in the other as&lt;br /&gt;
a commission on the salaries obtained. The plaintiff&lt;br /&gt;
also said that the article in question had ruined his&lt;br /&gt;
agency, which had only been started about a month,&lt;br /&gt;
as his landlord had refused to let him continue the&lt;br /&gt;
hire of his rooms. He did not remember the&lt;br /&gt;
individual coming to him who purported to be&lt;br /&gt;
the writer of the article. On a gentleman being&lt;br /&gt;
asked to stand up, the plaintiff said he did not,&lt;br /&gt;
remember the faces of ordinary-looking people; all&lt;br /&gt;
he could say was, he looked and acted in such a&lt;br /&gt;
way as to induce several Oxford and Cambridge&lt;br /&gt;
men to pay him a fee. For the defence, it was&lt;br /&gt;
submitted that the article in question was not&lt;br /&gt;
published falsely or maliciously, that it was not&lt;br /&gt;
libellous, was true in substance and in fact, and&lt;br /&gt;
was a fair and bond fide comment on the plaintiff&amp;#039;s&lt;br /&gt;
conduct.&lt;br /&gt;
The learned judge having summed up, the jury&lt;br /&gt;
retired to consider their verdict, and after a long&lt;br /&gt;
absence returned into court with a verdict for the&lt;br /&gt;
defendants.&mdash; Times.&lt;br /&gt;
III.&lt;br /&gt;
The International Society.&lt;br /&gt;
Here is another case of an unfortunate confusion&lt;br /&gt;
of names by the &amp;quot; Society &amp;quot; with which the man&lt;br /&gt;
Morgan, already exposed in these columns and&lt;br /&gt;
elsewhere, is connected.&lt;br /&gt;
(To the Editor of the Newcastle Daily Journal.)&lt;br /&gt;
&amp;quot;Sir,&lt;br /&gt;
I find that invitations are l&amp;gt;eing extensively&lt;br /&gt;
sent to gentlemen resident in the North of England&lt;br /&gt;
to join a society styling itself the International&lt;br /&gt;
Society of Literature, Science, and Art, and I have&lt;br /&gt;
received several letters making inquiries respecting&lt;br /&gt;
its status. I should be obliged, therefore, if you&lt;br /&gt;
would allow me to state through your columns that&lt;br /&gt;
I neither have, nor desire to be supposed to have,&lt;br /&gt;
any connexion with this society, and that the name&lt;br /&gt;
printed among its honorary members, the &laquo; Rev.&lt;br /&gt;
Canon Norman, M.A.&amp;#039; is not that of yours, &amp;amp;c,&lt;br /&gt;
A. M. Norman, F.R.S.,&lt;br /&gt;
Hon. Canon, Durham Cathedral.&lt;br /&gt;
Burnmoor Rectory, April 12, 1892.&amp;quot;&lt;br /&gt;
EDITING AND REVIEWING.&lt;br /&gt;
1.&lt;br /&gt;
The Value of a Favourable Review.&lt;br /&gt;
IT may be laid down as a general rule that it is&lt;br /&gt;
not possible for an unfavourable review to&lt;br /&gt;
kill a good book. It may retard its progress;&lt;br /&gt;
it may inflict a heavy pecuniary loss upon it; but&lt;br /&gt;
it cannot kill it.&lt;br /&gt;
On the other hand, what can a favourable review&lt;br /&gt;
do for a book?&lt;br /&gt;
Here are two instances from the private history&lt;br /&gt;
of a literary man :&mdash;&lt;br /&gt;
Ten years ago he produced a book anonymously.&lt;br /&gt;
For six weeks or so the book hung fire: no one&lt;br /&gt;
noticed it; there was no demand for it. Then there&lt;br /&gt;
appeared a notice, not. only favourable, bat highly&lt;br /&gt;
laudatory, in the Saturday Review. Instantly the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 391 (#795) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
39i&lt;br /&gt;
book sprang into popularity. Before many months&lt;br /&gt;
there was a demand of something like i3,ooo&lt;br /&gt;
copies.&lt;br /&gt;
Again, the same writer produced a three-volume&lt;br /&gt;
novel which has had as great a success as falls to&lt;br /&gt;
the lot of most novels. For a time, however, it&lt;br /&gt;
lay unregarded, the demand for it almost stagnant.&lt;br /&gt;
Then there appeared a review in the Times&mdash;a&lt;br /&gt;
long one-eolnmn, review&mdash;speaking of it in the&lt;br /&gt;
highest terms, and then the demand began and&lt;br /&gt;
continued, advancing daily, and the fortune of that&lt;br /&gt;
book, as of the other, was made by that favourable&lt;br /&gt;
review.&lt;br /&gt;
II.&lt;br /&gt;
About Reviewing.&lt;br /&gt;
&amp;quot;To-morrow,&amp;quot; says Mr. Phoebus in Lothair,&lt;br /&gt;
&amp;quot;to-morrow the critics will begin. And who are the&lt;br /&gt;
critics? Persons who have failed in literature and&lt;br /&gt;
art.&amp;quot; Dramatically, of course, this is very good.&lt;br /&gt;
The criticised no doubt is the man to find out the&lt;br /&gt;
weakest points in the armour of the critic. Nor is&lt;br /&gt;
it without a germ of truth in itself, for the disap-&lt;br /&gt;
pointed man is naturally more quick to find fault.&lt;br /&gt;
But it is a little curious that some critics who have&lt;br /&gt;
not themselves failed or are likely to fail write just as&lt;br /&gt;
if they had. Who amongst us has not now and&lt;br /&gt;
then suffered from the criticisms of such? The&lt;br /&gt;
selection of the one misspelt word, or of the one&lt;br /&gt;
line of poetry which will not scan, and complete&lt;br /&gt;
silence about all the rest of a work, the crushing&lt;br /&gt;
dctractation of a first effort in literature, the steady&lt;br /&gt;
determination not to see the author&amp;#039;s view; these&lt;br /&gt;
and faults like these will not (infrequently be found&lt;br /&gt;
in those who may themselves be; amongst the very&lt;br /&gt;
favourites of fortune. And yet, perhaps, even such&lt;br /&gt;
criticism is less really unjust than that of the lazy*&lt;br /&gt;
penman who scarcely reads a line of a Iwok, but&lt;br /&gt;
dismisses it with fluent generalities (whether of&lt;br /&gt;
praise or blame) strung together to conceal his&lt;br /&gt;
ignorance of it. On the other hand, many authors&lt;br /&gt;
arc absurdly sensitive, thinking themselves ill-used&lt;br /&gt;
if their reviewer deals out any blame at all, while&lt;br /&gt;
here and there we find the man who has been so&lt;br /&gt;
unduly puffed by his friends that a little undue&lt;br /&gt;
scarification is positively welcome. Macaulay&amp;#039;s&lt;br /&gt;
celebrated review of Montgomery is a well-&lt;br /&gt;
known case in point. Macaulay&amp;#039;s name brings&lt;br /&gt;
to my mind a bit of his biography well worth the&lt;br /&gt;
notice of every critic. Into the hands of the great&lt;br /&gt;
reviewer fell a friend&amp;#039;s book, with, I think, a request&lt;br /&gt;
from somebody or other that he would say some-&lt;br /&gt;
thing good of it. He saw at once that it would&lt;br /&gt;
not do, and declined to review it at all.&lt;br /&gt;
Should not a reviewer always be anonymous?&lt;br /&gt;
I rather think so. If solicited for a &amp;quot;notice,&amp;quot;&lt;br /&gt;
should he take it ill, and either review unfavour-&lt;br /&gt;
ably or not review at all? Certainly neither.&lt;br /&gt;
Soliciting is, of course, bad, but it may be after all a&lt;br /&gt;
mere harmless form of bringing a book to an editor&amp;#039;s&lt;br /&gt;
recollection.&lt;br /&gt;
Should an editor hand over a book written by one&lt;br /&gt;
specialist, to be reviewed by another? I think yes,&lt;br /&gt;
for the risk of unfairness and partiality of view is&lt;br /&gt;
quite compensated by the certainty of knowledge of&lt;br /&gt;
the subject.&lt;br /&gt;
Should not all books which cannot be reviewed&lt;br /&gt;
be returned? I know of a case where a book&lt;br /&gt;
worth about ten pounds was courteously returned&lt;br /&gt;
by one editor, and kept, but not even reviewed,&lt;br /&gt;
by another editor. The cost of supplying copies&lt;br /&gt;
for review is very great, and the sale of such&lt;br /&gt;
copies, if sold (though I have heard that some&lt;br /&gt;
editors destroy them), seems to compete somewhat&lt;br /&gt;
unfairly with the sale of the ordinary copies.&lt;br /&gt;
Why should not, at least review copies be&lt;br /&gt;
machine cut, to help the reviewer, and why should&lt;br /&gt;
not publishers always state the prices and dates&lt;br /&gt;
of their books, and reviewers re{&amp;gt;eat this useful&lt;br /&gt;
information for the benefit of the public?&lt;br /&gt;
J. M. Lely.&lt;br /&gt;
III.&lt;br /&gt;
Magazines and Editors.&lt;br /&gt;
In the early part of 1888, I wrote an article on&lt;br /&gt;
&amp;quot;Dorothy Jordan,&amp;quot; and sent it to the English&lt;br /&gt;
Illustrated Magazine. About nine months later,&lt;br /&gt;
proofs were forwarded to me, corrected and returned&lt;br /&gt;
by me. Months passed, and the article did not&lt;br /&gt;
appear. In February 1889 I applied for payment,&lt;br /&gt;
and received &pound;i3 iqs. Soon after, the magazine&lt;br /&gt;
changed editors. In March 1890, I saw the new&lt;br /&gt;
editor, and asked when would the paper be in-&lt;br /&gt;
serted. He knew nothing of it, nor did his&lt;br /&gt;
secretary. In 1891 I again made inquiries con-&lt;br /&gt;
cerning the article, but received no satisfactory&lt;br /&gt;
reply, nor did I bear of it again until I saw it in&lt;br /&gt;
the April number just published. It was then&lt;br /&gt;
reduced to about half its original size, and the&lt;br /&gt;
private information regarding Mrs. Jordan&amp;#039;s life&lt;br /&gt;
and earnings, which 1 had obtained after much&lt;br /&gt;
trouble, was left out. It was four years in the&lt;br /&gt;
office of the magazine before being published.&lt;br /&gt;
A story of mine appeared in another monthly.&lt;br /&gt;
Three letters requesting payment received no&lt;br /&gt;
answer, nor did a solicitor&amp;#039;s letter. The proprietors&lt;br /&gt;
were then sued for the amount, and the case was*&lt;br /&gt;
set down for hearing on the 3ist of March. The&lt;br /&gt;
day previously the debt was paid, and the solicitor&amp;#039;s&lt;br /&gt;
costs.&lt;br /&gt;
FlTZCiERAI.l) MOLLOT.&lt;br /&gt;
GK 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 392 (#796) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
392&lt;br /&gt;
IV.&lt;br /&gt;
Query.&lt;br /&gt;
If an editor chooses to keep my MSS., sent for&lt;br /&gt;
n magazine or weekly paper, and neither return it&lt;br /&gt;
nor accept it, how can I enter into possession of&lt;br /&gt;
it again so as to feel free to send a copy to a fresh&lt;br /&gt;
editor? Would it be sufficient to send a stamped&lt;br /&gt;
envelope for reply&mdash;&amp;quot; Sir&mdash;You have kept my&lt;br /&gt;
MSS. a month (6 weeks). I have no news of it.&lt;br /&gt;
I am going to try a fresh editor?&amp;quot;&lt;br /&gt;
Peregrine.&lt;br /&gt;
Does it not require an editor made wondrous kind&lt;br /&gt;
by fellow feeling for young authors to get all tins&lt;br /&gt;
literary property safe home to Us owners?&lt;br /&gt;
Editor.&lt;br /&gt;
V.&lt;br /&gt;
Long kept and then returned.&lt;br /&gt;
Under this heading in the last number of the&lt;br /&gt;
A uthor a case was stated of a MS. kept for three years&lt;br /&gt;
and a half. The contributor writes to say (l) with&lt;br /&gt;
regard to his first statement that he was invited to&lt;br /&gt;
write a paper on a definite subject, that the exact&lt;br /&gt;
facts were these: &amp;quot;I submitted to Mr. A., at his&lt;br /&gt;
own request, I having been introduced to him as a&lt;br /&gt;
specialist by the secretory of a certain society, six&lt;br /&gt;
short stories on approval.&amp;quot; (2) That the editor&lt;br /&gt;
has sent him a certain sum for compensation.&lt;br /&gt;
This, as the Editor was not in the least obliged to&lt;br /&gt;
do so, is extremely honourable in him.&lt;br /&gt;
VI.&lt;br /&gt;
VII.&lt;br /&gt;
With no Name,&lt;br /&gt;
With the complaint of &amp;quot; B &amp;quot; who has contributed&lt;br /&gt;
&amp;quot;verse of a lyrical type to a certain high-class&lt;br /&gt;
London journal,&amp;quot; has been &amp;quot;most liberally and&lt;br /&gt;
promptly&amp;quot; paid, but cannot get either his name or&lt;br /&gt;
initials appended to his contributions, every author&lt;br /&gt;
must fully sympathise.&lt;br /&gt;
Only two possible reasons for the editor&amp;#039;s refusal&lt;br /&gt;
to print the name suggest themselves:&mdash;Either he&lt;br /&gt;
fears that &amp;quot;B,&amp;quot; when known by name, will be&lt;br /&gt;
drawn away to rival prints, or that the poetry will&lt;br /&gt;
go unread with an unknown name at the bottom of&lt;br /&gt;
it. But whether his reason be good or bad or even&lt;br /&gt;
none, he is of course within his legal rights.&lt;br /&gt;
&amp;quot;B&amp;quot; however should forthwith insist on his&lt;br /&gt;
name being printed under pain of his ceasing to&lt;br /&gt;
contribute.&lt;br /&gt;
SCRII&amp;#039;TOR IGNOTCS.&lt;br /&gt;
From the Editor&amp;#039;s I&amp;#039;oint of View.&lt;br /&gt;
May an editor offer a few suggestions as to&lt;br /&gt;
why the MSS. of young authors are occasionally&lt;br /&gt;
absorbed by the Family Hearthrug, and other&lt;br /&gt;
kindred publications? Reading the directions&lt;br /&gt;
printed in the magazine is the last thing&lt;br /&gt;
that appears to occur to contributors. A&lt;br /&gt;
type-written MS. arrives with no stamps en-&lt;br /&gt;
closed, no name or address written on it. Some&lt;br /&gt;
time afterwards a letter arrives, asking why &amp;quot; my&lt;br /&gt;
MS.,&amp;quot; omitting the name of the paper, has not been&lt;br /&gt;
returned? How is the editor to know which MS.&lt;br /&gt;
is referred to? Stamps arrive separately, with&lt;br /&gt;
apologies for having omitted to enclose them, but&lt;br /&gt;
no mention as to the MS. for which they are&lt;br /&gt;
intended. As for the number of the MSS. that&lt;br /&gt;
appeared stamplcss, with requests for immediate&lt;br /&gt;
publication and payment, these do not always come,&lt;br /&gt;
from the young and inexperienced.&lt;br /&gt;
The acrostic editor receives articles on the Rights&lt;br /&gt;
of Woman; belated &amp;quot; lights &amp;quot; for the acrostics are&lt;br /&gt;
thrown upon the chief editor, while the manager,&lt;br /&gt;
under a nom de plume of some special department,&lt;br /&gt;
is pestered with inquiries about serial stories.&lt;br /&gt;
UNCUT LEAVES.&lt;br /&gt;
AREMARKABLE association exists in Boston,&lt;br /&gt;
U.S.A., whose members assemble at stated&lt;br /&gt;
intervals for the purpose of hearing, not&lt;br /&gt;
reading, new articles before their appearance in&lt;br /&gt;
the magazines. Here is part of the programme&lt;br /&gt;
for the season :&mdash;&lt;br /&gt;
&amp;quot;The Boston Readings of Uncut Leaves, the&lt;br /&gt;
imprinted magazine conducted by Mr. Lincoln, of&lt;br /&gt;
the Deerfield School of History and Romance,&lt;br /&gt;
will take place on the third Wednesday evenings&lt;br /&gt;
of January, February, March, April, and May.&lt;br /&gt;
Among the contributors will be Richard Henry&lt;br /&gt;
Stoddard, Edmund Clarence Stedman, George W.&lt;br /&gt;
Cable, Elizabeth Stoddard, Agnes Repplier, Mar-&lt;br /&gt;
garet Deland, Sarah Orne Jewett, Kate Douglas&lt;br /&gt;
Wiggin, Alice Wellington Rollins, Arlo Bates,&lt;br /&gt;
Hamilton W. Mabie, Clyde Fitch, Annie Payson&lt;br /&gt;
Call, Edwin D. Meade, and other well-known&lt;br /&gt;
writers.&lt;br /&gt;
&amp;quot;The magazine will not be published, and can&lt;br /&gt;
only be heard at the readings. Many of the&lt;br /&gt;
articles will be read by their authors. Nothing&lt;br /&gt;
will be included which has been previously printed.&lt;br /&gt;
The entire reading of any evening will not exceed&lt;br /&gt;
two hours.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 393 (#797) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
393&lt;br /&gt;
&amp;quot;The first reading will begin promptly at&lt;br /&gt;
8 p.m., January 20th, at Dr. Chas. P. Putnam&amp;#039;s,&lt;br /&gt;
63, Marlborough Street. No one will be allowed&lt;br /&gt;
to enter during the reading of an article. Sub-&lt;br /&gt;
scribers will pledge their good faith to observe&lt;br /&gt;
entire secrecy as to the nature and contents of&lt;br /&gt;
these magazines, in order to protect the rights of&lt;br /&gt;
authors. No notes nor press reports can be&lt;br /&gt;
permitted under any circumstances.&lt;br /&gt;
&amp;quot;Subscription for the season, Five Dollars.&lt;br /&gt;
&amp;quot;Three tickets for each reading, Ten Dollars.&lt;br /&gt;
&amp;#039;&amp;#039; Names of subscribers must be submitted to&lt;br /&gt;
Miss A. C. Putnam, 63, Marlborough Street, on or&lt;br /&gt;
before January 16th. As the meetings will be in&lt;br /&gt;
private parlours, only a limited number of names&lt;br /&gt;
can be accepted.&amp;quot;&lt;br /&gt;
This is the nearest approach to a Private View&lt;br /&gt;
Day in literature that has yet been made. There&lt;br /&gt;
is a certain luxury in having one&amp;#039;s articles read&lt;br /&gt;
aloud, especially if they are articles in whose subject&lt;br /&gt;
one is interested, and by writers whose; style has a&lt;br /&gt;
charm for us.&lt;br /&gt;
Mr. Lincoln, the Director of this society,&lt;br /&gt;
suggests that we might find room for a similar&lt;br /&gt;
organisation over here. This is doubtful. The&lt;br /&gt;
difficulties, though not insuperable, would be grejit.&lt;br /&gt;
For, first, it is a new thing, and editors and pro-&lt;br /&gt;
prietors might think that such a reading would in jure&lt;br /&gt;
the Side of the journal in which the paper after-&lt;br /&gt;
wards appeared. The contrary would be the effect,&lt;br /&gt;
just as a good novel is helped in its volume form&lt;br /&gt;
by its serial form. Then, still because it is a new&lt;br /&gt;
thing, the writers might object. These objections&lt;br /&gt;
would, however, be removed in a very simple&lt;br /&gt;
manner out of the subscriptions. The last objec-&lt;br /&gt;
tion is the most serious. The essential for success&lt;br /&gt;
is the inexorable observance of the clause pro-&lt;br /&gt;
hibiting notes or reports of the pa[K?r. London is&lt;br /&gt;
so vast a place, that there is no way at all of&lt;br /&gt;
keeping out people who would disregard the most&lt;br /&gt;
solemn promise of secrecy, and every lecture would&lt;br /&gt;
be, somehow, fully reported in every paper. But,&lt;br /&gt;
again, suppose the papers were not so anxious to&lt;br /&gt;
anticipate the magazines, then this objection would&lt;br /&gt;
not hold, and it must be confessed that, in the ease of&lt;br /&gt;
most magazine articles, there is no such breathless&lt;br /&gt;
eagerness to read them. The Contemporary and&lt;br /&gt;
the Nineteenth Century, for instance, lie on the&lt;br /&gt;
table awaiting their turn.&lt;br /&gt;
How might such an association be formed and&lt;br /&gt;
worked? Obviously, as a course of lectures is&lt;br /&gt;
organised. The readings would be in the afternoon,&lt;br /&gt;
from four to five. There should be no more than&lt;br /&gt;
six in each of two sessions. They must be given&lt;br /&gt;
by well-known writers, and the number of sub-&lt;br /&gt;
scrilRTs must be sufficient to give a handsome&lt;br /&gt;
honorarium to every reader. If, for instance, one&lt;br /&gt;
guinea were the subscription for each course of&lt;br /&gt;
six lectures, there should be enough subscribers to&lt;br /&gt;
pay for the rooms and the service, and to leave two&lt;br /&gt;
guineas at least for every reader.&lt;br /&gt;
Should the Society follow the example of the&lt;br /&gt;
Americans, and organise for the next winter one&lt;br /&gt;
course, at least, of Uncut Leaves on the Literary&lt;br /&gt;
Life from its various points of view? Will our&lt;br /&gt;
meml&amp;gt;ers consider this suggestion? Of course, the&lt;br /&gt;
proposed subscription may be very much smaller in&lt;br /&gt;
case of a sufficient number of subscribers.&lt;br /&gt;
&lt;br /&gt;
THE LITERARY AGENT.&lt;br /&gt;
ACORRESPONDENT writes about the lite-&lt;br /&gt;
rary agent, evidently under a false impression&lt;br /&gt;
as to the use and the nature of the services&lt;br /&gt;
rendered by the literary agent. To one who has&lt;br /&gt;
already succeeded, he says, a literary agent is of no&lt;br /&gt;
use. His services are only required by one who&lt;br /&gt;
has not succeeded. This creed is entertained by&lt;br /&gt;
a good many people. They think that a literary&lt;br /&gt;
agent is able to persuade publishers and editors to&lt;br /&gt;
take work that they would otherwise refuse. Why&lt;br /&gt;
should he? Is his opinion better than the opinion&lt;br /&gt;
of the publisher&amp;#039;s reader? But the agent does not,&lt;br /&gt;
as a rule, read MSS.&mdash;he has not the time. Writers&lt;br /&gt;
must learn for themselves&mdash;the earlier in their&lt;br /&gt;
career they learn it the better&mdash;the truth that the&lt;br /&gt;
only way to get on is to produce good work, or, at&lt;br /&gt;
least, work that the world accepts as good work&lt;br /&gt;
and reads and goes on reading. No agent, no&lt;br /&gt;
private influence, can do any good at all to anyone.&lt;br /&gt;
There is not, and there never has been in the history&lt;br /&gt;
of literature, any case of a writer being perma-&lt;br /&gt;
nently helped in this way. There has been perhaps&lt;br /&gt;
log-rolling, but those few who seem to have been&lt;br /&gt;
assisted by their friends have really done good work&lt;br /&gt;
which by itself commanded success. They were, in&lt;br /&gt;
faet, independent of log-rolling. It is when a man&lt;br /&gt;
has reached a certain stage of success that his agent&lt;br /&gt;
comes in. Then he takes over all the business&lt;br /&gt;
arrangements of that writer, agrees with editors and&lt;br /&gt;
publishers for him, places his work, and, in fact,&lt;br /&gt;
relieves him of all trouble. To such a man a good&lt;br /&gt;
agent is invaluable. But let the writer beware!&lt;br /&gt;
He must not, on any consideration, go to the first&lt;br /&gt;
man who offers. He must take advice.&lt;br /&gt;
What, then, is the young writer to do? He&lt;br /&gt;
should first get an opinion from one of the Society&amp;#039;s&lt;br /&gt;
readers as to the merits and chances of his book.&lt;br /&gt;
It may be that certain points would be suggested&lt;br /&gt;
for alteration. It may be that he finds himself&lt;br /&gt;
recommended to put his MS. in the fire. He&lt;br /&gt;
should then offer his MS. to a list of houses or of&lt;br /&gt;
magazines recommended by the Society. There is&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 394 (#798) ############################################&lt;br /&gt;
&lt;br /&gt;
394&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
nothing else to be done. No one, we repent, can&lt;br /&gt;
possibly help him. If those houses all refuse him&lt;br /&gt;
it is not the least use trying others, and, if he is n&lt;br /&gt;
wise man, he will refuse to pay for the production&lt;br /&gt;
of his own work. If, however, as too often&lt;br /&gt;
happens, he is not a wise man,but believes that he has&lt;br /&gt;
written a great tiling, and is prepared to back his&lt;br /&gt;
opinion to the extent of paying for his book, then&lt;br /&gt;
let him place his work in the hands of tha Society,&lt;br /&gt;
and it shall be arranged for him without greater&lt;br /&gt;
loss than the actual cost of production. At least&lt;br /&gt;
he will not be deluded by false hopes and promises&lt;br /&gt;
which can end in nothing.&lt;br /&gt;
■ &mdash; ■&lt;br /&gt;
USEFUL BOOKS.&lt;br /&gt;
I.&lt;br /&gt;
DEAR Author,&mdash;I cull from my own Reference&lt;br /&gt;
Library Catalogue the titles of just a dozen&lt;br /&gt;
really useful books. When I have a little&lt;br /&gt;
leisure I will send some more. I may mention that&lt;br /&gt;
the &amp;quot; Sailor&amp;#039;s Word Book &amp;quot; and &amp;quot; Old Sea Wings&amp;quot;&lt;br /&gt;
will be found very valuable to maritime storytellers&lt;br /&gt;
yearning to follow in the footsteps of Clark Russell;&lt;br /&gt;
and I may further hint (at the risk of provoking the&lt;br /&gt;
men of supercilious MSS.) that lady novelists might&lt;br /&gt;
advantageously add to their shelf of reference books&lt;br /&gt;
a &amp;quot;Newgate Calendar&amp;quot; (Knapp and Baldwin&amp;#039;s),&lt;br /&gt;
and an up-to-date edition of Blackstone&amp;#039;s &amp;quot; Com-&lt;br /&gt;
mentaries.&amp;quot; The &amp;quot; Calendar &amp;quot; is full of intensely&lt;br /&gt;
dramatic plots and characters; while occasional&lt;br /&gt;
consultation of Blackstone would set the ladies&lt;br /&gt;
right on many legal points, touching which, in their&lt;br /&gt;
novels, they frequently blunder.&lt;br /&gt;
G. A. Sala.&lt;br /&gt;
M. Scheele De Veee, LL.D.&mdash;Americanisms:&lt;br /&gt;
The English of the New World. (New&lt;br /&gt;
York: C. Scribner and Co.)&lt;br /&gt;
Mrs. Cowden Clarke.&mdash;The Complete Concord-&lt;br /&gt;
ance to Shakspere. (London: Bickers.)&lt;br /&gt;
Cruden&amp;#039;s Concordance to the Holy Scriptures.&lt;br /&gt;
(Any bookseller.) ,&lt;br /&gt;
Beeton&amp;#039;s Great Book of Poetry. (Ward and&lt;br /&gt;
Lock.)&lt;br /&gt;
Smyth, W. H., Admiral.&mdash;The Sailor&amp;#039;s Word&lt;br /&gt;
Book: An Alphabetical Digest of Nautical&lt;br /&gt;
Terms. (London: Blackie and Son.)&lt;br /&gt;
Leslie, Robert C.&mdash;Old Sea Wings and Words.&lt;br /&gt;
(London: Chapman and Hall.)&lt;br /&gt;
Jennings, G. H.&mdash;Anecdotal History of the&lt;br /&gt;
British Parliament. (London: Horace Cox.)&lt;br /&gt;
McCarthy, Justin, M.P.&mdash;A History of Our&lt;br /&gt;
Own Times. 4 vols. (Chatto and Windus.)&lt;br /&gt;
Lanciani, Rodoi.fo, Prof.&mdash;Ancient Rome in the&lt;br /&gt;
Light of Recent Discoveries. (Macmillan.&amp;quot;)&lt;br /&gt;
Phillips, Lawrence B.&mdash;Dictionary of Biogra-&lt;br /&gt;
phical Reference: containing 100,000 names.&lt;br /&gt;
(Sampson Low.)&lt;br /&gt;
Wheatley and Cunningham.&mdash;London Past and&lt;br /&gt;
Present. 3 vols. (Murray.)&lt;br /&gt;
Heaton, J. Hennikek, M.P.&mdash;Australian Dic-&lt;br /&gt;
tionary of Dates and Men of the Time. (G.&lt;br /&gt;
Robertson, Sydney, Melbourne, and Adelaide.)&lt;br /&gt;
II.&lt;br /&gt;
Scientific.&lt;br /&gt;
Quain&amp;#039;s Human Anatomy. (Macmillan.)&lt;br /&gt;
Young&amp;#039;s General Astronomy. (Ginn and Co.)&lt;br /&gt;
Sach&amp;#039;s Text Book of Botany. Now published in&lt;br /&gt;
three parts. (Clarendon.)&lt;br /&gt;
Roscoe and Schorlemmer&amp;#039;s Treatise on Chemistry.&lt;br /&gt;
(Macmillan.)&lt;br /&gt;
Foster and Balfour&amp;#039;s Elements of Embryology.&lt;br /&gt;
(Macmillan.)&lt;br /&gt;
Geikie&amp;#039;s Text Book of Geology. (Macmillan.)&lt;br /&gt;
Giinther&amp;#039;s Study of Fishes. (A. and C. Black.)&lt;br /&gt;
Mill&amp;#039;s Logic. (Longmans.)&lt;br /&gt;
Lauder Brunton&amp;#039;s Pharmacology. Therapeutics&lt;br /&gt;
and Materia Medica. (Macmillan.)&lt;br /&gt;
Darnell&amp;#039;s Principles of Physics. (Macmillan.)&lt;br /&gt;
Foster&amp;#039;s Text Book of Physiology. (Macmillan.)&lt;br /&gt;
Nicholson&amp;#039;s Manual of Zoology. (Blackwood.)&lt;br /&gt;
Bain&amp;#039;s Mental and Moral Science. (Longmans.)&lt;br /&gt;
Be van Lewis&amp;#039;s Text Book of Nervous Diseases.&lt;br /&gt;
(Griffen.)&lt;br /&gt;
Herbert Spencer&amp;#039;s First Principles, Principles of&lt;br /&gt;
Biology, Psychology, and Sociology. (Wil-&lt;br /&gt;
liams and Norgate.)&lt;br /&gt;
Ueberweg&amp;#039;s History of Philosophy. (Hodder.)&lt;br /&gt;
Carpenter&amp;#039;s Microscope. (Routledge.)&lt;br /&gt;
Dictionaries.&lt;br /&gt;
Smith&amp;#039;s Latin.&lt;br /&gt;
Spier&amp;#039;s French. (De Baudry, Paris.)&lt;br /&gt;
Grieb&amp;#039;s German. (Sampson Low.)&lt;br /&gt;
Baretti&amp;#039;s Italian. (Dulau.)&lt;br /&gt;
Quain&amp;#039;s Medicine. (Smith Elder.)&lt;br /&gt;
Heath&amp;#039;s Surgery. (Smith Elder.)&lt;br /&gt;
Fleming&amp;#039;s Vocabulary of Philosophy. (Gritlin.)&lt;br /&gt;
Men and Women of the Time. (Ca&amp;amp;sell.)&lt;br /&gt;
Hazell&amp;#039;s Annual.&lt;br /&gt;
F. Howard Collins.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 395 (#799) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
AUTHOR AND PUBLISHER.&lt;br /&gt;
With .some New Points for the Society of&lt;br /&gt;
Authors and for an Eminent Publisher.&lt;br /&gt;
(From tin; New York Tribune by permission.)&lt;br /&gt;
J piHE report of the Executive Committee of&lt;br /&gt;
I the Society of Authors has the following&lt;br /&gt;
paragraph:&lt;br /&gt;
&amp;quot;Among those members whose loss by death we&lt;br /&gt;
deplore are (i) Lord Lytton, always one of our&lt;br /&gt;
greatest supporters. He took the chair at one of&lt;br /&gt;
our public meetings, and at all times showed the&lt;br /&gt;
warmest interest in the work and success of the&lt;br /&gt;
Society. (2) Mr. James Russell Lowell, not only&lt;br /&gt;
the American who had endeared himself to all&lt;br /&gt;
hearts, but very specially the friend of this Society,&lt;br /&gt;
and the advocate of international copyright.&lt;br /&gt;
Those who were present at the dinner of the&lt;br /&gt;
Society in 1888, and heard his brilliant and&lt;br /&gt;
eloquent address, since printed in the Author,&lt;br /&gt;
will want no reminder of his interest in our work&lt;br /&gt;
and in the well-being of literature on this side of&lt;br /&gt;
the Atlantic.&amp;quot;&lt;br /&gt;
The report is signed by Mr. Walter Besnit,&lt;br /&gt;
chairman of the Executive Committee. He does&lt;br /&gt;
not say too much of Lowell&amp;#039;s interest in the&lt;br /&gt;
Society. Nothing that concerned literature could&lt;br /&gt;
lie indifferent to Lowell. I can imagine that the&lt;br /&gt;
great American author had in his long career&lt;br /&gt;
known moments when the advice of such a Society&lt;br /&gt;
would have been useful to him, and would have&lt;br /&gt;
meant money to him, as it now means money to&lt;br /&gt;
many others. Lowell was, in truth, careless about&lt;br /&gt;
such matters, and had a childlike faith in men;&lt;br /&gt;
even in publishers, and even in second-hand book-&lt;br /&gt;
sellers. I used to think he took pleasure in being&lt;br /&gt;
their victim, and his easy good-nature forbade him&lt;br /&gt;
to seek redress even when he had found out that a&lt;br /&gt;
&mdash;well, that a mistake had occurred.&lt;br /&gt;
Lowell once bought a copy of a scarce book for&lt;br /&gt;
which he paid, I need not say, a long price. When&lt;br /&gt;
the book arrived at Elmwood, it proved to be an&lt;br /&gt;
imperfect copy; a number of leaves missing. The&lt;br /&gt;
bookseller had not thought it worth while to mention&lt;br /&gt;
the defect. &amp;quot;Of course you returned the book,&amp;quot; I&lt;br /&gt;
said. &amp;quot;Well, no,&amp;quot; answered Lowell, with n dry&lt;br /&gt;
look in his eyes. &amp;quot;I know the l&amp;gt;ook is often&lt;br /&gt;
imperfect.&amp;quot; The fact that he had paid a perfect&lt;br /&gt;
price for his imperfect copy made little or no&lt;br /&gt;
impression on him. The book is now, I presume,&lt;br /&gt;
in Harvard College Library, to which Lowell meant&lt;br /&gt;
his treasures to go. Unless the missing leaves&lt;br /&gt;
have been supplied, that rather miscellaneous col-&lt;br /&gt;
lection of books has therefore one more miscellaneous&lt;br /&gt;
copy. There is but one golden rule for the collector:&lt;br /&gt;
either a perfect copy or none.&lt;br /&gt;
It is interesting to hear that the Society of&lt;br /&gt;
Authors is growing at a great pace. Never before,&lt;br /&gt;
Mr. Besant says, has so much work poured into&lt;br /&gt;
their hands. Authors are at last awake to the&lt;br /&gt;
benefits offered them. &amp;quot;They are bringing their&lt;br /&gt;
agreements before accepting them; they are also&mdash;&lt;br /&gt;
a thing without precedent in the history of author-&lt;br /&gt;
ship&mdash;actually asking what their agreements mean&lt;br /&gt;
for either side.&amp;quot; Then comes this characteristic&lt;br /&gt;
and most sensible passage:&lt;br /&gt;
&amp;quot;The passing of the International Copyright&lt;br /&gt;
Acts makes it doubly important for writers of&lt;br /&gt;
success and position to know how to protect their&lt;br /&gt;
property. It is not too much to say that never&lt;br /&gt;
until the Society began was it possible for writers&lt;br /&gt;
to realize, as at last they are learning, (1) that they&lt;br /&gt;
possess property over which they should be as&lt;br /&gt;
careful as over fields and houses and (2) that the&lt;br /&gt;
mere administration of this property really does&lt;br /&gt;
not entitle the agents to take over all the rent to&lt;br /&gt;
themselves.&amp;quot;&lt;br /&gt;
To the publishers this last proposition will seem&lt;br /&gt;
startling indeed. To others than publishers it may&lt;br /&gt;
seem startling that there should l&amp;gt;c need of stating&lt;br /&gt;
such a proposition and of dwelling on it. But&lt;br /&gt;
there still is. The publisher himself still looks&lt;br /&gt;
askance at the Society of Authors. Not all pub-&lt;br /&gt;
lishers, perhaps, but some. Look at the tone of&lt;br /&gt;
the leading trade organ, the Publishers Circular.&lt;br /&gt;
Always a sneer at the Society, and always the&lt;br /&gt;
suggestion that the author and publisher would&lt;br /&gt;
naturally constitute a happy family but for the&lt;br /&gt;
interference of outsiders.&lt;br /&gt;
Look at the seventh case in the Appendix to this&lt;br /&gt;
Report, where an author, unable to get either&lt;br /&gt;
money or answer to his letters from a certain&lt;br /&gt;
publishing firm, put his claim in the hands of&lt;br /&gt;
the Society. There was a colonial house and&lt;br /&gt;
a London house. The London house was very&lt;br /&gt;
dignified. The intervention of the Society was,&lt;br /&gt;
in its opinion, uncalled for. Their friends abroad&lt;br /&gt;
would certainly deal honourably with the author.&lt;br /&gt;
Notions of honour anil honourable dealing vary.&lt;br /&gt;
The publisher&amp;#039;s notion in this case might be thought&lt;br /&gt;
peculiar. The author had sent his MS. to the&lt;br /&gt;
colonial house. Six mouths later came a letter&lt;br /&gt;
saying: &amp;quot;We hoped to have sent you a copy of&lt;br /&gt;
your book by this mail, but regret it is not quite&lt;br /&gt;
ready. We propose to style the book .&amp;quot; The&lt;br /&gt;
author replied that as no terms had been submitted&lt;br /&gt;
for his signature, he should like to know what lie&lt;br /&gt;
was to get. No answer; and then it was that the&lt;br /&gt;
Society intervened in the way which to the publish-&lt;br /&gt;
ing mind seemed so uncalled for, pointing out that&lt;br /&gt;
the honourable colonial house had appropriated the&lt;br /&gt;
author&amp;#039;s work and had offered no terms. The&lt;br /&gt;
honourable colonial house was as much surprised as&lt;br /&gt;
the London house at hearing &amp;quot;from a Society&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 396 (#800) ############################################&lt;br /&gt;
&lt;br /&gt;
396&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
calling itself a Society of Authors.&amp;quot; It had been&lt;br /&gt;
&amp;quot;too busy&amp;quot; to write the author, though not too&lt;br /&gt;
busy to print and publish his book. &amp;quot;Finally they&lt;br /&gt;
proposed certain terms and, subject to changes&lt;br /&gt;
made by the Society, these proposals were accepted.&amp;quot;&lt;br /&gt;
Eight or nine of these sample cases are given.&lt;br /&gt;
&amp;quot;Can anyone doubt,&amp;quot; asks the rei&amp;gt;ort, &amp;quot;that&lt;br /&gt;
almost all these authors would have been robbed&lt;br /&gt;
had it not been for the vigorous intervention of the&lt;br /&gt;
Society?&amp;quot;&lt;br /&gt;
Now let us listen to a voice, I will not say from&lt;br /&gt;
the other side but from among the publishers,&lt;br /&gt;
Mr. Frederick Macmillan. No house stands higher&lt;br /&gt;
than his. He presided last week at the annual&lt;br /&gt;
t radedinner of the Booksellers&amp;#039; Provident Institution,&lt;br /&gt;
and made a speech in the course of which he quoted&lt;br /&gt;
a remark, author of it apparently unknown, that&lt;br /&gt;
&amp;quot;the interests of booksellers and authors are highly&lt;br /&gt;
antagonistic.&amp;quot; Bookseller here means publisher,&lt;br /&gt;
as it used to in the last century; so that the remark&lt;br /&gt;
seems an old one. Old or new, Mr. Macmillan&lt;br /&gt;
thinks that he who made it has a great deal to&lt;br /&gt;
answer for. Why? Because &amp;quot;the antagonism&lt;br /&gt;
between author and publisher is a foolish and mis-&lt;br /&gt;
chievous fancy.&amp;quot;&lt;br /&gt;
Such is the answer of an honourable and success-&lt;br /&gt;
ful publisher; the best he can offer. &amp;quot;It would be&lt;br /&gt;
as reasonable,&amp;quot; adds he, &amp;quot; to talk about the natural&lt;br /&gt;
antagonism between the man who builds an engine&lt;br /&gt;
and he who drives it.&amp;quot; He might have drawn his&lt;br /&gt;
analogy closer. It would he as reasonable to talk&lt;br /&gt;
about the natural antagonism between the man who&lt;br /&gt;
builds an engine and he who buys it. That would&lt;br /&gt;
be perfectly reasonable. There is a natural an-&lt;br /&gt;
tagonism. The man who builds the engine wants&lt;br /&gt;
to sell it as dear as he can ; he who buys wishes to&lt;br /&gt;
buy as cheap as he can. It is the natural antagonism&lt;br /&gt;
which exists the world over in all commercial&lt;br /&gt;
transactions. The interests of the buyer and the&lt;br /&gt;
interests of the seller are not the same; they are&lt;br /&gt;
hostile. So are the interests of the author who has&lt;br /&gt;
a book to sell and of the publisher who buys it.&lt;br /&gt;
True, as Mr. Macmillan says, both wish it to be&lt;br /&gt;
successful; so far their interests are common. But&lt;br /&gt;
in the division of the profits of the successful book&lt;br /&gt;
the interests of the author and publisher are no&lt;br /&gt;
longer common; they are antagonistic. Each&lt;br /&gt;
wants as large a share as he can get.&lt;br /&gt;
Thus do we. come back to the old point, and to&lt;br /&gt;
the real grievance which the publisher keeps&lt;br /&gt;
steadily in the background, namely, that the pub-&lt;br /&gt;
lisher is a man of business dealing with the author&lt;br /&gt;
who is not. The publisher draws up the contract,&lt;br /&gt;
imposes his own terms, fixes his own proportion of&lt;br /&gt;
profits, renders no accounts or imperfect accounts,&lt;br /&gt;
avails himself of a hundred advantages under the&lt;br /&gt;
plausible title &amp;quot;the custom of the trade,&amp;quot; all un-&lt;br /&gt;
known to the author; does, in fact, as a rule, by&lt;br /&gt;
help of his business advantages and of the want of&lt;br /&gt;
them in the author, take the lion&amp;#039;s share of the&lt;br /&gt;
profits. Therefore it is that a Society of Authors&lt;br /&gt;
is needed which shall protect the interests and&lt;br /&gt;
property of the author just as the publisher&lt;br /&gt;
protects his own.&lt;br /&gt;
Let Mr. Macmillan read the commentary on his&lt;br /&gt;
speech by the editor of the trade organ al&amp;gt;ove&lt;br /&gt;
mentioned:&lt;br /&gt;
&amp;quot;Whatever may have been the state of affairs&lt;br /&gt;
in the remote past, it certainly is not true to-day&lt;br /&gt;
that publishers drink champagne from the skulls&lt;br /&gt;
of unhappy writers. In the present era only&lt;br /&gt;
amateurs imagine that the publisher is a sort of&lt;br /&gt;
ghoul who appeases a diabolical appetite with&lt;br /&gt;
innocent and confiding men and women of genius.&lt;br /&gt;
The interests of authors and publishers, as Mr.&lt;br /&gt;
Macmillan pointed out, must be, and are, identical.&lt;br /&gt;
In the nature of things there can be no antagonism&lt;br /&gt;
between the man who writes a book and the man&lt;br /&gt;
who publishes it. If there were, both would&lt;br /&gt;
speedily go to the wall, the publisher probably&lt;br /&gt;
going first.&amp;quot;&lt;br /&gt;
Such is the attitude of a publisher of whom I&lt;br /&gt;
will say nothing except that he must know lx-tter.&lt;br /&gt;
The rancorous tone of his comment on a good-&lt;br /&gt;
tempcred speech from his own side is only too&lt;br /&gt;
marked. Ho represents, like the London branch&lt;br /&gt;
of the colonial house quoted a moment ago, the&lt;br /&gt;
class of publisher who resents the interference of&lt;br /&gt;
the Society of Authors, resents its existence, and&lt;br /&gt;
would, if he could, restore the good old days when&lt;br /&gt;
the publisher settled for the author as well as for&lt;br /&gt;
himself the terms of the contract between them.&lt;br /&gt;
But. those days are going, if not gone. The&lt;br /&gt;
number of members of the Society has risen from&lt;br /&gt;
25o three years ago to 780; its business has in-&lt;br /&gt;
creased in a still greater ratio. If an author now&lt;br /&gt;
makes a bad or stupid bargain with a publisher,&lt;br /&gt;
he has only himself to thank, for here is a society&lt;br /&gt;
which, without pay, will be delighted to help him&lt;br /&gt;
make a good and wise bargain.&lt;br /&gt;
O. W. Smalley. &diams;■&raquo;■&diams;&lt;br /&gt;
GENEROSITY, LIBERALITY, AND&lt;br /&gt;
EQUITY.&lt;br /&gt;
&amp;quot;TTIS liberality is highly praised; and though we do&lt;br /&gt;
I I not know precisely why authors should expect&lt;br /&gt;
liberality from publishers any more than designers&lt;br /&gt;
expect it from builders, it is certain they do, and that&lt;br /&gt;
publishers who fulfil the expectation are the publishers&lt;br /&gt;
whom literature reckons as friends. The publisher who&lt;br /&gt;
was also a patron is passing away; and perhaps it is better&lt;br /&gt;
so, and that the publisher should be merely the author&amp;#039;s&lt;br /&gt;
collecting agent. Hut there was something gracious and&lt;br /&gt;
fine about the old position.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 397 (#801) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
397&lt;br /&gt;
These lines are taken from a short note in the&lt;br /&gt;
Spectator of April gth. It is in some respects a&lt;br /&gt;
remarkable utterance, because it reveals a mind&lt;br /&gt;
still leaning towards the old and cherished delusions,&lt;br /&gt;
but forcibly attracted by the new ideas&mdash;say rather,&lt;br /&gt;
the new discoveries,&mdash;and, against its will, recog-&lt;br /&gt;
nising them. It is not, perhaps, disrespectful to&lt;br /&gt;
regard the editor of the Spectator, who has im-&lt;br /&gt;
pressed upon his paper in a very remarkable&lt;br /&gt;
manner his own very remarkable personality, as no&lt;br /&gt;
longer a very young man. He was brought up in&lt;br /&gt;
the belief that the good publisher is &amp;quot; generous&amp;quot; and&lt;br /&gt;
&amp;quot;liberal&amp;quot; towards authors; that the true patron&lt;br /&gt;
of literature is the publisher&mdash;the public mean well,&lt;br /&gt;
but the publisher is the only friend; that he, and&lt;br /&gt;
he alone, is the stay and prop of those who write;&lt;br /&gt;
that his life is wholly spent in advancing the&lt;br /&gt;
higher interests of literature; that in publishing&lt;br /&gt;
books he is guided solely by those higher interests,&lt;br /&gt;
and in most cases loses his money on every book.&lt;br /&gt;
And he now learns the new discovery and is dis-&lt;br /&gt;
turbed. &amp;quot;There is something,&amp;quot; he says, regretfully,&lt;br /&gt;
&amp;quot;fine and gracious about the old position.&amp;quot; Yes,&lt;br /&gt;
the old position of his own imagination. Did it ever&lt;br /&gt;
exist in actual fact? Was the publisher ever, at&lt;br /&gt;
any time, &amp;quot;generous&amp;quot; and &amp;quot;liberal&amp;quot;? Was he&lt;br /&gt;
ever, at any time, a patron of literature in the&lt;br /&gt;
only true sense? Was he not always and always&lt;br /&gt;
a man of business pure and simple? What is&lt;br /&gt;
it that authors should expect from these pub-&lt;br /&gt;
lishers? Liberality? Generosity? But theirs is&lt;br /&gt;
the property&mdash;their own&mdash;their creation, as much&lt;br /&gt;
as a desk, a picture, a piece of machinery. The&lt;br /&gt;
publisher administers it. What is meant by&lt;br /&gt;
&amp;quot;liberality&amp;quot; on the part of the agent who ad-&lt;br /&gt;
ministers the property? And what kind of respect&lt;br /&gt;
can ever lie paid to literature while the world per-&lt;br /&gt;
sists in regarding the author as standing, hat in hand,&lt;br /&gt;
before his publisher, crying, &amp;quot;Oh! sir. This is,&lt;br /&gt;
indeed, generosity! This is liberality indeed!&lt;br /&gt;
What? Another half-crown? Another? Oh!&lt;br /&gt;
My children will bless thee! Oh! Princely &mdash;&lt;br /&gt;
Kingly&mdash;Generosity!&amp;quot; Of course, as we now&lt;br /&gt;
know, the real fact is that no publisher ever gave&lt;br /&gt;
any man anything at all for unsaleable work, unless&lt;br /&gt;
in those cases where he did not know his own&lt;br /&gt;
business, or where it was for his own advertisement&lt;br /&gt;
and his own advantage to publish an unsaleable&lt;br /&gt;
book. At no time has the author of such work&lt;br /&gt;
ever experienced any &amp;quot;generosity&amp;quot; from any&lt;br /&gt;
publisher whatever. Why should he expect it?&lt;br /&gt;
A cabinet maker does not expect to be paid for a&lt;br /&gt;
piece of work so bad that no one will buy it&mdash;why&lt;br /&gt;
should an author? Why should a publisher be&lt;br /&gt;
praised for paying for bad work? It is folly; it&lt;br /&gt;
is madness; unless on the assumption that in this&lt;br /&gt;
or that case to do so serves his interests. But&lt;br /&gt;
publishers have at different times paid large sums&lt;br /&gt;
VOL. II.&lt;br /&gt;
to successful authors. Certainly. But at no time&lt;br /&gt;
have they allowed those authors to see their books.&lt;br /&gt;
What &amp;quot;generosity&amp;quot; is that which says, &amp;quot;My&lt;br /&gt;
friend, I will give you &pound;200 for your book. But&lt;br /&gt;
I am not going to tell you what I get for it.&amp;quot;&lt;br /&gt;
There may be &amp;quot;something gracious and fine&amp;quot;&lt;br /&gt;
about the old position, but the graciousness loses a&lt;br /&gt;
good deal of its beauty when we remember that it&lt;br /&gt;
degraded men of letters, even the most successful,&lt;br /&gt;
to the position of humble dependents on the&lt;br /&gt;
&amp;quot;bounty&amp;quot; of their publishers. Of course it is a&lt;br /&gt;
very gracious and fine&amp;quot; thing to pretend to be&lt;br /&gt;
a patron of literature; it is very fine to be accepted&lt;br /&gt;
as a patron. Therefore, they all claim to be the&lt;br /&gt;
patrons of literature &mdash; every little impecunious&lt;br /&gt;
clerk who starts as a publisher by persuading&lt;br /&gt;
silly people to pay for production; they all put&lt;br /&gt;
on the airs of the man who nobly throws away&lt;br /&gt;
his thousands in the advancement of literature;&lt;br /&gt;
they all pretend that they take fearful risks; they all&lt;br /&gt;
make the terms they offer a favour instead of a right.&lt;br /&gt;
By such shallow pretences the fraudulent gentry&lt;br /&gt;
whom we have exposed have been enabled to carry&lt;br /&gt;
on their tricks and their frauds. This is the mere&lt;br /&gt;
jargon of the craft. We are beginning to scoff at&lt;br /&gt;
it. In the course of time respectable people will&lt;br /&gt;
be ashamed to use this jargon; it will be forgotten.&lt;br /&gt;
We shall all agree that business t* business, and&lt;br /&gt;
has to be conducted according to the rules of all&lt;br /&gt;
business. Meantime, we rejoice that the editor of&lt;br /&gt;
the Spectator thinks that the new order may be&lt;br /&gt;
better than the old, and that the publisher should&lt;br /&gt;
be &amp;quot;merely the author&amp;#039;s collecting agent.&amp;quot; But&lt;br /&gt;
that &amp;quot; old position &amp;quot;&mdash;one returns to the question&mdash;&lt;br /&gt;
that time when publishers were patrons of litera-&lt;br /&gt;
ture&mdash;when did it flourish? It is like the age of&lt;br /&gt;
chivalry; it is a thing dreamed of and written&lt;br /&gt;
about, but it never existed. Those who dream of&lt;br /&gt;
it still are for the most part the camp followers of&lt;br /&gt;
literature&mdash;not critics&mdash;who sometimes produce&lt;br /&gt;
books of their own, literary books, biographies of&lt;br /&gt;
literary men, mild essays on literary subjects,&lt;br /&gt;
which the world does not care for, and takes in&lt;br /&gt;
minute quantities. For such a book, a ten pound&lt;br /&gt;
note&mdash;and publication&mdash;seems to the author gene-&lt;br /&gt;
rosity unparalleled. To them their publisher is a&lt;br /&gt;
patron indeed. But, for the successful author&mdash;&lt;br /&gt;
why&mdash;let us see the ledger; let us look into&lt;br /&gt;
the printer&amp;#039;s account; let us examine the cash&lt;br /&gt;
book; let us ask what proportion the author&lt;br /&gt;
should receive in equity. We will then decline to&lt;br /&gt;
take doles in the name of &amp;quot;generosity&amp;quot; and will&lt;br /&gt;
demand our rights. Generosity! Liberality! Do&lt;br /&gt;
not the very words degrade and insult the man of&lt;br /&gt;
letters?&lt;br /&gt;
&mdash;■&lt;br /&gt;
H h&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 398 (#802) ############################################&lt;br /&gt;
&lt;br /&gt;
398&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
YOUNa AND OLD.&lt;br /&gt;
WjlEN I WAS YOUXO.&lt;br /&gt;
When I was young, tlie stars then told n tale&lt;br /&gt;
Of love beyond the grave, and worlds to prove,&lt;br /&gt;
When we have never longer cause to wait,&lt;br /&gt;
But only to explore and love, and love.&lt;br /&gt;
When 1 was young, my friends then seemed so true,&lt;br /&gt;
I was a hero in their eyes, and could&lt;br /&gt;
J)o nothing wrong. Like flowers steeped in dew,&lt;br /&gt;
My hopes were fresh, my impulses all good.&lt;br /&gt;
When I was young, I hail not doubts, but took&lt;br /&gt;
Each smile as meant, and gave it back the same,&lt;br /&gt;
The world spread out as open as a book,&lt;br /&gt;
I then felt confident of wealth and fame.&lt;br /&gt;
When I was young, gold seemed an idle toy,&lt;br /&gt;
Not worth the striving for; a higher goal&lt;br /&gt;
Lured my hopes on, a greater, god-like joy,&lt;br /&gt;
A something worthier of man&amp;#039;s deathless soul.&lt;br /&gt;
When I was young, I thought each woman fair&lt;br /&gt;
And like an angel sent to lift up lips&lt;br /&gt;
To God j so like a knight 1 thought to wear&lt;br /&gt;
My coat of mail and guard them in the strife.&lt;br /&gt;
When I was young, to make a sacrifice&lt;br /&gt;
Seemed great and noble, so I sought the field&lt;br /&gt;
With tender thoughts of humid tender eyes&lt;br /&gt;
Reaming upon me as my knight&amp;#039;s best shield.&lt;br /&gt;
When I was young, I thought if heroes died&lt;br /&gt;
Fighting for duty, this was best of all;&lt;br /&gt;
To leave behind them, with a people&amp;#039;s pride,&lt;br /&gt;
Some kindly hearts to weep their early fall.&lt;br /&gt;
When I was young, this world was fair and pure,&lt;br /&gt;
And sin was of another world, while I&lt;br /&gt;
Might fall and perish, still my soul was sure&lt;br /&gt;
To reach those stars, that glisten in the sky.&lt;br /&gt;
Now I in Old.&lt;br /&gt;
Now I am eld and have gone through the fight,&lt;br /&gt;
How do I view this fresh&amp;#039;ning world of ours?&lt;br /&gt;
The stars arc only glimmering sparks of light,&lt;br /&gt;
The friends but like the fleeting, vanished hours.&lt;br /&gt;
Each speculation is a doubt, each dream&lt;br /&gt;
A gourd which withers; fame a breath, and gold&lt;br /&gt;
The only thing of earth w hich does not seem&lt;br /&gt;
A fallacy on earth, now I am old.&lt;br /&gt;
Hume Nishkt.&lt;br /&gt;
&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
IT would be astounding that a work by no less&lt;br /&gt;
a person than our illustrious President should&lt;br /&gt;
appear without a note in the pages of the&lt;br /&gt;
Author. But &amp;quot;The Foresters&amp;quot; was played just&lt;br /&gt;
too late for the April number, and during the&lt;br /&gt;
interval there has been sueh a chorus of notices,&lt;br /&gt;
reviews, criticisms, and appreciations that anything&lt;br /&gt;
at this late hour would be superfluous. Let us&lt;br /&gt;
only congratulate ourselves on the master touch&lt;br /&gt;
which shows as yet no feebleness, the voice that&lt;br /&gt;
shows no touch of age, the hand as true as ever, the&lt;br /&gt;
ear as delicate.&lt;br /&gt;
A disquieting rumour has come across the&lt;br /&gt;
Atlantic. We have more than once referred to&lt;br /&gt;
the American Authors&amp;#039; Society; the prospectus of&lt;br /&gt;
(as we thought) the only American Authors&amp;#039; Society-&lt;br /&gt;
has been published in this Journal. It now appears&lt;br /&gt;
that Mr. Charles Burr-Todd wishes to be the&lt;br /&gt;
founder of -an association called the &amp;quot;Society of&lt;br /&gt;
American Authors,&amp;quot; while Mrs. Katharine Hodges&lt;br /&gt;
is already the Secretary of the &amp;quot;American Society&lt;br /&gt;
of Authors,&amp;quot; an association which contains 200&lt;br /&gt;
members already, and is daily increasing. As&lt;br /&gt;
Mr. Todd uses my name, I may explain that I was&lt;br /&gt;
in ignorance that a second&mdash;a rival&mdash;society was&lt;br /&gt;
contemplated by Mr. Todd. I naturally thought&lt;br /&gt;
that he was writing in support of the society&lt;br /&gt;
already established. Nothing could be more fatal&lt;br /&gt;
to the interests which we seek to defend, than the&lt;br /&gt;
existence of two rival societies. Let us trust that&lt;br /&gt;
the Americans, who have the reputat ion of clearness&lt;br /&gt;
at least, and common sense in all their relations&lt;br /&gt;
of business, will be swift to understand that either&lt;br /&gt;
the second society must not be attempted, or that&lt;br /&gt;
the two societies may be at once merged into one.&lt;br /&gt;
The &amp;quot;tyranny of the novel&amp;quot; exercises a good&lt;br /&gt;
many minds at the present moment. Everything&lt;br /&gt;
takes the form of a novel. We are didactic in a&lt;br /&gt;
novel; we are political in a novel; we expose our&lt;br /&gt;
enemies in a novel; we show what certain theories&lt;br /&gt;
mean in a novel; we even illustrate our own lives,&lt;br /&gt;
our sorrows, and our disappointments in a novel.&lt;br /&gt;
The last illustration of the &amp;quot; tyranny of the novel&amp;quot;&lt;br /&gt;
is the interesting case of Mademoiselle Helene&lt;br /&gt;
Vacaresco, the young lady who had to break off&lt;br /&gt;
her engagement with the Crown Prince of Rou-&lt;br /&gt;
mania. It is said that she has written a novel,&lt;br /&gt;
in which she tells her unfortunate love story.&lt;br /&gt;
Eight years ago the New York Critic published&lt;br /&gt;
a list of forty &amp;quot;Immortals.&amp;quot; Of these, fourteen&lt;br /&gt;
have now passed away. Their names are as&lt;br /&gt;
follows :&mdash;&lt;br /&gt;
Richard Grant White, died 5th April 1885,&lt;br /&gt;
aged 63.&lt;br /&gt;
Edwin P. Whipple, died 16th June 1886, ae;ed&lt;br /&gt;
67.&lt;br /&gt;
Henry Ward Beecher, died 8th March 1887,&lt;br /&gt;
aged 73.&lt;br /&gt;
John Q. Saxe, died 3ist March 1887, aged 76.&lt;br /&gt;
Mark Hopkins, died 17th June 1887, aged 85.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 399 (#803) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
399&lt;br /&gt;
Asa Gray, died 3oth January 1888, aged 77.&lt;br /&gt;
A. Bronson Alcott, died 4th March 1888, aged&lt;br /&gt;
88.&lt;br /&gt;
James Freeman Clarke, died 8th June 1888,&lt;br /&gt;
aged 78.&lt;br /&gt;
Theodore D. Woolsey, died 1st July 1889,&lt;br /&gt;
aged 87.&lt;br /&gt;
George Bancroft, died 17 th January 1891,&lt;br /&gt;
aged 90.&lt;br /&gt;
Alexander Burchell, died 19th February 1891,&lt;br /&gt;
aged 66.&lt;br /&gt;
Jiiines Bussell Lowell, died 12th August 1891,&lt;br /&gt;
aged 72.&lt;br /&gt;
Noah Porter, died 3rd March 1892, aged 80.&lt;br /&gt;
Walt &amp;quot;Whitman, died 26th March 1892, aged 72.&lt;br /&gt;
Out of these fourteen, how many are there whose&lt;br /&gt;
principal works could be enumerated by the&lt;br /&gt;
average reader, or even by the student of litera-&lt;br /&gt;
ture? Not that one would scoff at their Immor-&lt;br /&gt;
tality. Such an English list would probably show&lt;br /&gt;
as many blanks after eight years; the voice of the&lt;br /&gt;
living is always listened to before the voice of the&lt;br /&gt;
dead, and posterity will have its own favourites.&lt;br /&gt;
Immortality, in fact, is limited, save for the very,&lt;br /&gt;
very few. Happy is the man who can please or&lt;br /&gt;
instruct his own generation; happy he who can&lt;br /&gt;
make them listen to him; more happy still if he&lt;br /&gt;
does not in the least trouble his head about&lt;br /&gt;
posterity.&lt;br /&gt;
&amp;quot;A week or two ago reference was made in these columns&lt;br /&gt;
to two articles which appeared in a recent issue of the&lt;br /&gt;
Forum on the grievances of authors and the sins of pub-&lt;br /&gt;
lishers. Roth were written from the author&amp;#039;s point of view,&lt;br /&gt;
and the unhappy publishers had it hot and heavy. But&lt;br /&gt;
they have found an unexpected champion. An American&lt;br /&gt;
author comes gallantly to the rescue. Here is part of his&lt;br /&gt;
testimony: &amp;#039; I believe their methods are strictly honourable.&lt;br /&gt;
Now, for example, in spite of the fact that my last book is&lt;br /&gt;
not selling nearly so well as I think it ought to sell, I would&lt;br /&gt;
not for a moment question the integrity of my publishers.&lt;br /&gt;
As to the suggestion that publishers should open their&lt;br /&gt;
books for the inspection of authors&mdash;it is absurd. If&lt;br /&gt;
authors were permitted to look at the books they would not&lt;br /&gt;
understand them. No; I am satisfied that our publishers&lt;br /&gt;
are not only honest in their dealings with authors, but that&lt;br /&gt;
they offer us a fair proportion of the returns from our&lt;br /&gt;
books.&amp;#039;&amp;quot;&lt;br /&gt;
The above is quoted from the Publishers&amp;#039;&lt;br /&gt;
Circular of March 26th last. The editor in pub-&lt;br /&gt;
lishing the extract surely credits the world with a&lt;br /&gt;
very, very great deal of credulity. The American&lt;br /&gt;
author who conies &amp;quot;gallantly&amp;quot; (!) to the rescue&lt;br /&gt;
knows nothing, and pretends to know nothing,&lt;br /&gt;
about the thing of which he writes. He believes&lt;br /&gt;
&mdash;honest soul! He believes. That is all. He says&lt;br /&gt;
that authors would not understand accounts. True.&lt;br /&gt;
That is the reason why we send accountants for&lt;br /&gt;
the purpose. He is &amp;quot;satisfied&amp;quot; that his publishers&lt;br /&gt;
are honest, and fair, and virtuous, and holy. No&lt;br /&gt;
doubt. We do not for a moment say that they are&lt;br /&gt;
not. Only&mdash;let us treat each other in this, as in&lt;br /&gt;
every other kind of business, openly and fairly, and&lt;br /&gt;
above board. And&mdash;which is an axiom&mdash;a man who&lt;br /&gt;
refuses to let his partner in any joint enterprise&lt;br /&gt;
see the books must be&mdash;what? Let this confiding&lt;br /&gt;
American letter-writer answer the question.&lt;br /&gt;
I venture to express the universal good wishes&lt;br /&gt;
of all who know Mr. George Augustus Sala, either&lt;br /&gt;
personally or by his work, for the success of his&lt;br /&gt;
new magazine. As these lines are written news&lt;br /&gt;
comes of a second large edition. So far I have not&lt;br /&gt;
been able to get it at any of the bookstalls&mdash;&lt;br /&gt;
&amp;quot;waiting for more copies.&amp;quot;&lt;br /&gt;
Walter Besant. &diams;■&raquo;■&diams;&lt;br /&gt;
FEUILLETON.&lt;br /&gt;
The Wish of His Heart.&lt;br /&gt;
I.&lt;br /&gt;
THE young man sat in the suburban garden;&lt;br /&gt;
it was a very little garden about i5 feet&lt;br /&gt;
wide and 25 feet long; only a scrap of a&lt;br /&gt;
garden behind a little semi-detached house in the&lt;br /&gt;
suburb of Forest Gate. Like most houses of the&lt;br /&gt;
kind, there was a kitchen, with a room over it,&lt;br /&gt;
built out at the back; things were hanging out to&lt;br /&gt;
dry in the little area between the kitchen and the&lt;br /&gt;
garden wall; a Virginia creeper climbed over the&lt;br /&gt;
house. In the garden were two or three lilacs, a&lt;br /&gt;
strip of grass, a narrow bed of flowers, now gay with&lt;br /&gt;
the blossoms of the annuals, and a garden seat,&lt;br /&gt;
where this young man sat. He was about nineteen,&lt;br /&gt;
and in his hands was a book. He held it before&lt;br /&gt;
his short-sighted eyes; he seemed to be reading it;&lt;br /&gt;
his cheek glowed; his eyes brightened; his hand&lt;br /&gt;
trembled. If we could put down in lame, slow,&lt;br /&gt;
halting words the thoughts that filled the mind of&lt;br /&gt;
that young mar., there would be read a series of&lt;br /&gt;
ejaculations. For instance, &amp;quot;Oh! It is splendid!&lt;br /&gt;
It is wonderful! It is splendid! It is wonderful!&amp;quot;&lt;br /&gt;
What was so splendid? What was it that&lt;br /&gt;
glorified the world in the eyes of that young man?&lt;br /&gt;
Nothing but a dream. He was dreaming that he&lt;br /&gt;
had written the book in his hands. In his imagi-&lt;br /&gt;
nation he was already a novelist, delighting the&lt;br /&gt;
whole world, read by all the English-speaking&lt;br /&gt;
people in this realm of ours; in the kingdom of&lt;br /&gt;
Man; across the Western seas; in the Isles of the&lt;br /&gt;
II h 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 400 (#804) ############################################&lt;br /&gt;
&lt;br /&gt;
400&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
East; in the Austral continent. He heard his&lt;br /&gt;
own name shouted to the very end of the world;&lt;br /&gt;
he heard the trumpet of Fame; he actually saw&lt;br /&gt;
that lovely, benevolent, generous, kindly goddess&lt;br /&gt;
Hying over his head&mdash;over that suburban little&lt;br /&gt;
garden at Forest Gate; in one hand a scroll&mdash;the&lt;br /&gt;
scroll of his achievements, and in the other a&lt;br /&gt;
trumpet; and her lips parted while she proclaimed&lt;br /&gt;
his name&mdash;his noble name&mdash;the name of the Im-&lt;br /&gt;
mortal Author&mdash;the Darling of the Muses&mdash;the&lt;br /&gt;
admiration of the world&mdash;the despair of his rivals&mdash;&lt;br /&gt;
his own name&mdash;&lt;br /&gt;
&amp;quot;Tommy,&amp;quot; cried a voice from the open window&lt;br /&gt;
of the house, &amp;quot; Come in to supper.&amp;quot;&lt;br /&gt;
II.&lt;br /&gt;
Tommy, or Tom, Crump sat in his bedroom&mdash;the&lt;br /&gt;
little room over the kitchen, generally assigned to&lt;br /&gt;
&amp;quot;the girl.&amp;quot; The other residents of the house were&lt;br /&gt;
in bed and asleep. He sat up and wrote. Yes,&lt;br /&gt;
he wrote, for that vision was always with him, and&lt;br /&gt;
he had begun to do his utmost to make it real; he&lt;br /&gt;
wrote at night, from ten o&amp;#039;clock till midnight, or&lt;br /&gt;
even till one and two in the morning.&lt;br /&gt;
Tommy was a clerk in the City; he received already&lt;br /&gt;
&pound;60 a year: he was in a big House, and might be&lt;br /&gt;
considered as having made a very good start: he&lt;br /&gt;
was steady, wrote a good hand, was intelligent, and&lt;br /&gt;
gave satisfaction. What more can be desired of&lt;br /&gt;
such a young man at the outset? He had no secret&lt;br /&gt;
vices; he did not desire strong drink; he did not&lt;br /&gt;
play billiards; he did not frequent music halls; he&lt;br /&gt;
was quite a good young man. When he had time,&lt;br /&gt;
he read all the books he could borrow; every&lt;br /&gt;
evening he had this vision of himself as a great&lt;br /&gt;
writer and of the wonderful Fame that he would&lt;br /&gt;
achieve; every night he spent two hours in writing&lt;br /&gt;
stories.&lt;br /&gt;
He would be a novelist. There was no one to&lt;br /&gt;
advise him as to the qualifications that go to make&lt;br /&gt;
a novelist; he knew nothing about style, dramatic&lt;br /&gt;
effect, or construction; he was entirely ignorant of&lt;br /&gt;
the elementary requirements of the Art; he did not&lt;br /&gt;
even know that it was an Art; had he known it&lt;br /&gt;
would not have helped him. Therefore, he ap-&lt;br /&gt;
proached the business in complete ignorance how it&lt;br /&gt;
should be managed.&lt;br /&gt;
As for other qualifications, such as the possession&lt;br /&gt;
of materials, observation of life and manners,&lt;br /&gt;
knowledge of the social machinery, knowledge of&lt;br /&gt;
society itself&mdash;he had none. He was a little clerk&lt;br /&gt;
who had been at a school where all the boys were&lt;br /&gt;
intended to be little clerks; his people belonged to a&lt;br /&gt;
little Nonconformist chapel; he lived in a very quiet&lt;br /&gt;
little suburb; he went to the City every morning&lt;br /&gt;
.and came home every evening. He knew nothing;&lt;br /&gt;
V did not even know that he was ignorant. And&lt;br /&gt;
this unfortunate boy, so ignorant, so ill-equipped,&lt;br /&gt;
so poor, so helpless, proposed to himself to become&lt;br /&gt;
a novelist! What could happen to such a boy?&lt;br /&gt;
HI.&lt;br /&gt;
It was just before his twenty-first year that his&lt;br /&gt;
success came to him. A story was accepted; it&lt;br /&gt;
was taken by a certain weekly; the editor sent him&lt;br /&gt;
a guinea for it and told him to call.&lt;br /&gt;
He called. The editor was a kindly person&mdash;his&lt;br /&gt;
kindliness lasted just so long as his authors were&lt;br /&gt;
ready to accept a guinea for a story of six columns.&lt;br /&gt;
He received the blushing, stammering young clerk&lt;br /&gt;
with a shake of the hand and invited him to sit&lt;br /&gt;
down.&lt;br /&gt;
&amp;quot;I have taken your story,&amp;quot; he said, &amp;quot;because&lt;br /&gt;
there is promise in it. I shall get it altered a&lt;br /&gt;
little. You may, if you like, send me some more.&lt;br /&gt;
Bui you must take more pains &amp;quot;&mdash;Alas! The thing&lt;br /&gt;
had been written and rewritten half-a-dozen times&lt;br /&gt;
&mdash;&amp;quot;and you must try not to be so amateurish.&lt;br /&gt;
Here! Take this bundle of the paper&mdash;read the&lt;br /&gt;
stories&mdash;analyse them&mdash;study them&mdash;see how they&lt;br /&gt;
are written&mdash;observe particularly how the attention&lt;br /&gt;
of the reader is fixed from the outset. Very well.&lt;br /&gt;
That will show you what we want. If you are&lt;br /&gt;
clever enough to understand we may do a good&lt;br /&gt;
deal of business together.&amp;quot; Tommy was clever&lt;br /&gt;
enough to understand. The editor did a good bit&lt;br /&gt;
of business with him. But Tommy was not,&lt;br /&gt;
unfortunately, clever enough to understand that&lt;br /&gt;
without bricks or stone or wood one cannot build a&lt;br /&gt;
house, and he had neither bricks, nor stone, nor&lt;br /&gt;
wood.&lt;br /&gt;
IV.&lt;br /&gt;
It is fifteen years later. Tommy Crump is now&lt;br /&gt;
Mr. Lancelot Cory, a name which looks a great&lt;br /&gt;
deal better upon a title page. He lives in the same&lt;br /&gt;
house, of which he is now the tenant, vice his&lt;br /&gt;
father, deceased. But he goes to the City no longer.&lt;br /&gt;
Tommy is what he so ardently desired to become&mdash;&lt;br /&gt;
a writer of stories.&lt;br /&gt;
Nobody, I suppose, of five-and-thirty, has written&lt;br /&gt;
so many stories. No novelist that ever lived has&lt;br /&gt;
written so much as Mr. Lancelot Cory. He writes&lt;br /&gt;
all day long and every day. He knows no Sabbath.&lt;br /&gt;
He takes no rest. He hardly ever goes outside&lt;br /&gt;
the house. He sees no society. He remains as&lt;br /&gt;
ignorant of the world as when he first began to&lt;br /&gt;
write. He sits in the little room over the kitchen&lt;br /&gt;
where he has always written. He has a wife and&lt;br /&gt;
four children, and for their sakes his pen keeps&lt;br /&gt;
driving&mdash;driving&mdash;all day long. He keeps the&lt;br /&gt;
wolf from the door&mdash;but with difficulty&mdash;by these&lt;br /&gt;
labours unceasing.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 401 (#805) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
401&lt;br /&gt;
He is pule and thin. He has become prema-&lt;br /&gt;
turely bald. His eyes, which now wear spectacles,&lt;br /&gt;
are red and watery. That solace of the hard-&lt;br /&gt;
worked hack, the gin bottle, is not unknown to&lt;br /&gt;
him. He stops from time to time and grasps his&lt;br /&gt;
right wrist with his left hand. Yes&mdash;it is coming.&lt;br /&gt;
There are convulsive movements of the fingers;&lt;br /&gt;
there are shooting pains up the arm. He knows,&lt;br /&gt;
with a sinking of the heart, that writers&amp;#039; cramp&lt;br /&gt;
is coming.&lt;br /&gt;
Presently he gathers up his papers. Some&lt;br /&gt;
writers linger over their work, correcting here and&lt;br /&gt;
adding there. Mr. Lancelot Cory does not. He&lt;br /&gt;
knows hetter. He puts them together, and numbers&lt;br /&gt;
them, and rolls them up. Then he takes his hat&lt;br /&gt;
and disappears.&lt;br /&gt;
&amp;quot;Well, Mister,&amp;quot; says his employer, a gentleman&lt;br /&gt;
with a red face, and a certain something in his&lt;br /&gt;
look that would have made all the Muses together&lt;br /&gt;
shiver and shake and tremble&mdash; &amp;quot; It&amp;#039;s take it or&lt;br /&gt;
leave it. There&amp;#039;s plenty who&amp;#039;d jump at my&lt;br /&gt;
terms. It used to be three pound ten for thirty&lt;br /&gt;
thousand words. It&amp;#039;s gone down now to two&lt;br /&gt;
pound ten. And here&amp;#039;s the money.&amp;quot;&lt;br /&gt;
&amp;quot;But, good God, sir, how am I to live?&amp;quot;&lt;br /&gt;
&amp;quot;Don&amp;#039;t know, I&amp;#039;m sure. That&amp;#039;s not my business.&lt;br /&gt;
Look here, I can got novelettes by the dozen &mdash;&lt;br /&gt;
thirty thousand words&mdash;for two pound ten apiece.&lt;br /&gt;
What is it &mdash; thirty thousand words? About&lt;br /&gt;
fifty of your pages. Only fifty pages. You&amp;#039;re&lt;br /&gt;
all so infernally lazy. And mind &mdash; prices are&lt;br /&gt;
going down &mdash; I shouldn&amp;#039;t be surprised, at the&lt;br /&gt;
rate things are moving, if we don&amp;#039;t get the price&lt;br /&gt;
down before long to fifteen bob the thirty thousand&lt;br /&gt;
words. Ah! and we will, too&mdash;with the help of&lt;br /&gt;
the girls.&amp;quot;&lt;br /&gt;
Mr. Lancelot Cor)&amp;#039;&mdash;Tommy Crump&mdash;took the&lt;br /&gt;
money meekly and crept away. It was the pay&lt;br /&gt;
for a fortnight&amp;#039;s hard work. The work was not&lt;br /&gt;
worth anything to be sure, regarded as work, but&lt;br /&gt;
it was all he could do.&lt;br /&gt;
This is the end of that noble dream. He sees it&lt;br /&gt;
no more. Fame, with her trumpet and her scroll,&lt;br /&gt;
has changed into a Fury with a scourge, driving&mdash;&lt;br /&gt;
driving&mdash;driving&mdash;his pen as fast as it can fly across&lt;br /&gt;
the page. Soon will come writers&amp;#039; cramp in earnest.&lt;br /&gt;
Soon the price of the penny novelette will go down,&lt;br /&gt;
as the large-hearted proprietor foretold, to fifteen&lt;br /&gt;
shillings the thirty thousand words. And then&mdash;&lt;br /&gt;
then&mdash;alas! Poor Tommy! His brothers, who&lt;br /&gt;
have remained clerks, are drawing their four, five,&lt;br /&gt;
or even six pounds a week, while he&mdash;Alas! Poor&lt;br /&gt;
dreamer!&lt;br /&gt;
&lt;br /&gt;
NOTES FROM PARIS.&lt;br /&gt;
MR. Walter Besant invites me to give some&lt;br /&gt;
more information on the financial side of&lt;br /&gt;
the relations between French publishers&lt;br /&gt;
and authors. I should say that not in more than&lt;br /&gt;
one case out of a thousand does a French publisher&lt;br /&gt;
purchase an author&amp;#039;s copyright outright. If the&lt;br /&gt;
author is unknown the publisher will not run the&lt;br /&gt;
risk. If the author has any reputation, it is he who&lt;br /&gt;
would not part with his property, which, thanks to&lt;br /&gt;
the French custom of continuous republication,&lt;br /&gt;
may be an unceasing source of revenue to him.&lt;br /&gt;
The system adopted by authors and publishers is&lt;br /&gt;
the royalty system, the royalties varying, according&lt;br /&gt;
to the status of the author, from 25 cents, to 1 franc&lt;br /&gt;
per volume. The French volume, published at&lt;br /&gt;
3 francs 5o cents., is generally sold at 2 francs&lt;br /&gt;
75 cents., though the country booksellers and some&lt;br /&gt;
old-fashioned Parisian retailers refuse to allow&lt;br /&gt;
any discount to the public. The bookseller earns&lt;br /&gt;
5d. per volume, leaving for cost of production and&lt;br /&gt;
for author&amp;#039;s and publisher&amp;#039;s profits the sum of&lt;br /&gt;
twelve-thirteenths of 2 francs 20 cents. Where a&lt;br /&gt;
royalty of 1 franc per copy is given, the author&amp;#039;s&lt;br /&gt;
remuneration is higher than the publisher&amp;#039;s profits,&lt;br /&gt;
but such a royalty is very exceptional. Zola,&lt;br /&gt;
Daudet, de Maupassant, and a few others get it.&lt;br /&gt;
Many first-rate men have to content themselves&lt;br /&gt;
with a royalty of 5d. Some get 7^d., but the&lt;br /&gt;
vast majority of writers do not receive more than&lt;br /&gt;
3\d., which is a very favourite figure with the&lt;br /&gt;
publishers. Absolute beginners receive i\d., anil&lt;br /&gt;
than this there is no lower royalty. Ten pounds&lt;br /&gt;
on account of royalties is considered liberal, entail-&lt;br /&gt;
ing as it does the obligation on the publisher to sell&lt;br /&gt;
from live hundred to a thousand copies. That is&lt;br /&gt;
where royalties are from 5d. to 2\d. a copy. Four&lt;br /&gt;
pounds is the best a poet can hope for on account&lt;br /&gt;
of a volume, and thinks himself liberally treated.&lt;br /&gt;
An edition in France is supposed to consist of&lt;br /&gt;
1,000 copies. But publishers here are not without&lt;br /&gt;
guile, and to whip up a sale a book may be issued&lt;br /&gt;
in editions of 5o copies, so that by the time 1,000&lt;br /&gt;
copies have been disposed of, the book is in its twen-&lt;br /&gt;
tieth edition. This is considered, rightly, foul play,&lt;br /&gt;
and one Paul Bonnetain- once niade a fuss about&lt;br /&gt;
it. &amp;quot;If my book has reached such an edition,&lt;br /&gt;
bona fides, you are swindling me,&amp;quot; he wrote to his&lt;br /&gt;
publishers, &amp;quot;for you have only accounted to me&lt;br /&gt;
for so many copies. If the editions arc imaginary,&lt;br /&gt;
then the public is being swindled, inasmuch as you&lt;br /&gt;
lead people to believe in a success and a demand&lt;br /&gt;
which do not exist. In either case I object to&lt;br /&gt;
your conduct.&amp;quot;&lt;br /&gt;
vol. it.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 402 (#806) ############################################&lt;br /&gt;
&lt;br /&gt;
402&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
On the other hand, in the caw of one or two&lt;br /&gt;
very popular authors, the first edition usually con-&lt;br /&gt;
sists of many more copies than the regulation 1,000.&lt;br /&gt;
I am told that of the first editions of Zola&amp;#039;s&lt;br /&gt;
books, 20,000 copies are always issued. The&lt;br /&gt;
second edition then appears as &amp;quot;Twenty-first&lt;br /&gt;
thousandth.&amp;quot; This is because everybody wants a&lt;br /&gt;
first edition of Zola&amp;#039;s books. Formerly his books&lt;br /&gt;
were issued in first editions of 1,000 copies, and&lt;br /&gt;
such copies are now worth from 3o to 100 francs a&lt;br /&gt;
piece. I saw a first edition of &amp;quot;L&amp;#039;Assommoir&amp;quot;&lt;br /&gt;
marked io5 francs in the window of a shop where&lt;br /&gt;
only rare volumes are sold. Since &amp;quot;La Terre&amp;quot;&lt;br /&gt;
however, owing to the new arrangement, such&lt;br /&gt;
larger first editions have been issued, that no copies&lt;br /&gt;
of first editions of any of his later books are quoted&lt;br /&gt;
at a premium. In the case of men of small popu-&lt;br /&gt;
larity, it is usual for a publisher not to issue more&lt;br /&gt;
than 5oo copies of a book as a first, often last,&lt;br /&gt;
edition. If he sells all the 5oo he is quite satisfied,&lt;br /&gt;
and the author also.&lt;br /&gt;
If I had a wishing-ring, I think that one of the&lt;br /&gt;
first twenty wishes that I should express, would be&lt;br /&gt;
to possess an album giving portraits of the faces of&lt;br /&gt;
all the readers of a recent issue of the National&lt;br /&gt;
Observer, as they perused Mallarme&amp;#039;s article in&lt;br /&gt;
French on &amp;quot;Vers et Musique en France,&amp;quot; in that&lt;br /&gt;
number. The face of him who has always prided&lt;br /&gt;
himself on his knowledge of French, as he puzzled&lt;br /&gt;
over that prose, would have been delightful to see.&lt;br /&gt;
I showed the article to two leading French jour-&lt;br /&gt;
nalists here, and asked them if it was comprehen-&lt;br /&gt;
sible, and they both said that, with their heads on&lt;br /&gt;
the block, they could not make sense of it. One&lt;br /&gt;
said it was pure charabia (Anglice: Double Dutch).&lt;br /&gt;
Such, however, is Mallarme&amp;#039;s invariable style. I&lt;br /&gt;
have seen and possess letters from him on trivial&lt;br /&gt;
matters, which are couched in prose as precious&lt;br /&gt;
and as obscure. As a talker, however, Mallarme,&lt;br /&gt;
being comprehensible, is exquisite, and I know few&lt;br /&gt;
rarer delights than to pass an hour or two at one of&lt;br /&gt;
his Tuesday evening receptions in the dining room&lt;br /&gt;
of his little fourth floor apartment in the Kue de&lt;br /&gt;
Rome, and to listen to the master&amp;#039;s discourses on&lt;br /&gt;
literature and art. He stands leaning against the&lt;br /&gt;
tiled stove, with his disciples closely packed sitting&lt;br /&gt;
round the long table. Cigarettes are smoked and&lt;br /&gt;
in the winter the host serves excellent rum grogs.&lt;br /&gt;
Few speak except the master, though now and then&lt;br /&gt;
a suggestion will be made or a question asked.&lt;br /&gt;
Mallarme is here at his best, and it is a pity his&lt;br /&gt;
words are not taken down for the delight of the&lt;br /&gt;
-larger world outside the little room. It is&lt;br /&gt;
&bull;:ademy in a fourth floor back. But Mallarme&amp;#039; has&lt;br /&gt;
\&lt;br /&gt;
a contempt for the larger world, by reason of the&lt;br /&gt;
Philistines, and prints with great luxury for the&lt;br /&gt;
very few. He will not publish. I thought his&lt;br /&gt;
name was derived from words meaning &amp;quot;The Man&lt;br /&gt;
of Poor Armour.&amp;quot; That was the idea of a roman-&lt;br /&gt;
tique. The master holds it that his name means&lt;br /&gt;
&amp;quot;The Man of Sad Tears.&amp;quot;&lt;br /&gt;
If English authors, who having achieved some&lt;br /&gt;
success in England, are anxious to have their works&lt;br /&gt;
and their names introduced to the Freuch public,&lt;br /&gt;
would follow the counsel of a Kempis and limit&lt;br /&gt;
their desires, they would know peace. At least,&lt;br /&gt;
they would save themselves from much disappoint-&lt;br /&gt;
ment. As a general rule, the French public does&lt;br /&gt;
not care for translations of English literature any&lt;br /&gt;
more than it would care for English lxmnets.&lt;br /&gt;
Sensational novels have the best chance here, as&lt;br /&gt;
there is always a public for such fare. But the&lt;br /&gt;
prices which are paid for French rights are always&lt;br /&gt;
very small, and it may bo. well for English authors&lt;br /&gt;
who think of attacking the Freuch publishers, to&lt;br /&gt;
grasp this fact. Hachette, the great publisher,&lt;br /&gt;
who does the most publishing or French trans-&lt;br /&gt;
lations of English books, whenever he is asked, as&lt;br /&gt;
he often is asked, some &amp;quot;long&amp;quot; price for French&lt;br /&gt;
rights, will produce, as his answer, the receipt&lt;br /&gt;
signed by Charles Dickens for the right of pub-&lt;br /&gt;
lishing the translation of &amp;quot;David Copperfield.&amp;quot;&lt;br /&gt;
It is for &pound;20. An English author who can&lt;br /&gt;
persuade a French publisher to give him &pound;10&lt;br /&gt;
for the French rights of a novel, may con-&lt;br /&gt;
sider himself very lucky. But it is bringing coals&lt;br /&gt;
to Newcastle to bring foreign fiction into the most&lt;br /&gt;
glutted literary market in the world. I should say&lt;br /&gt;
the chances an English author has of finding a&lt;br /&gt;
French publisher to translate and publish his&lt;br /&gt;
book are about one in one hundred.&lt;br /&gt;
Notoriety is in England so much considered a&lt;br /&gt;
pass to commercial success in authorship that if a&lt;br /&gt;
man, who might never have tried his hand at lite-&lt;br /&gt;
rature before, could manage to stand on his head&lt;br /&gt;
on the point of Cleopatra&amp;#039;s Needle, for, say, 24&lt;br /&gt;
consecutive hours, he would very probably be asked&lt;br /&gt;
to write for some of the most important magazines,&lt;br /&gt;
and as probably would receive offers from enter-&lt;br /&gt;
prising publishers of books. In America, he&lt;br /&gt;
would be asked to undertake a series of lectures.&lt;br /&gt;
In France, however, the best he could hope for,&lt;br /&gt;
would be an engagement either as a waiter in some&lt;br /&gt;
brasserie or eafd, or as a &amp;quot;number&amp;quot; in the pro-&lt;br /&gt;
gramme of the Folies-Bergeres. Literature is, in&lt;br /&gt;
France, considered as much a metier, requiring&lt;br /&gt;
training and apprenticeship, as the craft of the&lt;br /&gt;
locksmith or of the jeweller.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 403 (#807) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
4&deg;3&lt;br /&gt;
French publishers do little advertising, as a rule.&lt;br /&gt;
Unknown authors are never advertised, except at&lt;br /&gt;
their own cost, and do not seem to care to incur the&lt;br /&gt;
expense. Christinas and New Year&amp;#039;s books are&lt;br /&gt;
advertised, but I do not know of any publisher&lt;br /&gt;
who advertises all the year round. Some pub-&lt;br /&gt;
lishers believe in the value of puffs or reclames,&lt;br /&gt;
the prices of which vary from 4*. to 3os. a line.&lt;br /&gt;
Xavier de Montepin has, perhaps, made more&lt;br /&gt;
money out of literature than any living author in&lt;br /&gt;
France, and though he has been twice ruined, is&lt;br /&gt;
once again in an excellent situation of fortune.&lt;br /&gt;
He never knew the hardships of the craft, for his&lt;br /&gt;
first book, which he published at the age of 20,&lt;br /&gt;
was a great success, and his good fortune has never&lt;br /&gt;
since deserted him. He has produced considerably&lt;br /&gt;
over 400 novels, and hopes, though an old man, to&lt;br /&gt;
produce as many more. He lives in fine style in a&lt;br /&gt;
mansion at Passy, which is filled with modern pic-&lt;br /&gt;
tures, but otherwise decorated and fitted to recall&lt;br /&gt;
the feudal days, for de Montepin attaches great&lt;br /&gt;
importance to the fact of his being a count of old&lt;br /&gt;
family. He is very proud of his riding, and prefers&lt;br /&gt;
to talk on horses and horsemanship than on any&lt;br /&gt;
other subject. He works steadily, producing one&lt;br /&gt;
feuilleton instalment of about 1,600 words a day,&lt;br /&gt;
never missing a day. His feuilletons are published&lt;br /&gt;
in the most important Paris journals, though most&lt;br /&gt;
frequently in the Petit Journal. Though im-&lt;br /&gt;
mensely popular with a certain public, his confreres&lt;br /&gt;
complain that once he begins a story in a paper, he&lt;br /&gt;
carries it on to interminable lengths, and so reduces&lt;br /&gt;
their opportunities of an innings. He receives a&lt;br /&gt;
number of insulting anonymous letters weekly. It&lt;br /&gt;
is in this way that the spiteful, having no reviews&lt;br /&gt;
or journals&mdash;as in England&mdash;in which to vent their&lt;br /&gt;
jealous rage, revenge themselves for his success&lt;br /&gt;
and fortune.&lt;br /&gt;
Emile Bichebourg, another feuilletonist of the&lt;br /&gt;
same school and of almost equal success, lives at&lt;br /&gt;
Bougival on the Seine, where he has a lovely villa&lt;br /&gt;
called La Charmeuse. His income cannot be much&lt;br /&gt;
less than &pound;5,ooo a year. He lives and dresses simply,&lt;br /&gt;
and his great delight in life is to arrange dances&lt;br /&gt;
and fetes for the villagers in his district, in which&lt;br /&gt;
fetes he always takes a very active part. He is as&lt;br /&gt;
democratic as de Montepin is aristocratic in his&lt;br /&gt;
ideas.&lt;br /&gt;
This is how a novel by a successful writer in&lt;br /&gt;
France is such a gold mine to its author. In the&lt;br /&gt;
first instance, it is published as a feuilleton in a&lt;br /&gt;
newspaper, for which the author may receive as&lt;br /&gt;
much as &pound;3,ooo. Then it is published in volume&lt;br /&gt;
form. Then Bouff, or some other publisher of the&lt;br /&gt;
same class, brings it out again in weekly penny&lt;br /&gt;
parts, paying the author at least as much as was&lt;br /&gt;
paid for the original serial rights. Such publishers&lt;br /&gt;
spend immense suras on advertising their publi-&lt;br /&gt;
cations, both by coloured posters all over France,&lt;br /&gt;
and by displayed announcements and puffs in&lt;br /&gt;
the papers. Later on it is republished in book&lt;br /&gt;
form, the illustrated weekly parts being bound up&lt;br /&gt;
into a cheap volume. Then after a while, the&lt;br /&gt;
smaller Parisian journals, or provincial papers, whose&lt;br /&gt;
proprietors cannot afford original feuilletons,&lt;br /&gt;
arrange with the Society of Authors for the use&lt;br /&gt;
of it, so that in ten years, the same serial may have&lt;br /&gt;
appeared in fifty different papers in various parts&lt;br /&gt;
of France. The author gets a large share of the&lt;br /&gt;
&amp;quot;boodle &amp;quot; in each transaction, so that it will easily&lt;br /&gt;
be understood why French people say that a&lt;br /&gt;
successful novel is worth a good deal more than a&lt;br /&gt;
farm in Beauec.&lt;br /&gt;
Was not George Augustus Sala a little hard&lt;br /&gt;
on the typewriter in one of his recent letters in the&lt;br /&gt;
Sunday Times? As a pastmaster in the craft,&lt;br /&gt;
all that Mr. Sala says is worthy of the closest&lt;br /&gt;
consideration. Still, I hope that young writers&lt;br /&gt;
will not be dissuaded from the use of the writing&lt;br /&gt;
machine by his attack upon it. It may not be as&lt;br /&gt;
suitable for the production of the higher grades of&lt;br /&gt;
literary wares as the pen, but for turning out good&lt;br /&gt;
medium qunlities, it is as good, and so much more&lt;br /&gt;
rapid. And there is, I should say, more demand&lt;br /&gt;
for good medium, or even medium wares, than for&lt;br /&gt;
fine work, for it is a Brummagem age we live in.&lt;br /&gt;
It is money in a man&amp;#039;s pocket&mdash;if it be true that&lt;br /&gt;
time is money&mdash;to use a typewriter in the manu-&lt;br /&gt;
facture of copy, which it produces at at least three&lt;br /&gt;
times the speed of the pen. Of course, if a man&lt;br /&gt;
can command his own prices let him use a pen, or&lt;br /&gt;
even a peacock&amp;#039;s quill, like the divine Sarah, but&lt;br /&gt;
in the case of the writer who stands towards the&lt;br /&gt;
purchasers of literary wares as a simple producer,&lt;br /&gt;
whose goods are judged by quantity and actuality,&lt;br /&gt;
and not by brand, let his argument be to such as&lt;br /&gt;
object to &amp;quot;machine-uiade copy,&amp;quot; &amp;quot;My prices for&lt;br /&gt;
this quality are so much, but for fine work so&lt;br /&gt;
much more.&amp;quot; &amp;quot;Them as wants titivating&amp;quot;&mdash;&lt;br /&gt;
was not it Mrs. Gamp who said so ?&mdash;&amp;quot; must pay&lt;br /&gt;
according.&amp;quot;&lt;br /&gt;
But even for the professional producer of fine&lt;br /&gt;
work the typewriter is useful. I fancy that a good&lt;br /&gt;
way of writing a novel would be to write it off,&lt;br /&gt;
a jet continu, on the machine, and then to re-write&lt;br /&gt;
it from this ebauche as often as need be with a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 404 (#808) ############################################&lt;br /&gt;
&lt;br /&gt;
404&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
view to stylo. The MS. would then be once more&lt;br /&gt;
put on the machine, and the final fair copy turned&lt;br /&gt;
out. TurgeniefE used to suggest re-writing a book at&lt;br /&gt;
least six times, but then Turgenioff had a large&lt;br /&gt;
private income, and could afford to &amp;quot; titivate&amp;quot; his&lt;br /&gt;
readers at his own expense. Personally, I find it&lt;br /&gt;
easy to turn out from six to ten thousand words&lt;br /&gt;
of marketable medium wares per diem on the&lt;br /&gt;
typewriter. At a pitch, I have produced double&lt;br /&gt;
that quantity. A typewriter will yield three&lt;br /&gt;
thousand words an hour easily. By its help I was&lt;br /&gt;
once able to furnish a publisher in three (lavs, and&lt;br /&gt;
without interfering with my routine work, with a&lt;br /&gt;
translation of a French book of over fifty thousand&lt;br /&gt;
wonls, which the publisher hud hoped I could let&lt;br /&gt;
him have in a mouth. For the production of&lt;br /&gt;
&amp;quot;shockers &amp;quot; the typewriter is simply grand. And&lt;br /&gt;
the machine is pleasant to use if you keep it clean,&lt;br /&gt;
and give it an occasional drink of oil, and will&lt;br /&gt;
gallop you over the fields of fancy like a rollicking&lt;br /&gt;
Pegasus.&lt;br /&gt;
In speaking to a French author of standing, you&lt;br /&gt;
address him .as &amp;quot;maitre.&amp;quot; In writing to him, you&lt;br /&gt;
begin your letter, &amp;quot;Sir, and most highly honoured&lt;br /&gt;
Muster.&amp;quot; Actors address the author of a play&lt;br /&gt;
they are rehearsing as &amp;quot;maitre&amp;quot; also. In both&lt;br /&gt;
cases maitre means &amp;quot;postmaster&amp;quot; in his craft.&lt;br /&gt;
Literature is a craft not a trade in France. A&lt;br /&gt;
man may be a &amp;quot; maitre,&amp;quot; and be addressed as such,&lt;br /&gt;
although his sleeves are out of elbow, and he&lt;br /&gt;
has not twopence to his credit at either the Society&lt;br /&gt;
or the dramatic agents. Everybody calls Verlaine&lt;br /&gt;
&amp;quot;maitre.&amp;quot; Nobody would dream of calling certain&lt;br /&gt;
writers, who earn in half-an-hour what poor Ver-&lt;br /&gt;
laine earns in a year, by this title. In England,&lt;br /&gt;
the doubloons earned, not the pastmastership,&lt;br /&gt;
command respect. It is sickening to read para-&lt;br /&gt;
graphs in so-called literary papers in which the&lt;br /&gt;
incomes and earnings of men of letters are dis-&lt;br /&gt;
cussed. Whose business is it? Such a thing&lt;br /&gt;
would be considered in France an insult to the&lt;br /&gt;
whole craft. &amp;quot;What shopkeepers we are!&lt;br /&gt;
The &amp;lt;SV. James&amp;#039; Gazdtc criticises Mr. Besant&amp;#039;s&lt;br /&gt;
editing of the Author for allowing my note on&lt;br /&gt;
Itenan&amp;#039;s opinion of Zola&amp;#039;s novels to pass. A&lt;br /&gt;
reference to the first paragraph in this magazine,&lt;br /&gt;
printed in italics, would have shown the St. James&amp;#039;&lt;br /&gt;
Gazette that the responsibility of all signed articles&lt;br /&gt;
which appear in the Author lies with their writers.&lt;br /&gt;
It was therefore very unnecessary to drag Mr.&lt;br /&gt;
Besant&amp;#039;s name into a discussion as to the good or&lt;br /&gt;
bad taste of one of my notes. As to this particular&lt;br /&gt;
&amp;quot;&bull;ote, its justification may be found in the very&lt;br /&gt;
&amp;lt;ls of the St. James&amp;#039; Gazette, which describes&lt;br /&gt;
itself as &amp;quot; awaiting with unholy impatience&amp;quot; Zola&amp;#039;s&lt;br /&gt;
answer to llenan. Argal, the note was to certain&lt;br /&gt;
persons interesting and newsy. As to its being&lt;br /&gt;
calculated to damage &amp;quot; good fellowship and good&lt;br /&gt;
feeling&amp;quot; amongst the authors alluded to, Mr. Zola&amp;#039;s&lt;br /&gt;
DO&amp;#039;&lt;br /&gt;
reply to the French interviewer on this note is the&lt;br /&gt;
best refutation thereof. Zola delights in battle and&lt;br /&gt;
is the first to desire to know who is his foeman in&lt;br /&gt;
the arena of letters.&lt;br /&gt;
My remarks on a certain class of British criticism&lt;br /&gt;
have been extensively commented upon, and, as I&lt;br /&gt;
think, unwisely. One journal represented ine as&lt;br /&gt;
writing&mdash;apropos of the deed&mdash;that &amp;quot;because a&lt;br /&gt;
critic says that so-and-so writes indifferent English&lt;br /&gt;
he deserves to have his brains blown out.&amp;quot; Another&lt;br /&gt;
remarks that&amp;quot; In France, according to our authority,&lt;br /&gt;
critics are civil because they fear the duel, and&lt;br /&gt;
show themselves unjustly kind, not from charity,&lt;br /&gt;
but from cowardice.&amp;quot; Now it has been said that a&lt;br /&gt;
few lines of a man&amp;#039;s writing are always sufficient to&lt;br /&gt;
hang him, that is, that anything one writes can&lt;br /&gt;
always be misconstrued. How much easier to&lt;br /&gt;
make it sufficient to cover him with ridicule. Of&lt;br /&gt;
course, the critics I referred to are those who&lt;br /&gt;
indulge in offensive personalities, personalities&lt;br /&gt;
about the writer&amp;#039;s character, appearance, habits,&lt;br /&gt;
dress, and so on, a class which is daily becoming&lt;br /&gt;
more numerous in England. A favourite form of&lt;br /&gt;
impertinence with these individuals is to make&lt;br /&gt;
pleasantries about a young author&amp;#039;s name, by&lt;br /&gt;
repeating it over and over again, provided it have&lt;br /&gt;
the slightest ring of pretentiousness about it. Such&lt;br /&gt;
persons are in France kept in check by a sense of&lt;br /&gt;
direct personal responsibility, and I regretted, and&lt;br /&gt;
still regret, that the same check does not exist in&lt;br /&gt;
England. As to the critics who confine themselves&lt;br /&gt;
to one&amp;#039;s works, nobody has greater admiration for,&lt;br /&gt;
and cause for greater gratitude to them than myself.&lt;br /&gt;
KOBKKT H. SUERARD.&lt;br /&gt;
Paris, 20th April, 1892.&lt;br /&gt;
&lt;br /&gt;
LITERATURE IN THE MAGAZINES.&lt;br /&gt;
THE journals which are generally accepted as&lt;br /&gt;
illustrating the opinions, expounding the&lt;br /&gt;
theories, and explaining the work of our&lt;br /&gt;
scholars and philosophers are the Quarterly, the&lt;br /&gt;
Edinburgh, the Contemporary, the Nineteenth&lt;br /&gt;
Century, the Fortnightly, the National, and&lt;br /&gt;
Macmillan. (Their enumeration in this order&lt;br /&gt;
means nothing.) During the years 1889-1891,&lt;br /&gt;
there appeared in these journals about 800 articles.&lt;br /&gt;
They are dissertations on every subject that&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 405 (#809) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
occupied the attention of the world during that&lt;br /&gt;
time; they cover the whole ground of human&lt;br /&gt;
thought, human enterprise, human investigation;&lt;br /&gt;
nothing that belongs to the time but is treated&lt;br /&gt;
in these magazines. All sides of politics are&lt;br /&gt;
discussed; all forms of religion; all branches of&lt;br /&gt;
science; every philosophic school is represented;&lt;br /&gt;
art, literature, medicine, and trade; the many&lt;br /&gt;
difficulties and the ever varying questions which&lt;br /&gt;
belong to a great empire; the prospects of the&lt;br /&gt;
future; the tendencies of the present; the lesson of&lt;br /&gt;
the past: for everything room is found by editors&lt;br /&gt;
whose chief difficulty in this busy age, in which&lt;br /&gt;
new forces are continually producing new changes, is&lt;br /&gt;
selection in accordance with the needs and the inte-&lt;br /&gt;
rests of the day. Of writers willing to discourse on&lt;br /&gt;
every conceivable subject there is ample choice, the&lt;br /&gt;
only difficulty being to find a man who at once&lt;br /&gt;
understands his subject and knows how to set it&lt;br /&gt;
forth in a striking and iiiterestin&amp;lt;i manner. Of&lt;br /&gt;
such men there is no great plenty, and there never&lt;br /&gt;
will be. If, therefore, we are to tabulate the&lt;br /&gt;
articles according to subjects, we should perhaps&lt;br /&gt;
arrive at some idea of the relative importance&lt;br /&gt;
that the subjects treated seem, in the eyes of the&lt;br /&gt;
editors, to obtain with the public. Should the&lt;br /&gt;
subject most often treated be polities&mdash;finance&mdash;&lt;br /&gt;
art&mdash;science&mdash;hygiene&mdash;the component parts of the&lt;br /&gt;
Empire&mdash;trade disputes&mdash;the spread of socialism&mdash;&lt;br /&gt;
the condition of the army? It is, in fact, none&lt;br /&gt;
of these. An examination of these magazines,&lt;br /&gt;
conducted for the Author, has revealed the very&lt;br /&gt;
extraordinary faet that out of the 800 articles&lt;br /&gt;
published during the last three years in these&lt;br /&gt;
magazines, 32o&mdash;that is to say, two out of&lt;br /&gt;
every five&mdash;are devoted to literature. Does, then,&lt;br /&gt;
literature occupy the attention of the instructed&lt;br /&gt;
class in the proportion of two fifths of their whole&lt;br /&gt;
thinking and reasoning moments? It would seem&lt;br /&gt;
so from these figures. Yet one certainly knows a&lt;br /&gt;
great many people who must be called instructed&lt;br /&gt;
and cultured who read books, both new and&lt;br /&gt;
old, but most certainly do not give much atten-&lt;br /&gt;
tion to the history of literatiu-e, to literary move-&lt;br /&gt;
ments and to the criticism of dead or living&lt;br /&gt;
literature. In the same way there is an&lt;br /&gt;
immense number of people who read a certain&lt;br /&gt;
proportion of new books&mdash;those which interest&lt;br /&gt;
them&mdash;and care absolutely nothing for purely&lt;br /&gt;
literary jmpers. For these people, both the&lt;br /&gt;
cultured class who read the best books in their&lt;br /&gt;
leisure hours and the class which reads only for&lt;br /&gt;
amusement, these papers are not written. They&lt;br /&gt;
are written for that small scholarly circle which&lt;br /&gt;
interests itself especially in nil literary subjects,&lt;br /&gt;
delights in fine criticism, if haply that can be&lt;br /&gt;
found, reads with avidity monograms on poets and&lt;br /&gt;
novelists, and loves to hear of great writers and&lt;br /&gt;
their private lives. It is by this circle that the&lt;br /&gt;
Browning societies, the Shakespeare societies, and&lt;br /&gt;
such associations are founded, and from this circle&lt;br /&gt;
that they are kept up. The increasing extent of&lt;br /&gt;
that circle is proved by the fact that there are five&lt;br /&gt;
monthly magazines and two quarterlies which devote&lt;br /&gt;
two fifths of their space exclusively to the inhabitants&lt;br /&gt;
of this circle.&lt;br /&gt;
Considering, next, the subjects treated in these&lt;br /&gt;
articles we find, first, that the following authors have&lt;br /&gt;
been passed in review : Mad. D&amp;#039;Arblay, Matthew&lt;br /&gt;
Arnold, Roger Bacon, Marie Bashkirtseff, Balzac,&lt;br /&gt;
Baudelaire, Theodore De Banville, Charlotte Bronte,&lt;br /&gt;
Boswell, Browning, Byron, Carlyle, Chesterfield,&lt;br /&gt;
Chaucer, Coleridge, Crabb, Cowper, Wilkie Collins,&lt;br /&gt;
Victor Cousin, Dante, Davenport, Donne, Disraeli,&lt;br /&gt;
Defoe, Edward Fitzgerald, Farrar, Gifford, Gold-&lt;br /&gt;
smith, Goethe, Baring Gould, Anthony Hamilton,&lt;br /&gt;
Thomas Hardy, James Hogg, Heine, Victor Hugo,&lt;br /&gt;
Thomas Hood, Lessing, Lecky, Dr. Johnson, Ibsen,&lt;br /&gt;
Rudyard Kipling, Lowell, John Locke, Massinger,&lt;br /&gt;
Mirabeau, Maeterlinck, Montaigne, Mickiewicz,&lt;br /&gt;
Milton, Prosper Merimec, Sir Thomas More,&lt;br /&gt;
Motley, Pepys, Norris, Oliphant, Pope, Prior,&lt;br /&gt;
Richardson, Renan, Sir Walter Raleigh, Rousseau,&lt;br /&gt;
Rossetti, Shakespeare, Stent, George Sand, Scott,&lt;br /&gt;
Spenser, Stendhal, Stevenson, Swinburne, Sedg-&lt;br /&gt;
wick, Thackeray, Theocritus, Tennyson, John&lt;br /&gt;
Wesley, Wiclif, Edwin Waugh, William Watson,&lt;br /&gt;
Wordsworth, George Wither, Henry Vaughan,&lt;br /&gt;
Vcrlaine, and Zola. Some, of less interest, have&lt;br /&gt;
been omitted from this list. Among the contri-&lt;br /&gt;
butors to the long series of critical articles are&lt;br /&gt;
many whose names are well known in other fields.&lt;br /&gt;
There are novelists, poets, and historians among&lt;br /&gt;
them as well as critics. Against the name of&lt;br /&gt;
Ibsen there stand those of William Archer, Oswald&lt;br /&gt;
Crawfurd, Edmund Gosse, C. J. Herford, E.&lt;br /&gt;
Lord, and Philip Wicksteed. J. M. Barrie, himself&lt;br /&gt;
a novelist, writes on Thomas Hardy, Baring&lt;br /&gt;
Gould, and Rudyard Kipling. Andrew Lang and&lt;br /&gt;
Swinburne write on Wilkie Collins. Grant&lt;br /&gt;
Allen writes on William Watson, and William&lt;br /&gt;
Watson writes on Edwin Waugh. J. Addington&lt;br /&gt;
Symonds writes on Theodore Dc Banville, on&lt;br /&gt;
Dantesque Ideals, Zola, and Theocritus. Swin-&lt;br /&gt;
burne on Victor Hugo, Wilkie Collins, Massinger,&lt;br /&gt;
James Shirley, and Scott&amp;#039;s Journal. George&lt;br /&gt;
Saintsbury on James Hogg, Tom Hood, Crabb, De&lt;br /&gt;
Quincey, Leigh Hunt, and Anthony Hamilton.&lt;br /&gt;
Professor Dowden on John Donne, Coleridge, and&lt;br /&gt;
Goethe; Andrew Lang on Robert Browning and&lt;br /&gt;
Wilkie Collins; Dr. Abbot on Newman; Julia&lt;br /&gt;
Wedgwood Laurence Oliphant on Shakespeare,&lt;br /&gt;
receives an astonishing amount of attention. We&lt;br /&gt;
have papers on Shakespeare&amp;#039;s spelling; on his&lt;br /&gt;
travels; on his Venice; on certain characteristics;&lt;br /&gt;
on detached plays; on Macbeth as a Celt; on his&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 406 (#810) ############################################&lt;br /&gt;
&lt;br /&gt;
406&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Ghosts; on his Religion and Politics, and on his&lt;br /&gt;
stage. No writer, one supposes, has ever received&lt;br /&gt;
so much study and attention as Shakespeare.&lt;br /&gt;
Turning to articles on subjects and not on&lt;br /&gt;
names, of which there are about a hundred and&lt;br /&gt;
twenty, we find about twenty devoted to the con-&lt;br /&gt;
sideration of fiction under various aspects. Here&lt;br /&gt;
are some of the subjects: &amp;quot;Idealism in French&lt;br /&gt;
Fiction &amp;quot;; &amp;quot;King Plagiarism,&amp;quot; a very unworthy&lt;br /&gt;
personal attack; &amp;quot;American Fiction &amp;quot;; &amp;quot;The&lt;br /&gt;
Modern French Novel &amp;quot;; &amp;quot;Realism in French&lt;br /&gt;
Fiction &amp;quot;; &amp;quot;Penny Fiction&amp;quot;; the &amp;quot;Light&lt;br /&gt;
Reading of our Ancestors&amp;quot;; &amp;quot;Romance Realisti-&lt;br /&gt;
cized&amp;quot;; &amp;quot;English Realism and Romance&amp;quot;;&lt;br /&gt;
&amp;quot;Morality in Fiction &amp;quot;; &amp;quot;Irish Novelists in Irish&lt;br /&gt;
Peasants&amp;quot;; &amp;quot;Fiction, Plethoric and Anremie&amp;quot;;&lt;br /&gt;
&amp;quot;New Watchwords of Fiction &amp;quot;; the &amp;quot;Abdication&lt;br /&gt;
of Mrs. Grundy &amp;quot;; the &amp;quot;Naming of Novels &amp;quot;;&lt;br /&gt;
&amp;quot;Candour in English Fiction,&amp;quot; and so on. Criti-&lt;br /&gt;
cism is considered in &amp;quot;Critics in Court &amp;quot;; &amp;quot;Critics&lt;br /&gt;
and their Craft &amp;quot;; in &amp;quot; Criticism as a Trade &amp;quot;; in&lt;br /&gt;
the &amp;quot; Literary Criticism of France.&amp;quot; Authorship is&lt;br /&gt;
treated in &amp;quot;The Trade of Author&amp;quot;; &amp;quot;Literature&lt;br /&gt;
Then and Now &amp;quot;; various papers on American&lt;br /&gt;
copyright; the Story of the first Society of British&lt;br /&gt;
Authors.&lt;br /&gt;
Lastly, such papers as those called, &amp;quot;Children&lt;br /&gt;
and Modern Literature &amp;quot;; &amp;quot;Poets and Puritans &amp;quot;;&lt;br /&gt;
&amp;quot;Humour &amp;quot;; the &amp;quot;Poetry of Common Sense &amp;quot;;&lt;br /&gt;
the &amp;quot;Savage Club&amp;quot;; &amp;quot;Poetry by Men of the&lt;br /&gt;
World &amp;quot;; &amp;quot; Influence of Democracy on Literature &amp;quot;;&lt;br /&gt;
&amp;quot;Chapters from the History of the Bodleian &amp;quot;; &amp;quot; Our&lt;br /&gt;
Dramatists and their Literature&amp;quot;; &amp;quot;Hopes and&lt;br /&gt;
Fears for Literature &amp;quot;; the &amp;quot;Future of American&lt;br /&gt;
Literature&amp;quot;; the &amp;quot;Literature and Language of&lt;br /&gt;
the Age,&amp;quot; show that there are men and women&lt;br /&gt;
always watching the changes and chalices of modern&lt;br /&gt;
literature, and that there are other men and women&lt;br /&gt;
&mdash;thousands of them&mdash;who never tire of hearing&lt;br /&gt;
about these changes and chances.&lt;br /&gt;
To those who find the literature of the day&lt;br /&gt;
trivial and feeble, we may at least point to this&lt;br /&gt;
extraordinary production of papers by scholars and&lt;br /&gt;
critics dealing for the most part with the writers&lt;br /&gt;
of the day. They read &mdash; these scholars &mdash; the&lt;br /&gt;
writers of the day; they read their trivial and&lt;br /&gt;
feeble work, compare them, weigh them. In fact,&lt;br /&gt;
it may be laid down as a general rule that those&lt;br /&gt;
who sneer at contemporary literature are either the&lt;br /&gt;
elder men who now read none of it, or the younger&lt;br /&gt;
men who as yet know nothing of it. The great&lt;br /&gt;
fact remains, that while in these seven magazines,&lt;br /&gt;
considered as the leaders from the critical and&lt;br /&gt;
cultivated point, two-fifths of the articles are purely&lt;br /&gt;
literary, the greater part of this fraction of two-&lt;br /&gt;
fifths is devoted to contemporary writers and&lt;br /&gt;
contemporary subjects.&lt;br /&gt;
But we have only taken seven magazines. There&lt;br /&gt;
remain others. Blackwood contains some excel-&lt;br /&gt;
lent literary papers; so does Temple Bar; so does&lt;br /&gt;
the Cornhill and Longmans&amp;#039;. There are others.&lt;br /&gt;
We must not forgot the New Revieic, a paper quite&lt;br /&gt;
as good as the Contemporary&mdash;written for, in fact,&lt;br /&gt;
by the same men who write for the larger journal.&lt;br /&gt;
Nor must we forget such papers as the Saturday&lt;br /&gt;
Review, the Spectator, the Athenceum, full of&lt;br /&gt;
literary papers, admirably written, and for the most&lt;br /&gt;
part full of suggestion and instruction. The seven&lt;br /&gt;
which we have examined, however, sufficiently&lt;br /&gt;
establish the important point, that literature,&lt;br /&gt;
ancient and modern, is a subject which interests&lt;br /&gt;
very largely&mdash;more largely than any other subject&lt;br /&gt;
&mdash;a very large number of people. The increase in&lt;br /&gt;
these magazines and the apparent fact that they all&lt;br /&gt;
flourish, prove that this class is largely on the&lt;br /&gt;
increase.&lt;br /&gt;
Yet it is not a very considerable class. Are&lt;br /&gt;
there one hundred thousand men and women, in all,&lt;br /&gt;
in these Islands, who read these papers with&lt;br /&gt;
pleasure? Probably not nearly so many. They&lt;br /&gt;
are, however, a very important class. Among&lt;br /&gt;
them are the journalists of the better class, the&lt;br /&gt;
more cultivated of the professions, professors,&lt;br /&gt;
lecturers, and schoolmasters, a sprinkling of the&lt;br /&gt;
clergy, and the critics, historians, poets, and&lt;br /&gt;
novelists themselves. The influence of these people&lt;br /&gt;
stretches out in all directions; no one can tell&lt;br /&gt;
where a paper in the Contemporary may not be&lt;br /&gt;
felt. Here is an opinion: it teaches, as from a&lt;br /&gt;
recognized centre of authority, those who teach&lt;br /&gt;
others; so it is spread abroad. Go into a country&lt;br /&gt;
house; you will hear opinions expressed on the&lt;br /&gt;
latest novelist, the latest dramatist; and you will&lt;br /&gt;
presently learn that they are taken bodily&mdash;with&lt;br /&gt;
or without acknowledgment&mdash;from a magazine.&lt;br /&gt;
One more question is suggested by this list.&lt;br /&gt;
Who are the men and women who write these&lt;br /&gt;
papers? Their number is necessarily limited. If&lt;br /&gt;
the editor wants a paper on a French or English&lt;br /&gt;
writer, there are not many men whom he can a*k.&lt;br /&gt;
Let us see, then, from this list who are the living&lt;br /&gt;
writers who during these three years contributed&lt;br /&gt;
the papers on Authors living and dead, and on the&lt;br /&gt;
literary subjects we have mentioned.&lt;br /&gt;
Their names are as follows:&mdash;&lt;br /&gt;
Edwin Abbott. Prof. Blaikie.&lt;br /&gt;
Canon Ainger. Walter Besant.&lt;br /&gt;
G. Aitkin. Henry Blackburn.&lt;br /&gt;
Grant Allen. Karl Blind.&lt;br /&gt;
William Archer. Mathilde Blind.&lt;br /&gt;
Alfred Austin. Madame Blaize de&lt;br /&gt;
J. M. Barrie. Bury.&lt;br /&gt;
Wyke Bayliss. Rev. Stopford&lt;br /&gt;
Augustine Birrell. Brooke.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 407 (#811) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
Hall Caine.&lt;br /&gt;
Dean Church.&lt;br /&gt;
E. Courtney.&lt;br /&gt;
Oswald Crawfurd,&lt;br /&gt;
Prof. Dowden.&lt;br /&gt;
Austin Dobson.&lt;br /&gt;
A. Conan Doyle.&lt;br /&gt;
R. Dunlop.&lt;br /&gt;
Archdeacon Farrar.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
P. Greenwood.&lt;br /&gt;
E. Dirk beck Hill.&lt;br /&gt;
Prof. Knight.&lt;br /&gt;
H. A. Kennedy.&lt;br /&gt;
H. G. Keene. *&lt;br /&gt;
Andrew Lang.&lt;br /&gt;
A. H. Lecky.&lt;br /&gt;
W. S. Lilly.&lt;br /&gt;
Mrs. Lynn Linton.&lt;br /&gt;
Mowbray Morris.&lt;br /&gt;
Gabriel Monod.&lt;br /&gt;
Prof. Minto.&lt;br /&gt;
P. Myers.&lt;br /&gt;
George Moore.&lt;br /&gt;
Wilfrid Meynell.&lt;br /&gt;
Justin McCarthy.&lt;br /&gt;
Canon MacColl.&lt;br /&gt;
Walter Pater.&lt;br /&gt;
E. E. Prothero.&lt;br /&gt;
Kennell Rodd.&lt;br /&gt;
Prof. Romanes.&lt;br /&gt;
E. S. Shuckburgh.&lt;br /&gt;
William Sharpe.&lt;br /&gt;
George Saintsbury.&lt;br /&gt;
A. Swinburne. .&lt;br /&gt;
J. A. Symonds.&lt;br /&gt;
Paul Sylvester.&lt;br /&gt;
Prof. Tyndal.&lt;br /&gt;
H. D. Traill.&lt;br /&gt;
Stanley Weyman.&lt;br /&gt;
William Watson.&lt;br /&gt;
Dean of Wells.&lt;br /&gt;
Oscar Wilde.&lt;br /&gt;
H. B. Wheatley.&lt;br /&gt;
Rev. Philip H.&lt;br /&gt;
Wicksteed.&lt;br /&gt;
Julia Wedgwood.&lt;br /&gt;
Helen Ziminern.&lt;br /&gt;
may be taken as&lt;br /&gt;
whose opinion is&lt;br /&gt;
likely to be asked.&lt;br /&gt;
The number is 64. Of course, this list is not&lt;br /&gt;
proffered as complete. Few of the specialists are&lt;br /&gt;
here. One misses such names as, in Art, Middleton&lt;br /&gt;
and Monkhouse; in Archaeology, Budge, Sayce,&lt;br /&gt;
Loftie; in Architecture, Hayter Lewis; in Philo-&lt;br /&gt;
sophy, Herbert Spencer, Sir Frederick Pollock,&lt;br /&gt;
James Sully; in Science, the names of all&lt;br /&gt;
the leaders. But the list is representative. It&lt;br /&gt;
a first rough list of those&lt;br /&gt;
most considered, and most&lt;br /&gt;
Omissions will be discovered,&lt;br /&gt;
and will be supplied by anyone who reads the list.&lt;br /&gt;
And if one were to extend the research, to include&lt;br /&gt;
a few other magazines&mdash;such as the Church&lt;br /&gt;
Quarterly, the Lata Quarterly, Blackwood,&lt;br /&gt;
Longmans&amp;#039;, &amp;amp;c&mdash; and to take the last ten years&lt;br /&gt;
instead of the last three, we should arrive at a&lt;br /&gt;
complete list of those who are considered by&lt;br /&gt;
editors, and accepted by the world, as having a&lt;br /&gt;
right to speak. Shall the Author extend this&lt;br /&gt;
research?&lt;br /&gt;
It is, if one comes to think of it, no mean thing&lt;br /&gt;
to become one of these accepted speakers to the&lt;br /&gt;
world&mdash;these men are the select preachers to the&lt;br /&gt;
English-speaking race. They speak to a vast&lt;br /&gt;
audience of a hundred millions; not that all are&lt;br /&gt;
listening; most have got the rake in their hands&lt;br /&gt;
and are raking with deaf ears; but they may listen&lt;br /&gt;
if they please. And round the select preacher&amp;#039;s&lt;br /&gt;
pulpit is gathered a little throng of a few thousands.&lt;br /&gt;
These listen and go away and tell others, further&lt;br /&gt;
off, who could not hear what the preacher has said.&lt;br /&gt;
And these again toll others, until at last even the&lt;br /&gt;
man with the rake lifts his head and pricks up his&lt;br /&gt;
cars.&lt;br /&gt;
OBSERVATIONS ON &amp;quot;THE TALE-TELLING&lt;br /&gt;
ART&amp;quot; IN SIR WALTER SCOTT&amp;#039;S&lt;br /&gt;
INTRODUCTIONS TO THE &amp;quot;WAVERLEY&lt;br /&gt;
NOVELS.&amp;quot;&lt;br /&gt;
III.&lt;br /&gt;
A few passages in Sir Walter Scott&amp;#039;s introduc-&lt;br /&gt;
tions still remain which may claim the attention&lt;br /&gt;
of the novelist, who will regret that they are but few.&lt;br /&gt;
Respecting too many of the details of the art of&lt;br /&gt;
fiction, Sir Walter Scott does not in his prefaces&lt;br /&gt;
Bay a single word. No remarks of any kind are&lt;br /&gt;
to be found about description of scenery, no&lt;br /&gt;
remarks upon portraiture, no remarks upon con-&lt;br /&gt;
trast of characters, nor upon a number of those&lt;br /&gt;
other details of the &amp;quot;craft of romance writing,&amp;quot;&lt;br /&gt;
in which Sir Walter himself excelled, and upon&lt;br /&gt;
which it is evident that he must have bestowed no&lt;br /&gt;
ordinary care and thought.&lt;br /&gt;
Two passages, however, occur bearing upon the&lt;br /&gt;
study of character. The study of character is, of&lt;br /&gt;
course, scarcely a detail of the art of fiction; it is&lt;br /&gt;
rather the very soul of good story-telling; and all&lt;br /&gt;
that Sir Walter Scott says in both of these places&lt;br /&gt;
deserves close attention, not only on account of&lt;br /&gt;
the great suggestiveness of his remarks, but also&lt;br /&gt;
on account of the high importance to the novelist&lt;br /&gt;
of any hints he can gather upon the treatment of&lt;br /&gt;
character.&lt;br /&gt;
The first of these passages will be found in the&lt;br /&gt;
&amp;quot;Advertisement&amp;quot; preceding &amp;quot;The Antiquary.&amp;quot;&lt;br /&gt;
It treats of the great value in romance of characters&lt;br /&gt;
drawn from those ranks of life in which the passions&lt;br /&gt;
are least restrained by cultivation, and the feelings&lt;br /&gt;
are most frequently expressed without reserve :&mdash;&lt;br /&gt;
&amp;quot;I have in the two last narratives [&amp;#039;Guy&lt;br /&gt;
Mannering,&amp;#039; and &bull; The Antiquary &amp;#039;] sought my&lt;br /&gt;
principal personages in the class of society who&lt;br /&gt;
are the last to feel the influence of that general&lt;br /&gt;
polish which assimilates to each other the manners&lt;br /&gt;
of different nations. Among the same class I have&lt;br /&gt;
placed some of the scenes, in which I have en-&lt;br /&gt;
deavoured to illustrate the operations of the higher&lt;br /&gt;
and more violent passions, both because the lower&lt;br /&gt;
orders are less restrained by the habit of suppressing&lt;br /&gt;
their feelings, and because . . . they seldom fail&lt;br /&gt;
to express themselves in the strongest and most&lt;br /&gt;
powerful language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 408 (#812) ############################################&lt;br /&gt;
&lt;br /&gt;
408&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
The second passage deals with a point no less&lt;br /&gt;
important, but much more difficult: the choice of&lt;br /&gt;
such characters as the general reader&amp;#039;s conception&lt;br /&gt;
of life will enable him easily to comprehend. This&lt;br /&gt;
restriction will bo felt by every author to be a&lt;br /&gt;
hard one, for it narrows the range of the novelist,&lt;br /&gt;
reducing him to something resembling the dra-&lt;br /&gt;
matist&amp;#039;s small stock-in-trade of characters, whom&lt;br /&gt;
everyone can immediately understand. Upon&lt;br /&gt;
reflection, however, it will probably be admitted&lt;br /&gt;
that Sir Walter Scott&amp;#039;s contention is in the main&lt;br /&gt;
justified by the fact that everything which is&lt;br /&gt;
intended to entertiiin, or, indeed, to instruct, must&lt;br /&gt;
of necessity be perfectly intelligible.&lt;br /&gt;
It was Sir Walter Scott&amp;#039;s opinion that in Sir&lt;br /&gt;
Percie Shafton the Euphuist, in &amp;quot;The Monastery,&amp;quot;&lt;br /&gt;
he had presented a character which was not in-&lt;br /&gt;
telligible; and why not intelligible he is at much&lt;br /&gt;
pains to explain in a long passage in the &amp;quot; Intro-&lt;br /&gt;
duction to &amp;#039; The Monastery.&amp;#039;&amp;quot; The whole cannot&lt;br /&gt;
be quoted here, and should be read in its proper&lt;br /&gt;
context. The chief points, however, are these&lt;br /&gt;
&amp;quot;The author had the vanity to think that a&lt;br /&gt;
character, whose peculiarities should turn on ex-&lt;br /&gt;
travagancies which were once universally fashionable,&lt;br /&gt;
might be read in a fictitious story with a good&lt;br /&gt;
chance of affording amusement to the existing&lt;br /&gt;
generation, who, fond as they arc of looking back&lt;br /&gt;
on the actions and manners of their ancestors,&lt;br /&gt;
might be also supposed to be sensible of their&lt;br /&gt;
absurdities . . . He was disappointed . . .&lt;br /&gt;
The Euphuist, far from being accounted a well-&lt;br /&gt;
drawn and humorous character . . . was con-&lt;br /&gt;
demned as unnatural and absurd . . . The&lt;br /&gt;
author has been led to suspect that . . . his&lt;br /&gt;
subject was injudiciously chosen . . . The&lt;br /&gt;
manners of a rude people are always founded on&lt;br /&gt;
nature, and therefore the feelings of a more polished&lt;br /&gt;
generation immediately sympathise with them&lt;br /&gt;
. . . It does not follow that the . . . tastes,&lt;br /&gt;
opinions, and follies of one civilised period should&lt;br /&gt;
afford cither . . . interest or . . . amusement&lt;br /&gt;
to . . another. Let us take . . . Shaks-&lt;br /&gt;
peare himself . . . The mass of readers peruse&lt;br /&gt;
without amusement the characters formed on the&lt;br /&gt;
extravagance of a temporary fashion . . . The&lt;br /&gt;
Euphuist Don Armado, the pedant Holophernes,&lt;br /&gt;
even Nym and Pistol, are read with little pleasure&lt;br /&gt;
by the mass of the public . . .In like manner,&lt;br /&gt;
while the distresses of Romeo and Juliet continue&lt;br /&gt;
to interest every bosom, Mercutio, drawn as an&lt;br /&gt;
accurate representation of the finished fine gentle-&lt;br /&gt;
man of the period, and, as such, received by the&lt;br /&gt;
unanimous approbation of contemporaries, has so&lt;br /&gt;
little to interest the present age, that stripped of&lt;br /&gt;
his puns and quirks of verbal wit, he only retains&lt;br /&gt;
a place in the scene in virtue of his fine and&lt;br /&gt;
fanciful speech upon dreaming, which belongs to&lt;br /&gt;
no particular age . . . The introduction of a.&lt;br /&gt;
humorist acting, like Sir Percie Shafton, upon some,&lt;br /&gt;
forgotten or obsolete mode of folly ... is rather&lt;br /&gt;
likely to awake the disgust of the reader, as un-&lt;br /&gt;
natural, than find him food for laughter .&lt;br /&gt;
The formidable objection of iucredulits odi was&lt;br /&gt;
applied to the Euphuist, as well as to the White&lt;br /&gt;
Lady of Avenel; and the one was denounced as&lt;br /&gt;
unnatural, while the other was rejected as im-&lt;br /&gt;
possible.&amp;quot;&lt;br /&gt;
In the first chapter of &amp;quot;The Bride of Lammer-&lt;br /&gt;
moor,&amp;quot; in the imaginary conversation with Dick&lt;br /&gt;
Tinto, Sir Walter Scott has something to say upon&lt;br /&gt;
the use and abuse of dialogue in romance.&lt;br /&gt;
&amp;quot;Your characters,&amp;quot; be [Dick Tinto] said . .&lt;br /&gt;
putter too much . . . there is nothing in whole&lt;br /&gt;
pages but mere chat and dialogue.&amp;quot;&lt;br /&gt;
&amp;quot;The ancient philosopher,&amp;quot; said I in rejily,&lt;br /&gt;
&amp;quot;was wont to say, &amp;#039; Speak, that I may know thee&amp;#039;;&lt;br /&gt;
and how is it possible for an author to introduce&lt;br /&gt;
his dramatis persona to his readers in a more inte-&lt;br /&gt;
resting and effectual manner than by the dialogue&lt;br /&gt;
in which each is represented as supporting his own&lt;br /&gt;
appropriate character?&amp;quot;&lt;br /&gt;
The dangers of an excess of dialogue, and the&lt;br /&gt;
value of descriptive narrative are a few lines below&lt;br /&gt;
thus happily expressed :&mdash;&lt;br /&gt;
&amp;quot;Description,&amp;quot; he said, &amp;quot;was to the author of a&lt;br /&gt;
romance exactly what drawing and tinting were to&lt;br /&gt;
a painter; words were his colours, and, if properly&lt;br /&gt;
employed, they could not fail to place the scene&lt;br /&gt;
which he wished to conjure up, as effectually before&lt;br /&gt;
the mind&amp;#039;s eye, as the tablet or canvas presents it&lt;br /&gt;
to the bodily organ. The same rules . . . applied&lt;br /&gt;
to both, and an exuberance of dialogue, in the&lt;br /&gt;
former case, was a verbose and laborious mode of&lt;br /&gt;
composition which went to confound the proper&lt;br /&gt;
art of fictitious narrative with that of drama, a&lt;br /&gt;
widely different species of composition, of which&lt;br /&gt;
dialogue was the very essence. . . . But as&lt;br /&gt;
nothing can be more dull than a long narrative&lt;br /&gt;
written upon the plan of a drama, so where you&lt;br /&gt;
have approached most near to that species of com-&lt;br /&gt;
position, by indulging in prolonged scenes of mere&lt;br /&gt;
conversation, the course of your story has become&lt;br /&gt;
chill and constrained, and you have lost the power&lt;br /&gt;
of arresting the attention and exciting the imagina-&lt;br /&gt;
tion, in which upon other occasions you may be&lt;br /&gt;
considered as having succeeded tolerably well.&amp;quot;&lt;br /&gt;
The words are supposed to be addressed to Sir&lt;br /&gt;
Walter, who here is again criticising himself.&lt;br /&gt;
They suggest several questions. Do readers of the&lt;br /&gt;
present day find their attention more arrested by&lt;br /&gt;
the narrative portions than by the dialogues in the&lt;br /&gt;
&amp;quot;Waverley Novels &amp;quot;? Does not fiction tend to use&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 409 (#813) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
dialogue more and more, and narrative less? Was&lt;br /&gt;
dialogue one of Sir AValter Seott&amp;#039;s strong points?&lt;br /&gt;
These are questions which the reader must answer&lt;br /&gt;
for himself.&lt;br /&gt;
One remark alone Sir Walter makes on romance&lt;br /&gt;
style :&mdash;&lt;br /&gt;
&amp;quot;Every work designed for amusement must he&lt;br /&gt;
expressed in language easily comprehended.&amp;quot;&lt;br /&gt;
(General Preface to the &amp;quot;Waverley Novels.&amp;quot;)&lt;br /&gt;
The astonishing speed at which Sir Walter Scott&lt;br /&gt;
wrote his novels must be considered one of the&lt;br /&gt;
marvels of those marvellous compositions. Like a&lt;br /&gt;
good many other authors he was advised by people,&lt;br /&gt;
who certainly knew a good deal less about novel-&lt;br /&gt;
writing than he did, to write more slowly, and to&lt;br /&gt;
bestow more care upon construction and composi-&lt;br /&gt;
tion. By these means, so his counsellors assured&lt;br /&gt;
him, certain portions of his work which they found&lt;br /&gt;
inferior to the rest would be vastly improved.&lt;br /&gt;
Few lines that he has written will be more&lt;br /&gt;
interesting to authors than his reply :&mdash;&lt;br /&gt;
&amp;quot;The works and passages in which I have&lt;br /&gt;
succeeded have uniformly been written with the&lt;br /&gt;
greatest rapidity . . . the parts in which I&lt;br /&gt;
have come feebly off wen; by much the more&lt;br /&gt;
laboured.&amp;quot; (Introductory Epistle, Captain Clut-&lt;br /&gt;
terbuck to the Rev. j)r. Dryasdust, preceding&lt;br /&gt;
&amp;quot;The Fortunes of Nigel.&amp;quot;)&lt;br /&gt;
When the &amp;quot;Waverley Novels&amp;quot; were collected&lt;br /&gt;
into a complete edition, Sir Walter Scott subjected&lt;br /&gt;
them all to a careful revision. A comparison of&lt;br /&gt;
the texts of the first editions with the texts offered&lt;br /&gt;
as final, might afford some curious points. Many&lt;br /&gt;
of the alterations would, no doubt, prove trivial,&lt;br /&gt;
but it is hardly possible to doubt that others might&lt;br /&gt;
be of interest. Sir Walter says of his emenda-&lt;br /&gt;
tions :&mdash;&lt;br /&gt;
&amp;quot;These consist in occasional pruning where the&lt;br /&gt;
language is redundant, compression where the style&lt;br /&gt;
is loose, infusion of vigour where it is languid, and&lt;br /&gt;
exchange of less forcible for more appropriate&lt;br /&gt;
epithets.&amp;quot; (&amp;quot;Advertisement,&amp;quot; preceding General&lt;br /&gt;
Preface to &amp;quot;Waverley Novels.&amp;quot;)&lt;br /&gt;
A single subject remains, about which Sir&lt;br /&gt;
Walter Scott has a good deal to say: the difficult&lt;br /&gt;
enterprise of choosing a title. On the one hand, he&lt;br /&gt;
admits&mdash;&lt;br /&gt;
&amp;quot;It is of little consequence what the work is&lt;br /&gt;
called, provided it catches public attention.&amp;quot;&lt;br /&gt;
(Introductory Epistle, Captain Clutterbuck to&lt;br /&gt;
the Rev. Dr. Dryasdust, preceding &amp;quot;The Abbot.&amp;quot;)&lt;br /&gt;
On the other hand, he was not at all blind to&lt;br /&gt;
the fact that the title itself might much assist to&lt;br /&gt;
&amp;quot;catch the public attention,&amp;quot; and was very careful&lt;br /&gt;
about the names of his books, &amp;quot;a good name being&lt;br /&gt;
very nearly of as much consequence in literature as&lt;br /&gt;
in life.&amp;quot; (Introduction to &amp;quot;Rob Roy.&amp;quot;)&lt;br /&gt;
At the same time he was very shy of &amp;quot;taking&lt;br /&gt;
titles.&amp;quot; Of these he speaks in three different&lt;br /&gt;
places, and all that he says is deserving of the&lt;br /&gt;
consideration of everyone thinking of publishing a&lt;br /&gt;
book:&mdash;&lt;br /&gt;
&amp;quot;The publisher and author, however much their&lt;br /&gt;
general interests are the same, may be said to differ&lt;br /&gt;
so far as title pages are concerned; and it is a&lt;br /&gt;
secret of the tale-telling art . . . that a taking&lt;br /&gt;
title . . . best answers the purpose of the book-&lt;br /&gt;
seller, since it . . . sells an edition not unfrequently&lt;br /&gt;
before the public have well seen it. But the author&lt;br /&gt;
ought to seek more permanent fame. . . . Many of&lt;br /&gt;
the best novelists have been anxious to give&lt;br /&gt;
their works such titles as render it out of the&lt;br /&gt;
reader&amp;#039;s power to conjecture their contents until&lt;br /&gt;
they should have an opportunity of reading&lt;br /&gt;
them.&amp;quot; (Introduction to the &amp;quot;Betrothed.&amp;quot;)&lt;br /&gt;
&amp;quot;What is called a taking title serves the direct&lt;br /&gt;
interest of the bookseller. . . . But if the author&lt;br /&gt;
permits an over-degree of attention to be drawn&lt;br /&gt;
to his work ere it lias appeared, he places himself&lt;br /&gt;
in the embarrassing condition of having excited a&lt;br /&gt;
degree of expectation, which, if he proves unable&lt;br /&gt;
to satisfy, is an error fatal to his literary&lt;br /&gt;
reputation.&amp;quot; (Introduction to &amp;quot; Ivanhoe.&amp;quot;)&lt;br /&gt;
&amp;quot;A taking title is a recipe for success much in&lt;br /&gt;
favour with booksellers, but which authors will not&lt;br /&gt;
always find efficacious. The cause is worth a&lt;br /&gt;
moment&amp;#039;s examination. A tale . . . sure by the&lt;br /&gt;
very announcement to excite public curiosity to a&lt;br /&gt;
considerable degree ... is of the last importance&lt;br /&gt;
to the bookseller. . . . But it is a different case&lt;br /&gt;
with the author, since it cannot be denied that we&lt;br /&gt;
are apt to feel less satisfied with the work of which&lt;br /&gt;
we have been induced ... to entertain exagge-&lt;br /&gt;
rated expectations.&amp;quot; (Introduction to &amp;quot;The&lt;br /&gt;
Abbot.&amp;quot;)&lt;br /&gt;
Sir Walter Scott received very large sums for&lt;br /&gt;
his copyrights, and was so conscious of the money&lt;br /&gt;
value of his work, that when he found himself, by&lt;br /&gt;
no fault of his own, ruined and responsible for a&lt;br /&gt;
gigantic debt, he courageously resolved to earn&lt;br /&gt;
with his pen the sum Decessary to pay it. No&lt;br /&gt;
author ever wrote with a more direct, or more&lt;br /&gt;
laudable intention of obtaining money, and so the&lt;br /&gt;
following lines from the Introductory Epistle&lt;br /&gt;
preceding the &amp;quot;Fortunes of Nigel,&amp;quot; may perchance,&lt;br /&gt;
more fitly than any others close these brief notes&lt;br /&gt;
on observations on the &amp;quot;tide-telling art&amp;quot; in Sir&lt;br /&gt;
Walter Scott&amp;#039;s introductions to the &amp;quot;Waverley&lt;br /&gt;
Novels&amp;quot;:&mdash;&lt;br /&gt;
&amp;quot;No work of imagination, proceeding from the&lt;br /&gt;
mere consideration of a certain sum of copy money&lt;br /&gt;
ever did, or ever will, succeed.&amp;quot;&lt;br /&gt;
Hexhy Crksswell.&lt;br /&gt;
■&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 410 (#814) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
WALT WHITMAN.&lt;br /&gt;
I.&lt;br /&gt;
An Interview.&lt;br /&gt;
IT was in September 1881 that I had a personal&lt;br /&gt;
interview with Wnlt Whitman. Accompanied&lt;br /&gt;
by a well-known Boston journalist, I called in&lt;br /&gt;
the forenoon upon the old bard. We set awaiting&lt;br /&gt;
his arrival for some minutes. Then the door&lt;br /&gt;
opened, and there walked into the room, with&lt;br /&gt;
simple mien and unconstrained air, as out of an&lt;br /&gt;
Ossianic poem or some ancient bardic lay, a&lt;br /&gt;
veritable Brehon. Tall and slightly stooped,&lt;br /&gt;
leaning on a stick and walking slowly (the effect&lt;br /&gt;
of a stroke of paralysis), Walt Whitman, the poet&lt;br /&gt;
of the American democracy, struck me as a very&lt;br /&gt;
remarkable picture. His hair white and long, his&lt;br /&gt;
eye a light blue, bright, intelligent, and brilliant,&lt;br /&gt;
strongly marked nose, slightly blunted, over a white&lt;br /&gt;
moustache, and the countenance framed all around&lt;br /&gt;
with a long white beard and whiskers. Sui generis&lt;br /&gt;
in dress as in literature, Walt Whitman was every&lt;br /&gt;
inch an ideal poet to gaze upon, the open Byronic&lt;br /&gt;
collar and loose coat and waistcoat, surmounted&lt;br /&gt;
by his massive and venerable head, making an&lt;br /&gt;
interesting and impressive picture. Whitman in&lt;br /&gt;
conversation was measured and thoughtful, liked&lt;br /&gt;
to hear about English literature, especially poetry,&lt;br /&gt;
and had made up his mind very strongly upon&lt;br /&gt;
the merits of modern bards. He was then&lt;br /&gt;
beginning to be understood in Boston, and was&lt;br /&gt;
acutely sensible of the change of opinion which&lt;br /&gt;
was gradually coming over the American literary&lt;br /&gt;
world with regard to his work. He himself has&lt;br /&gt;
declared that the proof of a poet is that his&lt;br /&gt;
country absorbs him as affectionately as he has&lt;br /&gt;
absorbed it. He was fond of young men. &amp;quot;It&lt;br /&gt;
does me good,&amp;quot; he said to me, &amp;quot;to see the boys&lt;br /&gt;
and young men, and to have them about me.&amp;quot; The&lt;br /&gt;
grandeur of his personal presence, the calm thought&lt;br /&gt;
enthroned upon his brow, impressed one with the&lt;br /&gt;
idea that he partook more of the seer and the sage&lt;br /&gt;
than of the modern poet. I shall always carry&lt;br /&gt;
with me a memory of Walt Whitman as the First&lt;br /&gt;
Brehon of the American race.&lt;br /&gt;
P. H. Bagenal.&lt;br /&gt;
II.&lt;br /&gt;
Walt Whitman&amp;#039;s Last Room.&lt;br /&gt;
When I described, on Nov. 29, a recent visit to&lt;br /&gt;
Walt Whitman, I did not say half I thought of the&lt;br /&gt;
squalor and wretchedness of his surroundings. It&lt;br /&gt;
is a wonder to me that he did not die long ago&lt;br /&gt;
from the effects of the unwholesome atmosphere of&lt;br /&gt;
the place. Whitman was a man who loved and&lt;br /&gt;
needed the sunlight and fresh air. In that wretched&lt;br /&gt;
room he had neither. It faced the north, and the&lt;br /&gt;
little light that might have shone upon him was&lt;br /&gt;
kept out by dirty windows and closed shutters. I&lt;br /&gt;
doubt if the room had ever been swept, much less&lt;br /&gt;
thoroughly cleaned. The dirty carpet, the piles of&lt;br /&gt;
old newspapers, the unmade bed, the rickety stove&lt;br /&gt;
that gave out enough heat to dry up a much more&lt;br /&gt;
vigorous body than that of the old poet, all had&lt;br /&gt;
the most depressing effect upon me when I came&lt;br /&gt;
into the place from the crisp, clear air of a bright&lt;br /&gt;
October day. I have read descriptions of old&lt;br /&gt;
misers who have been found dead amid their&lt;br /&gt;
miserable surroundings, but Walt Whitman&amp;#039;s bed-&lt;br /&gt;
room gave me a far more vivid sense of what such&lt;br /&gt;
dens must be than columns of mere description.&lt;br /&gt;
The pathetic thing about it was his contentment.&lt;br /&gt;
I am well taken care of,&amp;quot; he said; &amp;quot;the people,&lt;br /&gt;
here are very kind.&amp;quot; The latter statement was&lt;br /&gt;
probably true; but I do not call such care as he&lt;br /&gt;
received good care. I would not have left a&lt;br /&gt;
favourite dog to live in such a place. I have been&lt;br /&gt;
told that his friends who visited him in his last&lt;br /&gt;
illness were greatly annoyed by the unclean&lt;br /&gt;
wretchedness of the place, but, seeing that he was&lt;br /&gt;
too far gone to make expostulation advisable, they&lt;br /&gt;
held their peace.&mdash;The New Yokk Critic.&lt;br /&gt;
■&lt;br /&gt;
FROM AMERICA.&lt;br /&gt;
ICAN assure you that the condition of the&lt;br /&gt;
author in America, so far as I am qualified to&lt;br /&gt;
judge, is even more lamentable than his English&lt;br /&gt;
brother. You say that &amp;quot; the sweating of authors&mdash;&lt;br /&gt;
chiefly ladies and small authors&mdash;that goes on is&lt;br /&gt;
really terrible.&amp;quot; I think that in America, although&lt;br /&gt;
all authors suffer, the case of the women writers,&lt;br /&gt;
especially the young authors, is worse, because&lt;br /&gt;
women, as a rule, are ignorant of business methods,&lt;br /&gt;
and are especially timid about standing up for their&lt;br /&gt;
just rights.&lt;br /&gt;
I greatly desire to see a &amp;quot; Society for the Pro-&lt;br /&gt;
tection of American Authors&amp;quot; established on the&lt;br /&gt;
lines ably laid down in the Forum article, and&lt;br /&gt;
to that end I should be most grateful if you&lt;br /&gt;
would mail me any printed reports of your&lt;br /&gt;
Society that you are willing to make public, and&lt;br /&gt;
especially the two pamphlets mentioned: &amp;quot;The&lt;br /&gt;
Cost of Production &amp;quot; and &amp;quot; Methods of Publishing,&amp;quot;&lt;br /&gt;
together with a few sample copies of your Author,&lt;br /&gt;
which I am unable to get in Boston, or even to&lt;br /&gt;
learn its subscription price.&lt;br /&gt;
\&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 411 (#815) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
411&lt;br /&gt;
I am an author myself ou a small scale, and a&lt;br /&gt;
contributor to the American Press, but have&lt;br /&gt;
suffered severely from the methods of payment&lt;br /&gt;
employed by most publishers, and by all but a few&lt;br /&gt;
of the largest magazines. Almost all American&lt;br /&gt;
periodicals &amp;quot;pay on publication,&amp;quot; and an author&amp;#039;s&lt;br /&gt;
MSS. are frequently detained, say five years,&lt;br /&gt;
without any compensation. The syndicate method&lt;br /&gt;
also works a great injustice to young authors. For&lt;br /&gt;
instance, one of the largest syndicates in New York&lt;br /&gt;
city pays at the rate of about 610 per column of&lt;br /&gt;
2,000 words for a timely, newsy article, generally not&lt;br /&gt;
wishing more than a column and a half. This&lt;br /&gt;
same article is sold perhaps to forty newspapers&lt;br /&gt;
throughout the United States, and each editor pays&lt;br /&gt;
for it at the rate of about $5 per column, some-&lt;br /&gt;
times more, if the author is noted. The syndicate,&lt;br /&gt;
therefore, takes in about $200 to the author&amp;#039;s &sect;10;&lt;br /&gt;
if this is not a case of &amp;quot;sweating&amp;quot; I hardly know&lt;br /&gt;
what is. Young authors often endure this in&lt;br /&gt;
silence, for they hope that the wide circulation&lt;br /&gt;
given to their article and their name may sometime&lt;br /&gt;
come back to them in solid cash, but the expecta-&lt;br /&gt;
tion is often disappointed. For instance, I sent an&lt;br /&gt;
article of nearly two columns in length that had&lt;br /&gt;
taken me some time in careful preparation to the&lt;br /&gt;
above-named syndicate. In my letter to the editor&lt;br /&gt;
I said that the work thereon was exhaustive, and&lt;br /&gt;
that I &amp;quot;should like&amp;quot; $20 therefor. No reply was&lt;br /&gt;
made, and I presumed my terms were accepted.&lt;br /&gt;
Some weeks afterwards, when the article was&lt;br /&gt;
published, and I was without redress, I &amp;#039;received a&lt;br /&gt;
curt note from the editor saying that the article&lt;br /&gt;
was only worth Si2 to them, and they therefore&lt;br /&gt;
sent me a check for that amount. On asking an&lt;br /&gt;
editor-friend in Boston about the justice of the case,&lt;br /&gt;
he assured me that I had no legal claim, because&lt;br /&gt;
I had merely said &amp;quot; I should like,&amp;quot; instead of saying&lt;br /&gt;
plainly &amp;quot; The price is 320.&amp;quot; Another syndicate to&lt;br /&gt;
which I sent a carefully written article on a subject&lt;br /&gt;
pertaining to women, detained my article of 4,000&lt;br /&gt;
words some four months, then offered me a beg-&lt;br /&gt;
garly price for about 1,000 words: I declined it,&lt;br /&gt;
and wrote requesting the editor to return me the&lt;br /&gt;
article. After some weeks&amp;#039; delay he did so, but&lt;br /&gt;
one-quarter of it, the portion he desired, was miss-&lt;br /&gt;
ing. I could not get it until a newspaper editor&lt;br /&gt;
and personal friend called and got it in person.&lt;br /&gt;
Some weeks after, a friend from the West sent me&lt;br /&gt;
a cutting, which contained the portion of my article&lt;br /&gt;
which the syndicate had retained, and never paid&lt;br /&gt;
for, almost verbatim. I had no redress that I&lt;br /&gt;
could find out for this case of downright robbery.&lt;br /&gt;
In a third case I sold a magazine article on a&lt;br /&gt;
topic of interest to women to a certain magazine&lt;br /&gt;
for &sect;3o. It was to be paid for on publication, but&lt;br /&gt;
the month before the article was to appear the&lt;br /&gt;
magazine failed, and everything was put into the&lt;br /&gt;
hands of a receiver. I wrote for my unpaid article,&lt;br /&gt;
but received the reply that it was the property of&lt;br /&gt;
the magazine, and was now in the editor&amp;#039;s desk,&lt;br /&gt;
which was sealed up, together with about thirty&lt;br /&gt;
dollars worth of fine pen and ink sketches, the work&lt;br /&gt;
of an artist friend, also unpaid for. I finally&lt;br /&gt;
recovered the articles, but their timeliness was&lt;br /&gt;
gone; I had to wait another year for a publisher,&lt;br /&gt;
and the pen and ink sketches, although made to&lt;br /&gt;
order, were detained for months, and finally returned&lt;br /&gt;
unpaid for, resulting in a total loss to the artist,&lt;br /&gt;
who had kindly offered to illustrate my work.&lt;br /&gt;
In still another case I sold a series of letters&lt;br /&gt;
upon European travel to a prominent New York&lt;br /&gt;
weekly, giving them the copyright. They, how-&lt;br /&gt;
ever assured me that if I wished to reprint the&lt;br /&gt;
articles in book form I was at liberty to do so, if I&lt;br /&gt;
gave them the credit. Before I had time to do&lt;br /&gt;
as I had intended, a Boston international steamer&lt;br /&gt;
agency, without communicating either with me or&lt;br /&gt;
the editor to whom I sold the work, reprinted&lt;br /&gt;
nearly the whole of it, issuing it in book form, as&lt;br /&gt;
an advertisement. Just enough was omitted to&lt;br /&gt;
make it safe to reprint a copyright work, and,&lt;br /&gt;
though my name was given anil credit assigned to&lt;br /&gt;
the paper from which the letters were taken, I did&lt;br /&gt;
not make a penny by the transaction. When I&lt;br /&gt;
heard that the book had been so popular that a&lt;br /&gt;
second edition was to be brought out this season&lt;br /&gt;
of 2,000 more copies, making 4,000 in tdl, I&lt;br /&gt;
addressed a letter to the enterprising publisher,&lt;br /&gt;
suggesting that I might make some additions to&lt;br /&gt;
the book and corrections making it more valuable,&lt;br /&gt;
for which I would charge only a nominal sum;&lt;br /&gt;
the publisher then concluded that, on the whole,&lt;br /&gt;
he woidd not bring out a second edition this season.&lt;br /&gt;
I am now negotiating with a second publisher, but&lt;br /&gt;
fear that owing to the first publication and gra-&lt;br /&gt;
tuitous distribution of so many copies I have lost&lt;br /&gt;
all chance of a sale.&lt;br /&gt;
On another occasion I wrote a timely article for&lt;br /&gt;
&amp;quot;Thanksgiving&amp;quot; on the &amp;quot;American Cranberry,&amp;quot;&lt;br /&gt;
giving a number of facts which I had been at some&lt;br /&gt;
pains to obtain. It was sent in ample season, two&lt;br /&gt;
months in advance, to one of the largest Boston&lt;br /&gt;
Sunday papers, and I was told by the city editor,&lt;br /&gt;
whom I knew slightly, that &amp;quot; it had passed the first&lt;br /&gt;
acceptance.&amp;quot; But the MS. had disappeared from&lt;br /&gt;
the face of the earth; I have looked for it for three&lt;br /&gt;
years in the paper, but it has never been published,&lt;br /&gt;
and though I have called a dozen times for it at&lt;br /&gt;
the newspaper office it has never been found.&lt;br /&gt;
Although I valued it at $20, and, unfortunately,&lt;br /&gt;
had no copy by which to replace it, no offer was&lt;br /&gt;
ever made of payment, and I am told that I have&lt;br /&gt;
no legal redress, as the article was not specially&lt;br /&gt;
ordered, and the paper to which it was sent adver-&lt;br /&gt;
tises &amp;quot;that unsolicited MSS. will not be returned.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 412 (#816) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Still, previously that same paper had accepted and&lt;br /&gt;
paid for a numl&amp;gt;er of my special articles, so I thought&lt;br /&gt;
that I was safe in submitting this one.&lt;br /&gt;
I met the loss of another article of equal value&lt;br /&gt;
in a New York paper, and although I was assured&lt;br /&gt;
several times that the New York .... always&lt;br /&gt;
paid for an article if it lost it through its own&lt;br /&gt;
fault, my modest little bill has remained totally&lt;br /&gt;
unregarded.&lt;br /&gt;
I know of a still worse case, where a well-known&lt;br /&gt;
authoress of New York city sent a complete MS.&lt;br /&gt;
of a child&amp;#039;s book to a well-known Boston publishing&lt;br /&gt;
house. The MS. was accepted; in some mysterious&lt;br /&gt;
way between the time of acceptance and publica-&lt;br /&gt;
tion the MS. disappeared. Although it contained&lt;br /&gt;
about 8o,ood words, and represented the work of&lt;br /&gt;
months, the poor author was forced to re-write it&lt;br /&gt;
from beginning to end, without the offer of pay-&lt;br /&gt;
ment of a single cent on the part of the. publishing&lt;br /&gt;
house who lost the MS. Of course, apologies anil&lt;br /&gt;
regrets were sent, but they did not pay for the loss&lt;br /&gt;
of time and the double work.&lt;br /&gt;
In the American newspaper work, especially,&lt;br /&gt;
there is very sharp competition, and a special&lt;br /&gt;
writer, like myself, not connected with any regular&lt;br /&gt;
paper, often suffers severely, when he has an&lt;br /&gt;
exclusive bit of news. For instance, some years&lt;br /&gt;
ago, when I was less familiar with newspaper&lt;br /&gt;
sharp practice than I am now, a new building of&lt;br /&gt;
public importance was erected in Cambridge, near&lt;br /&gt;
Harvard College, where I reside, I called ou the&lt;br /&gt;
superintendent of this manual training school with&lt;br /&gt;
a letter of introduction from a mutual friend, and&lt;br /&gt;
he gave me an hour of his valuable time. I then&lt;br /&gt;
prepared a very full and exhaustive report, of the&lt;br /&gt;
new building, machinery, &amp;amp;c. The next morning&lt;br /&gt;
early I called upon the managing editor of the&lt;br /&gt;
largest paper in Boston, mentioned the fact that&lt;br /&gt;
this building Was just completed, that no report of&lt;br /&gt;
it had appeared, and that I had one prepared.&lt;br /&gt;
The managing editor replied that they did not&lt;br /&gt;
consider a single manual training school building&lt;br /&gt;
of sufficient importance to warrant an extended&lt;br /&gt;
notice; but that if I would visit all such schools in&lt;br /&gt;
Boston and the neighbouring cities and make a&lt;br /&gt;
general report they woidd probably accept it. I&lt;br /&gt;
made my preparations to do so, but on returning&lt;br /&gt;
for some additional data to the Cambridge school,&lt;br /&gt;
I was told by the manager that early that morning,&lt;br /&gt;
evidently directly after my visit in Boston, a special&lt;br /&gt;
re[K&amp;gt;rter had been sent from the Boston Herald in&lt;br /&gt;
hot haste to get all the facts, which the manager,&lt;br /&gt;
knowing of my intention to write the article, out&lt;br /&gt;
of courtesy to me, refused to give, so that only a&lt;br /&gt;
maimed and unintelligent report appeared.&lt;br /&gt;
I have taken the liberty to quote these personal&lt;br /&gt;
cases to you, as there are thousands of a like kind,&lt;br /&gt;
with which young writers are helplessly forced to&lt;br /&gt;
grapple every day. You are at liberty to use these&lt;br /&gt;
as you see fit, if you will not mention names.&lt;br /&gt;
I am now a member of the New England&lt;br /&gt;
Women&amp;#039;s Press Association, which also includes&lt;br /&gt;
a number of authors, and I should greatly like to get&lt;br /&gt;
this association and the various authors&amp;#039; clubs&lt;br /&gt;
throughout the country interested in the matter of&lt;br /&gt;
a reform.&lt;br /&gt;
E. T.&lt;br /&gt;
&mdash;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
CITIES, as cities, rarely do honour to their&lt;br /&gt;
citizens during their lifetime, even though&lt;br /&gt;
such citizens may become world-famous ; but&lt;br /&gt;
Bristol is about to break down the habit of letting&lt;br /&gt;
men be only recognised as famous citizens after&lt;br /&gt;
death, by acknowledging during his lifetime the&lt;br /&gt;
valuable ethnographical work that Dr. John Beddoe&lt;br /&gt;
has been enabled to accomplish, whilst acting also a.s&lt;br /&gt;
a physician in the Bristol suburb, Clifton. A very&lt;br /&gt;
representative committee, under Mr. Lewis Frv,&lt;br /&gt;
M.P., as chairman, has been appointed to present&lt;br /&gt;
Dr. Beddoe with a volume containing an address&lt;br /&gt;
recognising his well known labours, that have&lt;br /&gt;
made his name famous in the scientific world.&lt;br /&gt;
Amongst the committee are the Earl of Ducie,&lt;br /&gt;
Bishop Clifford, Canon Ainger, Canon &amp;quot;Wallace,&lt;br /&gt;
Mr. Warren of Magdalene (a Bristolian); Pro-&lt;br /&gt;
fessors Lloyd, Morgan, and Rowley of the Univer-&lt;br /&gt;
sity College, Bristol; the headmaster of Clifton&lt;br /&gt;
College, Mr. R. L. Leighton, head of the Grammar&lt;br /&gt;
School, and certain members of the Town Council,&lt;br /&gt;
in fact a representative, body. Mr. James Baker,&lt;br /&gt;
acting as Hon. Secretary. The address is to be&lt;br /&gt;
signed by all the official, literary, scientific, and&lt;br /&gt;
artistic bodies in Bristol, and will be presented at a&lt;br /&gt;
dinner during the month of May.&lt;br /&gt;
Mr. Barry Pain&amp;#039;s new volume, entitled &amp;quot; Stories&lt;br /&gt;
and Interludes,&amp;quot; will be published by Messrs. Henry&lt;br /&gt;
and Co. and by Messrs. Harper &amp;amp; Bros, simul-&lt;br /&gt;
taneously on May 3rd.&lt;br /&gt;
Mr. Hall Cable&amp;#039;s forthcoming storiette, entitled&lt;br /&gt;
&amp;quot;Capt&amp;#039;n Davy&amp;#039;s Honeymoon,&amp;quot; which is to run in&lt;br /&gt;
Lloyd&amp;#039;s, will lie published al&amp;gt;out Midsummer by&lt;br /&gt;
Mr. AVm. Heinemann.&lt;br /&gt;
Mrs. George Augustus Sala&amp;#039;s new volume, which&lt;br /&gt;
bears the title &amp;quot; People I have met,&amp;quot; has just been&lt;br /&gt;
published by Messrs. Osgood, Macllvaine and Co.&lt;br /&gt;
Mr. A. J. Balfour is to preside on the 29th&lt;br /&gt;
anniversary of the Newspaper Press Fund, which&lt;br /&gt;
is to be held at the Hotel Metroi&amp;gt;oIe on the 14th&lt;br /&gt;
instant.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 413 (#817) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
4&amp;#039;3&lt;br /&gt;
Among the series of papers which will uppear in&lt;br /&gt;
Scribucr&amp;#039;s on the position of the great European&lt;br /&gt;
cities is one by Mr. Walter Besant, dealing with&lt;br /&gt;
the East London riverside. The parish chosen is&lt;br /&gt;
that of St. James, Rateliff.&lt;br /&gt;
Prize stories, with the notable exception of&lt;br /&gt;
Mr. Goodman&amp;#039;s &amp;quot; Only Witness,&amp;quot; do not, it seems,&lt;br /&gt;
catch on. It is reported that the Leadenhall Press&lt;br /&gt;
have not made a success of their venture &amp;quot;Guess&lt;br /&gt;
the Title.&amp;quot; 10,000 copies were issued, and the&lt;br /&gt;
Publisher&amp;#039;s Circular reports that 9,000 still remain&lt;br /&gt;
on hand. We are sorry that Mr. Tuer has not&lt;br /&gt;
made a hit with this venture, but it is, perhaps,&lt;br /&gt;
fortunate on the whole for the future of fiction&lt;br /&gt;
that the dodge has not succeeded. We have the&lt;br /&gt;
advertising fiend quite enough with us as it is, and&lt;br /&gt;
the self-advertising story is an excrescence which&lt;br /&gt;
we can very well afford to do without.&lt;br /&gt;
Ben Brierley has a great popularity, both as a&lt;br /&gt;
writer and as an entertainer, all over Lancashire,&lt;br /&gt;
Cheshire, and Derbyshire, and has managed to main-&lt;br /&gt;
tain himself in a frugal way up till within the last&lt;br /&gt;
year or two. He was then attacked by illness which&lt;br /&gt;
kept him confined to his bed for twelve months, and&lt;br /&gt;
has left him partially paralysed, so that it is impos-&lt;br /&gt;
sible for him to go on with his entertainments,&lt;br /&gt;
upon which he mainly depended for a livelihood.&lt;br /&gt;
A few Lancashire merchants proposed a tribute to&lt;br /&gt;
him, and up to the present a sum of &pound;25o has been&lt;br /&gt;
collected in small sums. Among the subscribers&lt;br /&gt;
were Lord Derby, Viscount Cranbourne, Sir W.&lt;br /&gt;
H. Houldsworth, Mr. A. J. Balfour, Sir Ughtred&lt;br /&gt;
Kay Shuttle\vorth,and other leading Lancashire men.&lt;br /&gt;
It has now been arranged that the mayors of all&lt;br /&gt;
Lancashire towns shall receive subscriptions for&lt;br /&gt;
the fund, and it is hoped that it will attain suffi-&lt;br /&gt;
cient proportions to enable Ben Brierley to be&lt;br /&gt;
secure from want to the end of his life.&lt;br /&gt;
If Mr. Gladstone attains to the somewhat doubt-&lt;br /&gt;
ful honour of being &amp;quot;collected,&amp;quot; his fondness for&lt;br /&gt;
appearance in pamphlet form will lend an added&lt;br /&gt;
interest to the hunt for complete sets of his&lt;br /&gt;
works. The last addition to his brochures is a&lt;br /&gt;
letter on Female Suffrage, addressed to Mr. Samuel&lt;br /&gt;
Smith, the well-known Liverpool philanthropist,&lt;br /&gt;
which has just been published by Mr. John&lt;br /&gt;
Murray.&lt;br /&gt;
Mr. C. F. Dowsett, F.S.I., has published (The&lt;br /&gt;
Land Record Office) his promised work on &amp;quot; Land,&lt;br /&gt;
its attractions and riches,&amp;quot; by 57 writers. Principal&lt;br /&gt;
Bond-deals with &amp;quot;Fruit Growing&amp;quot;; Mr. C. W.&lt;br /&gt;
Heckethorn with &amp;quot;Investments &amp;quot;; Professor&lt;br /&gt;
G. Henslow writes on &amp;quot;The Value of Botany&lt;br /&gt;
to Country Residents&amp;quot;; the Rev. A. Styleman&lt;br /&gt;
Herring on &amp;quot;Fresh Air for Poor London Chil-&lt;br /&gt;
dren &amp;quot;; Professor Long on &amp;quot;Dairy Farming &amp;quot;;&lt;br /&gt;
and the Rev. Compton Reade on &amp;quot;The Pleasures&lt;br /&gt;
of a Country.&amp;quot; Dr. B. W. Richardson deals with&lt;br /&gt;
&amp;quot;Health in Relation to Land&amp;quot;; Professor A. H.&lt;br /&gt;
Sayce with &amp;quot;Ancient Laws &amp;#039;*; and Professor R.&lt;br /&gt;
Wallace with &amp;quot; Egyptian Lands.&amp;quot;&lt;br /&gt;
The death of John Hyslop at Kilmarnock, N.B.,&lt;br /&gt;
removes another of the true jwets of the people.&lt;br /&gt;
Almost wholly self-educated, he left the machine-&lt;br /&gt;
room to become a rural messenger something more&lt;br /&gt;
than thirty years ago, and in the year of Burns&amp;#039;&lt;br /&gt;
centenary became generally recognised by his&lt;br /&gt;
tribute to the Ploughman Bard. We extract from&lt;br /&gt;
the Pall Mall Gazette the concluding lines of his&lt;br /&gt;
last poem, which was written on his death-bed for&lt;br /&gt;
the Kilmarnock Standard&mdash;&lt;br /&gt;
I hear the music in the upper rooms,&lt;br /&gt;
My soul like pent hinl panteth to he free j&lt;br /&gt;
When that has passed beyond life&amp;#039;s prisoning bars,&lt;br /&gt;
Then burn or bury, do what pleaseth thee&lt;br /&gt;
With the worn cage that is no longer Me,&lt;br /&gt;
l&amp;#039;&amp;quot;or I shall neither know, nor hear, nor see.&lt;br /&gt;
******&lt;br /&gt;
Sometimes, perchance, amid the hurrying years,&lt;br /&gt;
With friends in shady nook or wooded glen,&lt;br /&gt;
You&amp;#039;ll say: &amp;quot;He coined his soul&amp;#039;s best thoughts in&lt;br /&gt;
words,&lt;br /&gt;
And sent them rushing through his ready pen&lt;br /&gt;
In songs of hope to cheer his fellow men.&amp;quot;&lt;br /&gt;
If any songs of all the songs I&amp;#039;ve sung&lt;br /&gt;
Make any music where life&amp;#039;s discord mars&lt;br /&gt;
God&amp;#039;s harmonies, and through the souls of men&lt;br /&gt;
Goes echoing on to heal some hidden scars,&lt;br /&gt;
Then I shall hear it from beyond the stars!&lt;br /&gt;
The fifth and sixth volumes of Mr. C. G. Leland&amp;#039;s&lt;br /&gt;
translation of the works of Heinrich Heine, which&lt;br /&gt;
have just been published by Mr. Win. Heinemann,&lt;br /&gt;
contain the &amp;quot;Germany,&amp;quot; the &amp;quot;Comments on&lt;br /&gt;
Faust,&amp;quot; the &amp;quot; Gods in Exile,&amp;quot; and the &amp;quot; Goddess&lt;br /&gt;
Diana.&amp;quot; Mr. Leland claims that this is the first&lt;br /&gt;
complete edition of Heine&amp;#039;s &amp;quot;Germany,&amp;quot; which,&lt;br /&gt;
as he very justly contends, is a work of which no&lt;br /&gt;
one can be ignorant who seeks sound or even&lt;br /&gt;
superficial reading of modern literature.&lt;br /&gt;
Mr. Hume Nisbet&amp;#039;s new story, &amp;quot;The Bush-&lt;br /&gt;
ranger&amp;#039;s Sweetheart,&amp;quot; has just been issued by&lt;br /&gt;
Mr. F. V. White.&lt;br /&gt;
M. Chedomil Mijatovich, formerly Servian&lt;br /&gt;
Minister at the Court of St. James&amp;#039;s, has issued an&lt;br /&gt;
interesting book on the conquest of Constantinople&lt;br /&gt;
by the Greeks, which embodies the result of great&lt;br /&gt;
personal research. Messrs. Sampson Low anil Co.&lt;br /&gt;
are the publishers. Hitherto, no single monograph&lt;br /&gt;
on the conquest of Constantinople has existed in&lt;br /&gt;
English, though as early as 1670 a tragedy entitled&lt;br /&gt;
the &amp;quot;Siege of Constantinople&amp;quot; was published in&lt;br /&gt;
London.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 414 (#818) ############################################&lt;br /&gt;
&lt;br /&gt;
414&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
&amp;quot;Haunts of Nature,&amp;quot; by H. W. S. Worsley-&lt;br /&gt;
Benison, and illustrated by C. M. Worsley, is&lt;br /&gt;
issued by Elliot Stock. Mr. Worsley-Benison is&lt;br /&gt;
already very well known as the author of &amp;quot; Nature&amp;#039;s&lt;br /&gt;
Fairyland,&amp;quot; and in his new book shows that he is&lt;br /&gt;
not an unworthy successor even to Richard&lt;br /&gt;
Jefferies.&lt;br /&gt;
Mr. Edmund Downey (F. M. Allen) has ready&lt;br /&gt;
a collection of Irish tales, which, under the title of&lt;br /&gt;
&amp;quot;Green as Grass,&amp;quot; will be published by Messrs.&lt;br /&gt;
Chatto and Windus in a few days.&lt;br /&gt;
Dr. S. P. Driver, the Regius Professor of Hebrew&lt;br /&gt;
at the University of Oxford, has concluded a volume&lt;br /&gt;
of sermons, entitled &amp;quot;Old Testament Criticisms.&amp;quot;&lt;br /&gt;
Messrs. Methuen are the publishers.&lt;br /&gt;
Mr. Rudyard Kipling&amp;#039;s &amp;quot; Barrack Room Ballads&amp;quot;&lt;br /&gt;
&mdash;Japanese paper edition&mdash;was published on April&lt;br /&gt;
3oth by Messrs. Methuen.&lt;br /&gt;
Mr. Arthur Symon&amp;#039;s new volume of verse, which&lt;br /&gt;
is to bear the title of &amp;quot; Silhouettes,&amp;quot; will be published&lt;br /&gt;
immediately by Messrs. Elkin Mathews and John&lt;br /&gt;
Lime.&lt;br /&gt;
There is to be yet another Metropolitan literary&lt;br /&gt;
society, the Irish Literary Society, which is to be&lt;br /&gt;
inaugurated next month under the presidency of&lt;br /&gt;
Sir Charles Gavan Duffy, K.C.M.G. The Rev.&lt;br /&gt;
Stopford Brooke is to deliver the inaugural address.&lt;br /&gt;
Mr. E. F. Knight, the author of the &amp;quot;Cruise of&lt;br /&gt;
the Falcon,&amp;quot; promises a book relating his adventures&lt;br /&gt;
during the recent campaign in Hun/.a, in which he&lt;br /&gt;
acted not only as special correspondent of the&lt;br /&gt;
Times, but as a combatant.&lt;br /&gt;
The Rev. Chas. Voysey has prepared, and&lt;br /&gt;
Messrs. Williams and Norgate have published, a&lt;br /&gt;
third edition of a Theistic Prayer Book, greatly&lt;br /&gt;
enlarged, and containing new services and many&lt;br /&gt;
new hymns.&lt;br /&gt;
Mrs. Frank St. Clair Grimwood&amp;#039;s story, &amp;quot;The&lt;br /&gt;
Power of an Eye,&amp;quot; is running in Winter&amp;#039;s Weekly,&lt;br /&gt;
and will Ik- published shortly by Mr. F. V. White.&lt;br /&gt;
Mr. Mackenzie Bell contributes a poem on a&lt;br /&gt;
religious theme to the Christian Leader.&lt;br /&gt;
The May number of the Library Revieiv con-&lt;br /&gt;
tains a further contribution by Stanley Little on&lt;br /&gt;
&amp;quot;Current Fiction,&amp;quot; in which he will deal with&lt;br /&gt;
woman as a creator in fiction; an article entitled&lt;br /&gt;
&amp;quot;Tennyson as Dramatist&amp;quot; by Cuming Walters;&lt;br /&gt;
another by Graham Aylward on &amp;quot;Mr. Meredith&lt;br /&gt;
and his Critics&amp;quot;; and one by Percy White on&lt;br /&gt;
&amp;quot;Daudet and his Literary Methods.&amp;quot;&lt;br /&gt;
Mr. Eden Philpotts&amp;#039;s new story &amp;quot;A Tiger&amp;#039;s Cub&amp;quot;&lt;br /&gt;
has just been issued by Messrs. Arrowsniith.&lt;br /&gt;
&amp;quot;Mark Tillotson &amp;quot; is the title of the new novel&lt;br /&gt;
by the author of &amp;quot; John Westacott,&amp;quot; which appears&lt;br /&gt;
this month. It is dedicated to the veteran poet,&lt;br /&gt;
Frederick von Bodenstedt, the good friend of&lt;br /&gt;
&amp;quot;George Eliot &amp;quot; during her Munich life.&lt;br /&gt;
Mr. E. S. Purcell has written the authorised&lt;br /&gt;
Life of Cardinal Manning. He has had not only&lt;br /&gt;
the Cardinal&amp;#039;s permission but also his assistance,&lt;br /&gt;
with the right to read and use private diaries and&lt;br /&gt;
letters.&lt;br /&gt;
We learn from the New York Critic, that&lt;br /&gt;
shortly after the appearance of &amp;quot;Vain Fortune,&amp;quot;&lt;br /&gt;
Charles Scribner&amp;#039;s Sons made Mr. George Moore&lt;br /&gt;
an offer for tho right of reprinting it in America.&lt;br /&gt;
The author accepted, stipulating only that he should&lt;br /&gt;
be allowed to re-write his novel. This he has done&lt;br /&gt;
with such thoroughness that the first half of the&lt;br /&gt;
narrative has been entirely changed, and the main&lt;br /&gt;
interest transferred from the hero to the heroine.&lt;br /&gt;
Messrs. Osgood, Mcllvaine, and Co. are to&lt;br /&gt;
publish this month a book by Mr. Hamilton Aide,&lt;br /&gt;
entitled &amp;quot; A Voyage of Discovery,&amp;quot; a novel illustra-&lt;br /&gt;
tive of American Society as Mr. Aide found it last&lt;br /&gt;
year when travelling here with Mr. Stanley.&lt;br /&gt;
Those readers whose attention has been attracted&lt;br /&gt;
by the life story of Travers Madge, as told by the&lt;br /&gt;
Rev. Dr. Brooke Herford in &amp;quot;A Protestant Poor&lt;br /&gt;
Friar,&amp;quot; will be interested to know that from this&lt;br /&gt;
strangely pathetic life Mrs. Humphry Ward drew&lt;br /&gt;
the idea of her Ancrum, the crippled minister in&lt;br /&gt;
&amp;quot;David Grieve.&amp;quot;&lt;br /&gt;
In &amp;quot;The Gentleman Digger&amp;quot;&mdash;Sampson Low&lt;br /&gt;
and Co.&mdash;the Comtesse de Bremont sets forth with&lt;br /&gt;
a good deal of spirit and actuality pictures of&lt;br /&gt;
Johannesburg life in 1889, that is to say, at about&lt;br /&gt;
the period of the famine, the crisis, and the collapse&lt;br /&gt;
of the feverish &amp;quot;boom&amp;quot;of 1888-89. The varied&lt;br /&gt;
types of mankind&mdash;ill enough for the most part&mdash;&lt;br /&gt;
tlie hideous scenes enacted daily and nightly at the&lt;br /&gt;
great gold and diamond mining camps of South&lt;br /&gt;
Africa; the unutterable squalor, glitter, drunken-&lt;br /&gt;
ness, chicanery, and crime; all these things are&lt;br /&gt;
displayed in a very realistic manner. As depicting&lt;br /&gt;
true phases of life, as a very real warning, this&lt;br /&gt;
book undoubtedly has a value. And it is to the&lt;br /&gt;
author&amp;#039;s credit that she has raised her voice against&lt;br /&gt;
that vilest of all systems of murder, the poisoning&lt;br /&gt;
of native races, body and soul, by the horrible&lt;br /&gt;
drink traffic.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 415 (#819) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
4i5&lt;br /&gt;
FROM THE PAPERS.&lt;br /&gt;
I.&lt;br /&gt;
The Lowell Memorial.&lt;br /&gt;
DEAN Bradley&amp;#039;s refusal to find room for a&lt;br /&gt;
memorial to Lowell in Westminster Abbey&lt;br /&gt;
is an act of which no explanation is yet&lt;br /&gt;
forthcoming. Want of space is no explanation,&lt;br /&gt;
any more than when the bust of Matthew Arnold&lt;br /&gt;
was hid away in an obscure corner where not one&lt;br /&gt;
visitor in a thousand will ever see it. Lowell, of&lt;br /&gt;
course, has no claim. No American has a claim,&lt;br /&gt;
nor any Englishman either. It rests with the&lt;br /&gt;
Dean of Westminster, for the time being, to grant&lt;br /&gt;
or refuse admission to the Abbey. There is no&lt;br /&gt;
appeal from his discretion, or indiscretion, except&lt;br /&gt;
to public opinion, or to Parliament, where public&lt;br /&gt;
opinion is sometimes crystallized into a concrete&lt;br /&gt;
reform. It was Parliament which intervened to&lt;br /&gt;
save the Abbey from the intrusion of Prince Louis&lt;br /&gt;
Napoleon, whom Dean Stanley was resolved to&lt;br /&gt;
admit. The present is no cause for invoking that&lt;br /&gt;
supreme court of appeal.&lt;br /&gt;
Nor do I know that Lowell&amp;#039;s American friends&lt;br /&gt;
need care much about the matter. It is Lowell&amp;#039;s&lt;br /&gt;
English friends who made the request to the Dean,&lt;br /&gt;
which he somewhat churlishly, they think, has re-&lt;br /&gt;
jected. Lowell, says one of them, is not thought&lt;br /&gt;
good enough for the Abbey. Perhaps not. He&lt;br /&gt;
was merely the foremost American man of letters&lt;br /&gt;
of his time, long resident in England and beloved&lt;br /&gt;
here; a representative who did invaluable service&lt;br /&gt;
to his own country and to this; admittedly the&lt;br /&gt;
first&mdash;it is the English who admit it&mdash;scholar of&lt;br /&gt;
English literature. What has he to do with&lt;br /&gt;
Westminster Abbey? That mausoleum of non-&lt;br /&gt;
entities is dignified, no doubt, by the tombs and&lt;br /&gt;
memorials of some great men, but the majority are&lt;br /&gt;
no company for Lowell. To say that Lowell shall&lt;br /&gt;
not find a place tliere is to say that no American&lt;br /&gt;
shall in the future, and that the few now there had&lt;br /&gt;
better come away; Longfellow first of all, who will&lt;br /&gt;
hardly care to remain now that his friend is ex-&lt;br /&gt;
cluded. If any Dean of Westminster of the future&lt;br /&gt;
regrets the exclusion, he may chisel into some&lt;br /&gt;
vacant stone the line in which the French Academy&lt;br /&gt;
does penance for the absence of Moliere: &amp;quot;Nothing&lt;br /&gt;
was wanting to his glory. He is wanting to ours.&amp;quot;&lt;br /&gt;
&mdash;New York Tribune.&lt;br /&gt;
April 10, 1892.&lt;br /&gt;
II.&lt;br /&gt;
The Glorious Traditions of the Book Agent.&lt;br /&gt;
Napoleon Bonaparte, when a poor lieutenant,&lt;br /&gt;
took the agency for a work entitled &amp;quot; L&amp;#039;Histoire de&lt;br /&gt;
la Revolution.&amp;quot; In the foyer of the great palace&lt;br /&gt;
of the Louvre can be seen to-day the great&lt;br /&gt;
Emperor&amp;#039;s canvassing outfit, with the long list of&lt;br /&gt;
subscribers he secured.&lt;br /&gt;
George Washington, when young, canvassed&lt;br /&gt;
around Alexandria, Va., and sold over 200 copies&lt;br /&gt;
of a work entitled &amp;quot; Bydell&amp;#039;s American Savage.&amp;quot;&lt;br /&gt;
Mark Twain was a book agent.&lt;br /&gt;
Longfellow sold books by subscription.&lt;br /&gt;
Jay Gould, when shirting in life, was a canvasser.&lt;br /&gt;
Daniel Webster paid his second term&amp;#039;s tuition&lt;br /&gt;
at Dartmouth by handling &amp;quot;De Tocqueville&amp;#039;s&lt;br /&gt;
America,&amp;quot; in Merrimac County, New Hampshire.&lt;br /&gt;
General U. S. Grant canvassed for &amp;quot;Irving&amp;#039;s&lt;br /&gt;
Columbus.&amp;quot;&lt;br /&gt;
Rutherford B. Hayes canvassed for &amp;quot;Baxter&amp;#039;s&lt;br /&gt;
Saints&amp;#039; Rest.&amp;quot;&lt;br /&gt;
James G. Blaine began life as a canvasser for a&lt;br /&gt;
&amp;quot;Life of Henry Clay.&amp;quot;&lt;br /&gt;
Bismarck, when at Heidelberg, spent a vacation&lt;br /&gt;
canvassing for one of Blumenbach&amp;#039;s handbooks.&mdash;&lt;br /&gt;
New York Critic.&lt;br /&gt;
III.&lt;br /&gt;
The Chief Use of the Society.&lt;br /&gt;
I conceive the Society&amp;#039;s most important function&lt;br /&gt;
to be the establishment of that solidarity amongst&lt;br /&gt;
literary folk, notoriously a race of units, which&lt;br /&gt;
has hitherto been non-existent. It is a great&lt;br /&gt;
thing that voting authors should be able to get&lt;br /&gt;
advice and help from those who know better than&lt;br /&gt;
themselves; but it is much more that the whole&lt;br /&gt;
profession of literature should have a focus, a&lt;br /&gt;
rallying point, a central representative body&mdash;call&lt;br /&gt;
it what you will. And it seems to me that it is&lt;br /&gt;
the plain duty of every author, of whatever posi-&lt;br /&gt;
tion, to further the consolidation of the Society&lt;br /&gt;
by joining it. Many of its members, of course,&lt;br /&gt;
do not need help themselves; they should, there-&lt;br /&gt;
fore, add their own strength to the weakness of&lt;br /&gt;
their less fortunate brethren. And of its power&lt;br /&gt;
of immediate usefulness, the best testimony is to&lt;br /&gt;
be found in the list of the more important cases&lt;br /&gt;
in which the Society has interfered during the&lt;br /&gt;
past year. It is very interesting reading, and will&lt;br /&gt;
certainly convince all sceptics of the real usefulness&lt;br /&gt;
of the Society and the justness of the ideal&lt;br /&gt;
relations between author and publisher which it&lt;br /&gt;
holds up.&mdash; IVinter&amp;#039;s Weekly.&lt;br /&gt;
IV.&lt;br /&gt;
American Fiction.&lt;br /&gt;
American fiction has distinctly forsaken the&lt;br /&gt;
expansive and the illimitable to run after the&lt;br /&gt;
contracted and the limited. Instead of a national&lt;br /&gt;
novel we now have a rapidly accumulating series&lt;br /&gt;
of regional novels, or rather&mdash;so far as the sub-&lt;br /&gt;
dividing and minimising process goes&mdash;of local&lt;br /&gt;
tales, neighbourhood sketches, short stories confined&lt;br /&gt;
to the author&amp;#039;s Imck yard.&mdash; The New York Nation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 416 (#820) ############################################&lt;br /&gt;
&lt;br /&gt;
416&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
v.&lt;br /&gt;
Newspaper Copyright.&lt;br /&gt;
In the interesting discussion on newspaper copy-&lt;br /&gt;
right now proceeding in the Times, no one has yet&lt;br /&gt;
called attention to the very definite agreement on&lt;br /&gt;
the subject embodied in the Berne Convention.&lt;br /&gt;
Article VII. of that instrument runs as follows :&mdash;&bull;&lt;br /&gt;
&amp;quot;Articles from newspapers or periodicals pub-&lt;br /&gt;
lished in any of the countries of the Union may be&lt;br /&gt;
reproduced in original or in translation in the&lt;br /&gt;
other countries of the Union, unless the authors&lt;br /&gt;
or publishers have expressly forbidden it. For&lt;br /&gt;
periodicals it is sufficient if the prohibition is&lt;br /&gt;
made in a general manner at the beginning of&lt;br /&gt;
each number of the periodical. This prohibition&lt;br /&gt;
cannot in any case apply to articles of political&lt;br /&gt;
discussion, or to the reproduction of news of the&lt;br /&gt;
day or current topics.&amp;quot;&lt;br /&gt;
It will thus be seen that countries in the Copy-&lt;br /&gt;
right Union have agreed, in so far as their relations&lt;br /&gt;
with each other are concerned, to recognise no&lt;br /&gt;
copyright under any circumstances in (i) articles&lt;br /&gt;
of political discussion; (2) news of the day; or&lt;br /&gt;
(3) current topics&mdash;a somewhat vague clause this&lt;br /&gt;
last one.&mdash;Pall Mall Gazette.&lt;br /&gt;
VI.&lt;br /&gt;
From America.&lt;br /&gt;
In New York City alone are nearly a dozen&lt;br /&gt;
publishing &amp;quot;nouses of great wealth, and a score more&lt;br /&gt;
in a highly prosperous condition. One rarely hears&lt;br /&gt;
of a publisher failing, from the Cheap Johns and&lt;br /&gt;
publishers of penny dreadfuls to those of a higher&lt;br /&gt;
order. On the other hand, there can scarcely be&lt;br /&gt;
pointed out an American author who is able to&lt;br /&gt;
make even a decent living by his books.&lt;br /&gt;
However, the vital question is: How can this&lt;br /&gt;
state of things be remedied? A partial remedy&lt;br /&gt;
could be found, no doubt, in the formation of an&lt;br /&gt;
American Society of Authors similar to the Incor-&lt;br /&gt;
porated Society of Authors of Great Britain, or the&lt;br /&gt;
Societe des Gens de Lettres of France. The&lt;br /&gt;
British Society is organised for the protection of&lt;br /&gt;
literary property. It has been already of incalcul-&lt;br /&gt;
able benefit to the British author. The organisa-&lt;br /&gt;
tion of a similar society has been long mooted&lt;br /&gt;
among American authors, and signs point to the&lt;br /&gt;
present time as being ripe for it. The writer, in&lt;br /&gt;
his inquiries among literary men, has found every-&lt;br /&gt;
one in favour of it, and none opposed to it. Such&lt;br /&gt;
a society should be organised on the most liberal&lt;br /&gt;
basis.&lt;br /&gt;
It should be open to everyone, young or old,&lt;br /&gt;
male or female, who has written a book, whether&lt;br /&gt;
published or not, and to recognised writers for the&lt;br /&gt;
press. It should retain the best legal counsel; it&lt;br /&gt;
should provide from its concentrated wisdom and&lt;br /&gt;
experience a form of contract in which the author&amp;#039;s&lt;br /&gt;
right should be protected&mdash;such contracts having&lt;br /&gt;
been hitherto drawn by the publisher for the pro-&lt;br /&gt;
tection of his interests. It should have at least one&lt;br /&gt;
executive officer, who should be an author of&lt;br /&gt;
experience, and who should give information to all&lt;br /&gt;
members applying for it, and take cognizance of&lt;br /&gt;
all complaints, and who should have for counsel&lt;br /&gt;
and assistance an advisory board composed of three&lt;br /&gt;
of the ablest and most experienced members of the&lt;br /&gt;
society. Finally, it should assume, and carry to&lt;br /&gt;
the courts if need be, all clear cases of extortion&lt;br /&gt;
and oppression of authors on the part of publishers.&lt;br /&gt;
Such a society would save American authors&lt;br /&gt;
thousands of dollars yearly, and chiefly to the&lt;br /&gt;
young and inexperienced, who need help most.&mdash;&lt;br /&gt;
Charles B. Todd in the Forum.&lt;br /&gt;
VII.&lt;br /&gt;
The Education op Opinion.&lt;br /&gt;
Many publishers, especially the younger men,&lt;br /&gt;
are gentlemen who have their clubs and their&lt;br /&gt;
social positions. Social position is like marriage;&lt;br /&gt;
the man who has it gives hostages to fortune. He&lt;br /&gt;
cannot afford to have it said that in business trans-&lt;br /&gt;
actions he systematically cheats. Cold looks greet&lt;br /&gt;
him, club acquaintances avoid him; he finds the&lt;br /&gt;
atmosphere of the club chilling. This has already&lt;br /&gt;
happened in one or two instances; it is the first&lt;br /&gt;
expression of public opinion in its infancy.&lt;br /&gt;
What else can the Society attempt; I wish I&lt;br /&gt;
could publish in these pages, in order to show its&lt;br /&gt;
work, the letters of a single day. Agreements are&lt;br /&gt;
sent up for examination, questions of difficulty&lt;br /&gt;
about copyright in articles or books, questions as to&lt;br /&gt;
cost, questions as to the trustworthiness of pub-&lt;br /&gt;
lishers, questions of every kind. Our secretaries&lt;br /&gt;
are supposed to know everything; hard by our&lt;br /&gt;
offices are those of our solicitors, to whom are&lt;br /&gt;
referred almost every day some points of difficulty.&lt;br /&gt;
We keep authors out of the hands of dishonest&lt;br /&gt;
publishers&mdash;this is a tremendous weapon. There&lt;br /&gt;
are certain houses from which we have kept many&lt;br /&gt;
thousands of pounds; we prevent authors from&lt;br /&gt;
signing unfair agreements; we have readers to&lt;br /&gt;
examine the manuscripts of young writers and to&lt;br /&gt;
advise them. The newr American Copyright Law&lt;br /&gt;
has introduced a whole sheaf of difficulties. In a&lt;br /&gt;
word, we are the only body which has ever existed&lt;br /&gt;
for the maintenance and defence of literary property&lt;br /&gt;
for its creators and producers.&lt;br /&gt;
What it has still to do.&lt;br /&gt;
There remains before us one more service to&lt;br /&gt;
literature. We desire above all things to formulate&lt;br /&gt;
the broad principles upon which publishing should&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 417 (#821) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
4i7&lt;br /&gt;
be conducted, so as to give the author the full&lt;br /&gt;
share that belongs to him, and to recognise to their&lt;br /&gt;
utmost the services of the publishers.&lt;br /&gt;
I do not think that the problem will prove&lt;br /&gt;
insoluable, once fairly tackled. I have myself a&lt;br /&gt;
solution to offer, if I can only persuade other people&lt;br /&gt;
to accept it.&lt;br /&gt;
Whatever method is ndopted must depend&lt;br /&gt;
entirely upon the success of a book, and therefore&lt;br /&gt;
must be some form of royalty. Publisher and&lt;br /&gt;
author must be interested in its success, each in&lt;br /&gt;
his own fair proportion. In this place I can only&lt;br /&gt;
point out the thing as one which must be attempted.&lt;br /&gt;
For my own part I have seen, every day since&lt;br /&gt;
the formation of the Society, fresh evidence of the&lt;br /&gt;
necessity of such a corporation as our own.&mdash;&lt;br /&gt;
Walter Bksant in the Forum.&lt;br /&gt;
VIII.&lt;br /&gt;
An Outside Opinion on the Society.&lt;br /&gt;
Old and business-like authors gratefully acknow-&lt;br /&gt;
ledge their gratitude? to this wonderful undertaking;&lt;br /&gt;
but to the young and untried writers it is even&lt;br /&gt;
more invaluable. It lias saved many youthful&lt;br /&gt;
aspirants from ruin, by persuading them not to&lt;br /&gt;
produce trash at their own risk, and has helped the&lt;br /&gt;
more promising by kindly advice and suggestions&lt;br /&gt;
in a way that has enabled authors to remodel a&lt;br /&gt;
faulty MS. until it presented a readable and sale-&lt;br /&gt;
able book. The Society has a monthly paper of its&lt;br /&gt;
own, conducted by Mr. Besant, helped by many of&lt;br /&gt;
our best writers, in which all means of publication,&lt;br /&gt;
new methods, pitfalls to be avoided, &amp;amp;c, are fully&lt;br /&gt;
discussed.&lt;br /&gt;
The Authors&amp;#039; Club is an off-shoot of the Society,&lt;br /&gt;
and bids fair to rival the Savilc. Unfortunately&lt;br /&gt;
there are no lady members, so that the feminine&lt;br /&gt;
part of the world of letters have to be content with&lt;br /&gt;
the Albemarle or the Writers&amp;#039;. Nevertheless, the&lt;br /&gt;
Society itself does not close its doors to women,&lt;br /&gt;
who muster strongly among its members. There&lt;br /&gt;
is an erroneous idea current that the Society acts as&lt;br /&gt;
publishers. This is not so. It is practically an&lt;br /&gt;
agent. It is also a lawyer, and al&amp;gt;ove all it is an&lt;br /&gt;
able and willing adviser.&mdash;The Queen.&lt;br /&gt;
&diams;■&raquo;■&diams;&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Baxter, Ukv. M. Forty Coming Wonders from 1892 to&lt;br /&gt;
1901. Eightieth thousand. Christian Herald Office,&lt;br /&gt;
Tudor Street, Salisbury Square, K.C.&lt;br /&gt;
Bell, Captain Henry. Selections from the Table Talk of&lt;br /&gt;
Martin Luther. Translated by. Cassell&amp;#039;s National&lt;br /&gt;
Library. Cloth, 6d.&lt;br /&gt;
CaLTHROp, Ukv. Gordon. St. Paul: a Study. Addresses&lt;br /&gt;
given in St. Paul&amp;#039;s Cathedral. Paper covers, is. 61/.&lt;br /&gt;
The Church in Walks. Full report of the debate on&lt;br /&gt;
Mr. Samuel Smith&amp;#039;s Resolution in the House of&lt;br /&gt;
Commons on February 23, 1892. Paper covers (bd.).&lt;br /&gt;
Also Speeches by Mr. Balfour and Sir E. Clarke on&lt;br /&gt;
that occasion (it/, each). Church Defence Institution,&lt;br /&gt;
Bridge Street, S.W.&lt;br /&gt;
Corbktt, Kkv. F. St. John. Echoes of the Sanctuary.&lt;br /&gt;
Skeffington and Son.&lt;br /&gt;
Cornpord, Kkv. James. The Book of Common Prayer,&lt;br /&gt;
with historical notes. Edited by. Eyre and Spottis-&lt;br /&gt;
woodc.&lt;br /&gt;
Griffith, Ralph T. H. The Hymns of the Rigveda.&lt;br /&gt;
Translated, with a popular comment-try by. Vol. IV.&lt;br /&gt;
(The previous volumes were published in 1889, 1890,&lt;br /&gt;
and 1891.) E. J. Lazarus and Co., Benares.&lt;br /&gt;
Gkimthokpk, Loud. A Review of Prebendary Sadler&amp;#039;s&lt;br /&gt;
&amp;quot;Church Doctrine&mdash;Bible Truth &amp;quot; anil of Mr. Gore&amp;#039;s&lt;br /&gt;
Theory of Our Lord&amp;#039;s Ignorance. 6d. Protestant&lt;br /&gt;
Churchmen&amp;#039;s Alliance.&lt;br /&gt;
Hill, Rowland, and Spurokox, C. II. Remarkable&lt;br /&gt;
Sermons Preached from the same Text&mdash;&amp;quot; Christ&lt;br /&gt;
Crucified.&amp;quot; Passmore and Alabaster. Paper covers,&lt;br /&gt;
3d.&lt;br /&gt;
Maurice, F. D. Sermons Preached in Lincoln&amp;#039;s Inn&lt;br /&gt;
Chapel. Sixth and last volume. New edition. Mac-&lt;br /&gt;
niillan. 3j. id.&lt;br /&gt;
Rawson, Sib Rawson W , K.C.M.G. The Gospel Narra-&lt;br /&gt;
tive, or Life of Jesus Christ, collated from the Autho-&lt;br /&gt;
rized Text of the Four Gospels, with Notes of all&lt;br /&gt;
material changes in the Revised Version, and Epitome&lt;br /&gt;
and Harmony of the Gospels. 5&raquo;. net.&lt;br /&gt;
Reynolds, H. B., D.D. Light and Peace. Sermons and&lt;br /&gt;
addresses. &amp;quot;Preachers of the Age &amp;quot; Series. With&lt;br /&gt;
portrait. Sampson Low. 3j. 6&amp;lt;f.&lt;br /&gt;
Spurgkon, Rev. C. II. Sermons. &amp;quot;Contemporary Pulpit&lt;br /&gt;
Library.&amp;quot; Swan Sonuenschein.&lt;br /&gt;
Voysey, Rev. Charles. The Theistic Prayer Book.&lt;br /&gt;
Third edition. Williams and Norgate.&lt;br /&gt;
Williams, Rowland, D.D. Psalms and Litanies: Coun-&lt;br /&gt;
sels and Collects for Devout Persons. Edited by&lt;br /&gt;
his willow. New edition. Fisher Cnwiu. ys. 6d.&lt;br /&gt;
Wordsworth, Charlks, D.D., D.C.L. Primary Witness&lt;br /&gt;
to the Truth of the Gospel, a series of discourses; also&lt;br /&gt;
a charge on modern teaching on the canon of the Old&lt;br /&gt;
Testament. Longiuaus. 73. 6d.&lt;br /&gt;
History and Biography.&lt;br /&gt;
AunoTT, Edwin A. The Anglican Career of Cardinal&lt;br /&gt;
Newman. 2 vols. Macmillan. 2 5s. net.&lt;br /&gt;
Beniiam, Charlks E. Colchester Worthies: a biographical&lt;br /&gt;
index of Colchester. Simpkin, Marshall.&lt;br /&gt;
Boask, Frederic. Modern English Biography, containing&lt;br /&gt;
concise memoirs of persons who have died since 18 So.&lt;br /&gt;
Vol. I., A to H. Truro: Netherton and Worth, for&lt;br /&gt;
the author (25o copies only printed). 3o.&laquo;. net.&lt;br /&gt;
Brighton, J. G., M.I). Admiral of the Fleet Sir Provo&lt;br /&gt;
Wallis. A Memoir. With illustrations, charts, &amp;amp;c.&lt;br /&gt;
Hutchinson.&lt;br /&gt;
Butler, Arthur John. The Memoirs of Baron de&lt;br /&gt;
Marbot, late Lieutenant General in the French Army.&lt;br /&gt;
Translated from the French. 2 vols., with portrait&lt;br /&gt;
and maps. Longmans. 32*.&lt;br /&gt;
Chetwtnd-Stapylton, H. E. TheChetwynds of Ingestre:&lt;br /&gt;
being a history of that family from a very early date.&lt;br /&gt;
With illustrations by the author. Longmans. 14s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 418 (#822) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Conway, Ri&amp;#039;sset.t. H. Life of C. H. Spurgeon. Illustrated.&lt;br /&gt;
A. T. Hubbard, Philadelphia.&lt;br /&gt;
Foster, Joseph. Alumni Oxoniensis: The Members of&lt;br /&gt;
the University of Oxford, their parentage, birthplace,&lt;br /&gt;
and year of birth, with a record of their degrees,&lt;br /&gt;
being the Matriculation Register of the University,&lt;br /&gt;
alphabetically arranged, revised, and annotated. In&lt;br /&gt;
two series&mdash;from i5oo to 1714 (five vols.), and from&lt;br /&gt;
17iS to 1886 (three vols.). Parker and Co.&lt;br /&gt;
Fowler, VV. Warde. Julius Cajsar, and the Foundation&lt;br /&gt;
of the Roman Imperial System. &amp;quot;Heroes of the&lt;br /&gt;
Nations&amp;quot; Series. G. P. Putnam&amp;#039;s Sons, Bedford&lt;br /&gt;
Street, Strand. 5s.&lt;br /&gt;
Heron-Allen, Edward. I)e Fidiculis Hibliographia:&lt;br /&gt;
being the basis of the Bibliography of the Violin and&lt;br /&gt;
all other instruments played with a bow in ancient and&lt;br /&gt;
modern times. (Part II., Rook Sections and Extracts&lt;br /&gt;
(continued) and Second Supplement.) Griffith, Far-&lt;br /&gt;
ran. Paper covers, is. 6d.&lt;br /&gt;
Holcroft, Thomas. The Life and Adventures of Raron&lt;br /&gt;
Trcnck. Vol. I. Translated by. Cassell&amp;#039;s &amp;quot; National&lt;br /&gt;
Library.&amp;quot; 6,/.&lt;br /&gt;
Hutton, A. W. Cardinal Manning. With a Ribliography.&lt;br /&gt;
Metbuen and Co.&lt;br /&gt;
Lecky, W. E. H. A History of Eugland in the Eighteenth&lt;br /&gt;
Century. Vol. IV. New edition. Longmans. 6s.&lt;br /&gt;
Mijatovitch, Chrdomil. Constantino, the Last Emperor&lt;br /&gt;
of the Greeks; or, The Conquest of Constantinople&lt;br /&gt;
by the Turks (A.D. 1453), after the latest historical&lt;br /&gt;
researches. Sampson Low.&lt;br /&gt;
Musson, S. P., and Roxburgh, T. L. &amp;quot;The Handbook of&lt;br /&gt;
Jamaica for 1892.&amp;quot; Published by authority, com-&lt;br /&gt;
prising Historical, Statistical, and General Information&lt;br /&gt;
concerning the Island. Twelfth year of publication.&lt;br /&gt;
Compiled from official and other reliable records.&lt;br /&gt;
Edward Stanford.&lt;br /&gt;
Pike, G. Holden. Charles Huddon Spurgeon. &amp;quot;The&lt;br /&gt;
World&amp;#039;s Workers &amp;quot; Series. Cassell. is.&lt;br /&gt;
Ri eman, Dr. H. Catechism of Musical History. Second&lt;br /&gt;
Part&mdash;History of Musical Forms. With biographical&lt;br /&gt;
notices of the most illustrious composers. Translated&lt;br /&gt;
from the German. Augencr and Co., Newgate Street,&lt;br /&gt;
E.C. is. 6rf. (Paper covers, zs. net.)&lt;br /&gt;
Sorel, Albert. Madame de Stael. With portrait. Great&lt;br /&gt;
French Writers Series. Fisher Unwiu. 3s. 6d.&lt;br /&gt;
Symonds, J. A., and Daughter Margaret. Our Life in&lt;br /&gt;
the Swiss Highlands. A. and C. Black.&lt;br /&gt;
Verney, Colonel Lloyd. A Description of the Parish&lt;br /&gt;
Church of Llangurig, Montgomeryshire. G. Pnlman&lt;br /&gt;
and Sons, Thayer Street, W. is.&lt;br /&gt;
General Literature.&lt;br /&gt;
Acland, A. H. D., and Smith, H. Llewellyn. Studies&lt;br /&gt;
in Secondary Education. Edited by Arthur H. D.&lt;br /&gt;
Acland, M.P., and H. Llewellyn Smith, M.A., B.Sc.&lt;br /&gt;
With an Introduction by James Brycc, M.P. Percival&lt;br /&gt;
and Co. 7s. 6d.&lt;br /&gt;
Anderson, John. The Colonial Office List for 1891.&lt;br /&gt;
Compiled from official records, by permission of the&lt;br /&gt;
Secretary of State for the Colonies. 21st publication.&lt;br /&gt;
Harrison and Sons, Pall Mall. ys. 6d.&lt;br /&gt;
Ahcher, Frank. How to Write a Good Play. Sampson&lt;br /&gt;
Low.&lt;br /&gt;
Atkinson, Rev. J. C. Playhours and Half-Holidays, or&lt;br /&gt;
Further Experiences of Two Schoolboys. Illustrated&lt;br /&gt;
by Coleman. Macmillan. 3s. 6d.&lt;br /&gt;
Atkinson, Rev. J. C. Walks, Talks, Travels, and Exploits&lt;br /&gt;
of Two Schoolboys. A book for boys. New edition.&lt;br /&gt;
Macmillan. 3s. 6d.&lt;br /&gt;
&amp;quot;R&amp;quot; Brigadier-General. A General and his Duties.&lt;br /&gt;
Gale and Polden, Amen Corner, E.C. is. 6d., post&lt;br /&gt;
free.&lt;br /&gt;
Reardmore, W. Lee. The Drainage of Habitable Build-&lt;br /&gt;
ings. A reprint and revision of articles in the Plumber&lt;br /&gt;
and Decorator and Journal of Gas and Sanitary&lt;br /&gt;
Engineering. Whittaker, White Hart Street.&lt;br /&gt;
Berry, James. My Experiences as an Executioner. By&lt;br /&gt;
James Berry. Edited by H. Snowden Ward. Percy&lt;br /&gt;
Lund, Memorial Hall, Ludgatc Circus, E.C. is.&lt;br /&gt;
Booth, Charles. Pauperism&mdash;a Picture; and the Endow-&lt;br /&gt;
ment of Old Age&mdash;an Argument. Macmillan and Co.&lt;br /&gt;
Bottone, S. R. A Guide to Electric Lighting. Whittaker.&lt;br /&gt;
Paper covers, is.&lt;br /&gt;
Brody, G. M. Tennyson&amp;#039;s &amp;quot; Queen Mary.&amp;quot; A criticism.&lt;br /&gt;
Simpkiu, Marshall. Paper covers, is.&lt;br /&gt;
Butler, Samuel. The Humour of Homer. Metcalfe and&lt;br /&gt;
Co., Cambridge. 6d.&lt;br /&gt;
Chbal, J., F.R.H.S. Practical Fruit Culture. George&lt;br /&gt;
Bell and Sons.&lt;br /&gt;
Cheltnam, Charles S. The Dramatic Year Book and&lt;br /&gt;
Stage Directory, 1892. Illustrated with portraits of&lt;br /&gt;
popular actors and actresses. Edited by. Trischler&lt;br /&gt;
and Co., New Bridge Street, E.C.&lt;br /&gt;
Chilton, Young F. Work. An Illustrated Magazine&lt;br /&gt;
of Practice and Theory. Edited by. From March 21,&lt;br /&gt;
1891, to March 12, 1892. Cassell.&lt;br /&gt;
Clerke, Agnes M. Familiar Studies in Homer. Long-&lt;br /&gt;
mans. 7s. id.&lt;br /&gt;
Clouston, W. A. Literary Coincidences. A Bookstall&lt;br /&gt;
Bargain and other Papers. Morison Brothers,&lt;br /&gt;
Glasgow. Paper covers, is.&lt;br /&gt;
Conder, Josiah. The Flowers of Japan and the Art of&lt;br /&gt;
Floral Arrangement. With illustrations by Japanese&lt;br /&gt;
artists. Sampson Low.&lt;br /&gt;
Courtney, W. L. Studies at Leisure. Chapman and&lt;br /&gt;
Hall. 6s.&lt;br /&gt;
Distant, W. L. A Naturalist in the Transvaal. With&lt;br /&gt;
coloured plates and illustrations. R. H. Porter,&lt;br /&gt;
Prince&amp;#039;s Street, W. 21s.&lt;br /&gt;
Dowsett, C. F., F.S.I. Land. Its Attractions and Riches.&lt;br /&gt;
By Fifty-seven Writers. Edited by. The &amp;quot;Land&lt;br /&gt;
Roll &amp;quot; Office, 3, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Emiorants&amp;#039; Information Office Handbooks, 1892.&lt;br /&gt;
Eyre and Spottiswoode. 2s.&lt;br /&gt;
The Export Merchant Shippers; with their trading&lt;br /&gt;
ports and class of goods shipped. Edited by&lt;br /&gt;
a Custom House employ^, 1892-3. Dean and Son,&lt;br /&gt;
Fleet Street.&lt;br /&gt;
Fiskk, John. The Discovery of America. With some&lt;br /&gt;
account of Ancient America and the Spanish Con-&lt;br /&gt;
quests. Two vols. Macmillan. 18s.&lt;br /&gt;
Forrest, G. W., B.A. The Administration of Warren Hast-&lt;br /&gt;
ings, 1772-85. Reviewed and illustrated from original&lt;br /&gt;
documents. (Government of India Record Office.)&lt;br /&gt;
Office of the Superintendent of Indian Government&lt;br /&gt;
Printing, Calcutta.&lt;br /&gt;
Gates, E. Wilson. Hints to Emigrants. Self-Help&lt;br /&gt;
Emigration Society, id.&lt;br /&gt;
Gore-Browne, F., and Jordan, Wm. Joint Stock Com-&lt;br /&gt;
panies: A handy book on their formation, manage-&lt;br /&gt;
ment, and winding-up. 15th edition. Jordan and Sons,&lt;br /&gt;
120, Chancery Lane.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 419 (#823) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
419&lt;br /&gt;
Oork, Charles, M.A. Roman Catholic Claims. 4th&lt;br /&gt;
edition, with new preface. Longmans. 3s. 6&amp;lt;l.&lt;br /&gt;
Gowen, Rev. H. H. The Paradise of the Pacific. Sketches&lt;br /&gt;
of Hawaiian Scenery and Life. Skeffington and Son,&lt;br /&gt;
Piccadilly.&lt;br /&gt;
Golf. A book for recording matches. Geo. Stuart and&lt;br /&gt;
Co., Farriugdon Street and Edinburgh.&lt;br /&gt;
Gullick, Thomas J. Oil Painting on Glass, including&lt;br /&gt;
mirrors, windows, &amp;amp;c. With remarks upon the prin-&lt;br /&gt;
ciples of painting and decorative art generally. Winsor&lt;br /&gt;
and Newton, Rathbone Place, W. Paper covers, is.&lt;br /&gt;
Hill, G. Birkbeck, D.C.L. Letters of Samuel Johnson,&lt;br /&gt;
LL.D., collected and edited by. In two volumes.&lt;br /&gt;
Vol. 1, Oct. 3o, 1731, to Dec. 21, 1776; vol. 2, Jan. i5,&lt;br /&gt;
1777, to Dec. 18, 1784. With a facsimile. Clarendon&lt;br /&gt;
Press. 28s.&lt;br /&gt;
Hubbell, Walter. Midnight Madness, Bingham Pub-&lt;br /&gt;
lishing Company, Chicago. Paper covers, 25c.&lt;br /&gt;
Hunter, Sin Wm. Wilson, K.C.I.K. Bombay, 188S to&lt;br /&gt;
1890: A Study in Indian Administration. Henry&lt;br /&gt;
Frowde, Amen Corner, K.C. i5s.&lt;br /&gt;
Irby, Lt.-Col. L. Howard. British Birds: Key List.&lt;br /&gt;
2nd edition. H. H. Porter, 18, Prince&amp;#039;s Street, W.&lt;br /&gt;
25. 6d.&lt;br /&gt;
Kelly&amp;#039;s London Suburban Directory for 1892, with&lt;br /&gt;
map engraved expressly for this work. Kelly and Co.,&lt;br /&gt;
Great Queen Street, W.C. 36s.&lt;br /&gt;
Ksxnedy, E. S. A Tramp to Brighton. Simpkiu,&lt;br /&gt;
Marshall, is.&lt;br /&gt;
Kennedy, H. A. The Sunday Afternoon Song-Book: for&lt;br /&gt;
&amp;quot;Pleasant Sunday Afternoons&amp;quot; and other gatherings.&lt;br /&gt;
Compiled by. James Clarke and Co. zd.&lt;br /&gt;
Knox-Little, W. J., M.A. Sketches in Sunshine and&lt;br /&gt;
Storm, a collection of miscellaneous essays and notes of&lt;br /&gt;
travels. Longmans. 7*. 6rf.&lt;br /&gt;
Lanin, K. B. Russian Characteristics. Reprinted, with&lt;br /&gt;
revisions from the Fortnighty Jicview. Chapman&lt;br /&gt;
and Hall. 14s.&lt;br /&gt;
Lee, Sidney. Dictionary of National Biography. Edited&lt;br /&gt;
by. Vol. XXX., Johnes-Kenneth. Smith Elder.&lt;br /&gt;
Lurmolieff, Ivan. Italian Painters: Critical Studies of&lt;br /&gt;
their Works. The Borghese and Doria-Pamfili Gal-&lt;br /&gt;
leries in Rome. Translated from the German by&lt;br /&gt;
Constauce Jocelyn Ffoulkes, with an introduction by&lt;br /&gt;
Sir A. H. Layard, G.C.B., D.C.L. John Murray.&lt;br /&gt;
i5s.&lt;br /&gt;
&amp;quot;Mac and O&amp;#039;.&amp;quot; The Parnell Leadership and Home Rule,&lt;br /&gt;
from an historical, ethical, and ethnological point of&lt;br /&gt;
view. Gill and Son, Dublin. Paper covers, 6d.&lt;br /&gt;
Macdonell, A. A. Camping Out. George Bell and&lt;br /&gt;
Sons.&lt;br /&gt;
Mackenzie, W. M. The Poor Law Guardian; his powers&lt;br /&gt;
and duties in the right execution of his office. Third&lt;br /&gt;
edition. Shaw, Fetter Lane.&lt;br /&gt;
The Making of Italy. By The O&amp;#039;Clery of the Middle&lt;br /&gt;
Temple. Kegan Paul.&lt;br /&gt;
The Medioal Register, 1892: and Tin: Dentists Re-&lt;br /&gt;
gister. Spottiswoode, Gracechurch Street, E.C.&lt;br /&gt;
Mivart, St. George. Essays and Criticisms. Two vols.&lt;br /&gt;
Osgood, McIIvnine, and Co. 32s.&lt;br /&gt;
Nansen, Fridtjo. The First Crossing of Greenland.&lt;br /&gt;
Translated from the Norwegian by H. M. Gepp, B.A.&lt;br /&gt;
A new edition, unabridged. With illustrations and&lt;br /&gt;
map. Longmans. 7s. 6d.&lt;br /&gt;
Nasmito, David, Q.C. Makers of Modern Thought; or,&lt;br /&gt;
Five Hundred Years&amp;#039; Struggle (1200 a.d. to 1699 a.d.)&lt;br /&gt;
between Science, Ignorance, and Superstition. Two&lt;br /&gt;
vols. George Philip, Fleet Street. 12s. net.&lt;br /&gt;
Noble, John. Facts for Politicians. A new and revised&lt;br /&gt;
edition. Henry Good, Moorgate Street. Paper covers,&lt;br /&gt;
is.; cloth, 2s.&lt;br /&gt;
The Nursing Directory for 1892 (first annual issue).&lt;br /&gt;
The Record Press, 376, Strand. 5s.&lt;br /&gt;
Ormond, George W. T. The Barton House Conspiracy:&lt;br /&gt;
a Tale of 1886. E. and S. Livingstone, Edinburgh.&lt;br /&gt;
Cardboard covers, is.&lt;br /&gt;
Ouseley, Rev. Sir G. The Compositions of the Rev. Sir&lt;br /&gt;
F. A. Gore Ouseley, M.A., Mus. Doc. Compiled by&lt;br /&gt;
John S. Bumpus. T. B. Bumpus, George Yard,&lt;br /&gt;
Lombard Street. Paper covers, 2s.&lt;br /&gt;
Owen, J. A. Within an Hour of London Town, among&lt;br /&gt;
wild birds and their haunts. By &amp;quot;A Son of the&lt;br /&gt;
Marshes.&amp;quot; Edited by. Blackwood.&lt;br /&gt;
Palgrave, R. H. I. Dictionary of Political Economy.&lt;br /&gt;
Edited by. Second part, Beeke-Chamberlayne. Mac-&lt;br /&gt;
niillan. Paper covers, 3s. 6d. net.&lt;br /&gt;
Pascoe, Charles E. London of To-Day: an Illustrated&lt;br /&gt;
Handbook for the Season. Eighth annual edition,&lt;br /&gt;
revised and illustrated. Simpkin, Marshall.&lt;br /&gt;
Payne, J. F. Lectures on the History of Education, with&lt;br /&gt;
a Visit to German Schools. By the late Joseph Payne.&lt;br /&gt;
Edited by his son. Vol. II. of the works of Joseph&lt;br /&gt;
Payne. Longmans. 10s. 6d.&lt;br /&gt;
The Popular Guide to the Second London County&lt;br /&gt;
Council, with full particulars of the polls and portraits.&lt;br /&gt;
Pall Malt Gazette Office. Paper covers, 6d.&lt;br /&gt;
Powell, J. C. The American Siberia; or, Fourteen Years&amp;#039;&lt;br /&gt;
Experience in a Southern Convict Camp. Gay and&lt;br /&gt;
Bird, 27, King William Street, West Strand. 3s. 6d.&lt;br /&gt;
Riding: The Use and Misuse of Reins and Stirrui-h.&lt;br /&gt;
15 illustrations. By a Horseman. Third edition. King,&lt;br /&gt;
Booksellers&amp;#039; Row, Strand. Paper covers, id.&lt;br /&gt;
Rimmer, Alfred. Rambles Round Rugby. With an&lt;br /&gt;
introductory chapter by the Rev. W. H. Payne Smith,&lt;br /&gt;
M.A. Illustrated by the author. Percival.&lt;br /&gt;
Roma. Joys and Sorrows; or, Two of Life&amp;#039;s Stories.&lt;br /&gt;
Sutton, Drowley, and Co., 11, Ludgate Hill. is.&lt;br /&gt;
Russell, W. An Invalid&amp;#039;s Twelve Year&amp;#039;s Experience in&lt;br /&gt;
Search of Health. R. B. Marten, Sudbury. 10s.&lt;br /&gt;
Saintsbury, George. Political Pamphlets. Edited by.&lt;br /&gt;
Pocket Library of English Literature. Percival and&lt;br /&gt;
Co. 3s. 6d.&lt;br /&gt;
Salaman, M. C. Woman, through a Man&amp;#039;s Eyeglass.&lt;br /&gt;
With illustrations by Dudley Hardy. Heinemaun.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Savile-Clarke, H. A Little Flutter: Stage, Story, and&lt;br /&gt;
Stanza. (The Whitcfriars Library of Wit and&lt;br /&gt;
Humour.) Henry and Co. 3s. 6d.&lt;br /&gt;
Satce, George C. Twelve Times Round the World. By&lt;br /&gt;
&amp;quot;A Globe Trotter.&amp;quot; Arrowsmith.&lt;br /&gt;
Schneider, George. The Book of Choice Ferns. Vol. 1.&lt;br /&gt;
From Introduction to Athyrium. Illustrated. Upcott&lt;br /&gt;
Gill, 170, Strand.&lt;br /&gt;
Souvenir of Shakspeare&amp;#039;s King Henry the Eighth.&lt;br /&gt;
Presented at the Lyceum Theatre by Henry Irving,&lt;br /&gt;
Jan. 5, 1892. Illustrated by J. Bernard Partridge,&lt;br /&gt;
W. Telbiu, J. Harker, and Hawes Craven. Black and&lt;br /&gt;
White Publishing Company, is.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 420 (#824) ############################################&lt;br /&gt;
&lt;br /&gt;
420&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Stables, Gordon-, M.I). Our Humble Friends ami Fellow&lt;br /&gt;
Mortals. Vol. I. of Homestead and Farm. Vol. II.&lt;br /&gt;
of Hearth and Home. Vol. III. In Wood and Field.&lt;br /&gt;
With illustrations by Harrison Weir. Sinipkin,&lt;br /&gt;
Marshall.&lt;br /&gt;
&mdash; The Cruise of the Land Vaeht &amp;quot;Wanderer,&amp;quot; or&lt;br /&gt;
&amp;quot;Thirteen Hundred Miles in my Caravan.&amp;quot; With&lt;br /&gt;
illustrations. Popular edition. Hodder aud Stoughton.&lt;br /&gt;
55.&lt;br /&gt;
Stanton, Albert J. Foot-and-Mouth Disease: Symptoms&lt;br /&gt;
and Treatment and Outbreaks in Great Britain. K. W.&lt;br /&gt;
Allen, Ave Maria Lane. Paper covers, bd.&lt;br /&gt;
Stanton, Stephen ]!. The liehring Sea Controversy.&lt;br /&gt;
Brcntano&amp;#039;s, Agar Street, Strand.&lt;br /&gt;
Stray Thoughts. From the Note Hooks of Rowland&lt;br /&gt;
Williams, D.D. Edited by his widow. New edition.&lt;br /&gt;
Fisher Unwin. 3s. bd.&lt;br /&gt;
Stuart, J. S. S., and Stu.vkt, Charles, E. The Costume&lt;br /&gt;
of the Clans, with observations upon the literature,&lt;br /&gt;
arts, manufactures, and commerce of the Highlands&lt;br /&gt;
and Western Isles during the Middle Ages, and on the&lt;br /&gt;
influence of the 16th, 17th, and 18th centuries upon&lt;br /&gt;
the present condition. With 37 full-page plates,&lt;br /&gt;
illustrating the history, antiquities, and dress of the&lt;br /&gt;
Highland clans, copied from authentic originals, and&lt;br /&gt;
biographical introduction. John Grant, Edinburgh.&lt;br /&gt;
^ Bernard Quaritch, London.)&lt;br /&gt;
Wallace, Alfred H. Island Life. Second and Revised&lt;br /&gt;
edition. Macmillan. 6s.&lt;br /&gt;
Whvmpkr, Edward. Travels Amongst the Great Andes&lt;br /&gt;
of the Equator. With maps and illustrations. Also a&lt;br /&gt;
supplementary appendix to the same, with contribu-&lt;br /&gt;
tions from various sources. John Murray.&lt;br /&gt;
Williamson, William. Horticultural Exhibitor&amp;#039;s Hand-&lt;br /&gt;
book. Revised by Malcolm Dunn, gardener to the&lt;br /&gt;
Duke of Buccleueh. William Blackwood.&lt;br /&gt;
Wright, William Alois. The Works of William Shake-&lt;br /&gt;
speare. Edited by. In nine volumes. Volume VI.&lt;br /&gt;
Macmillan. 10s. id.&lt;br /&gt;
Wrightson, John. Live Stock. Agricultural Text-books&lt;br /&gt;
series. Cassell. 2.1. bd.&lt;br /&gt;
Fiction.&lt;br /&gt;
A Covenant with thk Dead. A Novel. By the author&lt;br /&gt;
of &amp;quot;A Harvest of Weeds.&amp;quot; 3 vols. Griffith, Farran.&lt;br /&gt;
3is. bd.&lt;br /&gt;
Aide, Hamilton. A Voyage of Discovery: a Novel of&lt;br /&gt;
American Society, 2 vols. Osgood, M&amp;#039;llvuine, aud&lt;br /&gt;
Co. 2 IS.&lt;br /&gt;
Bangs, J. Kendrick. Tiddledywink Tales. Griffith,&lt;br /&gt;
Farran, and Co.&lt;br /&gt;
Black, William. In Silk Attire. New and revised&lt;br /&gt;
edition. Sampson Low. is. 6d.&lt;br /&gt;
Bi anch, J. Tempest. &amp;quot;Our Hands Have Met.&amp;quot; 3s. bd.&lt;br /&gt;
Colmork, G. A Valley of Shadows. 2 vols. Chatto and&lt;br /&gt;
Winuus.&lt;br /&gt;
Crawford, F. Marion. The Three Fates. 3 vols.&lt;br /&gt;
Macmillan. 31s. bd.&lt;br /&gt;
Curtis, George William. From the Easy Chair. Os-&lt;br /&gt;
good, M&amp;#039;llvaine, and Co. 3s. bd.&lt;br /&gt;
Daudet, Ali&amp;#039;Honsk. Rose and Ninette: a Story of the&lt;br /&gt;
Morals and Manners of the Day. Translated by Mary&lt;br /&gt;
J. Serrano. Fisher Unwin.&lt;br /&gt;
Donovan, Dick. In the Grip of the Law. Chatto and&lt;br /&gt;
Windus.&lt;br /&gt;
GiLKisox, Elizabeth. The Story of a Struggle : a Ro-&lt;br /&gt;
mance of the Grampians. A. and C. Black.&lt;br /&gt;
Graveniiill, Guy. Horsley Grange. A sporting story.&lt;br /&gt;
2 vols. Chapman and Hall.&lt;br /&gt;
Griffith, Durham. An Arctic Eden. A tale of Norway.&lt;br /&gt;
Skelfington. Paper covers, is.&lt;br /&gt;
Hatton, Joseph. The Princess Mazaroff: a Romance of&lt;br /&gt;
the Day. Hutchinson. 3s. bd.&lt;br /&gt;
Hennikkr, Florence. Bid me Good-bye. Bentley.&lt;br /&gt;
Hope, Anthony. Mr. Witt&amp;#039;s Widow. A Frivolous Tale.&lt;br /&gt;
A. D. limes and Co., Bedford Street, W.C. 6s.&lt;br /&gt;
Horni ng, F. W. Under Two Skies, a collection of stories.&lt;br /&gt;
A. and C. Black.&lt;br /&gt;
Humphreys, Jennett. Some Little Britons iuliritt&amp;#039;iny:&lt;br /&gt;
a Seaside Story. Sampson Low.&lt;br /&gt;
Huntingdon, E. M., and A. The Squire&amp;#039;s Nieces. Samp-&lt;br /&gt;
son Low.&lt;br /&gt;
LachSzyrma, Rev. W. Under other Conditions. A&lt;br /&gt;
Tale. A. and C. Black.&lt;br /&gt;
Lindsay, Lady. The Philosopher&amp;#039;s Window ami other&lt;br /&gt;
Stories. A. and C. Black.&lt;br /&gt;
Lovett-Cameron, Mrs. A Daughter&amp;#039;s Heart. A Novel.&lt;br /&gt;
F. V. White.&lt;br /&gt;
Lowry, James W. The Doll&amp;#039;s Garden Party. Illustrated&lt;br /&gt;
by J. B. Clark. The Leadenhall Press, 2s. bd.&lt;br /&gt;
Maartens, Maarten. A Question of Taste: a Novel.&lt;br /&gt;
Heincmann. 5s.&lt;br /&gt;
Phillpotts, Edkn. A Tiger&amp;#039;s Cub. Arrowsmith. 3s. bd.&lt;br /&gt;
Robinson, F. W. A Very Strange Family. Heincmann.&lt;br /&gt;
Spence, Edward F. A Freak of Fate: a Novel. Henry&lt;br /&gt;
and Co., Bouverie Street. Picture boards, 2s.&lt;br /&gt;
V. Betsy. Osgood, M&amp;#039;llvuine and Co. 3s. bd.&lt;br /&gt;
Villars, P. The Escapes of Casanova and Latude from&lt;br /&gt;
Prison, edited, with an introduction. Illustrated Ad-&lt;br /&gt;
venture Series. Fisher Unw in. 5s.&lt;br /&gt;
White, Roma. Punchinello&amp;#039;s Romance. A. D. Innes,&lt;br /&gt;
Bedford Street, Strand. 6s.&lt;br /&gt;
Wiggin, K. D. Timothy&amp;#039;s Quest. Gay aud Bird. 3s. 6rf.&lt;br /&gt;
Winter, John Strange. Only Human. A Novel. In&lt;br /&gt;
2 vols. F. V. White.&lt;br /&gt;
Poetry and the Drama.&lt;br /&gt;
Alfred, Lord Tennyson. The Foresters: Robin Hood&lt;br /&gt;
and Maid Marian. Macmillan. 6s.&lt;br /&gt;
Dennis, John. The Poetical Works of Sir Walter SeolU&lt;br /&gt;
Edited, with memoir, by. In 5 vols. Volume IV.&lt;br /&gt;
Aldine Edition. George Bell.&lt;br /&gt;
DunouRG, A. W. Angelica: Romantic Drama in Four&lt;br /&gt;
Acts. Bentley. Paper covers.&lt;br /&gt;
French Poetry for Children. Selected by Francois&lt;br /&gt;
Louis. Sixth edition. Franz Thimm, Brook Street,&lt;br /&gt;
W. 2s. bd.&lt;br /&gt;
Hall, J. Lesslie. Beowulf: an Anglo-Saxon epic poem.&lt;br /&gt;
Translated from the Hevne-Socin text by. Heath,&lt;br /&gt;
Boston, U.S.A.&lt;br /&gt;
Kipling, Rudyard. Barrack Room Ballads. Methuen.&lt;br /&gt;
Low, C. Rathbone. Cressy to Tel-el-Kebir. A narrative&lt;br /&gt;
poem descriptive of the deeds of the British Army.&lt;br /&gt;
Mitchell and Co., Craig&amp;#039;s Court, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 421 (#825) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
421&lt;br /&gt;
Rosetti. Dante G. Dante and His Circle, with the Italian&lt;br /&gt;
poets preceding him (t 100-1200-13ooV A collection&lt;br /&gt;
of lyrics translated in the original metres by. A new&lt;br /&gt;
edition, with preface by W. M. Rosetti. Ellis and&lt;br /&gt;
Elvey. 6s.&lt;br /&gt;
Smith, G. Barnett. Illustrated British Ballads&mdash;Old and&lt;br /&gt;
New. Selected and edited by. Part I. To be com-&lt;br /&gt;
pleted in 24. Cassell. Paper covers, yd.&lt;br /&gt;
Stevenson, It. L. A Child&amp;#039;s Garland of Song, gathered&lt;br /&gt;
from a Child&amp;#039;s Garden of Verses. Music by Dr. C.&lt;br /&gt;
Yilliers Stanford. Longmans. Paper covers, zs.&lt;br /&gt;
WILSON, James H. Zahnoxis, and other Poems. Elliot&lt;br /&gt;
Stock.&lt;br /&gt;
The Works of Hkinrich Heine, translated from the&lt;br /&gt;
German by C. G. Lelaud (Hans Breitiuann). Volumes&lt;br /&gt;
V. and VI. Germany. Heinemann. 5*. each.&lt;br /&gt;
Educational.&lt;br /&gt;
Arnoi.d-Forster, II. O. The Laws of Every-day Life,&lt;br /&gt;
for the use of schools. Cassell. zs.&lt;br /&gt;
Ashford, Constance M. Latin Dialogues for School&lt;br /&gt;
Representation. Swann Sonnenschein.&lt;br /&gt;
Atlas ok Physical Geography. New, revised, and&lt;br /&gt;
enlarged edition. W. and A. K. Johnston.&lt;br /&gt;
Gambaro, Professor 11. Lessons in Commerce: a text-&lt;br /&gt;
book for students. Revised and edited by James&lt;br /&gt;
Gatilt, of the Middle Temple. Crosby Loekwood.&lt;br /&gt;
Hay, IV. Shorthand Simplified and Improved. Swann&lt;br /&gt;
Sonnenschein.&lt;br /&gt;
Hoylk, W. T. Mental Arithmetic Problems. Standards&lt;br /&gt;
I. to VII. 2&amp;#039;&amp;#039;. or 3d. a volume. Answers to the same,&lt;br /&gt;
4&amp;lt;i. W. H. Allen and Co.&lt;br /&gt;
Lund, II. &amp;quot;A Practical and Easy Method of Learning the&lt;br /&gt;
Danish and Norwegian Languages.&amp;quot; Eighth improved&lt;br /&gt;
edition. Corrected according to the new Danish and&lt;br /&gt;
Norwegian orthography. Franz Thimm and Co. 4s.&lt;br /&gt;
REGULATIONS FOR MUSKETRY INSTRUCTION, 1892. Lee-&lt;br /&gt;
Metford Rifle. Eyre and Spottiswoode. It.&lt;br /&gt;
Royal University of Ireland: Examination Papers,&lt;br /&gt;
1891. Longmans.&lt;br /&gt;
Savill, Stanley. The Civil Service Coach. New edition,&lt;br /&gt;
revised. Crosby Loekwood.&lt;br /&gt;
Schofield, A. T. Physiology for Schools. Cassell.&lt;br /&gt;
II. 9&amp;lt;/.&lt;br /&gt;
Shaler, N. S. The Story of our Continent, a reader in&lt;br /&gt;
the Geography and Geology of Noith America, for the&lt;br /&gt;
use of Schools. E. Arnold. 3*. bd.&lt;br /&gt;
Sweet, Henry, M.A. A New English Grammar, Logical&lt;br /&gt;
and Historical. Part I. Introduction, Phonology,&lt;br /&gt;
and Accidence. Clarendon Press. io&laquo;. bd.&lt;br /&gt;
Tatiiam, M. T. Homer for Beginners. Iliad. Hook III.&lt;br /&gt;
Edited, with introduction and notes, by. Clarendon&lt;br /&gt;
Press, is. bd.&lt;br /&gt;
Tolman, H. C. A Grammar of the Old Persian Language.&lt;br /&gt;
E. Arnold. 41. 6d.&lt;br /&gt;
Law.&lt;br /&gt;
The Future Water Supply of Birmingham. Second&lt;br /&gt;
edition. Simpkin, Marshall, is. net.&lt;br /&gt;
Hewitt, Thomas. A Treatise on the Law relating to&lt;br /&gt;
Corporation Duty, or the Duty on the Income of the&lt;br /&gt;
Proper.&amp;#039;y of Bodies Corporate and Uncorporate.&lt;br /&gt;
Butterworth, Fleet Street.&lt;br /&gt;
Heywood, Judge. Courts Practice, 1892. Two vols.&lt;br /&gt;
2 5s. Sweet and Maxwell.&lt;br /&gt;
MacLachlan, David. A Treatise on the Law of Merchant&lt;br /&gt;
Shipping. Fourth edition, zl. zs.&lt;br /&gt;
Paterson, James. The Intoxicating Liquor Licensing&lt;br /&gt;
Acts, 1872, 1874, with introduction, notes, and index.&lt;br /&gt;
Ninth edition. Shaw and Sons, Fetter Lane. 10s.&lt;br /&gt;
Pollock, Sir Frederick. Leading Cases done into&lt;br /&gt;
English, aud other Diversions. MacmiUan. 3s. bd.&lt;br /&gt;
Rickards, A. G., and Saunders, R. C. Locus Standi&lt;br /&gt;
Reports: Cases decided by the Court of Referees on&lt;br /&gt;
Private Bills in Parliament during the Sessions 1890&lt;br /&gt;
and 1851. (In continuation of Rickards and Michael&amp;#039;s&lt;br /&gt;
and Clifford and Riekards&amp;#039;s reports.) Butterworth&lt;br /&gt;
and Co., Fleet Street. Royal 8vo., 18s.&lt;br /&gt;
Whitehead, Benjamin. Church Law. A concise dic-&lt;br /&gt;
tionary of statutes, canons, regulations, and decided&lt;br /&gt;
eases affecting the clergy and laity. Stevens and Sons.&lt;br /&gt;
I os. bd.&lt;br /&gt;
Williams, James, B.C.L. FCdueation; a Manual of&lt;br /&gt;
Practical Law. Adam and Charles Black.&lt;br /&gt;
Science.&lt;br /&gt;
Curtis, Charles E., F.S.I. The Manifestation of Disease&lt;br /&gt;
in Forest Trees; the Causes and Itemedies. Horace&lt;br /&gt;
Cox, the Field Office, Bream&amp;#039;s Buildings, F].C. i&laquo;.&lt;br /&gt;
Greene, Professor DasCOM. Introduction to Spherical&lt;br /&gt;
aud Practical Astronomy. E. Arnold. 7s. bd.&lt;br /&gt;
Kneipp, Sebastian. My Water Cure, tested for more&lt;br /&gt;
than 35 years, and published for the Cure of Diseases&lt;br /&gt;
and the Preservation of Health. Translated from the&lt;br /&gt;
36th German edition. II. Grevel and Co., 33, King&lt;br /&gt;
Street, Covent Garden.&lt;br /&gt;
Neumann, L. G. A Treatise 011 the Parasites and Parasitic&lt;br /&gt;
Diseases of the Domesticated Animals. Translated&lt;br /&gt;
and edited by George Fleming, C.B., LL.D.,&lt;br /&gt;
F&amp;#039;.H.C.V.S., late principal veterinary surgeon of the&lt;br /&gt;
British Army. Bailliere, Tindall, and Cox, King William&lt;br /&gt;
Street, Strand. 2 5s.&lt;br /&gt;
Semple, C. F&amp;quot;. A. Elements of Materia Medica and&lt;br /&gt;
Therapeutics. Longmans. 10s. bd.&lt;br /&gt;
Wormell, Richard, D.Sc. Mensuration, Lectures or.&lt;br /&gt;
Sound, and Lectures on Light ; elementary text-books&lt;br /&gt;
for Students. &yen;.. Arnold, is. each.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Correspondence relating to the Relief of Agricultural&lt;br /&gt;
Distress in India in 1891-92 (td.~). Copy of the&lt;br /&gt;
Report of the Committee on Grants to University&lt;br /&gt;
Colleges in Great Britain (id.). Descriptive List of&lt;br /&gt;
Standards of Weight and Measure deposited with the&lt;br /&gt;
Board of Trade and of the Instrumental Equipment of&lt;br /&gt;
the Standards Oflice(2f/.). Return as to Canals and Navi-&lt;br /&gt;
gations under the Railway and Canal Traffic Act, 1888&lt;br /&gt;
(id). Return as to Shipments of Coal, Cinders, &amp;amp;c.&lt;br /&gt;
(id.). Treasury Minute relating to Army Votes (.^(/.).&lt;br /&gt;
Report on the &amp;quot;Abyssinia&amp;quot; F&amp;#039;ire (1 }&amp;lt;/.). Ordinances&lt;br /&gt;
by the Scottish Universities Commissioners as to the&lt;br /&gt;
Graduation and Instruction of Women (irf.). And as&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 422 (#826) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
to Assistants ami Lecturers (id.)- Emigrants&amp;#039; Infor-&lt;br /&gt;
mation Circulars for Canada, Australasia, and South&lt;br /&gt;
Africa j Reports to the Board of Agriculture on the&lt;br /&gt;
Plague of Field Mice or Voles in the South of Scot-&lt;br /&gt;
land. Telegraphic Correspondence respecting Seal&lt;br /&gt;
Fishing in Behring Sen during the season of 1892&lt;br /&gt;
(2d.). Copy of a Despatch from Her Majesty&amp;#039;s&lt;br /&gt;
Minister at Washington, enclosing a Treaty between&lt;br /&gt;
Great Britain and the United States for Arbitration&lt;br /&gt;
concerning the Seal Fisheries in Behring Sea (id.).&lt;br /&gt;
Minutes of Evidence taken before the Koyal Commis-&lt;br /&gt;
sion on the Redemption of Tithe Rcntohaige in&lt;br /&gt;
England and Wales (is. 6&amp;lt;/.). Rule made by the&lt;br /&gt;
Secretary of Stntc for the Dietaries of the Prisons in&lt;br /&gt;
England and Wales (i&amp;lt;A). Copies of Reports by the&lt;br /&gt;
Board of Trade upon the Birmingham Corporation and&lt;br /&gt;
Swansea Corporation Water Bills (\d. each). Poor&lt;br /&gt;
Relief, England and Wales, Amount expended during&lt;br /&gt;
the half-year ended Lady-day, 1891 (3d.). Compara-&lt;br /&gt;
tive Statement of Pauperism for January (ild). Rule&lt;br /&gt;
by the Board of Trade under the Railway and Canal&lt;br /&gt;
Traffic Act, 1888 (3d.). Statement as to Sales and&lt;br /&gt;
Leases of Foreshores by the Crown (2jd.). Annual&lt;br /&gt;
Accounts of the Royal Army Clothing Factory for&lt;br /&gt;
1890-91 (9$d.). First Report from the Committee of&lt;br /&gt;
Public Accounts (2id.). Irish Land Commission&mdash;&lt;br /&gt;
Rules issued in August, 1891 (6d.). Annual Returns&lt;br /&gt;
of the Volunteer Corps of Great Britain for 1891 (3\d,).&lt;br /&gt;
Census of Ireland. Part I., Vol. III., Ulster, No. 6,&lt;br /&gt;
Fermanagh, 6d. Declarations made by Great Britain&lt;br /&gt;
with Belgium respecting North Sea Fisheries, and with&lt;br /&gt;
France for the Regulation of the Telephonic Service;&lt;br /&gt;
Treaty with Spain for the Suppression of the African&lt;br /&gt;
Slave Trade; Protocol with Uruguay for the Mutual&lt;br /&gt;
Extradition of Fugitive Criminals j Agreement with&lt;br /&gt;
Tonga as to the Trial of British Subjects, and with&lt;br /&gt;
Persia as to Telegraphic Communication between&lt;br /&gt;
Europe and India (id. each). Agricultural Produce&lt;br /&gt;
Statistics of Great Britain, 1891 (43d.). Return show-&lt;br /&gt;
ing the working of the regulations made in 1886 for&lt;br /&gt;
carrying out the Prosecution of Offences Acts, 1879&lt;br /&gt;
and 1884 (is.). Special Report from the Select Com-&lt;br /&gt;
mittee on Railway Servants&amp;#039; Hours of Labour, with&lt;br /&gt;
proceedings of the Committee and minutes of evidence,&lt;br /&gt;
(is. ajd.). Further Correspondence respecting the&lt;br /&gt;
Behring Sea Seal Fisheries (is. io|d.). Irish Land&lt;br /&gt;
Commission, Return of proceedings during January&lt;br /&gt;
(id.). Report of the Intermediate Education Board&lt;br /&gt;
for Ireland for 1891 (4&amp;lt;/.). Census of Ireland, Parti.,&lt;br /&gt;
Vol. III. Ulster, No. 3, Cavau (6d.). Naval Defence&lt;br /&gt;
Act, 1889. Accounts, 1890-91 (li&amp;lt;/.). Return as to&lt;br /&gt;
Laws or Regulations affecting the Hours of Adult&lt;br /&gt;
Labour in the Colonies, with particulars as to hours&lt;br /&gt;
and wages in various industries (7&amp;#039;/.). Correspon-&lt;br /&gt;
dence respecting Commercial Treaties and Tariffs&lt;br /&gt;
4s. id. Report of Mr. W. Bcattic Scott, Inspector of&lt;br /&gt;
Mines for the South Staffordshire district under the&lt;br /&gt;
Coal Mines Regulation Act, 1887, the Metalliferous&lt;br /&gt;
Mines Regulation Acts, 1872 and 1875, and the Slate&lt;br /&gt;
Mines (Gunpowder) Act, 1882, for the year 1891 (3d.).&lt;br /&gt;
Census of Ireland, 1891, Part I., area, houses,&lt;br /&gt;
population, &amp;amp;c.; Vol. II., Province of Munster, No. 6.&lt;br /&gt;
County and City of Waterford (7s.). Memorandum&lt;br /&gt;
on the Proposed Grant for Higher Education (id.).&lt;br /&gt;
Diplomatic and Consular Reports:&mdash;(1) Russia:&lt;br /&gt;
Agriculture of the Consular District of&lt;br /&gt;
Taganrog (id.). (2) France: The Trade of&lt;br /&gt;
Bordeaux (23d.) j (3) Austria - Hungary: Vine&lt;br /&gt;
Culture in Bosnia and Herzegovina (Jd.). Accounts&lt;br /&gt;
relating to Trade and Navigation of the United&lt;br /&gt;
Kingdom for March (6d.). Memorandum under&lt;br /&gt;
the Naval Defence Act, 1889 (9d.). Account&lt;br /&gt;
relating to National Debt Annuities ($d.V&lt;br /&gt;
Seventh Report of the Trade and Treaties Committee,&lt;br /&gt;
containing Translation of the French Customs Tariff&lt;br /&gt;
Law of January 11, 1892, showing the duties now&lt;br /&gt;
leviable under the new General and Minimum Tariffs&lt;br /&gt;
of 1892 and those leviable under the Conventional&lt;br /&gt;
Tariff of 1882 (6d.). Ninth Repoit of the Trade aud&lt;br /&gt;
Treaties Committee, containing Translation of the&lt;br /&gt;
Tariffs Annexed to the Treaties between Various&lt;br /&gt;
Central European Powers, with a comparison between&lt;br /&gt;
the old aud the new rates leviable on importations from&lt;br /&gt;
the United Kingdom (7W.). Report from the Select&lt;br /&gt;
Committee on the Plumbers&amp;#039; Registration Bill (id.).&lt;br /&gt;
Pauperism (England and Wales) Return (A), Com-&lt;br /&gt;
parative Statement (ijrf.). Diplomatic and Consular&lt;br /&gt;
Reports on Trade and Finance:&mdash;(1) United States:&lt;br /&gt;
the Trade of Baltimore and District in 1891 (ijd.);&lt;br /&gt;
(2) Russia: the Trade of Riga in 1891 (2d.) j (3) The&lt;br /&gt;
Netherlands: the Finances of Netherlands-India&lt;br /&gt;
(1 3d.); (4) Paraguay: Finances and General State of&lt;br /&gt;
the Republic (ijd.). Annual Accounts of the Ord-&lt;br /&gt;
nance Factories for 1890-91, with Report of the&lt;br /&gt;
Comptroller and Auditor-General thereon (is. %\d.).&lt;br /&gt;
Irish Land Commission&mdash;Return of Proceedings during&lt;br /&gt;
February (id.). Return of Proceedings under the&lt;br /&gt;
Lord Chancellor&amp;#039;s Augmentation Act from February&lt;br /&gt;
si, 1890, to February 18, 1892 (\d.). Foreign Office&lt;br /&gt;
Annual Series&mdash;Report for 1891 on the Agriculture of&lt;br /&gt;
the Consular District of New Orleans (lod.). Diplo-&lt;br /&gt;
matic and Consular Reports&mdash;(1) Finances of Turkey&lt;br /&gt;
and the Administration of the Ottoman Public Debt&lt;br /&gt;
(ijd.); (2) the Foreign Trade of Italy for 1891 (id.).&lt;br /&gt;
Alien Immigration Return for March. Pier aud&lt;br /&gt;
Harbour Provisional Orders. Monthly List of Parlia-&lt;br /&gt;
mentary Papers. Correspondence respecting the Re-&lt;br /&gt;
volution in Chili (2s. 35d.). Further Correspondence&lt;br /&gt;
respecting the Condition of the Populations in Asiatic&lt;br /&gt;
Turkey (9d.). National Debt (Savings Banks aud&lt;br /&gt;
Friendly Societies) Accounts (2d.). Terms and Condi-&lt;br /&gt;
tions of Service in the Army&mdash;Minutes of Evidence&lt;br /&gt;
taken before Committee (5i. 6d.). Notes exchanged&lt;br /&gt;
between England and France for the renewal of the&lt;br /&gt;
Modus Vivendi in Newfoundland (4d.). Reports on&lt;br /&gt;
the Cultivation of the Spanish Chestnut. Copy of the&lt;br /&gt;
Annual Report of the Director of the National Gallery&lt;br /&gt;
to the Treasury for the year 1891. Return of all&lt;br /&gt;
Loans raised in England chargeable on the Revenues&lt;br /&gt;
of India, outstanding at the commencement of the half-&lt;br /&gt;
year ended March 3i, 1892. Return&mdash;County Courts&lt;br /&gt;
Sittings (England and Wales) (is. 9:id.). Memorandum&lt;br /&gt;
on the proposed Grant for Higher Education in Scot-&lt;br /&gt;
land (id.). Government Insurances aud Annuities,&lt;br /&gt;
Accounts made during the year ended December, 1891&lt;br /&gt;
(id.) Order of the Board of Trade creating the Milford&lt;br /&gt;
Haven Sea Fisheries District (id.). Copy of the Report&lt;br /&gt;
by Major Marindin on the Fatal Accident on October 16&lt;br /&gt;
at Weyhill Station, on the Midland and South-Western&lt;br /&gt;
Junction Railway, uiul upon the Hours of Duty of the&lt;br /&gt;
Company&amp;#039;s Servants (34d.). Repoi t of Board of Trade&lt;br /&gt;
Inquiry into Complaints against the Great Northern&lt;br /&gt;
(Ireland) Railway (\d.). Return, Railways&mdash;Trams&lt;br /&gt;
Passing over Single Lines (id.). Return as to Agra-&lt;br /&gt;
rian Offences in Ireland in 1891 (lid.). Board of&lt;br /&gt;
Trade Order creating the Devon Sea Fisheries District&lt;br /&gt;
(ijd.). Report on Mines in West Scotland District&lt;br /&gt;
(No. 2) for 1891 (9jd.). Foreign Office Anuual&lt;br /&gt;
Scries&mdash;Report on the Financial Condition of the&lt;br /&gt;
Argentine Republic (6d.)&mdash;Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 423 (#827) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS. 4&lt;br /&gt;
THE AUTHORS&amp;#039; SYNDICATE.&lt;br /&gt;
THIS Association is established for the purpose of syndicating or selling&lt;br /&gt;
the serial rights of authors in magazines, journals, and newspapers. It&lt;br /&gt;
has now been at work for more than a year, and has transacted a very&lt;br /&gt;
satisfactory amount of business during this period. It has also entered upon&lt;br /&gt;
a great number of engagements for the future.&lt;br /&gt;
The following points are submitted for consideration :&mdash;&lt;br /&gt;
1. The management is voluntary and unpaid. No one makes any profit&lt;br /&gt;
out of the Syndicate, except the authors who use its services.&lt;br /&gt;
2. The commission charged on the amounts received covers the expenses&lt;br /&gt;
of clerks, travellers, rent, and printing. As work increases this&lt;br /&gt;
may be still further reduced.&lt;br /&gt;
3. Only the serial rights are sold for the author. He reserves his&lt;br /&gt;
volume rights and copyright.&lt;br /&gt;
4. The Syndicate has an American agent.&lt;br /&gt;
5. The Syndicate will only work for members of the Society.&lt;br /&gt;
6. Its offices are on the same floor as those of the Society, and its&lt;br /&gt;
assistance and advice are always at the service of the Society.&lt;br /&gt;
7. Authors are warned that no syndicating is possible for them until&lt;br /&gt;
they have already attained a certain amount of popularity.&lt;br /&gt;
8. The Syndicate acts as agent in every kind of literary property.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
4, Portugal Street,&lt;br /&gt;
Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 424 (#828) ############################################&lt;br /&gt;
&lt;br /&gt;
424&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
Not Work, but Play.&lt;br /&gt;
Leave the drudgery of the Pen-Soiled Fingers&mdash;Blotted and Obscure&lt;br /&gt;
Manuscript, to those who prefer darkness to light. Quick, up-to-date&lt;br /&gt;
writers use&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER.&lt;br /&gt;
Why?&lt;br /&gt;
Easiest Managed; Soonest Learned; Most Durable; Writing Always&lt;br /&gt;
Visible; does best work, and never gets out of repair.&lt;br /&gt;
Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals---&lt;br /&gt;
Edinburgh (1890) and Jamaica (1891) Exhibitions; is used in principal&lt;br /&gt;
Government Departments, and greatest number of English business&lt;br /&gt;
houses, and by the Society of Authors.&lt;br /&gt;
We send interesting supply of further information free.&lt;br /&gt;
THE TYPE-WRITER COMPANY, LIMITED,&lt;br /&gt;
12 &amp;amp; 14, Queen Victoria Street, London, E.C.; 22, Renfield Street, Glasgow.&lt;br /&gt;
Local Agents in all Districts,&lt;br /&gt;
THE AUTHOR&amp;#039;S HAIRLESS PAPER-PAD.&lt;br /&gt;
(THE LEADENHALL PRESS, LTD., E.C.)&lt;br /&gt;
Contains hairless paper, over which the pen&lt;br /&gt;
slips with perfect freedom.&lt;br /&gt;
Sirpence each : 58. per dozen, ruled or plain.&lt;br /&gt;
MISS R. V. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C.&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
35, LUDGATE HILL, E.C.&lt;br /&gt;
(ESTABLISHED 1883.)&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from is. per&lt;br /&gt;
1,000 words. Plays, &amp;amp;c., Is. 3d. per 1,000 words.&lt;br /&gt;
Reference kindly permitted to Walter Besant, Esq.&lt;br /&gt;
Stickphast&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds MISS PATTEN,&lt;br /&gt;
of MSS. copied with care. Extra attention given to difficult&lt;br /&gt;
TYPIST,&lt;br /&gt;
haud-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
44, Oakley Street Flats, Chelsea, s.W.&lt;br /&gt;
Type-writing from dictatior. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
AUTHORS&amp;#039; MSS. CAREFULLY TRANSCRIBED. REFERENCES&lt;br /&gt;
KINDLY PERMITTED TO George AUGUSTUS SALA, Esq.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATIO.V.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
MES DAMES BRETT AND BOWSER,&lt;br /&gt;
TYPISTS,&lt;br /&gt;
Selborne Chambers, Bell Yard, Temple Bar.&lt;br /&gt;
Authors&amp;#039; MSS. carefully and expeditiously copied, 18. per&lt;br /&gt;
PASTE&lt;br /&gt;
1,000 words. Extra carbon copies half price. References&lt;br /&gt;
for joining papers and sticking in scraps :&lt;br /&gt;
kindly permitted to Augustine Birrell, Esq., M.P.&lt;br /&gt;
Sixpence and One Shilling, with strong useful brush.&lt;br /&gt;
THE AUTHORS&amp;#039; AGENCY. Established 1879. Proprietor, Mr. A. M. BURGHES,&lt;br /&gt;
1. Paternoster Row. The interests of Authois capably represented. Proposed agreements and estimates&lt;br /&gt;
examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years&amp;#039;&lt;br /&gt;
practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials from&lt;br /&gt;
leading Authors on application to Mr. A. M. Burghes, Authors&amp;#039; Agent, 1, Paternoster Row.&lt;br /&gt;
LONDON: Printed by EYRE and SPOTTISWOODE, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/263/1892-05-02-The-Author-2-12.pdf</td><td>publications, The Author</td></tr></table>