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439	https://historysoa.com/items/show/439	The Author, Vol. 03 Issue 01 (June 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+01+%28June+1892%29"><em>The Author</em>, Vol. 03 Issue 01 (June 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-06-01-The-Author-3-1					1–40																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-06-01">1892-06-01</a>							1			18920601	he Muthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. ITI.—No. 1.] JUNE 1, 1892. [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> ee AT TS<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> SPST<br /> <br /> <br /> <br /> PAGE PAGE<br /> Warnings ae ce as ae mae Boe be ae Sd Se Mixed Maxims... a as sey Sis aD hes on ces<br /> How to Use the Society : eae es ae Boe ee ie Ode to Sleep ... te cee ee et a ao wi Sra LD!<br /> The Authors’ Syndicate... a ae ies ae ce ageless Notes from Paris... “a oo act sar An sas Negrcke<br /> | Notices... eee oe cs ae oes ee ae 2 we To Music eee ce ac on aoe eae wae es ag ek<br /> | International Copyright— The Jew in Literature. By Hall Caine... aes He baz eee ae<br /> i I—Working of the Law in France axe ey ees ae es On Literature—<br /> Tl.—American Piracy... a ave a aN Sy ee I.—At the Royal Literary Fund ... a aes os nec oe<br /> Ill.—Literary Theft ... ae ase aus aes as at oe Il.—At the Royal Academy Dinner See See ahs ees eore<br /> | On Royalties ... ee Ss es any ey ee Ree ee F From the Papers—<br /> | On Deferred Royalties eo as a ere ae she 8 I.—Fiction Manufactured by the Yard ... ies Se was oe Fi :<br /> Two Cases of Conveying ... a a aus as a eae IL—A Curious Experiment ... ae mee aes ae eee, 028 5<br /> A Literary Bureau ... ies es sae — wai oe cia IiI.—Personal ... ve ea nee bed my oe we 22k i<br /> erertperatieinmn cece a D¥:—Bhomas Moore ..0 ic oa ca a ee ,<br /> ‘‘Uneut Leaves” .... os &lt;i = ae se pS od Correspondence— 4<br /> Useful Books ... a Dis ie oe uae &lt;n cay an I.—Was there a Contract to Publish? ... a ai men ae<br /> Notes and News aa coe ae ae isd nec a cone be II.—Magazines and Editors... oon , res met aan ae i<br /> Fenilleton—His One Story ae oe bux zoe ire dase III.—Translations aes ne ps a ote waa 2 a<br /> | The Literary Handmaid of the Church ... ae = aA sae kG IV.—The Literary and Art Agency... eos aS Se wae? |<br /> | In the Name of the Prophet—Gloves_ ... oe ae a aw ele ‘*At the Author’s Head” .,, ae oe me ote srs en 220.<br /> | Shakespeare or Bacon eee oe os oS os a -. 17 | New Books and New Editions... oe eta oe ae san OL<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY. |<br /> <br /> . The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> . The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary * f<br /> Property. Issued to all Members.<br /> <br /> . The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887,<br /> <br /> 1<br /> 2<br /> 3<br /> 4, Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br /> 9<br /> 6<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> . The 2 of the Societe des Gens de Lettres. By S. Squire Sprrace, Secretary to the<br /> ociety. Is.<br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. a#<br /> <br /> 7. The Various Methods of Publication. By S. Squire Spriaar. In this work, compiled from the<br /> papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> 8. Copyright Law. Reform, An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre<br /> and Spottiswoode, 1s. 6d.<br /> <br /> <br /> <br /> <br /> 2<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated).<br /> <br /> Tur Riant Hon. tHe LORD TENNYSON, D.C.L.<br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BaRRie£.<br /> <br /> A. W. A BECKETT.<br /> <br /> RosBert BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BuackMoreE.<br /> <br /> Rev: Pror. Bonney, F.R.S.<br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Haxu Carine.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EpWwaRrpD CLODD.<br /> <br /> W. Morris Couuezs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F, Marion CRAWFORD.<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> COUNCIL.<br /> <br /> OswALD CRAWFURD, C.M.G.<br /> THE Hart or DEsaRt.<br /> <br /> AusTIN DOBSON.<br /> <br /> A. W. Dupovura.<br /> <br /> J. Eric Ericusen, F.R.S8.<br /> <br /> Pror. MicHarn Foster, F.R.S8.<br /> HERBERT GARDNER, M.P.<br /> RicHARD GARNETT, LL.D.<br /> EDMUND GOSSE.<br /> <br /> H. Riper Haga@arp.<br /> <br /> THomas Harpy.<br /> <br /> JEROME K. JEROME.<br /> <br /> RupDYARD KIPLING.<br /> <br /> Pror. EH. Ray LAnKEsSTER, F.R.S.<br /> J. M. Lexy. a<br /> Rev. W. J. Lorrie, F.S.A.<br /> <br /> Pror. J. M. D. MerkLEJOoHN.<br /> GrorGE MEREDITH.<br /> <br /> Herman C. MERIVALE.<br /> <br /> <br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> <br /> Rev. OC. H. Mrppieton-Wakg, F.L.S.<br /> <br /> Lewis Morzis.<br /> <br /> Pror. Max MUuuER.<br /> <br /> J.C. PARKINSON.<br /> <br /> THE EARL OF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Siz FREDERICK PoLiock, Bart., LL.D.<br /> <br /> WALTER HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GEORGE AUGUSTUS SALA.<br /> <br /> W. Baptiste ScoonEs.<br /> <br /> G. R. Sims.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> WiuiiaAm Moy THomas.<br /> <br /> H. D. Trartt, D.C.L.<br /> <br /> Baron HENRY DE Worms,<br /> E.R.S.<br /> <br /> EpmunpD YATES.<br /> <br /> M.P.,<br /> <br /> Solicitors—Messrs Frmup, Roscoz, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—C. Hurprert Turine, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortueaL StreEtT, Lincoun’s Inn Finxtps, W.C.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> <br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGH HENRY JENNINGS.<br /> <br /> CONTENTS.<br /> <br /> sesamin<br /> <br /> <br /> <br /> <br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions.<br /> <br /> Part TI.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Parr JII.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> Apprnpix.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892. :<br /> <br /> Opinions of the Press of the Previous Edition.<br /> <br /> Ts will be in its right place either on the drawing-room table, to be<br /> taken up in the odd ten minutes before dinner, or on the library<br /> shelves, to serve as a permanently useful work of reference.’—<br /> Spectator.<br /> <br /> ‘* It would be sheer affectation to deny the fascination exercised b<br /> the ‘Anecdotal History of Darliamene! nq in our hands. It will<br /> prove useful to many and agreeable to more.”’—Saturday Review.<br /> <br /> ‘As pleasant a companion for the leisure hours of a studious and<br /> thoughtful man as anything in book shape since Selden.” — Daily<br /> Telegraph.<br /> <br /> “Contains a great deal of information about our representative<br /> <br /> institutions in past and present times which it beh<br /> know.”—Daily News. Pp oves all persons to<br /> <br /> <br /> <br /> ‘*May be read with pleasure and profit by Conservative and Liberal<br /> alike.” —Manchester Courier.<br /> <br /> ‘““A succession of anecdotes sparkling with wit, bristling with<br /> humour, or instinct with imperishable vitality of historic oratory.”<br /> Liverpool Albion.<br /> <br /> “Such a capital fund of instruction and amusement, that it is<br /> impossible to take up the book without letting one’s eye fall on some<br /> good anecdote or some remarkable speech.” — Shefield Daily Tele-<br /> graph.<br /> <br /> Also mentioned by Mr. G. A, Sala, in ‘&#039;The Author” of May 2, as<br /> one among a dozen “really useful books.”<br /> <br /> eS&quot; Orders may now be sent to HORACE COX, “Law Times” Office, Bream’s-buildings, E.C.<br /> <br /> Sab sc D ocean emanate<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> apenveenneeeinteESHEN<br /> <br /> <br /> <br /> Che<br /> <br /> <br /> <br /> ufthbor,<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III—No. 1.]<br /> <br /> JUNE 1, 1892.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> Lor the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible.<br /> <br /> a<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> Reavers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to anyone.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained exactly what<br /> the agreement gives to the author and<br /> what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. has been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Nuvur sign away American rights. Keep<br /> them. Refuse to sign an agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> VOL, III,<br /> <br /> (8.) Never sign an agreement or a receipt<br /> which gives away copyright without<br /> advice.<br /> <br /> (9.) Keep control over the advertisements by<br /> clause in the agreement. Reservea veto.<br /> If you are yourself ignorant of the sub-<br /> ject, make the Society your agent.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men.<br /> <br /> Society’s Offices :—<br /> 4, Portuaat Street, Lincoun’s Inn Frexps.<br /> <br /> ree<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —————<br /> <br /> 1. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements for inspection and note. The<br /> information thus obtainable is invaluable.<br /> <br /> 2. If the examination of the business trans-<br /> actions by the Secretary proves unfavourable, you<br /> should take advice as to a change of publishers.<br /> <br /> 3. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 4. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery. .<br /> <br /> A<br /> <br /> Re Le er<br /> <br /> <br /> <br /> <br /> <br /> <br /> 4 THE AUTHOR.<br /> <br /> 5. The outward and visible signs of the<br /> fraudulent- publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business; (2) a virtuous, good man’s pain<br /> at being told that his accounts must be audited ;<br /> (3) a virtuous indignation at being asked what<br /> his proposal gives him compared with what it<br /> gives the author; and (4) irrepressible irritation<br /> at any mention of the Society of Authors.<br /> <br /> 6. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 7. Send to the Editor of the Author notes of<br /> anything important to literature that you may<br /> hear or meet with.<br /> <br /> Oe<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author— i<br /> <br /> 1. That the Authors’ Syndicate is now in .a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between the<br /> Syndicate and members are duly audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but it is<br /> intended to reduce the rates to the lowest<br /> possible amount compatible with efficiency.<br /> Meanwhile members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> ae Me if they please to entrust them<br /> <br /> o him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> <br /> ask him to place certain work, and then<br /> go about endeavouring to .place it by<br /> themselves.<br /> <br /> 6. That when a MSS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted. On his behalf<br /> members are requested—<br /> <br /> 1. To place on paper briefly the points on which<br /> <br /> advice is asked.<br /> <br /> 2. To send up all the letters and papers con-<br /> nected with the case, if it is a case of<br /> <br /> dispute.<br /> 3. Not to conceal or keep back any of the<br /> facts.<br /> ee<br /> NOTICES.<br /> <br /> <br /> <br /> LL persons engaged in literary work of any<br /> kind, whether members of this Society or<br /> not, are invited to communicate to the<br /> <br /> Editor any points connected with their work<br /> which it would be advisable in the general interest<br /> to publish,<br /> <br /> —_—<br /> <br /> - Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any cireum-<br /> stances, undertake the publication of MSS.<br /> <br /> <br /> <br /> The following encouraging advertisement ap-<br /> peared the other day in a London morning paper:<br /> —“ Smart, scholarly, versatile Writer. Expert<br /> verbatim and picturesque descriptive reporter.<br /> Experienced managing editor, daily, weekly.<br /> High personal character. University man. 30s.<br /> per week.”<br /> <br /> <br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules, admission, &amp;c.<br /> <br /> Ses ese eee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> —<br /> <br /> |<br /> {<br /> i<br /> <br /> <br /> <br /> wil) |<br /> <br /> tl |<br /> <br /> <br /> <br /> THE AUTHOR. 5<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> So<br /> <br /> Members are invited to forward anything that<br /> may be of interest or value to literature, whether<br /> news, comments, questions, or original contribu-<br /> tions. The short space at the command of the<br /> editor forbids any attempt at reviewing, but<br /> books can always be noticed if they are sent up.<br /> <br /> SS<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign them-<br /> selves into bondage for three or five years ?<br /> <br /> <br /> <br /> Here is another illustration of the reckless way in<br /> which accusations are flung abroad. We are in-<br /> formed that a writerinacertain Scotch paper, about<br /> two months ago, stated that “a curious debate has<br /> been raging in.a small section of the literary<br /> world as to the right of every author to have his<br /> works reviewed by the press.” That is the first<br /> statement. Where has that claim been advanced ?<br /> Noone knows. The next statement is, that it origi-<br /> natedin the Author. Such aclaim has never been<br /> advocated by the Author. One writer did, so far<br /> back as last August, propose the abolition of “ press<br /> copies,” but he was on the spot challenged by the<br /> editor, who pointed out, in a few words, the mani-<br /> fest objections to his proposals. Then follows a<br /> quarter of a column devoted to cheap sarcasm<br /> and indignation against the folly of such a claim.<br /> Once advance a preposterous falsehood, and, until<br /> it is contradicted, nothing is easier than to fly<br /> into a rage over it. Will not editors, who have<br /> no interest at all in the propagation of literary<br /> slanders, step in to protect the truth? Andis it<br /> not the case that the law of libel includes all<br /> those statements which are made wilfully, with the<br /> intention of damaging the reputation of an insti-<br /> tution or a person?<br /> <br /> “T hear it alleged against our Society,” writes<br /> a correspondent, “ that it is doing great harm in<br /> encouraging incompetent writers to persevere, and<br /> im increasing the output of bad and mediocre<br /> literature. What reply am I to make ?”<br /> <br /> The first reply that occurs is a flat denial—the<br /> Lie Absolute. But it is as well to give the<br /> reasons. It may be advanced (1) that the<br /> Society has always advised, and warned, and<br /> exhorted young writers never, on any considera-<br /> tion whatever, to pay money on account of or<br /> towards the costs of production. Now it is only<br /> by the authors consenting to pay for them that<br /> bad books can be produced. Publishers, cer-<br /> tainly, are not so foolish as to run the risk—the<br /> certain loss—of producing them; (2) next, that<br /> the Society has a department which reads and<br /> advises on MSS., and stops the publication of a<br /> great deal of rubbish; and (3) that in letters to<br /> those who seek our help—as well as in its pub-<br /> lished papers—the Society is always doing its<br /> best to dissuade the unprepared and the incom-<br /> petent. But of lies about the work of the<br /> Society there is no end, and will be none until<br /> one falsehood after another has become patent<br /> and proverbial. Those of our readers who find<br /> any lies about us, new or old, advanced in any<br /> paper, might do good service by sending them up<br /> to the Secretary, with the name and date of the<br /> paper.<br /> <br /> <br /> <br /> “ AUTHOR, 30, fair, tall, wishes to Meet Lady, who could<br /> capitalise production of his plays. View Matrimony.—<br /> Address,<br /> <br /> The above cutting, from a provincial paper,<br /> may be of interest to our readers: Literary<br /> aspirants have tried many paths to fame, but<br /> this looks like a new departure.<br /> <br /> <br /> <br /> <br /> <br /> How, we are asked almost every day, is the young<br /> writer to make a beginning? He should first get<br /> an opinion from one of the Society’s readers as to<br /> the merits and chances of his book. It may be that<br /> certain points would be suggested for alteration.<br /> It may be that he finds himself recommended<br /> to put his MS. in the fire. He should then,<br /> if encouraged, offer his MS. to a list of houses or<br /> of magazines recommended by the Society. There<br /> is nothing else to be done. No one, we repeat;<br /> can possibly help him. If those houses all refuse<br /> him, it is not the least use trying others, and, if<br /> he is a wise man, he will refuse to pay for the<br /> production of his own work. If, however, as too<br /> often happens, he is not a wise man, but believes<br /> that he has written a great thing, and is prepared<br /> to back his opinion to the extent of paying for<br /> his book, then let him place his work in the hands<br /> <br /> ere ST eee a<br /> <br /> a<br /> <br /> <br /> 6 THE<br /> <br /> of the Society, and it shall be arranged for him<br /> without greater loss than the actual cost of pro-<br /> duction. At least he will not be deluded by false<br /> hopes and promises which can end in nothing.<br /> <br /> — 1<br /> <br /> The following advertisement is cut from a daily<br /> paper :—<br /> <br /> “An Author can OFFER either sex constant<br /> (spare time) Home EMPLOYMENT: remunerative<br /> author’s work and instructions, twelve stamps.—<br /> Letters at once to Author.”<br /> <br /> A correspondent answered it, and obtained the<br /> information required. The method offers up an<br /> endless prospect of fortune. The “ Author’ has<br /> written a book—hence his name and title. The<br /> constant and remunerative employment consists<br /> in selling copies of that book. Anybody can<br /> apply to be made an agent. In case of appoint-<br /> ment he inserts an advertisement in the local<br /> paper, and invites applicants to sell the book for<br /> him. He pays the Author 3s. 45d. a dozen, and<br /> gets 8d. a piece for them—profit 4s. 73d. a dozen,<br /> out of which he pays, one supposes, for his<br /> advertisement. One can but give publicity to<br /> this magnificent opening.<br /> <br /> <br /> <br /> Several correspondents have asked whether Mr.<br /> P. F. Collier, who has already been mentioned in<br /> connexion with an advertisement offering to give<br /> English authors an immense circulation, is a<br /> person to be trusted. There seems little doubt<br /> that he can do what he promises, which is to runa<br /> novel through his journal. What more he will do<br /> is quite uncertain. We therefore repeat the<br /> warning given in our last number. Let authors<br /> be careful to secure the usual business arrange-<br /> ment in an agreement before sending their work<br /> across the Atlantic.<br /> <br /> mee<br /> <br /> INTERNATIONAL COPYRIGHT.<br /> <br /> <br /> <br /> i<br /> <br /> UNSATISFACTORY WoRKING OF THE Law IN<br /> FRANCE.<br /> <br /> : (The New York Tribune.)<br /> ARIS, March 5.—A year’s experience of the<br /> <br /> American International Copyright law’<br /> <br /> has proved rather disappointing to French<br /> authors and publishers. Armand Templier, of<br /> Hachette and Co. ; Georges Charpentier, Eugéne<br /> Plon and Paul Delalain, four of the leading pub-<br /> lishers of Paris, say the law has not produced<br /> the good effects expected. Paul Calmann-Levy,<br /> <br /> AUTHOR.<br /> <br /> another well-known publisher, said :—‘The law<br /> is of too recent date for French authors and<br /> publishers to be able thoroughly to appreciate its<br /> advantages or discover its defects. We are not<br /> yet sufficiently familiar with the details of its<br /> application to judge it by experience or to obtain<br /> from it all the good it may have in store for us.<br /> In the meantime we can only look forward to its<br /> yielding advantageous results in the future and<br /> express our satisfaction that literary property<br /> was at last recognised in the United States.”<br /> Felix Aloan, publisher of scientific works, said :<br /> “Up to the present the law has not produced<br /> any practical results, so far as I am concerned ;<br /> but the measure has been in operation too short<br /> a time for me to say what may be expected<br /> from it.”<br /> <br /> Count de Kératry’s part in bringing about the<br /> passage of the law is well remembered in.<br /> America. He is now here, and was asked his<br /> views on the subject. The Count said: ‘The<br /> ‘manufacture clause’ in the law prevents my<br /> country from getting any benefit from it. It is<br /> perfectly natural that the United States should<br /> want to protect home printing interests against<br /> English publishers; but in France, the language<br /> being different, our publishers can do nothing to<br /> hurt American printers. This ‘manufacture<br /> clause’ has raised up a Chinese wall which pre-<br /> vents literary and artistic intercourse between<br /> France and the United States. To secure to<br /> Americans the printing of perhaps thirty books<br /> per annum, it kills copyright on innumerable<br /> works. Only two French writers have sold<br /> American copyrights under the ngw law, and one<br /> of themis M. Zola. But he has had such difficulty<br /> in getting the manuscript finished in time for the<br /> American edition to be copyrighted before publi-<br /> cation began here that he declares he will never<br /> again undertake to do the same thing at any<br /> price. So far as French novels are concerned,<br /> the new law has done nothing more nor less<br /> than to legalise literary piracy. And this is true<br /> also of plays. I have written to the American<br /> friends of International Copyright begging them<br /> to have this ‘manufacture clause ’ modified.”<br /> <br /> <br /> <br /> II.<br /> More Prracy. .<br /> <br /> John Strange Winter writes:—&lt;Apropos to your<br /> comments inthe Author for May on piracy by the<br /> New York Sunday News, you may like to knowthat<br /> this precious publication recently issued the whole<br /> of my story “ That Imp” (published here in 1887<br /> as a shilling book) as a complete supplement and<br /> under a different title. As I own the copyright of<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> the story I wrote to the editor asking him whether<br /> the story had been offered to him, and informing<br /> him that, whatever remuneration was credited to<br /> the story should be sent to me. I have had no<br /> <br /> reply !<br /> <br /> <br /> <br /> ERT,<br /> Literary THEFT.<br /> <br /> In relation to literary theft the editor of the<br /> Nineteenth Century has published, in a recent<br /> number of his magazine, an emphatic condem-<br /> nation of the “monstrous extent to which<br /> an organised system of plunder is carried in<br /> certain quarters.” ‘ Under pretence,” writes he,<br /> “ of criticism, and the transparent guise of sample<br /> extracts, the whole value of articles and essays<br /> which may and frequently have cost a review<br /> hundreds of pounds—is offered to the public for<br /> a penny or even a halfpenny,” and he adds that<br /> ‘a determination has been arrived at to make an<br /> example of such pilferers. The cases are nume-<br /> rous in which the defence of literary piracy on the<br /> ground of “comment, criticism, or illustration”<br /> has been unsuccessfully raised. Perhaps the<br /> best example is Campbell v. Scott (11 Simon,<br /> 31). In that case (as cited in “Scrutton<br /> on Copyright,’ 2nd edit. p. 123) the de-<br /> fendant had published a volume of 790<br /> pages, thirty-four of which pages were taken<br /> up with a critical essay on English poetry, while<br /> the remaining 738 were filled with complete<br /> pieces and extracts as illustrative specimens. Six<br /> poems and extracts, amounting to only 733 lines<br /> in all, were taken from copyright works of the<br /> plaintiff, who obtained an injunction against the<br /> continued publication, on the ground that no<br /> sufficient critical labour or original work on the<br /> defendant’s part was shown to justify his<br /> selection. Not a few of these thieves think<br /> that an acknowledgment of the source from<br /> which they steal will excuse them. This view<br /> is quite unsound, as was shown by Scott v.<br /> Stanford (36 L. J. Rep. Chance. 729). There the<br /> plaintiff had published certain statistical returns of<br /> London imports of coal, and the defendant,<br /> “with a full acknowledgment of his indebted-<br /> ness” to the plaintiff, published these returns as<br /> part of a work on the mineral statistics of the<br /> United Kingdom, the extracted matter forming a<br /> third of the defendant’s work. ‘The court,’<br /> said Vice-Chancellor Page Wood, “can only look<br /> at the result, and not at the intention,” and he<br /> granted an injunction without hesitation. Simi-<br /> larly the verbatim extracts from law reports in<br /> Sweet v. Benning (16 C. B. 459), which Chief<br /> Justice Jervis described as a “mere mechanical<br /> stringing together of marginal or side-notes<br /> <br /> <br /> <br /> AUTHOR. ri<br /> <br /> ‘which the labour of the author had fashioned<br /> <br /> ready to the compiler’s hands,” were declared by<br /> the Court of Common Pleas to be piratical, and<br /> it 1s impossible to glance at the cases without<br /> seeing that, if examples are really about to be<br /> made, the pilferers will have a hard time of it,—<br /> Law Journal.<br /> <br /> <br /> <br /> recs<br /> <br /> ON ROYALTIES.<br /> <br /> HE agreements of the future will undoubtedly<br /> be based upon a system of Royalties. The<br /> old method of half profits—a very fair<br /> <br /> method.in the case of books whose circulation is<br /> limited—has fallen hopelessly into discredit by<br /> reason of the shameless frauds which have been<br /> practised under its cover. The old pretence that<br /> a successful book must be made to pay for an<br /> unsuccessful book is now no longer advanced.<br /> There remains the one reasonable plan that the<br /> author and publisher divide the proceeds of each<br /> book on some recognised scale. If it be the half<br /> profit plan as of old, the publisher must be honest.<br /> That is to say, he must not cheat—the explana-<br /> tion is elementary but necessary: he must not<br /> set down £120 as the cost when £100 was the<br /> sum actually spent ; he must set down the exact<br /> sum realised, without deductions, and he must<br /> not charge advertisements for which he has not<br /> paid. All this, again, seems elementary, yet there<br /> remains the necessity for saying all this over and<br /> over again. But a royalty plan removes the<br /> temptation to be dishonest—in these ways at<br /> least. All that is wanted is the audit of the<br /> accounts as to two points—the number printed and<br /> the number sold. A table of royalties was given<br /> in the Author (June, 1891, Vol. I., No.2). This is<br /> repeated here, on account of its great importance.<br /> The book taken was an ordinary six-shilling<br /> volume, running from 70,000 to 100,000 words:<br /> We deduct from the amount realised—(1) what<br /> the publisher pays for production, with adver-<br /> tising; (2) what he pays the author. The<br /> percentage is taken on the full published price.<br /> <br /> I.— On THE SALE OF THE FIRST 1000.<br /> <br /> <br /> <br /> Per Cent.<br /> <br /> <br /> <br /> 5 10 15 20 25<br /> <br /> <br /> <br /> £ £ £ £ £<br /> (eoblusher 3: 4. ul GO 45 30 15 _—<br /> Author a ee es 30 45 60 75<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> - IJ.—On Sane or THE Next 3000.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Per Cent.<br /> | |<br /> 5 | 10 15 | 20 | 25 | 30 | 35<br /> |<br /> giasleiaie\a 2<br /> <br /> <br /> <br /> <br /> <br /> Publisher ..| 330 285 240, 195|150|105| 60<br /> | | |<br /> 45| 90 130 180} 225 | 270) 315<br /> <br /> |<br /> <br /> Author ...<br /> <br /> <br /> <br /> <br /> <br /> TII.—On tHe Sane or An EDITION OF 10,000.<br /> <br /> <br /> <br /> Per Cent.<br /> <br /> <br /> <br /> <br /> <br /> |<br /> 15 | 20 | 25 30 | 35<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> fi 4 | 21212) 2<br /> |<br /> <br /> Publisher... ...| 1200 | 1050 | 900 — 450} 300<br /> Pe<br /> <br /> Author ... ...| 150] 300 |450 ape 752) 1050<br /> <br /> <br /> <br /> <br /> <br /> These figures ought to be a guide to the author<br /> in a royalty agreement. If his book be one which<br /> will not sell largely, as, e.g., a volume of critical<br /> essays, or a treatise on some subject which<br /> appeals to a limited circle he may consider the<br /> first table only. If it is a book likely to have a<br /> large sale, let him consider all three tables.<br /> <br /> ON DEFERRED ROYALTIES.<br /> <br /> <br /> <br /> T is frequently urged that a book carries with<br /> it a certain risk. We repeat, over and over<br /> again, that the publishers who take risks<br /> <br /> are very, very few, and that the occasions on which<br /> risk is taken are very, very few. However, let it be<br /> granted that a certain book does carry risk—in<br /> other words, that the publisher is not certain of<br /> clearing the cost of production. As before, the<br /> book shall be a six shillmg volume. Here is a<br /> little table—the figures being approximate, but as<br /> regards cost, over, rather than under the mark.<br /> <br /> Cost of production of the Ist edition of 1000<br /> copies—say £100, an exaggerated estimate,<br /> including advertising.<br /> <br /> Trade price of the book—say 3s. 6d.<br /> <br /> Number of books required to clear expenses, 572.<br /> <br /> Every copy that remains up to 950 copies<br /> (allowing 50 for press copies) represents a clear<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> profit of 3s. 6d. The question is, how much of<br /> that should go to the publisher. If we give<br /> him half, the royalty after 572 c»xpies shou!d be<br /> Is, gd. a copy or 29 per cent.<br /> <br /> Tf, however, a larger sale is expected, and a<br /> larger number s‘1uck off, the figures will require<br /> alteration. Suppose an edition of 3000 copies.<br /> In this case the number required to pay the<br /> original cost will be about 850. Then every copy<br /> realises a clear profit of 3s. 6d. What should<br /> the publisher take for his services in distribution,<br /> <br /> collection, and management? Surely a royalty of ©<br /> <br /> 1s. 6d. would fairly meet the justice of the case.<br /> ‘he author for such a deferred royalty should<br /> claim 2s. a copy, or a royalty of 33 per cent.<br /> <br /> Another plan which is usefully and profitably<br /> employed by some publishers, is to offer a sum<br /> of money down and a royalty to begin when<br /> so many copies have been sold. For instance,<br /> a six-shilling book of which the publisher knows<br /> that he is certain to sell 1000, and will probably<br /> sell 3000. He offers £50 down and a royalty to<br /> commence — when? It is very simple. The<br /> author’s £50 must be added to the cost of pro-<br /> duction. If the publisher is to have a third of<br /> the profits he may add on £25 to the cost of<br /> production for himself. Then the sum is quite<br /> simple. Fora sale of 3000 copies about 850 must<br /> be first sold in order to defray the cost of produc-<br /> tion. To this must be added 430 more for the<br /> advance made to the author, and the publisher&#039;s<br /> share. After about 1280 copies the royalty should<br /> begin.<br /> <br /> Here is a very pleasing illustration of how the<br /> latter method may be worked. An author of great<br /> distinction had ready a book of great interest—<br /> a book which from the nature of the subject as<br /> well as the name and position of the author, was<br /> sure to do well. It was published at 4s. 6d.<br /> The pubhsher, in a friendly careless way, proposed<br /> to advance the author £50, and to give him a<br /> royalty—the amount does not here concern us—<br /> after 4500 copies had been sold. That figure<br /> was reached and passed. Suppose the sale had<br /> stopped there, how would the account have stood ?<br /> Roughly as follows: The publsher must have<br /> netted £300 to the author&#039;s £50. And this,<br /> of course, he knew very well at the outset. If<br /> not, he did not know his own business. If these<br /> figures are wrong, let us have the right figures—<br /> audited, of course.<br /> <br /> Sires Nh aceon<br /> <br /> <br /> a a<br /> <br /> |<br /> <br /> THE<br /> TWO CASES OF CONVEYING.<br /> <br /> Ss<br /> <br /> i<br /> <br /> A student’s text-book was sent to me to review<br /> for a certain journal. From its title-page, it was<br /> a new edition of an established work by a pro-<br /> fessor of the subject, whose name was retained.<br /> In the preface, the editor (an unknown name to<br /> me) explained that he had attempted to introduce,<br /> in a short compass, the chief results of and<br /> research within recent years, that he had used<br /> considerable pains to sift out what was valuable<br /> from recent original foreign memoirs, and that<br /> he was indebted more especially to four works of<br /> reference, whose statements, so far as he had<br /> taken them, he had, in nearly all cases, verified<br /> by consulting the original researches. He was<br /> also delightfully sarcastic about the short life of<br /> many a piece of lore and many a piece of theory ;<br /> he had not encumbered his pages with such<br /> perishable matter. _ On examining the book, I<br /> found that not a line of the former editions<br /> remained, that it was an entirely new book, and<br /> that it was exceedingly well done—excellent in<br /> structure, full in matter, perspicuous in style.<br /> The mere paragraphing showed the hand of a<br /> master, and the subordination of parts through<br /> some 600 pages showed that grasp which only<br /> a long familiarity with details can give.<br /> <br /> A page or two at the beginning of one of the<br /> chapters reminded me of something that I had<br /> read before ; and on finding the same passage in<br /> another book, I got upon the scent. Page by<br /> page I identified the new edition of the English<br /> text-book with a new edition of a French student’s<br /> manual, which was one of the four “works of<br /> reference” mentioned in the preface. At long<br /> intervals there came a paragraph, or perhaps a<br /> whole page, which I traced to one of the three<br /> other “‘ works of reference ;” but these interpo-<br /> lations were probably not a tenth part of the<br /> whole; there were also a few little touches which<br /> I could not account for except on the hypothesis<br /> that they were the editor’s own.<br /> <br /> I wrote my review, and pointed out the facts<br /> as above given, adding a few abstract reflections<br /> on the ethics of compilation. However, the<br /> editor of the journal, for reasons best known to<br /> himself, did not print my contribution, for all the<br /> trouble I had taken over it. Shortly after, I was<br /> in the company of two persons, both of whom<br /> were learned in the subject-matter of the said<br /> text-book. I told them my story, which they<br /> seemed to hear without surprise. One of them<br /> said, with the obvious concurrence of the other,<br /> “Then you do not know that X.,” meaning a<br /> professor of the same subject, “had already<br /> <br /> VOL. III,<br /> <br /> <br /> <br /> <br /> <br /> AUTHOR. 9<br /> <br /> pillaged the Frenchman in exactly the same way,<br /> in his manual published a year or two ago?” ‘I<br /> had not heard that, and did not relish hearing it<br /> then, for I knew X., and knew him for a man of<br /> religion and of high respectability. I have never<br /> inquired whether the open secret about his manual<br /> was the truth, and, if so, whether there were any<br /> extenuating circumstances. But, assuming that<br /> the information given me was true, it placed my<br /> own discovery in a new light, and probably<br /> explained why my review had not been published.<br /> The editor of the journal had said to himself,<br /> “Dat veniam corvis, vexat censura columbas,”<br /> and had refused to do the latter. The author of<br /> my manual had said to himself, “Render unto<br /> Scissors the things that are Scissors’,” and again,<br /> “They that take the scissors shall perish by the<br /> scissors.’’ Also my man had been merely re-<br /> editing an old book, and had placed the original<br /> author’s name in the leading line of the<br /> title-page (although he bragged a good. deal<br /> in his own name in the preface), The points<br /> of casuistry are curious. I have been told of<br /> a parallel case, which, however, is not strictly<br /> parallel: the case, namely, of a novelist. who<br /> conveys from a French translation the plot, dia-<br /> logue, and imaginative trimmings (mutatis<br /> mutandis) of a work of fiction which had origi-<br /> nally appeared in one of the more inaccessible<br /> literatures of Eastern Europe.<br /> <br /> eT,<br /> <br /> Happening to have before me two elaborate<br /> works on the same subject, one by a German of<br /> known erudition in the earlier part of the century,<br /> the other by a prolific English book-maker of our<br /> own time, I noticed something the same in both ;<br /> and, after a minute examination of the one and<br /> the other, I discovered as follows: The German’s<br /> work, which was written in the French language,<br /> was in two almost equal parts, the one consisting<br /> of his more philosophical generalities, in the form<br /> of rather stiff prolegomena (by no means suited<br /> to the English intellect), the other of an immense<br /> body of facts, on which his generalities rested,<br /> methodically arranged, and authenticated by a<br /> truly marvellous bibliography. The English<br /> work, to the extent of its entire design, and<br /> perhaps three-fourths of its matter, consisted of<br /> the German professor’s encyclopedic facts, with<br /> the foot notes, and corresponded exactly to their<br /> limits of time and place. The German author<br /> was just acknowledged, among others, in an<br /> unimportant but astute line of the English<br /> preface ; and in three or four places of the text<br /> the poor old man was cited, among his own<br /> innumerable authorities, in order to be contro-<br /> verted on some point of doctrine. The English<br /> <br /> B<br /> <br /> <br /> 10 THE AUTHOR.<br /> <br /> book was reviewed in three columns of the Times<br /> as a work of original merit, reflecting credit upon<br /> native erudition and research. Since then the<br /> learned author (translator and editor of the easier<br /> half) has been decorated by his Sovereign, and<br /> invested with a scarlet academical gown. The old<br /> German, who was a sort of ultimus Romanorum<br /> in his special erudition, and a professor at one of<br /> these small universities with vast libraries, out-<br /> lived his own generation, and was little known at<br /> the time of his death. I doubt whether a dozen<br /> readers of the English book would know his name<br /> if they heard it. I inclose the names of parties<br /> and the titles of books. A. B.<br /> <br /> Sect<br /> <br /> A LITERARY BUREAU.<br /> <br /> <br /> <br /> PROSPECTUS lies before us of a literary<br /> bureau conducted on bold and vigorous<br /> principles. We think of our own puny<br /> <br /> and fainthearted efforts with shame when we<br /> read this noble handling of the literary aspirant.<br /> Why, we give our young man or young maiden<br /> who sends us a MS. for advice, a long opinion in<br /> detail, advice as to further proceedings, a list of<br /> respectable periodicals, and a list of publishers<br /> who can be trusted—or else we warn him or her<br /> that the MS. is worthless, and send it back with<br /> wholesome advice, either to retire from the field at<br /> once or to put in very different work. We do all<br /> this for a pitiful, sneaking guinea, of which the<br /> Society gets nothing and has to pay the postage<br /> of the MS. See, now, what the Cambridge<br /> Literary Bureau, “ P.O. Box 3266, Boston, Mass.<br /> U.S.A.” proffers. (Perhaps our younger friends<br /> will, in their own interests, make a note of the<br /> address).<br /> <br /> 1. It reads MSS. and gives a list of paying<br /> periodicals for 1s. every thousand words.<br /> <br /> 2. It gives a letter of detailed advice for 4s.<br /> <br /> 3. It revises and corrects MSS. at 4s. per hour.<br /> <br /> 4. It corrects proofs at 3s. per hour.<br /> <br /> 5. It type writes at 2s 6d. a thousand words.<br /> <br /> 6. It writes shorthand at dictation for 3s. an<br /> hour.<br /> <br /> 7. It teaches rhetoric, composition, and proof<br /> reading in twenty lessons for £7 Ios.<br /> <br /> 8. It gives a list of books bearing on literary<br /> work for tos.<br /> <br /> g. It reads a MS., gives a, letter of criticism and<br /> advice, and sends a list of publishers for a fee<br /> varying with the length of the work from £2 to £4.<br /> <br /> Lastly, it places MSS. on commission of 10 to<br /> 20 per cent.<br /> <br /> Let us see how it works, Juvenis has written<br /> <br /> a book. He goes to the Cambridge Literary<br /> Bureau. It is a book of 80,000 words. First, of<br /> course, he would like to have it read.<br /> <br /> fs. a.<br /> 1. For reading and sending a list of<br /> paying periodicals... ... ... ... 4 0 0<br /> 2. Next, he would like a letter of<br /> opinion on the work ... ... ... O10 O<br /> 3. The opinions say it ought to be<br /> corrected. Fee for 48 hours’ work<br /> at 4s. an hour... 9: 712-0<br /> <br /> 4. Of course we must have it type<br /> <br /> written, at 2s. 6d. for 1000 words 10 O O<br /> . He will take the course of lessons 7 10 0<br /> . It will be useful to have the text<br /> <br /> of books bearing on literary work 0 10 0<br /> 7. It is absolutely necessary to have<br /> <br /> a list of publishers with another<br /> <br /> letter of criticism... 5. 3 OO<br /> <br /> nuvi<br /> <br /> a4 2 8<br /> The literary candidate, therefore, under the<br /> kindly auspices of this bureau begins with an<br /> expenditure of £34 2s. He then finds out that he<br /> is in exactly the same position as he was at the<br /> beginning, except for the letter of advice.<br /> Now, what happens to Juvenis when he writes<br /> to us.<br /> <br /> &amp; 8 a.<br /> <br /> 1. For reading the MS. and writing an<br /> opinion . ae ak ee<br /> <br /> 2. For sending a list of respectable<br /> periodicals... 0.6 6<br /> <br /> 3. Correction of MSS. not attempted.<br /> <br /> The opinion will show him where<br /> <br /> and how it should be corrected ... 0 0 O<br /> 4. Typewriting. This should always<br /> <br /> be done at 1s. 3d. a 1000 words,<br /> <br /> but not by the Society of Authors 0 0 0<br /> 5. Course of lessons in rhetoric. Quite<br /> <br /> useless. If a -young man cannot<br /> <br /> read for himself a book on rhetoric,<br /> <br /> and if he has not learned some-<br /> <br /> thing of the art of composition he<br /> <br /> had better not attempt literature. O O Oo<br /> 6. What good will such a list do for<br /> <br /> anybody? But the society will<br /> <br /> give him sucha list if he wants one 0 O O<br /> 7. An opinion from a writer of experi-<br /> <br /> ence and judgment (see above) ... 9 90 O<br /> <br /> 8. A list of publishers in whom some<br /> confidence may be placed ... .. 9 O O<br /> Total: 6...) 0 EE<br /> <br /> And at the end our man is in exactly the same<br /> position as the American candidate who has dis-<br /> bursed £34 2s. And yet we expect to get ou!<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> A CO-OPERATIVE FIRM.<br /> <br /> — —<br /> <br /> HITHER bends the course of the stream ?<br /> Does the prospectus before us show the<br /> future? It is a prospectus, apparently<br /> quite serious, of a proposed publishing house for<br /> a special class of book. &lt;A fairly large capital is<br /> announced, and the scheme is called co-operative.<br /> Since, however, it is further added that a dividend<br /> of from ro to 15 per cent. may be anticipated, it<br /> is not clear what the promoters mean by co-opera-<br /> tion. The prospectus provides that the ledgers<br /> shall be so kept as to enable any customer to see<br /> at a moment what expense has been incurred and<br /> what sales have been effected. And it promisesa<br /> great reduction in the way of advertising. It<br /> - looks, therefore, as if a new commission house is<br /> in contemplation to be run honestly. There<br /> should be room for such a house in special, as<br /> there certainly is in general literature. We<br /> shall watch the progress of the enterprise, But<br /> we must remark that co-operation should not<br /> contemplate large dividends. In true co-opera-<br /> tion, the capital employed receives a fair dividend,<br /> something over the interest in consols, and the<br /> co-operators share the rest. In such a project as<br /> the one before us care must be taken not to fall<br /> into the hands of a printer at the outset, or the<br /> whole scheme may be ruined by over-charges.<br /> <br /> <br /> <br /> &gt; 0 —&lt;——<br /> <br /> <br /> <br /> “UNCUT LEAVES.”<br /> <br /> <br /> <br /> HIS scheme, the programme of which was<br /> published in the last number of the Author,<br /> has been seriously taken up in America,<br /> <br /> and centres have been established in many towns.<br /> That is to say, there are a great many periodical<br /> gatherings of people—monthly or fortni ghtly—to<br /> hear beforehand, articles about to appear in<br /> various magazines. It appears that the thing has<br /> grown out of a friendly association of American<br /> authors for the purpose of reading their work to<br /> each other.<br /> writes “ Editors have met me more than halfway ;<br /> in no case have they refused to let me have their<br /> MSS. Some of the articles are read just before<br /> they come out, and others may not be printed for<br /> some time. That is immaterial. I find a mass<br /> of able, short essays, stories, poems, and fugitive<br /> verses, which make variety and keep up the<br /> interest. It is noticeable that here in New York,<br /> with all the many things going on, the men turn<br /> out and stay through the evening.” Mr.<br /> Lincoln is coming to London this month; we<br /> <br /> The director, Mr. L. J. B. Lincoln,.<br /> <br /> AUTHOR. II<br /> <br /> shall probably’ learn more of his scheme. The<br /> following shows how it is regarded by the<br /> American press :<br /> <br /> The faddest of fads is about to break out in Chicago.<br /> Westerners have heard rumours of the exclusive method by<br /> which Boston and New York culture regaled itself during<br /> the past year, that of having an unpublished magazine<br /> called Uncut Leaves read in private houses to a carefully<br /> chosen audience. No report of the contents was permitted<br /> to be carried out of the “academy” by the favoured ‘lis-<br /> teners, and no mention thereof allowed to get into print.<br /> In each of tho cities where the astute editor, Mr. Lincoln,<br /> master of the Deerfield School of History and Romance,<br /> has introduced his novelty, contributors to Uncut Leaves<br /> have added immensely to its interest by reading their own<br /> articles, the audience thus having the added enjoyment of<br /> authors’ interpretations of their own works. The contri-<br /> butors to past numbers of Uncut Leaves have included<br /> the cream of living American literature, Richard Henry<br /> Stoddard, Edmund Clarence Stedman, George W. Cable,<br /> Sarah Orne Jewett, Margaret Deland, and more.<br /> <br /> At first this scheme of Uncut Leaves seems a mere fad,<br /> an affectation without substantial warrant to recommend it<br /> to really cultivated people. If an article be good enough<br /> for fifty favoured persons is it not better and finer that it<br /> should be made readily accessible to a hundred times fifty P<br /> Is not an author’s sincere desire to reach the largest<br /> number of readers, to be known to the greatest proportion<br /> of his fellow men? This is undeniable. But it is equally<br /> instinctive in an author to wish to be judged first by<br /> the “fit, if few.” Many an article, good on the whole,<br /> is marred by unconscious defects in execution that<br /> only reading aloud discloses. The experiment of the<br /> private audience is, therefore, of great value in fixing<br /> estimates and suggesting improvements. No wounds in<br /> literature are deeper than those so recklessly inflicted<br /> by reviewers who, often driven with excess of work,<br /> pronounce judgments honest according to light and time,<br /> but precipitated without due consideration and as fatal<br /> on the fortune and fame of what may have cost months,<br /> a year, or years of study and work, as if every line of<br /> the criticism had been weighed and scrutinised for only<br /> truth and discrimination. Uncut Leaves gives an author<br /> trial, if not before his peers, at least in the presence of those<br /> who are bound in honour not to detract, if incompetent<br /> to judge or unfitted by nature or lack of education to write.<br /> <br /> Mr. Lincoln has, therefore, devised a method of getting<br /> disinterested judgment in advance of publication on what<br /> doubtless will prove to be in time essentially important<br /> additions to American literature. For, although the con-<br /> tents of the unpublished magazine are at their author’s<br /> pleasure, ultimately they become public, and the public as<br /> well as the author will benefit by the judicial test to which<br /> in private and before a considerable number of presumably<br /> qualified jurors, they were subjected. After all, the fad has<br /> justification. Mr. Lincoln is well known in the East among<br /> scholars and to a large number of Chicago people, some of<br /> whom have attended his Deerfield School of History and<br /> Romance, and others who have heard his lectures in New<br /> York or Boston. He is a man of wide knowledge and<br /> authentic taste. He is now in Chicago and indications<br /> point to a success as great as that which has characterised<br /> his work in the East. His readings of Uncut Leaves will be<br /> exclusively, of course, in private drawing-rooms. It is<br /> understood that he will give here no article that has been<br /> printed anywhere or is likely to see print for some time.<br /> Some of the most noted of his contributors are also expected<br /> during his stay.<br /> <br /> <br /> <br /> Sect<br /> <br /> B 2<br /> <br /> <br /> 12 THE AUTHOR.<br /> <br /> USEFUL BOOKS.<br /> <br /> <br /> <br /> N American correspondent sends the follow-<br /> ing list :—<br /> <br /> 1. Murray’s New English Dictionary.<br /> . SrormontH’s Dictionary of the<br /> Language.<br /> . Watxer’s Rhyming Dictionary.<br /> Barruert’s Dictionary of Americanisms.<br /> Cusuina’s Initials and Pseudonyms.<br /> WueEeEwer’s Dictionary of the Noted Names<br /> in Fiction.<br /> 7. Wricut’s Dictionary of Obsolete and Pro-<br /> vincial English.<br /> 8. Barruerr’s Familiar Quotations.<br /> g. Rogzt’s Thesaurus.<br /> 10. Breztow’s Handbook of Punctuation.<br /> 11. Wurte’s Words and their Uses.<br /> 12. Sxeat’s English Htymology.<br /> 13. Gummrrx’s Handbook of Poetry.<br /> 14. Assort’s How to Write Clearly.<br /> 15. Hix&#039;s Principles of Rhetoric.<br /> 16. Greenine’s Elements of Rhetoric.<br /> 17. Eartx’s Philology of the English Tongue.<br /> 18. Merxizsoun’s English Language.<br /> <br /> English<br /> <br /> vs<br /> <br /> aey<br /> <br /> recy<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE Annual Dinner should have taken place<br /> before this reaches our readers. We hope<br /> <br /> to give a good account of it in our next.<br /> <br /> The Author’s Club is now in full working order<br /> in its temporary premises, 17, St. James’s Place,<br /> St. James’s Street. Intendirg members should<br /> forward their names immediately to the secretary.<br /> The full subscription for the year is not called up.<br /> <br /> <br /> <br /> Here is a case which has recently happened.<br /> A novelist has spent some months in working a<br /> story based upon an idea which is strong, effec-<br /> tive, and, as he fondly believed, perfectly new.<br /> That a man should believe any story to be<br /> perfectly new shows a certain credulity. He<br /> has now finished his novel and has made ex-<br /> cellent arrangements about its appearance. But<br /> he has learned, to his dismay, that the perfectly<br /> new and strong idea has already—and not so very<br /> long ago—been used by another writer. What is<br /> he to do? Shall he lose his labour? Is the<br /> accident that the same idea has occurred to this<br /> other writer to stand in the way?<br /> <br /> ce nd<br /> <br /> The answer to these questions seems clear. He<br /> did not steal the idea: this can be proved by the<br /> time of his beginning and planning the story.<br /> Nobody can accuse him of plagiarism. Then<br /> what matters? Every writer has his own style,<br /> his own method of treatment ; the two stories will<br /> be fitted with different characters, different<br /> plots. Let this novelist proceed with his story.<br /> Let him, however, if he thinks well, write a<br /> preface stating the facts, otherwise some critic<br /> will find out the resemblance, and will, naturally,<br /> —for such a find happens seldom—crow over<br /> him, jump upon him, and despitefully entreat<br /> him. I do not believe that such an accident will<br /> injure either novel a bit.<br /> <br /> Se ————_<br /> <br /> For instance, about five years ago I wrote a<br /> story turning on the Monmouth Rebellion, which<br /> first appeared in the Illustrated London News.<br /> At the sanie time Mr. Conan Doyle was also<br /> writing a novel on the same event. Both these<br /> novels appeared at the same time. Nobody ever<br /> accused me of stealing my plot from Mr. Conan<br /> Doyle. Certainly, my novel was not injured by<br /> his, and most certainly his was not injured by<br /> mine. “I have read your account of the<br /> Monmouth Rebellion,” said a man to me, “and<br /> now I am going to see what the other chap has got<br /> to say about it.” That the same event should be<br /> treated by two different hands begets curiosity.<br /> There are, however, certain things which must be<br /> avoided. For instance, some twelve years ago, in<br /> writing astory called the “ Chaplain of the Fleet,”<br /> it was resolved to devote two or three chapters to<br /> Tunbridge Wells. It seems incredible that one<br /> should have forgotten the Virginians. But I<br /> went to Tunbridge Wells, stayed there some days,<br /> and read all the books about the place, hunted<br /> up contemporary essays where the place was<br /> mentioned, and, in fact, made myself master of<br /> the subject. When the chapters were all written<br /> <br /> one remembered that Thackeray had made the<br /> place his own, so that all the work went for<br /> <br /> nothing, except to show how carefully and<br /> thoroughly Thackeray had got up the subject.<br /> We must not try to do, over again, what has been<br /> already done by a master. But it would certainly<br /> not deter me from publishing a story of my own<br /> if I learned that another novelist had just<br /> produced a story with the same—or a closely<br /> similar—plot. Just so, in the Royal Academy, we<br /> have the Vicar of Wakefield in one room, the<br /> Vicar of Wakefield in the second room, the Vicar<br /> of Wakefield in the third room, and so on.<br /> Always by the most remarkable coincidence in the<br /> world all the different artists hit upon the same<br /> idea.<br /> <br /> <br /> <br /> i<br /> 4<br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 13<br /> <br /> In the March number of the Forwn (London:<br /> E. Arnold) was a paper with my signature on the<br /> work of our Society. It contained very little<br /> that will be found new by those who have fol-<br /> lowed our work, but it is hoped that the<br /> paper has, before this, fallen into the hands of<br /> many who have not. I found, in conversation<br /> with a publisher, that he took exception to one<br /> passage in the article. It is this, “ the first ’—<br /> way of cheating under a certain head—“is to<br /> charge for inserting the book in the publisher’s<br /> own catalogues and lists, which cost him<br /> nothing.” ‘ My lists,” said the publisher, “ cost<br /> mea great deal.’ Quite so. But the insertion<br /> of any book in the list costs nothing, or a few<br /> pence. He has no right to charge for this in-<br /> sertion as an advertisement, because a list isa<br /> part of his machinery. He does not charge for<br /> his rent, his furniture, his clerks. These are<br /> part of his services: they do that part of his<br /> work which he cannot do with his own hands.<br /> A solicitor does not charge for his clerks, nor<br /> does an engineer charge for his draughtsmen;<br /> they are part of the machinery. It is high time<br /> that this should be made quite clear.<br /> <br /> SS<br /> <br /> In Mr. Lecky’s observations, made at the dinner<br /> of the Royal Literary Fund (quoted p. 24), there<br /> appears to be a certain confusion of ideas, owing<br /> partly to the power of an epigram, partly to the<br /> prevailing ignorance in which the material<br /> interests of literature have been so long wrapped<br /> up. The epigram was that “the books which<br /> live are not the books by which authors live.”<br /> Well, but what does that mean? Shakespeare<br /> and all the Elizabethan dramatists lived by their<br /> books; Dryden, Pope, Addison, Prior, Steele,<br /> lived by their books. Johnson and Goldsmith<br /> lived by their books; Southey, Leigh Hunt,<br /> Wordsworth, lived by their books; Macaulay<br /> made a fortune by his books; Carlyle, Dickens,<br /> Thackeray, George Eliot, have lived by their<br /> books. We need not mention other novelists<br /> who live by their books, because perhaps ordinary<br /> stories are not the books which will live; but<br /> surely the epigram has very little foundation.<br /> <br /> <br /> <br /> Again, at all these dinners there is a suggestion<br /> of the great genius in distress because the public<br /> will not buy his books. Well, that is nonsense,<br /> because the reading public is wise enough and<br /> clever enough to discern the great genius and<br /> even the little genius as soon as ever he appears.<br /> For instance, Messrs. Stevenson, Rudyard Kipling,<br /> and J. M. Barrie—among others—have not had<br /> long to wait, and have never, so far as we know,<br /> <br /> been in any danger of starvation. In the same<br /> way, Browning always had a following. George<br /> Meredith has always had a following, though with<br /> both these great writers, at first a small following<br /> only. I do not believe that at this moment there<br /> is any single man of letters, in any branch, who<br /> isa neglected and a starving genius. I have sat on<br /> the Board of the Royal Literary Fund—for two<br /> years I was on the council. Without breach of con-<br /> fidence, I may state that during that term, though<br /> there were applications from many unfortunate<br /> men and women of letters, there were none from<br /> anyone of literary position. All were the second<br /> and third-rate writers. Most, indeed, were<br /> greatly to be pitied, and the Fund proved a most<br /> beneficial institution to them; but of not one<br /> could it be said that he or she was a genius in<br /> distress.<br /> <br /> eee<br /> <br /> The “higher form” of literature, Mr. Lecky<br /> said, should not be attempted by a young man<br /> unless he possesses an income—or makes an<br /> income—outside that work. As a rule nobody<br /> proposes at the outset to live by literature of any<br /> form. What are the “ higher forms” and what<br /> are the lower? I can see no “ higher form” of<br /> literature at all unless it be poetry. That seems<br /> to me the very highest form of literature. But<br /> for the rest—history, philosophy, essays, bio-<br /> graphy, fiction, the drama, criticism—which of<br /> these forms is higher than the other? None, so<br /> far as I can discover. At the outset the future<br /> author is always something else. Very often<br /> most often—he is a journalist; or he has been<br /> trained for some profession; he is a secretary ;<br /> he is a clerk in the city. If he is going to be a<br /> writer of “solid” literature, he is a professor or<br /> lecturer, a Fellow of his college, a teacher of some<br /> kind. The writer who begins by saying “I will<br /> live by making books” is the writer who ends by<br /> making periodical appeals to the Royal Literary<br /> Fund. And of all forms of literary failure this<br /> is the most pitiful and the most hopeless.<br /> <br /> <br /> <br /> <br /> <br /> Here is a suggestive note. In the New York<br /> Critic there are ‘‘ Magazine Notes” every month,<br /> i.e., notes on the papers -which appear in the<br /> various magazines of the month. But they are<br /> all American magazines. In the “ Magazine<br /> Notes” of our own papers the English magazines<br /> are considered—and the American as well. In<br /> other words the American magazines have got a<br /> firm hold on the English public. What hold<br /> have our magazines on the American public?<br /> <br /> <br /> <br /> <br /> 14 THE AUTHOR.<br /> <br /> The book of the month is ‘Nada the Lily.”<br /> Mr. Rider Haggard has never, in my opinion,<br /> done anything so good. Here we live among the<br /> savages—we talk-with them, fight with them,<br /> think withthem. That we live in an atmosphere<br /> of barbaric cruelty, lust of blood, murder, sus-<br /> picion, and treachery, is a part of living among<br /> savages at all, To judge from some of the<br /> reviews of the book, the author ought to have<br /> presented his savages in kid gloves drinking<br /> afternoon tea; or, as our noble savage has too<br /> often appeared, as a nineteenth century gentle-<br /> man of dark skin, with no clothes, and imperfectly<br /> armed with a tomahawk or a hatchet, but of<br /> irreproachable personal habits and great bravery.<br /> We must take the nineteenth century civilisation<br /> out of the noble savage altogether; we must live<br /> with him as he is, not as the romantic schoolgirl<br /> would like to have him; we then get Nada the Lily.<br /> One would not recommend it to the romantic<br /> schoolgirl—though there is nothing to raise the<br /> blush on that fair young cheek. For men the<br /> book is virile, and true, and pitiless. As for the<br /> fighting, it is Homeric.<br /> <br /> <br /> <br /> G. W.S. in the Zribune calls attention to what<br /> he thinks is a growing coldness on the part of<br /> this country to the people of the States. Among<br /> other causes he mentions one that will surprise<br /> many of us. He thinks that we are jealous of<br /> the growing literary superiority of Americans.<br /> This, he thinks, makes us feel small. We are<br /> mortified because we have no one worthy to<br /> stand up beside Howell, James, and others.<br /> He is quite wrong. American authors may be<br /> far ahead of us, but, such is our insular conceit,<br /> our wooden-headed conceit, our besotted blind-<br /> ness, that we have not yet begun to think of<br /> American writers as superior to our own.<br /> Howell? James? Very good men, both. But<br /> what of Blackmore, Black, Hardy, Barrie, Steven-<br /> son, Rudyard Kipling, Rider Haggard, Hall<br /> Caine, Mrs. Oliphant? What of Tennyson,<br /> Swinburne, Austin Dobson, Andrew Lang,<br /> Morris, Arnold? We really are not in the least<br /> jealous. If the Americans think their team<br /> better than ours, we cannot prevent them. We<br /> will even bow to their opinion—in their company.<br /> In our own, we look round us and we smile.<br /> Insular conceit! No doubt the American<br /> opinion is right. But, right or wrong, the truth<br /> is that we are not in the least jealous of our<br /> American brethren on that ground.<br /> <br /> Watter Brsant.<br /> <br /> <br /> <br /> es<br /> <br /> FEVILLETON. |<br /> <br /> <br /> <br /> His One Srory.<br /> <br /> T came out ten years ago. The author was a<br /> young medico—general practitioner in a<br /> little country town—the Red Lamp man.<br /> <br /> He bought the practice with the last few hundreds<br /> of the thousand pounds with which he started. It<br /> was not an extensive practice because the people<br /> in that neighbourhood never had any illness and<br /> never died. It was alarge district; there were a<br /> good many people who looked to him as the only<br /> doctor accessible ; he had a dog-cart and he drove<br /> long distances to see his patients; but the income.<br /> was small and the prospect was gloomy. To drive<br /> along narrow lanes with lovely hedges on either<br /> side, ina lovely country on errands of mercy would<br /> seem anideal life. Butthe dog-cart costs money ;<br /> the horse demands oats; the man himself wants<br /> food and drink and tobacco; and the weather is<br /> not always desirable for driving in a dog-cart.<br /> However, the young man wenton; he was young;<br /> he was strong; he was as yet unmarried; while<br /> there is youth there is hope; something would<br /> happen; something sometimes does happen to<br /> some people; but rarely to the G. P. of a country<br /> town; or to the vicar of a country parish—where<br /> they find themselves, there they remain until the<br /> end.<br /> <br /> Something happened to this young man. As<br /> he drove along the lanes day after day, he became<br /> possessed of a single thought which seized him,<br /> held him, haunted him, and talked to him, so<br /> that he no longer marked the flight of the birds<br /> or the song of the skylark, or the cry of the corn-<br /> crake, or the flowers in the hedge, or the corn in<br /> the fields, or the passing of the seasons—he forgot<br /> them all in order to listen to his thought. A great<br /> thought it was; not that something might happen,<br /> but that something was actually happening, and<br /> to himself—something grand—something wonder-<br /> ful—something unexpected—and to himself, the<br /> simple, obscure Red Lamp man. :<br /> <br /> The strange part of the thing is, that this<br /> young man had never before suffered in any way<br /> from excess of imagination. He was eminently<br /> a scientific young man. Had he experienced the<br /> prickings and pullings, and shovings of the imagi-<br /> native temperament, he would probably have<br /> attributed the symptoms to gouty acidity, and<br /> treated himself accordingly. It has now, we all<br /> know, been acknowledged that a gouty tendency<br /> is closely connected with the imaginative tempera-<br /> ment. He had never essayed to write a poem, a<br /> tale, or a play. He had never thought it possible<br /> that he could write anything, except, perhaps—<br /> a thing he sometimes contemplated—a treatise on<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. ts<br /> <br /> some disease. And how could he do that in a<br /> country town where there was no disease? ‘On<br /> Longevity, as induced by habits of habitual in-<br /> toxication,’ was a subject which he felt he could<br /> tackle from his village experience. ‘On vice of<br /> all sorts, accompanied by immunity from disease,”<br /> he also felt himself becoming qualified to treat.<br /> But that scientific essay, which should launch<br /> his name upon the sea of fame, he felt that he<br /> was growing daily less and less qualified to under-<br /> take.<br /> <br /> Therefore, as he never expected to do imagina-<br /> tive work, he suffered this thought to take posses-<br /> sion of him without entertaining any suspicion,<br /> and by the time that it held him tightly in its<br /> grasp so that it could not be thrown off, he was<br /> perfectly pleased and contented with it.<br /> <br /> Hiverybody must acknowledge that it was a<br /> very fine, stimulating, elevating, noble thought<br /> quite the kind of thought to prevent a young<br /> G.P. in small practice from getting disheartened,<br /> He imagined, in fact, that the unexpected had<br /> happened to him. It—she—came in the shape<br /> of a woman—young—beautiful—unknown—who<br /> took lodgings at a farm-house, went nowhere but<br /> to church, knew nobody, received no visits, was<br /> apparently in easy circumstances, and _ received<br /> no letters. She was the mysterious Maiden of<br /> romance. Then she fell ill; then he was sent<br /> for; then he won her confidence ; then she told<br /> her story—oh! such a story—a story at the<br /> telling of which every sword would leap of its<br /> own accord out of the scabbard and jump about<br /> like anything, flourishing and threatening ; then he<br /> became her champion—and—and—but every story<br /> told in this brief fashion is ridiculous. This story<br /> shall not be so mutilated and destroyed. Suffice<br /> it to say that the story was full of romance; as<br /> full of romance as a story can be in these days,<br /> which are supposed by people who have no ima-<br /> gination to be unromantic. Now, after many<br /> months during which this story filled the young<br /> doctor’s brain, there came a time when he must<br /> needs write it down. Remember that he had never<br /> before thought of writing anything down. But<br /> there comes a time when, if a man has such a<br /> thought, he must write it down. He cannot<br /> choose but write it down. If he refuses, his story<br /> turns into bitterness and gall; it is worse than<br /> gouty acidity ; it is worse than suppressed gout.<br /> Suppressed novel is an obscure disease, never yet<br /> treated at all, of which all that is known is that<br /> it generally kills unless it maddens.<br /> <br /> The Doctor, therefore, wrote his story. Now the<br /> hero was himself; he put himself into the pages ;<br /> he put the whole of himself; he put the best of<br /> hinself, but he did not hide the rest of himself.<br /> Consequently, it was a magnificent character that<br /> <br /> <br /> <br /> he drew. Magnificent, says the maxim, is truth.<br /> And, though he little suspected it, he wrote a<br /> very true, powerful, and striking story. It still<br /> lives on the bookstall and still sells at the railway<br /> station; it is a book which will remain a long<br /> time ; perhaps it will not quite die for genera-<br /> tions. When the story was finished there<br /> followed a time of great flatness, because he had<br /> cleared out his brain; no more visions remained<br /> there ; no splendid thoughts were left; he had<br /> nothing to think about; he drove about the lanes<br /> as of old, listening to the birds, watching the<br /> flowers, marking the passing of the season; and<br /> he was horribly dull.<br /> <br /> Then he sent his story up to London. He<br /> chose, as happens to the modest beginner, a<br /> person of the baser sort for his publisher. This<br /> man promptly wrote back to say that his reader<br /> had reported so favourably of the work that he<br /> was able to offer the following exceptional terms:<br /> The author to pay a quarter of the cost of the<br /> production, and to get a quarter of the profits;<br /> the publisher to find the rest. ““P.S. The present<br /> offers the best chance in the whole year for the<br /> appearance of such a work.” The author’s quarter<br /> share of the cost was set down at £75. The<br /> Doctor scraped together the money.<br /> <br /> Now, though the publisher was a thief and a<br /> rogue, though the fourth part of the cost should<br /> have been £25 at the outside, though with the<br /> returns the publisher cheated right and left, he<br /> could not wriggle out of the fact that the work<br /> was really a great success, and that he must send<br /> some money to his client. Besides, it was politic.<br /> In the first year, the doctor made £150 by his<br /> work, and saw his way, as he thought, to a steady<br /> little income. So far, good. Unfortunately<br /> an old friend wrote to him; pointed out that he<br /> was in the worst possible hands; that the man<br /> who had written so good a book could write<br /> another; that he had a name already; and that<br /> if he would come to town, he would himself place<br /> him in better hands. He obeyed; he went to<br /> London; he resolved upon a literary career; he<br /> sold his practice; he engaged to write a second<br /> novel.<br /> <br /> * * * * *<br /> <br /> I met this ex-G. P. the other day; he was<br /> standing among the secondhand bookshops in<br /> Holywell-street. His appearance was seedy and<br /> miserable to the last degree ; his face was dejected ;<br /> his looks were hungry. For old acquaintance<br /> sake I lent him what he asked. He left me and<br /> entered a tavern. This poor man had but one<br /> story to tell; he told it, and was cheated out of<br /> it. He received a commission to write another,<br /> and he failed ; his failure was dismal. For, you<br /> see, he had put the whole of himself and the<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> oo<br /> i)<br /> <br /> Dorna AND SUFFERING: Memorials of Elizabeth and<br /> Frances, daughters of the late Rev. E. Bickersteth. By<br /> their sister, with a preface by the Bishop of Exeter.<br /> Sampson Low.<br /> <br /> Walter Savage Landor: A<br /> <br /> Evans, Epw. WATERMAN. a :<br /> Putnam’s Sons, Bedford<br /> <br /> Critical Study. Gua.<br /> Street. §s.<br /> <br /> Prrcy, Litt. D. New Chapters in Greek<br /> Historical results of recent excavations in<br /> With illustrations. John<br /> <br /> GARDNER,<br /> History.<br /> Greece and Asia Minor.<br /> Murray. 15s.<br /> <br /> Irwin, Ricwarp B. History of the Nineteenth Army<br /> Corps. G. P. Putnam’s Sons, Bedford Street.<br /> <br /> Jenkins, R. C., M.A., and Brrcu, W. P. The Burial-<br /> place of St. Ethelburga the Queen, in Lyminge<br /> (633-647) ; a brief account of its discovery and of<br /> the subsequent history of the church (965-1527).<br /> Folkestone. 6d.<br /> <br /> A History of England in the Eighteenth<br /> Vol. 5. Longmans. 6s.<br /> <br /> Lecxy, W. E. H.<br /> Century. New Edition.<br /> <br /> Levey, G. Contrns, C.M.G. Hutchinson’s Australasian<br /> Encyclopedia, containing a description of all places in<br /> the Australasian colonies, an account of events which<br /> have taken place in Australasia from its discovery to<br /> the present date and the biographies of distinguished<br /> early colonists. Hutchinson, Paternoster Square.<br /> 78. Od.<br /> <br /> Lovett, RICHARD.<br /> Diaries, Letters, and Reports.<br /> <br /> James Gilmour of Mongolia: His<br /> Edited and arranged<br /> <br /> by. With three portraits, two maps, and four illustra-<br /> tions. Religious Tract Society.<br /> <br /> Mermorrs OF THE PRINCE DE TALLEYRAND. Edited, with<br /> a preface and notes, by the Duc de Broglie, of the<br /> French Academy. ‘Translated by Mrs Angus Hall.<br /> Vol. V., completing the work. With a portrait.<br /> Griffith, Farran.<br /> <br /> Pixe, G. Hotpen. The Life and work of Archibald G.<br /> <br /> Brown, Preacher and Philanthropist. With an intro-<br /> duction by Sir 8. Arthur Blackwood, K.C.B. Paper<br /> <br /> covers. Passmore and Alabaster. 1s. 6d.<br /> Ramsey, Samvuren. The English Language and English<br /> <br /> Grammar : an historical study of the sources, develop-<br /> ment, and analogies of the language, and of the prin-<br /> ciples governing its usages. G. P. Putnam’s Sons,<br /> Bedford Street.<br /> <br /> 158.<br /> <br /> A History of Water-Colour<br /> Sampson Low.<br /> <br /> REDGRAVE, GILBERT R.<br /> Painting in England.<br /> <br /> Snorer, T. W. A History cf Hampshire, including the<br /> Isle of Wight. Popular County History Series. Elliot<br /> Stock, Paternoster Row. 7s. 6d. (to subscribers 6s.)<br /> <br /> SAINTSBURY, GEORGE. The Earl of Derby. (‘The Prime<br /> Ministers of Queen Victoria.’’) Sampson Low.<br /> <br /> SaLA, Mrs GeorGe Avaustus. Famous People I have Met.<br /> With fac-simile letters. Osgood, M‘Ilvaine. 6s.<br /> <br /> Epiru. The Wars of York and Lancaster,<br /> “English History by Contemporary<br /> Arranged and edited by David Nutt. 1s.<br /> <br /> TwrEtvE Men or To-pay. With portraits. Reprinted<br /> from the Home News for India, China, and the Colonies.<br /> Chapman and Hall. Paper covers, Is.<br /> <br /> THOMPSON,<br /> 1450-1485,<br /> Writers.”<br /> <br /> AUTHOR.<br /> <br /> in ‘the Seventeenth<br /> Century, including the History of the Edict of Nantes,<br /> from its Enactmentin 1598, to its Revocation in 1685.<br /> Simpkin, Marshall.<br /> <br /> TyLtor, CHARLES. The Huguenots<br /> <br /> Memoirs of The Verney Family<br /> Compiled from the letters, and<br /> 2 vols.<br /> <br /> Verney, FrAnces P.<br /> during the Civil War.<br /> illustrated by the portraits at Claydon House.<br /> Longmans. 42s.<br /> <br /> Wuire, Rev. GILBERT.<br /> Vol. II. Cassels’ National Library.<br /> <br /> <br /> <br /> The Natural History of Selborne.<br /> Cloth, 6d.<br /> <br /> General Literature.<br /> <br /> ApsTRACT OF A JOURNAL OF Vicror Huao, AN,<br /> “ Journal de Exil.” With a description of an exten-<br /> sive correspondence extending over nearly 50 years,<br /> addressed to Victor Hugo. Extract from the original<br /> MSS. in French, in possession of Samuel Davey.<br /> Printed for private circulation. 8. J. Davey, the Archi-<br /> vist office, Great Russell Street.<br /> <br /> Apams, Francrs. Australian Essay. New Editions.<br /> <br /> Griffith, Farran. Is.<br /> <br /> AIKMAN, C. M.<br /> tion, and treatment.<br /> <br /> Farmyard Manure; its nature, composi-<br /> Blackwood, Edinburgh and Lon-<br /> <br /> don. ts. 6d.<br /> ALEXANDER Nispet’s Heraupic Puartess, originally<br /> <br /> intended for his “‘ System of Heraldry,” lately found in<br /> the library of William Eliott Lockhart, Esq., of Cleg-<br /> horn, now introduced with introduction and _ notes,<br /> genealogical and heraldic. By Andrew Ross, March-<br /> mount Herald, and Francis J. Grant, Carrick Pursui-<br /> vant. George Waterson and Sons, Edinburgh. Only<br /> 200 copies printed for sale and 45 for presentation.<br /> <br /> Companions: a Story in<br /> Punch. With illustrations<br /> Longmans. 5s.<br /> <br /> Anstry, F. The Travelling<br /> Scenes. Reprinted from<br /> by J. Bernard Partridge.<br /> <br /> AssireR, Harry G. Some Notes on the New Public<br /> Health Act for London. With an Appendix on Lon-<br /> <br /> don Fog and Smoke, Sanitary Appliances, &amp;c. Crosby<br /> Lockwood. Paper covers, 6d.<br /> <br /> Bacon’s Cyctina Roap Map or ENGLAND. Complete<br /> in seven sheets. From the Ordnance Survey. G. W.<br /> <br /> In case, 1s. each. On flexible<br /> On cloth cut, to fold, 3s. 6d.<br /> <br /> Bacon and Co., Strand.<br /> cloth, 2s. 6d. each.<br /> each.<br /> <br /> The Beam; or, Technical Elements of<br /> Chapman and Hall. 4s.<br /> <br /> With numerous<br /> <br /> Baker, W. LEwIs.<br /> Girder Construction.<br /> <br /> Bau, Sir Ropert S. In Starry Realms.<br /> <br /> illustrations. Isbister and Co., Tavistock Street.<br /> 7s. Od.<br /> <br /> Barter, S. Woodwork: the English Sléyd. With<br /> illustrations. Whittaker, White Hart Street, E.C.<br /> 7s. 6d.<br /> <br /> BrerHamM-Epwarps, M. France of To-day. A Survey,<br /> comparative and retrospective. In 2 vols. Vol. 1.<br /> Percival and Co., King Street, W.C. 7s. 6d.<br /> <br /> Buackpurn, Henry. Academy Notes, 1892. With<br /> <br /> illustration of the principal pictures at Burlington<br /> House. Edited by. The New Gallery, 1892: a com-<br /> plete illustrated catalogue of the summer exhibition<br /> at the New Gallery, with notes. Chatto and Windus.<br /> Paper covers. Is. each.<br />  <br /> <br /> THE<br /> <br /> Henry. The<br /> Simpkin Marshall.<br /> <br /> Royal Academy. Bijou.<br /> Paper covers. 6d.<br /> <br /> BLACKBURN,<br /> Edited by.<br /> <br /> Book Prices Current. A record of the prices at which<br /> books have been sold at auction from December, 1890,<br /> to November, 1891. Vol. 5. Elliot Stock.<br /> <br /> Bourinot, J. G. Parliamentary Procedure and Practice :<br /> with a Review of the Origin, Growth, and Operation of<br /> Parliamentary Institutions in the Dominion of Canada.<br /> Second edition, revised and enlarged. Sampson Low.<br /> <br /> Browntow, W. R.,M.A. Lectures on Slavery and Serfdom<br /> <br /> in Europe. Burns and Oates. 33s. 6d.<br /> Catrp, Pror. Essayson Literature and Philosophy. Two<br /> vols. James Maclehose and Sons, Glasgow. 8s. 6d.<br /> <br /> CaMPAIGN GuIDE, THE; an Election Handbook for<br /> Unionist Speakers. Part I., Conservative and Unionist<br /> Work. Part II., Election Problems. Prepared by a<br /> committee of the Council of National Union of Conser-<br /> vative Associations for Scotland. David Douglas,<br /> Edinburgh. Simpkin, Marshall.<br /> <br /> CastLE, EGERTON. Schools and Masters of Fence, from<br /> the Middle Ages to the end of the 18th Century, with a<br /> complete bibliography and illustrations. A new and<br /> revised edition. George Bell. 7s. 6d.<br /> <br /> CHURCHILL, LoRD RANDOLPH. Men, Mines, and Animals<br /> in South Africa. By Sampson Low.<br /> <br /> CurirE, H. H. T. England’s Greatest National Sin.<br /> Being selections and reflections on our Asiatic opium<br /> policy and traffic. Elliot Stock. Paper covers.<br /> <br /> CONTRIBUTIONS TOWARDS A DICTIONARY OF ENGLISH<br /> Boox CouuectTors, as also of some foreign collectors<br /> whose libraries were incorporated in English collections,<br /> or whose books are chiefly met with in England.<br /> Part I., The Libraries of Thomas Cranmer, Archbishop<br /> of Canterbury (1489-1556), andof Bilibald Pirkheimer,<br /> of Nuremberg (1470-1530). Bernard Quaritch. Paper<br /> covers, Is. 6d.<br /> <br /> Corron, J. S. Mountstuart Elphinstone, and the Making<br /> of South-Western India. (Rulers of India Series,<br /> edited by Sir W. W. Hunter.) At the Clarendon Press,<br /> Oxford. 2s. 6d.<br /> <br /> CROCKFORD’S CLERICAL Directory for 1892. Horace<br /> <br /> Cox, Bream’s Building’s, H.C. 15s.<br /> <br /> Curzon, L. Henry. A Mirror of the Turf; or, the<br /> Machinery of Horse Racing Revealed, showing the<br /> Sport of Kings as it is to-day. Chapman and Hall.<br /> 8s.<br /> <br /> Durry, Sir C. Gavan. 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Third edition. Longmans.<br /> 7s. Od.<br /> <br /> Fietpine, Henry. The Journal of a Voyage to Lisbon.<br /> With Introduction and Notes by Austin Dobson.<br /> Charles Whittingham and Co., the Chiswick Press.<br /> qs. 6d. and 153s.<br /> <br /> Fovur1ntuéE, ALFRED. Education from a National Stand-<br /> point. Translated and edited, with a preface, by W. J.<br /> Greenstreet, M.A. International Education Series.<br /> Edward Arnold. 7s. 6d.<br /> <br /> FRoupE, JAMES ANTHONY.<br /> Armada, and other Essays.<br /> <br /> The Spanish Story of the<br /> Longmans. 12s.<br /> <br /> GALE, Caprain W. A. Professional Papers of the Corps<br /> of Royal Engineers. Edited by. Occasional Papers.<br /> Vol. XVII., 1891. Mackay and Co., Chatham.<br /> <br /> GARDINER, B. W. Royal Blue Book.<br /> tory and Parliamentary Guide.<br /> dish Square. 5s.<br /> <br /> Fashionable Direc-<br /> Princes Street, Caven-<br /> <br /> of Comfort :<br /> Compiled by. Seeley,<br /> <br /> GIBERNE, AGNES. Beside the Waters<br /> Thoughts from many minds.<br /> Essex Street, Strand.<br /> <br /> Goutr. A weekly record of ‘‘ Ye Royal and Auncient ”’ Game.<br /> Vol. iii. Golf Office, Copthall Avenne.<br /> <br /> GRADUALE SARISBURIENSE : fac-similes of the first half of<br /> the MS. in the British Museum. Three hundred copies<br /> printed. Bernard Quaritch—for the Plainsong and<br /> Medixyval Music Society.<br /> <br /> Grey, Earu. The Commercial Policy of the British Colo-<br /> <br /> nies and the McKinley Tariff. Macmillan. Paper<br /> covers, Is.<br /> GUIDE TO ELECTORAL CHANGES SINCE 1886, A: forming<br /> <br /> a Supplement to Stanford’s Handy Atlas and Poll<br /> Book. Stanford. 1s.<br /> <br /> HERRING, W. R. The Construction of Gasworks, practi-<br /> cally described, with specially prepared plates, illustra-<br /> tions, and numerous tables. Hazell, Watson, and Viney,<br /> Creed Lane.<br /> <br /> HiILiiArp, Henry W. LL.D. 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Paper cover, 3s.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 16 THE<br /> <br /> woman of his dreams into his first book, and he<br /> had nothing else to put; a man has got only one<br /> self; to such a man as this comes but one vision<br /> of a divine woman. Yet a man may fail once in<br /> literature ; of such failures there are many, even of<br /> good men. He was tried again—and a fourth time.<br /> But it was no use. He had but one story to tell,<br /> and he had told it. And how he lived; by what<br /> shifts; and how low he sank; and into what<br /> companionship he fell; and in what ditch -he will<br /> die—nay—in what hospital he will die—all these<br /> things belong to the undiscovered chronicles: the<br /> Book of the Things Left Out.<br /> <br /> es<br /> <br /> THE LITERARY HANDMAID OF THE<br /> CHURCH.<br /> <br /> <br /> <br /> of May last. It was im St. James’s Hall,<br /> and it has been, for some unknown reasons,<br /> imperfectly reported. Neatly attired in a dress<br /> of grey nun’s cloth, with a white cap and a high<br /> white apron, and having a gold cross hanging<br /> from her neck, her face still apparently in its first<br /> youth, comely as Jerusalem, beautiful as Tirzah,<br /> the Rose of Sharon, the Lily of the Valley, even<br /> as the Lily among Thorns, stood before them<br /> all, the Literary Handmaid of the Church. But<br /> her eyes were red with weeping, and her cheek<br /> was ashamed and aflame, and she bowed her head,<br /> and thus she spoke, whispering and sobbing:<br /> “‘ Hear me, my brothers, hear me! I have done evil<br /> in the face of all the world, because I have loved<br /> money rather than righteousness, because, always<br /> to get more and more money, I have sweated the<br /> helpless and had no pity for the needy; because I<br /> have taken the work, the toil of the head and<br /> the hand, from the poor gentlewoman who cannot<br /> somplain, from the poor author who dares not<br /> complain, and have given them back, not what<br /> should be theirs by right, but a miserable dole<br /> and a scanty pittance, and bade them go work<br /> again for less. Yea, I have gained threefold,<br /> fourfold, tenfold, of what I gave them, and I<br /> repented not, but still grew greedier and more<br /> cruel, and harder and more unjust. As the<br /> needlewoman is sweated by her master, so have<br /> my company of authors been sweated by me—by<br /> the Literary Handmaid of the Church—yes—<br /> pious women, and godly, full of Christian graces,<br /> I have sweated them; I have sweated them!<br /> Woe is me!” She bowed her head, and wept<br /> before them all. Then she fell upon her knees.<br /> “ Forgive me,” she cried ; “ I will no longer be<br /> a sweater. Help me, you who know, help me in<br /> <br /> Sr held a public meeting on Friday, the zoth<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> the cause of righteousness—help me to repentance.<br /> What matter though we found bishoprics and<br /> distribute tracts if the money has been made by<br /> the sweat and the groans, and the labour of those<br /> who work for us? The Lord will enter into<br /> judgment with the ancients of His people—even<br /> with us—for the spoil of the poor isin our House.<br /> Therefore let us hasten to make reparation ; let<br /> us give back all that we have wrongfully kept ;<br /> let us deal righteously with our workers, even<br /> though we issue few Bibles and build no Sunday-<br /> schools at all. To what purpose is the multitude<br /> of Bibles? It is written, “Put away the evil<br /> of your doings; seek judgment; relieve the<br /> oppressed; plead for the widow. My brothers,<br /> I have sinned!”<br /> <br /> So she bowed her face to the ground, weeping<br /> and crying. And all the people lifted up their<br /> voices, and wept with her. And they arose and<br /> took the Princes, even those who stood on a high<br /> place around the Handmaid, and thrust them<br /> forth from the gates, crying, “ Woe unto you<br /> that call evil good, and good evil! That put<br /> bitter for sweet, and sweet for bitter!” And<br /> when they turned them again, lo! the Handmaid<br /> of the Church stood upright once more, and her<br /> face shone with light, and she sang aloud her joy<br /> <br /> - because she had put away her sweating, and<br /> <br /> chosen righteousness. And all the people rejoiced<br /> with her, and they sang hymns and praises, with<br /> thanksgiving.<br /> <br /> spect<br /> <br /> <br /> <br /> IN THE NAME OF THE PROPHET—GLOVES.<br /> <br /> SS<br /> <br /> HE following letter has been sent to the<br /> Prophet. It is mortifying to relate that<br /> he received it in an uncongenial and un-<br /> <br /> sympathetic spirit. He even sent back the box of<br /> gloves which it contained with a cold, curt,<br /> unkind refusal to advertise the glove man in<br /> the way suggested. Yet surely it was a most<br /> liberal offer. An author—a mere Grub Street<br /> man—actually refuses a box of expensive gloves,<br /> offered him for nothing! Why, although his<br /> daughters may be unaccustomed to kid, and<br /> better acquainted with thread, he might at least<br /> have sold them to his kind and generous patron,<br /> the publisher! Absurd! In this paper we must<br /> publicly apologise to the glove man for the rude-<br /> ness of the author. Of course the enterprising<br /> merchant only behaved as anybody else would<br /> have done. The whole world knows how hard up<br /> weare. Anauthor is of no account. However,<br /> let him try again. All Grub Street is open to him.<br /> The others will perhaps behave quite differently.<br /> And think of the advertisement! Copies of his<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 17<br /> <br /> books to lie about the glove man’s beautiful show<br /> rooms.<br /> <br /> © A. B., Hse.<br /> ‘“ DEAR SIR,<br /> <br /> ‘“‘T am taking the liberty of forwarding a<br /> sample or two of my gloves, and shall esteem it<br /> a favour if you will allow a lady friend or two to<br /> try them (I will, of course, exchange them for any<br /> other size, if these sent should not happen to be<br /> right), and if you are pleased with their fit, &amp;C.,<br /> you perhaps might have an opportunity of bring-<br /> ing in my name when writing some of your new<br /> works, as being a meeting-place in London for<br /> ladies, which is really so, my show-rooms on the<br /> first floor, where all the Paris, Vienna, Brussels,<br /> and other foreign makes of gloves, fans, &amp;c., are<br /> kept, i3 frequently crowded with the very best of<br /> London Society.<br /> <br /> “T was reading one of your books when this<br /> thought occurred to me that it would give a tone<br /> of reality to the reading, the name and address of<br /> my house being so well known.<br /> <br /> “Should you be pleased to give this suggestion<br /> athought, I shall be happy to show you my rooms<br /> and the class of goods also. If you called at a<br /> busy time of day, you could then form your own<br /> opinion as to the class of ladies patronising my<br /> place, and on my side, I shall be pleased to supply<br /> you with one dozen pairs of any kind of gloves<br /> you might think fit to select, and will also keep<br /> some of the books laying about the show-room.<br /> <br /> “ T am, dear Sir,<br /> “ Faithfully yours,<br /> eG).<br /> <br /> The following is the cruel reply referred to<br /> above :<br /> <br /> “Mr. A. B. begs to return the parcel of gloves<br /> sent by Mr. C. D. Mr. A. B. must beg to be<br /> excused from advertising himself or Mr. C. D.<br /> in the fashion suggested in Mr. C. D.’s letter of<br /> the 16th instant.”<br /> <br /> <br /> <br /> oe<br /> <br /> We live in deeds, not years; in thoughts,<br /> not breaths ;<br /> <br /> In feelings, not in figures on a dial.<br /> <br /> We should count life by heart-throbs. He<br /> most lives<br /> <br /> Who thinks most, feels the noblest, acts the<br /> best.<br /> <br /> Batuey.<br /> <br /> VOL, III.<br /> <br /> SHAKESPEARE OR BACON.<br /> <br /> <br /> <br /> HE following lines were spoken by Mr.<br /> Joseph Jefferson, the comedian, ata lecture<br /> in “ Dramatic Art” given at Yale College,<br /> <br /> New Haven, on April 27th. They are taken<br /> from the New York Critic of May 7th.<br /> <br /> The question’s this, if I am not mistaken,<br /> <br /> “Did William Shakespeare or did Francis Bacon,<br /> Inspired by genius and by learning too,<br /> <br /> Compose the wondrous works we have in view ?”<br /> The scholar Bacon was a man of knowledge,<br /> <br /> But inspiration isn’t taught at college.<br /> <br /> With all the varied gifts in Will’s possession<br /> The wondering world asks, ‘‘ What was his profession?”<br /> He must have been a lawyer, says the lawyer ;<br /> He surely was a sawyer, says the sawyer ;<br /> <br /> The druggist says, of course he was a chemist ;<br /> The skilled mechanic dubs him a machinist ;<br /> <br /> The thoughtful sage declares him but a thinker,<br /> And every tinman swears he was a tinker.<br /> <br /> And so he’s claimed by every trade and factor ;—<br /> Your pardon, gentlemen, he was an actor !<br /> <br /> And if you deem that I speak not aright,<br /> <br /> Tl prove it to you here in black and white,<br /> <br /> Not by the ink of modern scribes, you know,<br /> <br /> But by the print of centuries ago;<br /> <br /> For he was cast in Jonson’s famous play,<br /> <br /> And acted Knowell on its first essay.<br /> <br /> The buried King of Denmark at the Globe<br /> <br /> He played with Burbage in his sable robe,<br /> <br /> And good old Adam must not be forgot<br /> <br /> In “ As You Like It,” yes—or “‘as you like it not.”<br /> If Bacon wrote the plays, pray, tell me then<br /> Were all the wondrous sonnets from his pen<br /> <br /> Did Bacon, he himself a versifier,<br /> <br /> Resign these lovely lays and not aspire<br /> <br /> To be their author? Lay them on the shelf<br /> <br /> And only keep the bad ones for himself ?<br /> <br /> The argument against us most in vogue<br /> <br /> Is this, that William Shakespeare was a rogue—<br /> His character assailed, his worth belied,<br /> <br /> And every little foible magnified.<br /> <br /> We know that William, one night after dark,<br /> Went stealing deer in lonely Lucy Park,<br /> <br /> We also know Lord Bacon oft was prone,<br /> <br /> To take another’s money for his own.<br /> <br /> Now come, deal fairly, tell me which is worse,<br /> To poach a stag or steal another’s purse ?<br /> <br /> Lord Bacon did confess to his superiors,<br /> <br /> That he had taken bribes from his inferiors.<br /> From his own showing, then, it will be seen<br /> That he both robbed his country and his queen,<br /> A kind of aldermanic Yankee Doodle,<br /> <br /> Who cherished what we understand as boodle.<br /> So if good character is to be the test of it,<br /> <br /> Tt seems to me that William has the best of it.<br /> <br /> If Shakespeare was so poor a piece of stuff,<br /> How is it Bacon trusted him enough<br /> To throw these valued treasures at his feet<br /> And not so much as ask for a receipt?<br /> Such confidence is almost a monstrosity,<br /> And speaks of unexampled generosity.<br /> Oh, liberal Francis, tell us why we find<br /> Pope calling thee the ‘“‘ meanest of mankind” P<br /> Cc<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 18<br /> <br /> But now to Shakespeare let us turn, I pray,<br /> And hear what his companions have to say.<br /> First, then, Ben Jonson, jealous of Will’s wit,<br /> Paid tribute when his epitaph he writ.<br /> If other proofs are wanting than rare Ben’s<br /> We will consult forthwith a group of friends.<br /> Awake! Beaumont and Fletcher, Spenser, Rowe,<br /> Arise ! and tell us, for you surely know:<br /> Was, or was not, my client the great poet?<br /> And if he wasn’t, don’t you think you’d know it?<br /> These, his companions, brother playwrights, mind,<br /> Could they be hoodwinked? Were they deaf or blind ?<br /> I find it stated, to our bard’s discredit—<br /> The author of the Cryptogram has said it—<br /> That Shakespeare’s tastes were vulgar and besotted,<br /> And all his family have been allotted<br /> To herd and consort with the low and squalid ;<br /> But whence the proof to make this statement valid P<br /> They even say his daughter could not read ;<br /> Of such a statement I can take no heed,<br /> Except to marvel at the logic of the slight;<br /> So, if she couldn’t read—he couldn’t write ?<br /> Your statements are confusing, and as such<br /> You’ve only proved that you have proved too much.<br /> The details of three hundred years ago<br /> We can’t accept, because we do not know.<br /> The general facts we are prepared to swallow,<br /> While unimportant trifies beat us hollow.<br /> We know full well<br /> That Nero was a sinner,<br /> But we can’t tell<br /> <br /> What Nero had for dinner.<br /> Now, prithee, take my hand, and come with me<br /> To where once stood the famous mulberry tree.<br /> Then on to Stratford Church, here take a peep<br /> At where the “‘ fathers of the hamlet sleep.<br /> They hold the place of honour for the dead,<br /> The family of Shakespeare at the head.<br /> Before the altar of this sacred place<br /> They have been given burial and grace.<br /> Your vague tradition is but a surmise ;<br /> The proof I offer is before your eyes.<br /> <br /> And oh, ye actors, brothers all in Art,<br /> <br /> Permit me just one moment to depart<br /> <br /> From this my subject, urging you some day<br /> <br /> To seek this sacred spot, and humbly pray<br /> <br /> That Shakespeare’s rage toward us will kindly soften.<br /> Because, you know, we’ve murdered him so often.<br /> <br /> I ask this for myself, a poor comedian :<br /> <br /> What should I do had I been a tragedian ?<br /> <br /> I could pile up a lot of other stuff,<br /> <br /> But I have taxed your patience quite enough;<br /> In turning o’er the matter in my mind,<br /> <br /> This is the plain solution that I find:<br /> <br /> It surely is—“ whoe’er the cap may fit ”»—<br /> Conceded that these wondrous plays were writ.<br /> So if my Shakespeare’s not the very same,<br /> <br /> It must have been another of that name.<br /> <br /> <br /> <br /> <br /> <br /> spec<br /> <br /> 13<br /> <br /> 14.<br /> 15.<br /> 16,<br /> 17.<br /> 18,<br /> <br /> a)<br /> <br /> 20.<br /> 21.<br /> 22.<br /> 23.<br /> 24.<br /> 25.<br /> 26.<br /> 27.<br /> 28.<br /> <br /> 29.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> MIXED MAXIMS.<br /> <br /> <br /> <br /> . As a human being, no one is unique; as<br /> <br /> an individual, every one must be.<br /> <br /> . Pessimism is debased phantasy; poetry is<br /> <br /> glorified vitality.<br /> <br /> . An harmony between natural verity, fact,<br /> <br /> and artificial fallacy is often miscalled<br /> “mystery.”<br /> <br /> . Chivalry is the mother-spirit in man.<br /> . Strength without chivalry is near akin to<br /> <br /> devilry.<br /> <br /> . “The age of chivalry” is a matter of<br /> <br /> temperament, not of tense.<br /> <br /> . Romance is not behind, but within.<br /> <br /> . Realised ideals are always the lower ones.<br /> <br /> . Humility is the highway to nobility.<br /> <br /> . The best tense—the perfect tense—lies in<br /> <br /> the future.<br /> <br /> . Selfishness is the soul of sin.<br /> . Motherliness, any more than selfishness, is<br /> <br /> not a matter of sex.<br /> <br /> Truth is the shell of the universe; love is<br /> its soul.<br /> <br /> Better an untruth “in love” than the truth<br /> in selfishness.<br /> <br /> Spitefulness apes truthfulness when used<br /> against the other man.<br /> <br /> Satire strives to alleviate what cynicism<br /> cares only to accentuate.<br /> <br /> Heartless humour is as worthless as is head-<br /> less wit.<br /> <br /> Pure wit is rare as genius; true humour<br /> varied as human hearts.<br /> <br /> Sympathy with vice sometimes poses as<br /> charity for the vicious.<br /> <br /> As love inspires the purest sanctity, so<br /> genius implies the rarest sanity.<br /> <br /> Providence provides opportunity ; man must<br /> supply capacity.<br /> <br /> There is no such thing as a true lovers’<br /> quarrel.<br /> <br /> Jealousy is a soul-eclipse, when earthy self<br /> comes between.<br /> <br /> Love never entered a divorce court, for it<br /> never degraded.<br /> <br /> In a perfect life love is not lieutenant but<br /> general.<br /> <br /> The higher the woman the more of the<br /> child.<br /> <br /> Womanly women elevate, while womanish<br /> women deteriorate.<br /> <br /> A good daughter makes a better wife and a<br /> best mother.<br /> <br /> Harmony makes the divinity of marriage as<br /> of music.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 19<br /> <br /> 30. Love owes nothing to any order of man; it<br /> <br /> is the order of the universe.<br /> PHINLAY GLENELG.<br /> <br /> ee<br /> <br /> ODE TO SLEEP.<br /> <br /> ——S—-_<br /> <br /> I.<br /> <br /> A shadow thou upon some shadowy strand !<br /> Thine is a starlit land.<br /> Far,—very far away !<br /> <br /> A lotus-land of blissfulness and balm,<br /> Where reigns an endless calm,<br /> And all is dim and grey.<br /> <br /> 2.<br /> <br /> There on a couch with slumbrous poppies spread,<br /> Thou pillowest thy head,<br /> And noddest in the gloom !<br /> The drowsy nightshade ever slumbers there<br /> And aconite may dare<br /> Put forth its purple bloom!<br /> <br /> 3.<br /> In the dead silence art thou weaving still,<br /> Weaving for good or ill,<br /> Those unimagined dreams<br /> Which mortals know when they shall take their rest,<br /> Called at thy sweet behest,<br /> To lie by Lethe’s streams!<br /> <br /> 4.<br /> <br /> For when our hemisphere has lost its sun, :<br /> When the day’s toil is done—<br /> A hush o’er land and sea—<br /> <br /> Then, dost thou range this tired world again,<br /> To carry in the train<br /> The spirits loved by thee!<br /> <br /> 5.<br /> Then, armed with poppies, and blue aconite,<br /> And mandrake creamy white,<br /> Thou summonest thine own!<br /> Thou leadest them thro’ glimm’ring weedless ways<br /> To thread the dreamer’s maze<br /> Of labyrinths unknown.<br /> <br /> 6.<br /> <br /> The son of labour feels thy wings, O Sleep<br /> Above his pallet sweep<br /> And knows his heaven is nigh!<br /> <br /> But yonder monarch on his bed of down,<br /> Despite his jewelled crown,<br /> Thou proudly passeth by !<br /> <br /> F. B. Doveton.<br /> <br /> NOTES FROM PARIS.<br /> <br /> ITH what a sigh of relief must Emile<br /> \ \ Zola have laid down his pen, three or<br /> four days ago, after writing the word<br /> “ Finis” at the endof La Débacle, a story which,<br /> as he has often told me, has given him more<br /> trouble and exacted more toil than any other of<br /> his books. I would have given a good deal to see<br /> that laying down, and to have had a Kodak with<br /> me. I will wager it was not calmly done, and can<br /> fancy the nervous little man dashing his quill not<br /> unviciously on to the floor, with an “Ouf” and<br /> an ‘‘ Enfin.” He is always m a rage against his<br /> work as he works. In L’@wvre he has described<br /> <br /> his feelings towards the productions of his pen.<br /> <br /> &lt;&lt;&lt; Ss<br /> <br /> That contradiction of feelmgs which is one of<br /> the principal sources of human unhappiness,<br /> manifests itself im us authors most vividly before<br /> and after this writing of the word “ Finis.” How<br /> anxiously looked forward to a consummation,<br /> with what relief and gladness effected, and then<br /> a reaction comes, and one feels as one who has<br /> bid farewell to a dear friend, as a mother must<br /> feel who has borne a child in her arms for long<br /> hours, and who, having set it down and let it go,<br /> regrets the sweet aching and frets against the<br /> unwelcome relief.<br /> <br /> <br /> <br /> I was much amused the other day, in turning<br /> over the leaves of a German magazine, which has<br /> done me the honour of publishing a novel of<br /> mine in German translation, to see that the trans-<br /> lator had altered my dénouement, and with it the<br /> whole import of my story. He makes my hero<br /> commit suicide, who, by my authority, was left<br /> thriving. This upset in toto the solution of the<br /> psychological problem I had worked out. The<br /> German publishers doubtless thought that having<br /> paid their money they might take their choice as<br /> to the ultimate disposal of my hero. I considered<br /> it “ cheek.”<br /> <br /> Se<br /> <br /> It is, however, the sort of “ cheek ” that authors<br /> whose books are reproduced abroad must get<br /> used to. The American pirates, for instance,<br /> seem to consider one’s work much as cooks con-<br /> sider a piece of meat—a dish to be set to the<br /> sauce which shall most tickle their customer’s<br /> palates. Not only do they change titles, but they<br /> revise and often rewrite parts of the text. Your<br /> child comes back to you, often unrecognisable, as<br /> though it had passed through the hands of those<br /> Spanish manufacturers of monstrosities about<br /> which Hugo wrote in “ L’ Homme Qui Rit.”<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 20<br /> <br /> Hugo’s executors state that in their belief the<br /> Guernsey diary of the master, which was reported<br /> to have been found recently, is a ‘fake,’ was<br /> never written by Hugo, but at most by some<br /> fellow exile, Boswell to his Johnson. I don’t<br /> think Hugo was the man to keep a diary, for<br /> he had other uses for his daily thoughts.<br /> <br /> <br /> <br /> I was Hugo’s next-door neighbour in Guernsey<br /> years ago, living in the house adjoining Haute-<br /> ville House. Our gardens were side by side. I<br /> was a lad. The poet had excellent plums. A<br /> pen fastened to a fishing-rod did the trick. So<br /> differently did Youth on one side and Old Age<br /> on the other side of a garden-wall employ the<br /> instrument which is mightier than the sword.<br /> Hugo, by the way, used to work in a kind of<br /> conservatory on the top of his house, and scan-<br /> dalised the old maids of Hauteville, in the hot<br /> weather, by divesting himself—when in the<br /> fever of composition—of most of his garments.<br /> <br /> —&lt;—<br /> <br /> In England the man who has written a book,<br /> unless this has been a commercial success, is<br /> considered rather an ass, and will hide the fact<br /> rather than make it known. The contrary is the<br /> case in France. To have published a book, no<br /> matter whether ten or ten thousand copies of it<br /> were ‘“‘ taken up,” is to a man’s credit—gives him<br /> a status and consideration. Many pass their<br /> lives, satisfied with the dim aureole “ d’avoir été<br /> édité,” round their heads. It is as good—in the<br /> literary cafés and circles—as the violet ribbon in<br /> the button-hole. In France the littérateur is not<br /> judged like the soap-merchant, by pecuniary<br /> results, and owes his gloriole to the mere fact<br /> that he has, or thinks he has, something to say.<br /> <br /> —<br /> <br /> We are constantly reading—and, some of us,<br /> writing—about the misdeeds and dishonesty of<br /> American pirates. But what about the reverse<br /> of the medal? Is it not a fact that American<br /> authors are shamefully plundered by English<br /> publishers? Do not scores of English journals<br /> annex without acknowledgment—and it goes<br /> without saying without compensation in any<br /> form —all the best work of the American<br /> periodical press? Soyons justes.<br /> <br /> <br /> <br /> One of the weirdest of our confréres in Paris is<br /> an old Polish nobleman, against whom Fortune<br /> has been hard-hearted, and who may be seen all<br /> day long at the Café de la Paix, working with<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> de quoi écrire, at one of the marble tables in the<br /> end room. A mazagran of coffee is always at his<br /> elbow. His productions are pamphlets of hu-<br /> manitarian tendency, and are couched in Russian<br /> of great colour and vigour. His output is enor-<br /> mous, and as he publishes at his own expense, he<br /> has doubtless a large public. Each pamphlet<br /> consists of three pages, and is tariffed at a franc.<br /> But the great of this world, from the Emperor of<br /> China to the Governor-General of Odessa, receive<br /> his works gratis through the post.<br /> <br /> <br /> <br /> I read something the other day in an English<br /> paper about Jules Verne being a great walker and<br /> athlete. Verne, asamatter of fact, is practically<br /> a cripple. Two or three years ago, he suddenly<br /> received a visit from a nephew of his, who, after<br /> a hasty “ Bonjour, mon oncle,” drew out a revol-<br /> ver, and blazed away at him. One bullet hit<br /> Verne in the leg, and he has been lame ever since.<br /> The nephew, who is now living in a lunatic<br /> asylum, afterwards explained that he was anxious<br /> to see his uncle a member of the French Academy,<br /> and that he had done what he had done in order<br /> to attract attention and sympathy to his beloved<br /> relative.<br /> <br /> <br /> <br /> Francois Coppée, like Dumas, has shaken the<br /> dust off his feet on to Paris. He has retired a la<br /> campagne, not to plant cabbage, but to write in<br /> peace and quiet. Happy Frangois. He has found<br /> a beautiful old-world house at Brunoy, with a big<br /> garden, and fields and trees all around. May the<br /> tender-hearted poet be happy here. He is one of<br /> the most sympathetic figures in contemporary<br /> literature. He has the great quality of heart in<br /> days when we all cultivate our gall-bags with the<br /> zeal with which the Strasburg goose-breeder culti-<br /> vates the livers of his flock. He is sweet, and<br /> tender, and gentle, and though he dons a red<br /> flannel shirt when he writes, as unaffected and<br /> natural as a village child.<br /> <br /> <br /> <br /> Pailleron’s Tuesday dinners for men only are<br /> functions, to be present at which should be the<br /> desire of all who want to taste at the fountain<br /> head that sparkling brewage which we call<br /> Parisine—a tonic bitter, but delightfully refresh-<br /> ing draught. Pailleron is all sparkle. His<br /> repartee is now couched in faubourg slang and<br /> crushes like a sledge hammer, now academic with<br /> the sting of a rapier. His great hatred is<br /> against the world of professors. Old Sorbonne<br /> never had a more bitter foe. Get him to talk<br /> about the sages who write for the serious review,<br /> <br /> <br />  <br /> <br /> <br /> <br /> 70H AUTHOR. 24<br /> <br /> and you will hear satire as you could like to hear<br /> it spoken.<br /> <br /> Alexis Bouvier is dead. I can imagine the con-<br /> temptuous shoulder-shiuggings with which this<br /> item of news was dismissed in the literary cafés<br /> of Paris. No matter that he died broken down<br /> after a stagnation of two year’s duration, an<br /> unhappy man, whose last months were dragged<br /> out on the proceeds of a recent charity sale. He<br /> wrote for money, the unpardonable act of the<br /> writer in France. He had animmense public and<br /> delighted them with blood-curdling feuilletons,<br /> He did it for a living and died, without reputation,<br /> in the shadow of starvation. I can imagine nothing<br /> sadder than the last moments of a man of letters<br /> who has not chosen the good part, who has gone<br /> for money and who has failed. Chatterton died<br /> of arsenic in his garret. It was very sad, but<br /> how much sadder would it have been, if, instead<br /> of falling a victim to his pride and belief in him-<br /> self, he had come to die inthe same way and in<br /> the same place, after trying his best to make<br /> money, by using his pen, not as his fancy and<br /> ideal directed, but at the dictates of the public<br /> and the publishers. Play for a high stake and<br /> lose. Tant pis, one pays withoutregret But to<br /> be beaten, ruined at shove-halfpenny! Poor<br /> Alexis Bouvier, whom Providence held on this<br /> side of the frontier of that Promised Land towards<br /> which the eyes of all authors are always turned !<br /> <br /> Paris, May 20. Rozert H. SHERARD.<br /> <br /> oe<br /> <br /> TO MUSIC.<br /> <br /> <br /> <br /> Tones of a dying chord whose mellow strain<br /> Burst into deepfelt music on mine ear,<br /> Song whose fine melody thrills through me, hear<br /> What your pulsations bring, relief from pain,—<br /> Hail! minstrels of the air when I would fain<br /> Sleep in the dim unconsciousness of care<br /> That drowns the musings of a wayward lyre<br /> Of weariness, a heart sick, world tired brain.<br /> <br /> Ah! Music, Music lend your minstrelsy,<br /> And lull me into soft, subduing sleep,<br /> Like some poor helpless babe that restless lies<br /> Soothed by its mother’s loving lullaby,<br /> And when my last hour comes, come song and keep<br /> Sweet fellowship with one who with thee dies.<br /> <br /> AntTHONY RUDYERD.<br /> <br /> os<br /> <br /> THE JEW IN LITERATURE.<br /> <br /> <br /> <br /> HE following address was delivered by Mr.<br /> <br /> Hall Caine as the guest of the new Jewish<br /> <br /> : community, “‘ The Maccabeans,” at a dinner<br /> <br /> at St. James’s Restaurant, Piccadilly, on the 10th<br /> <br /> ult., and is reproduced by permission of the<br /> author. Mr. Caine said :—<br /> <br /> “The position of the Jew in literature is a<br /> theme so full of suggestion that it is astonishing<br /> that more has not been made of it. There are, at<br /> least, two aspects which it might be regarded:<br /> First, the Jew as a creator of literature; and<br /> then, the Jew as the subject of it. Both points<br /> of view would be full of surprises. On the one<br /> hand we find an early Hebraic literature showing<br /> a literary genius which is perhaps not to be<br /> equalled by that of any other race. It may be<br /> that no Jew can ever allow himself to look at the<br /> great literature of his literary fathers with an eye<br /> so cold, and in a light so dry as this, but I want<br /> your indulgence while I say that the Old Testa-<br /> ment writings, as we have got them, contain some<br /> of the most perfect stories in the literature of the<br /> world. Separated from its spiritual and historical<br /> significance, regarded merely as a literary entity,<br /> purely as a group of characters and incidents, I<br /> do not know anything to compare in beauty,<br /> pathos, picturesqueness, tragic power, and subli-<br /> mity with (may I use the word without offence)<br /> the novel, the romance which tells of the sojourn<br /> of the Israelites in Egypt, beginning with the sell-<br /> ing of Joseph by his brethren, and ending with<br /> the crossing of the Red Sea by the Children of<br /> Israel under Moses. We are first struck by the<br /> splendour of the literary genius of the early<br /> Hebrew, and next by the extraordinary eclipse of<br /> that genius in the Hebrew of the middle ages.<br /> Between the time, say of Josephus and our own<br /> century, there were, no doubt, Hebrew writers of<br /> great mark and influence; but am I altogether<br /> wrong in saying that, except in a few cases, their<br /> greatness was not creative, that it was mainly<br /> illustrative, explanatory, critical, and scholastic ?<br /> But if this is so, and you know best, there are<br /> abundant and adequate reasons for it. Jewish<br /> literary genius may easily have been choked by<br /> the odium of medieval malevolence. Creative<br /> powers had no force to spend on literature where<br /> the hourly necessities were those of flesh and<br /> blood. Nevertheless out of that darkness two<br /> Jewish names shine as stars. One of them is the<br /> name of a great philosopher, who, though not a<br /> believer in your ancient faith, was nevertheless a<br /> mind so tremendous that no Jew can help being<br /> proud of him—I mean Spinoza. The other is<br /> that of a wayward, wilful, heavv-laboured, sorely-<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 22 THE AUTHOR.<br /> <br /> afflicted child of genius, the ‘tearful trifler,’<br /> who, like the leper of his own thrilling story,<br /> made joyful songs for the happy part of the<br /> world to sing while he lay himself in a lodging of<br /> Paris amid the odour of blankets and medicines<br /> ——an unbelieving Jew, but nevertheless a Jew<br /> whom all Jews must be eager to claim—I mean<br /> Heine. And now that the modern Jew has sur-<br /> vived the barbarism of medixval oppression, the<br /> literary genius that is in him is again beginning<br /> to show itself. During this second half of the<br /> 19th century the Jew has made his contributions<br /> to the sum’ of human knowledge. He is found<br /> in nearly every walk of literary activity.<br /> <br /> “ And now, if I am not plunging in dangerous<br /> waters, I would say something of the Jew as a<br /> subject of literature. Here again we are face to<br /> face with the old inveterate contradiction which<br /> always dogs the feet of the Jew in his literary<br /> character. On the other hand we have the ancient<br /> history of an heroic people—great in prosperity,<br /> strong in adversity ; on the other hand an abject<br /> picture of a sort of cuckoo race, building no nest<br /> of its own, and rearing its young in the nests of<br /> others—an excrescent nation that trails through<br /> the centuries with the stigma of the heretic and<br /> the leper combined. When we think of the Jew<br /> as a figure in literature, we first remember<br /> Shakespeare. What does Shakespeare do with<br /> the Jew? The answer seems to be an unwelcome<br /> one. He talks of him constantly as a sort of<br /> pariah dog; he uses his name as a metaphor for<br /> cunning and duplicity ; he casts the liver of a Jew<br /> —happily an unbelieving Jew—into the witches’<br /> cauldron that is to work such woeful mischief,<br /> and, above all, he puts his full-bodied conception<br /> of the Jew into the person of Shylock. It may<br /> be that for these offences the modern Jew, with<br /> all his reverence for mighty genius, loves Shakes-<br /> peare a shade the less. But my own faith in<br /> Shakespeare is so vast, and my confidence in his<br /> prophetic gift so absolute, that it would hurt<br /> me to believe that in this matter of the right<br /> attitude towards the Jew he was not (as he<br /> assuredly was in everything else) at least three<br /> centuries before his time. We have to remember<br /> that Shakespeare, as a dramatist, had to earn his<br /> bread and butter by the favour of the populace,<br /> and that in the moral atmosphere of the people<br /> of his day (as seen in Marlow’s ‘Jew of Malta’<br /> and elsewhere) the Jews were an accursed race,<br /> the enemies of mankind, and the especial foes of<br /> Christianity. And if any Jew feels sore that the<br /> greatest of English poets saw nothing in the<br /> Jewish character but greed and merciless vindic-<br /> tiveness, let him go to any theatre where the<br /> ‘Merchant of Venice’ is being played, and<br /> watch, not the play, but the effect of it on a<br /> <br /> Christian audience. Above all, if it should be his<br /> luck, as it was lately mime, to see Shylock in the<br /> person of Mr. Irving, his grievance against<br /> Shakespeare will be gone for ever. He will<br /> realise that the centre of human interest is this<br /> very man, who has been talked of as the incar-<br /> nation of evil. Every tender touch that will make<br /> straight to the heart will be Shylock’s—the knife<br /> and the scales, the talk of the flesh and the blood,<br /> will go for no more than a momentary creep of<br /> the skin; but the downfall of the broken creature,<br /> the taunts of the enemies who triumph over him,<br /> the demand of the judge that he shall turn<br /> Christian, his last word of poor human infirmity—<br /> <br /> I pray you give me leaye to go from hence ;<br /> I am not well,<br /> <br /> —and his final exit will leave one feeling only<br /> exhibited on the face of the spectators—a feeling<br /> of profound pity for the man who began with<br /> everything and everyone against him, who has<br /> lost all, the wife he loved, the daughter who was<br /> his sole treasure, and the wealth that had been<br /> his bulwark against the world. All the grand<br /> rhetoric about the quality of mercy, and all the<br /> exquisite poetry of the scene of the moonlight<br /> will be forgotten, and the last deposit of the<br /> dramatist will be a plea for justice to the Jew.<br /> Now, I cannot believe that an effect like that<br /> could have been produced by accident, or without<br /> the conscious design of the dramatist. In short,<br /> my strong conviction is that, though Shakespeare<br /> Imew that to please the groundlings of his time<br /> it was necessary to heap contempt on the Jew,<br /> et in his heart as a man and his brain as a seer<br /> he felt and saw that the Jew was basely dealt<br /> with, and that the future would justify him.<br /> Indeed, I feel so sure of this that I challenge<br /> contradiction on the point that during the 300<br /> odd years in which the ‘Merchant of Venice ’<br /> has been played the curtain can never have fallen<br /> on the fourth act of it without the balance of<br /> sentiment being on the side of Shylock. If that<br /> is so, we must talk no longer of Shakespeare as<br /> anti-Semitic. For three centuries he has been<br /> the friend of the Jew. It is a fact worth men-<br /> tioning that after Shakespeare and his contem-<br /> poraries, down to our own century, no great<br /> English writer seems to have felt the Jewish cha-<br /> racter strongly. I can remember no important<br /> portrait of-a Jew in Fielding or Richardson or<br /> Smollett. Richard Cumberland certainly wrote<br /> two plays, both on the side of Jewish sympathy,<br /> ‘The Jew’ and ‘The Jew of Mogadore,’ and<br /> Thomas Dibden wrote at least one play, ‘The<br /> Jew and the Doctor, with the design of vindi-<br /> cating the Jewish character. Then of other<br /> sort we have the usurous Jews of the comedies<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 2H AUTHOR. 23<br /> <br /> of Sheridan, as well as their spendthrift<br /> Christians, one of whom, as you remember,<br /> rejoices in the probable discovery of the<br /> ten lost tribes of Israelites for the good reason<br /> that he has exhausted the patience of the<br /> other two. But perhaps the first effort on a<br /> high level, without apology or restraint, was<br /> made in the Isaac of York of Scott’s ‘Ivanhoe.’<br /> After that came a small group of noble Jewish<br /> studies, including those of Disraeli (whose theories<br /> of the doctrine of race deserve more attention<br /> than they receive), and George Eliot, of whom,<br /> perhaps, we can only wish that her later genius<br /> had vitalised Daniel Deronda as her earlier genius<br /> had vitalised Adam Bede. But the studies of<br /> heroic Jewish character have been astonishingly<br /> few in English literature, and few of that few<br /> have had a general acceptance. Only sketches of<br /> grotesque Jews have been numerous and popular.<br /> The Fagin of Dickens, a wonderfully vivid and no<br /> doubt essentially realistic piece of art, has been<br /> the father of a large family. Why is this? Is it<br /> because the writers copy each other, having no<br /> knowledge of better types? And if so, is their<br /> ignorance altogether their fault or partly their<br /> misfortune ¥ Do the Jews, in their old inveterate<br /> distrust of the showman (and the imaginative<br /> writer is a sort of showman), in their dislike and<br /> fear of the man who, as novelist and dramatist,<br /> has pursued them through the centuries with<br /> odium and ridicule, shut themselves up from him<br /> and so make it difficult to see the nobler qualities<br /> which no man carries on his sleeve? Certainly it<br /> does sometimes seem that if the walls of the<br /> Ghetto are fallen the Jewish company is still<br /> undispersed. The invisible bulwarks about the<br /> Jew appear formidable to some Christians. It<br /> has been my personal happiness to know one or<br /> two Jews of the best type on intimate terms of<br /> friendship, and it has therefore been easy for me<br /> to see the ancient and heroic side of Jewish cha-<br /> racter. May I dare to say ina company of Jews<br /> that it would be wellif the Jew came oftener out<br /> of the Mellah into the light and free air of the<br /> world that is common to all men? The Jew is<br /> notoriously assimilative and clubable, and it would<br /> be easy for him, in England at least, to laugh the<br /> grotesque Jew out of all claim to be regarded as<br /> atype. The mention of Fagin recalls a very<br /> real monstrosity which we smile at nearly as<br /> often as we seea play of London life, but which<br /> really almost deserves our genuine indignation—<br /> the Jew of the modern stage. We all know the<br /> worthy gentleman in his little shabby hat and his<br /> long sack coat, with his nasal snuffle and his<br /> mincing walk. The silly old buffoon is never so<br /> high in histrionic rank as the low comedian, for<br /> that is a jester whom the public is expected to<br /> <br /> laugh with, whereas the Jew is the living gargoyle<br /> whom they are expected to laughat. His charac-<br /> teristics are cunning and cowardice, usually tinc-<br /> tured with the greenest stupidity. Every fool<br /> scores off him, and his latter end is usually one<br /> of battered hats and eclipsed eyeballs. I will not<br /> say that this foolish person is invented solely in<br /> order that the public may indulge itself with<br /> laughter at the Jews, but that, some butt of ridicule<br /> being necessary, it is safer in England to make<br /> him a Jew than a Quaker, or a Plymouth Brother,<br /> or even a Mormon. For the silly caricature itself,<br /> there must perforce be some recognisable original<br /> in life; but surely it is a poor thing if the senti-<br /> ment of the modern English people is prepared to<br /> accept no more serious type of Jewish character.<br /> We remember, with a thrill of the heart, the noble-<br /> spirited Jews of the age, and we ask ourselves if<br /> it can be true that the English playgoer is unable<br /> or unwilling to contemplate with delight the good<br /> man and philanthropist in the person of a Jew.<br /> We are assured that it is so. Some time ago a<br /> well-known actor called on me to ask if I could<br /> write a play that would fit him with an appro-<br /> priate part. I took time to consider, and then<br /> propounded a scheme that centred in a Jew. My<br /> Jew was an heroic Jew—he did great things in a<br /> great way, but he did them in the way of a Jew,<br /> for he was a Jew to the inmost fibre of his being.<br /> There lay the rock on which my craft foundered.<br /> The actor would have nothing to say to my Jew.<br /> ‘An heroic Jew on the English stage is an impos-<br /> sibility,’ he said. ‘We give that class of person<br /> to the man who plays eccentric comedy.’ Now,<br /> why was this? Was it merely that the public<br /> had never had anything better offered to them<br /> than the zany out of the broker’s shop in White-<br /> chapel? Or was it that the public would reject<br /> the heroic Jew because they had found nothing<br /> heroic in the Jewish character to go upon? | I<br /> concluded that there was no reason in the nature<br /> of things why the nobler types of Jewish character<br /> should not find acceptance in literature just as<br /> they find it in life, and I resolved at all hazards to<br /> make the experiment of trying an heroic Jew on<br /> the English public. I have not yet been able to<br /> try him on the stage, but I have, as you know,<br /> tried him in a novel, with results which surpass<br /> my expectations; and I believe that just as the<br /> heroic Jew has been accepted in fiction, so he<br /> would be accepted on the boards; and that the<br /> dramatist will do a good work who breaks down<br /> the absurd superstition that the English public<br /> will take nothing in the person of a Jew but the<br /> buffoon in a bad hat.<br /> <br /> “The Jews have, perhaps, always been objects<br /> of ridicule on the stage, if not from the time of<br /> Aristophanes, certainly through the middle ages,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 24<br /> <br /> in the carnivals and other festivals ; and they<br /> have ever been known, as in the Purim plays of<br /> the 16th and 17th centuries, to use the stage<br /> against themselves, their rabbis, and even to some<br /> extent their faith. It has been an accepted con-<br /> vention throughout the centuries in many lands<br /> that the religion and character of the Jew might<br /> with safety be held up to the laughter not of<br /> tolerance and good humour, but of something<br /> like hatred and contempt as the incarnation of<br /> impossible vices and the perpetrator of inconceiv-<br /> able crimes, but it is, nevertheless, strange that<br /> in those countries of Europe where hatred of the<br /> Jews goes farthest this indisposition (which the<br /> English actors are so sure of) to accept the heroic<br /> Jew is not to be found. Germany, where the<br /> party of the judenhetze is, unhappily, so power-<br /> ful, has received with applause many plays, both<br /> in the present and past, wherein the Jew rises to<br /> the heights of tragedy. ‘ Uriel Acosta,’ though<br /> not strictly a play of Judaic bias, nevertheless<br /> deals with Jewish characters and beliefs on a<br /> high level of serious acceptance ; and it is at once<br /> the lasting honour, and I will say the standing<br /> shame, of Germany, that one of the very greatest<br /> of her sons, Lessing (a powerful and lifelong<br /> friend of the Hebrew people), writing in the 18th<br /> century, espoused the cause of the Jew in two<br /> great heroic works, ‘Nathan the Wise’ and ‘ The<br /> Jews,’ with the most obvious and deliberate in-<br /> tention of undermining that same intolerance with<br /> which the Judenhetzes, coming a hundred years<br /> later, have disgraced their age and country.<br /> Indeed, if I were asked what writer in modern<br /> times had been the champion of the Jews in<br /> Christendom, I think I should say Lessing, and<br /> the weapon he used was the only one that is now<br /> possible in the warfare against intolerance and<br /> persecution.<br /> <br /> ee<br /> <br /> ON LITERATURE.<br /> <br /> <br /> <br /> I.<br /> Av vue Royat Lirerary Fund.<br /> <br /> T its annual dinner Mr. Lecky, the chair-<br /> man, made a speech, of which the following<br /> is an extract as it was reported in the<br /> <br /> Times : “ It was one of its peculiarities that there<br /> were in literature large departments that could<br /> never be made remunerative. Many of the<br /> qualities which they most desired to see imported<br /> into literature were directly opposed to the<br /> pecuniary interests of those who practised them.<br /> Tt was true now, as-it was long ago, that the<br /> books that lived were not the books by which<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> authors lived. Some books failed because they<br /> did not accord with the passing taste or fashion<br /> of the hour; some because their thought was in<br /> advance of the time. For a long period Carlyle<br /> found only a few readers of that “ Sartor<br /> Resartus ” which was now the most popular of<br /> his books. Browning totally failed to catch the<br /> ear of the general public till years after the<br /> publication of the very poems on which his<br /> reputation now mainly rested. At the present<br /> day he supposed there were more books published<br /> than in any other period of the world’s history ;<br /> but he also supposed that there never was @<br /> period in literary history at which there was so<br /> much literary talent not employed in pure litera-<br /> ture. A great deal of our literary talent was<br /> employed in the production of the daily and<br /> weekly papers. No one could fail to be struck<br /> by the excellent writing which at the present day<br /> characterised scientific work. The writings of<br /> such men as Herschel and Lyell among the<br /> dead and Huxley and Tyndall among the living,<br /> afforded conspicuous examples of this excel-<br /> lence. A great French writer once said that<br /> literature would lead to anything provided that<br /> one abandoned it; and, in spite of all the charges<br /> that had taken place in recent times, he supposed<br /> that it was still true that no wise man would<br /> recommend a young man to devote himself to the<br /> higher forms of literature, unless he happened to<br /> possess an independent competence or a self-<br /> supporting profession.”<br /> <br /> <br /> <br /> Il.<br /> Av var Royat AcapemMy DINNER.<br /> <br /> The following is the report of Prof. Butcher’s<br /> speech at the Royal Academy dinner, as given in<br /> the Times :—“ Any one who in this age proposes<br /> the toast of literature has this singular advan-<br /> tage, that almost every one of his audience is<br /> pretty sure at some time or another to have<br /> committed himself to print; either he has<br /> written a book, or edited a paper, or, at least,<br /> produced a volume of poems. In the brillant<br /> assemblage here this evening there are, Limagine,<br /> those present who are so busy making literature<br /> that they must have but few moments left for<br /> reading it; there are also those who are making<br /> history, arid making it so fast that they have little<br /> leisure for studying history. Now, the makers of<br /> literature are at present largely occupied with<br /> recording or commenting on the sayings of the<br /> makers of history; and they find it, I fancy, no<br /> light task to keep pace with the makers of history,<br /> least of all in the Easter recess. But ‘litera-<br /> ture in this sense is probably not that which<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> the President was chiefly thinking of when he pro-<br /> posed the toast of ‘ Literature,’ and proposed it,<br /> if I may be allowed to say so, in such a way<br /> as most loyally to pay back to the Greeks, and<br /> in language which they themselves would have<br /> delighted to listen to, his debt of nurture to them.<br /> In the name of those authors, whom men call<br /> dead, I would thank him for the tribute of<br /> such praise; and I would also add a word of<br /> private gratitude for his generous mention of<br /> myself, who am merely the humble interpreter of<br /> those same authors, whom I believe to be living.<br /> Of literature there are many grades. A rail-<br /> way guide, or a peerage, or a Blue-book is not<br /> literature, nor even what is known as scientific<br /> literature. At what point writing becomes<br /> literature it is not easy to say definitely. But<br /> there are signs to-day that the truth discovered by<br /> tho Greeks is penetrating men’s minds—the truth,<br /> I mean, that the writing which does not awaken<br /> human thought, which does not engage the<br /> emotions or hold the affections, the writing into<br /> which beauty of form does not enter, is not<br /> literature, but the raw material of literature.<br /> I would not be supposed to suggest that<br /> a British popular audience, like some Greek<br /> audiences of which we read, is as yet in any danger<br /> of getting ear-ache or neuralgia from some<br /> defective harmonies of spoken or written prose.<br /> Still the feeling begins to prevail that he who<br /> would worthily pursue the calling of letters must<br /> have somethmg of the spirit of the artist,<br /> and that well-written books alone survive.<br /> That there is apt to be a weak side to literary<br /> estheticism, who candoubt? In ‘ Don Quixote’<br /> we read of a certain author who was renowned<br /> for ‘the brilliancy of his prose and the beautiful<br /> perplexity of his expression.’ We seem to know<br /> the type. Let the phrase be but beautiful<br /> and rhythmical, musical and flowing, and it<br /> matters not if the fine words conceal emptiness<br /> beneath. A minor poet was described by an<br /> ancient writer as ‘a strange phantom fed upon<br /> dew and ambrosia.’ Him, too, we know. His<br /> sustenance is not upon the solid earth. He<br /> sings and soars; he loves and laments, he knows<br /> not what or why; harmonious and meaningless<br /> is his song. The cult of the meaningless is from<br /> time to time in the ascendant. You, gentlemen,<br /> who are Academicians are sometimes invited to<br /> become its votaries. Not long ago I was at an<br /> exhibition of pictures elsewhere. I stood in<br /> wonder before a certain portrait, which I could<br /> not understand. I begged a friend who was<br /> initiated into the principles of the school to<br /> explain it. The reply was, ‘Think away the head<br /> and the face, and you have a residuum of pure<br /> colour. Whether this doctrine is to be ac-<br /> <br /> AUTHOR. 25<br /> <br /> cepted in painting, and particularly in portrait<br /> paimting, I do not know; but in literature<br /> at least it means sure decay. Think away<br /> the meaning, get rid of the context, and you<br /> have beautiful and pure form. Yes, form is<br /> essential, but not form without substance. Here,<br /> again, we come back to the Greeks as the<br /> models of the true literary spirit—the Greeks,<br /> who were able even to make science literary, and<br /> to produce a treatise on medicine, which bears<br /> the stamp of the great masters of language.<br /> They felt, indeed, that the writer is an artist, and<br /> not an artisan; that beauty is of the essence of<br /> literature, and that a formless work of literature<br /> is in truth a misnomer, being dead from the out-<br /> set. Yet the literary writer is not a maker of<br /> fine phrases or a singer in the void. Inthe great<br /> Greek authors the words used seem to be the direct<br /> reflection of the thing seen. Nothing comes<br /> between the eye and the object. They are words<br /> of vision. Instead of the approximate, the con-<br /> ventional, the insipid word, you have the precise<br /> and happily expressive term. Yet the phrase<br /> is never importunate. The style is not strained<br /> or self-asserting. It does not seek for itself a<br /> separate existence. And the secret of the matter<br /> hes in this, that the writer had something to say,<br /> and was not merely concerned as to how he<br /> said it. He was in close contact with realities.<br /> He touched the springs of national life. He<br /> used, while at the same time he ennobled, the<br /> native idiom of the people. It is the glory of<br /> Greek literature that of all literatures it is at<br /> once the most artistic and the most popular; and<br /> this supreme merit belongs hardly in a less<br /> degree to our own English literature. That is<br /> the true democratic spirit in things literary..<br /> And our hope, our best hope, for the literature<br /> of the future would be that, as the democratic<br /> movement extends and calls forth enlarged intel-<br /> lectual sympathies, the old Hellenic harmony<br /> may be established between that eternal love of<br /> beauty on which all art and literature rest and<br /> that love of scientific truth which is one of the<br /> dominant marks of this century.”<br /> <br /> ee<br /> <br /> FROM THE PAPERS.<br /> <br /> ——<br /> <br /> i<br /> Friction MANnuracturED By THE YARD.<br /> EW YORK can boast of many curious<br /> institutions ; perhaps the most wonderful<br /> is a real and fully equipped literary<br /> factory. Mr. Edward W. Bok, the well-known<br /> literary critic, came across the place the other<br /> <br /> <br />  <br /> <br /> 26 THE<br /> <br /> day, and in the Philadelphia Weekly Times<br /> describes the remarkable industry. This literary<br /> factory (he says) is hidden away in one of the<br /> by-streets of New York, where one would never<br /> dream of finding anything in the shape of litera-<br /> ture. It employs over thirty people, mostly girls<br /> and women. For the most part these girls are<br /> intelligent. It is their duty to read all the daily<br /> and weekly periodicals in the land. These<br /> “exchanges ” are bought by the pound from an<br /> old junk dealer.<br /> <br /> Any unusual story of city life—mostly the mis-<br /> doings of city people—is marked by these girls<br /> and turned over to one of three managers. These<br /> managers, who are men, select the best of these<br /> marked articles, and turn over such as are available<br /> to one of a corps of five women, who digest the<br /> happening given to them and transform it to a<br /> skeleton or outline for a story. This shell, if it<br /> may be so called, is then referred to the chief<br /> manager, who turns to a large address book and<br /> adapts the skeleton to some one of the hundred<br /> or more writers entered on his book. Enclosed<br /> with the skeleton is sent a blank form, of which<br /> the following is an exact copy:<br /> <br /> To<br /> <br /> Please make of the enclosed material a —— part story,<br /> not to exceed words for each part.<br /> <br /> Delivery of copy must be by at the latest.<br /> <br /> A cheque for dols. will be sent you upon receipt of<br /> manuscript.<br /> <br /> Notify us at once whether you can carry out this commis-<br /> sion for us.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Very respectfully,<br /> <br /> Now, the most remarkable part of this remarkable<br /> literary manufactory to me, was that manager&#039;s<br /> address book of authors upon whom he felt at<br /> liberty to call for these “written by the yard”<br /> stories. The book was handed to me to look over,<br /> for my private examination, of course. There<br /> were at least twenty writers upon that book which<br /> the public would never think of associating with<br /> this class of work—men and women of good lite-<br /> rary reputation, whose work is often encountered<br /> in some of our best magazines.<br /> <br /> “Not such a bad list of authors, is it?”’ laugh-<br /> ingly said the “manager” as he noted my look<br /> of astonishment. I was compelled to confess it<br /> was not. “Why, those authors to whose names<br /> you have pointed are glad to do this work for us.<br /> Their willingness is -far greater than our ability<br /> to supply them with ‘ plots.’ “ What in the world<br /> do you do with these stories?”’ I asked. ‘‘ We<br /> sell them to the cheaper sensational weeklies, to<br /> boiler-plate factories, and to publishers of hair-<br /> curling libraries of adventure.”<br /> <br /> Upon further inquiry, I found that very good<br /> prices were paid the authors, and that, of course,<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> even better rates were received by the “factory”<br /> from their customers. The fact is this business<br /> is of the most profitable character to its owners.<br /> Were it a stock company, a handsome dividend<br /> could be declared each year. The “ factory”<br /> does not care where its authors get their material<br /> from so long as the story, when finished, is cal-<br /> culated to please the miscellaneons audience for<br /> which it is intended. ‘Situations,’ and of the<br /> most dramatic and startling character must be<br /> frequent, and two or three murders and a rescue<br /> or two in one chapter are not a bit too many.<br /> Talk about writing stories to order! Here isa<br /> completely equipped factory which actually cuts<br /> them out with a hatchet!<br /> <br /> Patt Marui GAzerte.<br /> May 23, 1892.<br /> <br /> <br /> <br /> ———<br /> <br /> II.<br /> A Curious EXPERIMENT.<br /> <br /> The case of the editor who wants to contri-<br /> bute an article to some other periodical than his<br /> own is acuriousone, For the time being he has<br /> put himself in the place of a contributor, and<br /> feels the pangs of a timid author.<br /> <br /> There was once a newspaper editor who was<br /> inspired to write an article of a light and enter-<br /> taining character, suitable for a magazine. He<br /> wrote it in his odd moments, and then set to<br /> speculating whether it had any particular value.<br /> Tt seemed to him that it had, but the reflection<br /> that he might be prejudiced in its favour troubled<br /> him. He had had precisely the same feeling<br /> when someone had brought him an article that<br /> he wanted to judge favourably. How was he to<br /> get his own impartial judgment of his own<br /> article? He thought about it some time, and<br /> finally decided that the only way to get the<br /> necessary conditions was to send himself the<br /> article through the post, to receive it with other<br /> contributions, and to treat it all the way through<br /> as if it were somebody else’s.<br /> <br /> The plan worked like a charm. The editor<br /> wrote a little note to himself to accompany the<br /> article, enclosed stamps for a reply or a return<br /> of the manuscript, and mailed the whole at the<br /> post-office. Towards the close of the day, when<br /> the editor was near the end of a lot of wearisome<br /> communications, and had got himself into the<br /> declining mood that comes with fatigue, his<br /> article arrived. After he had allowed it to lie<br /> for awhile he broke the seal and read it. Then<br /> <br /> he took a little slip, wrote on it reflectively,<br /> inclosed it with the manuscript in a big envelope,<br /> stuck on the stamp, sealed the envelope, and put<br /> it into the department marked “ post-office” in<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> the tin box that hung by the side of the desk.<br /> Next morning he received the parcel back, and<br /> read with breathless interest this note, which<br /> accompanied the manuscript :—<br /> <br /> “ Unsuitable. Too discursive and trivial in its<br /> tone. Should have been elaborated with more<br /> care. Many passages not needed in the presenta-<br /> <br /> tion of the idea. Contains promise, however.<br /> Author is advised to try again.”—Leeds Satur-<br /> day Journal, March 5, 1892.<br /> <br /> <br /> <br /> TEE.<br /> PERSONAL.<br /> <br /> The literary editor or book-reviewer is some-<br /> times less bored than at others by his monotonous<br /> task. When he receives a letter from an obscure<br /> publishing-house, enclosing “personal gossip ”’<br /> about the author of some forthcoming book, ac-<br /> companied by a promise to send “a cloth copy of<br /> the book, the moment it is issued, with the<br /> author’s autograph,” if only he will print the said<br /> gossip “in advance, as news,” he is easily able to<br /> conjure up a smile. And when he receives such a<br /> note as the following (written so recently as<br /> April 14), he can smile again—if he be of a cynical<br /> turn of mind: “If not out of harmony with any<br /> of your regulations, I will greatly appreciate the<br /> publication of something similar to the following<br /> ‘| among your literary personals.’ This is the<br /> a) 5: 6° Mire, , who contributed to the<br /> March , the charming little poem ‘ =<br /> which seems to have been very kindly considerec<br /> by the newspapers of the country, is the wife of<br /> , the well-known journalist and writer,<br /> whose verses are familiar to the readers of the<br /> and .’ The “@” comes from the<br /> “well-known writer and journalist’ whose wife’s<br /> “charming little poem” “seems to have been<br /> very kindly considered by the newspapers.” But<br /> this is not the way to secure “kindly considera-<br /> tion” for “charming little poems.” “Heaven<br /> defend us from our friends ’’—and husbands.—<br /> New York Critic.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ———<br /> <br /> LV<br /> Tuomas Moors.<br /> <br /> From the diary of Thomas Moore, p. 263 :—<br /> “19th. Some pleasant talk with Strangford<br /> about old times, the times when he and I were<br /> gay young gentlemen (and both almost equally<br /> penniless) about town, and that rogue C. was<br /> tricking us both out of the profits of our first<br /> poetical vagaries. The price of a horse (£30)<br /> which C. advanced, the horse falling lame at the<br /> same time, was all that Strangford, I believe, got<br /> <br /> AUTHOR. 27<br /> <br /> from him for his ‘ Camoens,’ and my little account<br /> was despatched in pretty much the same manner.<br /> I remember, as vividly almost as if it took place<br /> but yesterday, C. coming into my bedroom about<br /> noon one day (some ball having kept me up late<br /> the night before), and telling me that, on looking<br /> over my account with him, he found the balance<br /> against me toabout £60. Such a sum was to me,<br /> at that time, almost beyond counting. I instantly<br /> started up from my pillow exclaiming, ‘ What zs<br /> to be done ?’ when he said very kindly, that if I<br /> would make over to him the copyright of ‘ Little’s<br /> Poems’ (then in their first blush of success) he<br /> would cancel the whole account. ‘My dear<br /> fellow,’ I exclaimed, ‘ most willingly, and thanks<br /> for the relief you have given me.’ I cannot take<br /> upon myself now to say how much this made the<br /> whole amount I received for the work, but it was<br /> something very triflmg, and C. himself told a<br /> friend of mine, some years after, that he was in<br /> the receipt of nearly £200 a year from the sale<br /> of that volume.”<br /> <br /> Oe<br /> <br /> CORRESPONDENCE.<br /> <br /> ———&gt;+- &gt;<br /> <br /> i<br /> WaAs THERE A Contract to PusLisH?<br /> R. FITZGERALD MOLLOY’S note on<br /> <br /> “ Magazines and Editors” reminds me<br /> <br /> of an experience of mine which raises a<br /> question of some interest. In 1883 I sent an<br /> article to the Saturday Review which was<br /> accepted and promptly published and paid for.<br /> Early in 1884 I submitted a second article to the<br /> Saturday, which was also accepted, and a proof<br /> of which I received and returned corrected.<br /> Time passed—a considerable time--but the essay<br /> did not appear. At last, being about to leave<br /> England, I wrote to state the fact and to ask the<br /> favour of payment. A cheque was promptly<br /> forwarded to me and duly acknowledged; but<br /> year after year went by without mv article<br /> appearing. In 1890, having returned to England,<br /> I wrote to the editor of the Saturday Review,<br /> inquiring whether it was intended to shelve my<br /> little essay definitely, and, if so, whether I might<br /> be permitted to resume my right of property in<br /> it, as I had kepta copy. The editor sent mea<br /> courteous letter in reply, which, however, did not<br /> answer my questions. Practically, it amounted<br /> to an expression of the opinion that, as I had<br /> been paid, I had nothing to complain of. This<br /> view, I know, pretty generally prevails in such<br /> eases; but, although I am myself an humble<br /> member of the editorial guild, I cannot agree<br /> <br /> <br />  <br /> <br /> 28 THE ©<br /> <br /> with it. Surely publication is essential to the<br /> due fulfilment of the contract between editor and<br /> contributor. If it be withheld, ought not the<br /> latter, after a reasonable time, to be allowed to<br /> put his manuscript in the market again, if he has<br /> been wise enough to keep a copy? I do not see<br /> that he ought to be called on first to refund the<br /> purchase money, the breach of contract not being<br /> on his side. Moreover, he would have to take<br /> the chance that the lapse of time would have<br /> deprived his work of interest. In the case of my<br /> paid-for but unpublished contribution to the<br /> Saturday Review, however, the subject is one of<br /> more interest now than it was in 1884. I might<br /> give the ana the essay contained a new setting,<br /> but, ought I to be called on to take the trouble,<br /> and would the Saturday Review be entitled to<br /> complain, if I did take it ?<br /> Leita DERweEnt.<br /> <br /> [Leith Derwent” has fallen into a not un-<br /> common confusion. When a paper, such as the<br /> Saturday Review, consists entirely of unsigned<br /> articles, the editor is as much responsible for the<br /> opinions of each article as if he had written them<br /> himself. The opinions are those of the paper ;<br /> the paper is himself. He therefore has the com-<br /> plete right of altering, suppressing, adding to,<br /> changing, or abridging any article that is offered<br /> to him. This right has always been exercised<br /> without question by all editors in the case of<br /> unsigned articles. ‘(Leith Derwent” offered a<br /> paper which was set up by the editor, and the<br /> copyright of which was paid for, though it is<br /> doubtful whether the editor was legally obliged to<br /> pay for it. There the author’s rights over the<br /> paper ceased, except that, by the copynght law,<br /> he could republish it after twenty-eight years.<br /> But, says “‘ Leith Derwent,’ does not the print-<br /> ing of the article involve a contract to publish?<br /> Let us consider. Suppose the article was found<br /> to contain matter against the policy advocated<br /> by the paper, or libellous, or in any other way<br /> dangerous and hurtful, would the editor be<br /> held, in any court of law, obliged to publish it?<br /> Certainly not. As for dressing up the paper im a<br /> new setting, no one but the author can answer<br /> the question. |<br /> <br /> <br /> <br /> II.<br /> Macazines AND Epirors.<br /> <br /> Is this experience a common one? In the year<br /> 1888 I sent a short story to a well-known<br /> monthly magazine, whose list of contributors in-<br /> cludes almost every famous name in contemporary<br /> letters. Within three months I received a letter<br /> from the editor, offermg me one guinea for the<br /> <br /> AUTHOR.<br /> <br /> use of the story. I wasa very young author then,<br /> and not acquainted with the perfection of our<br /> postal service ; and, albeit the sum was miserably<br /> inadequate, I accepted. This was in June; the<br /> story was published and paid for in November.<br /> Now comes the strange part of the incident. Two<br /> months later, the proprietors of the magazine—a<br /> firm of reputation and standing—wrote to me,<br /> enclosing a cheque for £1 5s. as “moiety of sum<br /> received from America for the use of your story<br /> here.” Doubtless themselves retained the other<br /> moiety, and thus got my story for nothing, and<br /> made besides a profit of four shillings! The ques-<br /> tion arises, what right had they—seeing that<br /> originally they had only paid me for the use of the<br /> story in their magazine—to retain a part of any<br /> sum accruing to the author over and above? I<br /> sought advice; apparently there was no redress.<br /> I was not then a member of the society.<br /> <br /> Davip Lawson JOHNSTONE.<br /> <br /> SS<br /> <br /> Ii.<br /> <br /> TRANSLATIONS.<br /> Sir,<br /> <br /> May I ask you whether any agency exists<br /> through which some luckless translators may<br /> discover who may be at work upon the volumes<br /> they fondly hope to introduce to English readers ?<br /> When we have written to the foreign publishers,<br /> without receiving any intimation that we are<br /> forestalled, what other precautions can we take ?<br /> 1 have just had the pleasure of reading a review,<br /> in a literary newspaper, of “ Countess Erika’s Ap-<br /> prenticeship,” a pleasing German novel only sent us<br /> last Christmas, but which I made haste to render<br /> into English as soon as the publisher’s letter was<br /> received. Twice before this fate has befallen my<br /> poor pen, and once, en revanche, a poor lady met<br /> with a similar fate through me. It was only when<br /> my version of the ‘‘ Chancellor of the Tyrol” was<br /> out, that a despairing letter from a fellow-worker<br /> told me that a labour of months had been hers<br /> in vain—that she, too, had been fired by the desire<br /> to make English readers know that fine story.<br /> We should be gratified for any hints which might<br /> spare us so much labour in vain.<br /> <br /> Your obedient servant,<br /> <br /> DorotHEa RosBErts.<br /> May 7, 1892.<br /> <br /> [Translators would spare themselves much<br /> disappointment if they did not attempt work<br /> until they had obtained the leave and licence of<br /> theauthor. This once obtained, they are perfectly<br /> safe.—Hp1rTor. | :<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> ING<br /> Tue JLirerary anp Art AGENCY.<br /> <br /> In the report of this case, published in your<br /> last issue, I see that “the Reverend” T. B.S.<br /> Harington is reported to have said that he had<br /> procured a situation through his agency for a<br /> person as secretary to the Association for pre-<br /> venting the Immigration of Destitute Aliens.<br /> As I thought this might possibly refer to one of<br /> my clerks, I have made inquiries upon the sub-<br /> ject, and [ find no one employed by this Associa-<br /> tion has had any dealings with Harington or<br /> his Agency.<br /> <br /> The statement therefore must have been a<br /> fabrication.<br /> <br /> W. H. Witkrns.<br /> Hon. Secretary.<br /> <br /> Association for Preventing the<br /> Immigration of Destitute Aliens,<br /> 158, Arlington Street, S.W.<br /> <br /> “AT THE AUTHOR&#039;S HEAD.”<br /> <br /> SS<br /> <br /> Esmé Stuart has written a novel called<br /> “ Virginie’s Husband” (Innes and Co.). The<br /> author’s writing is well known and always<br /> welcome. Pure in style and thought, dainty and<br /> delicate in expression, clear of outline, and steady<br /> in purpose, this book is fully equal to her<br /> reputation.<br /> <br /> James Russell Lowell’s lectures on the English<br /> Dramatists will be published in the autumn by<br /> Houghton, Mifflin, and Co.<br /> <br /> We call attention to a book entitled ‘ Taxa-<br /> tion, 1891-2. A History,” an anonymous work<br /> published by Eden, Remington, and Co. It con-<br /> tains an account of the taxation of the country,<br /> the revenue, customs, excise, stamps, and duties<br /> of all kinds. There is an elaborate index, and<br /> the work will be found useful as a compendium<br /> of the whole subject.<br /> <br /> The death of Mr. James Osgood has been a<br /> great shock to many of us. In starting the firm<br /> of Osgood, McIlvaine and Co., in Albermarle-<br /> street, he was avowedly anxious to work on such<br /> lines as would be approved and agreed upon<br /> between himself and this Society. He was<br /> singularly candid, and always ready to discuss<br /> fairly and openly those points which cause<br /> friction and ill-feeling between author and<br /> publisher. O si sic omnes!<br /> <br /> AUTHOR. 29<br /> <br /> We copy from the Athenxwn the announce-<br /> ments that Mr. P. W. Clayden is engaged upon a<br /> political history of the last six years; that<br /> Professor Huxley is collecting his recent essays,<br /> and that Mr. Samuel Butler is preparing a memoir<br /> of his grandfather, Head Master of Shrewsbury,<br /> which will present a picture of school life early in<br /> the century.<br /> <br /> Mr. Hamilton Aidé’s new novel, “ A Voyage<br /> of Discovery,” is issued by Messrs. Osgood and<br /> M‘Ilvaine.<br /> <br /> Mr. H. Savile Clarke’s contribution to the<br /> ““Whitefriars Library of Wit and Humour,” is<br /> called “A Little Flutter. Stage, Story, and<br /> Stanza.”<br /> <br /> Mr. Egerton Castle’s new book is a reprint of<br /> seven stories which have already appeared in<br /> magazines. It is a book to note, and to buy, and<br /> to read.<br /> <br /> A coloured woman has just published a<br /> novel in America, the first ever published by<br /> a member of her race. It is entitled “ True<br /> Love,’ and is fairly up to the average of<br /> such works. The authoress, Sarah E. Farro,<br /> is quite black of complexion, and is twenty-<br /> six years old. Her favourite authors are<br /> Holmes, Dickens, and Thackeray. She lives in<br /> Chicago, where she has had a high school educa-<br /> tion.<br /> <br /> London City Suburbs, by Percy Fitzgerald<br /> and William Luker, Jun., a companion volume<br /> to the beautifully illustrated ‘ London City,”<br /> issued last year from the Leadenhall Press,<br /> is announced to appear in the autumn, and<br /> the prospectus is now ready. A list of Sub-<br /> scribers’ names and addresses is to be printed<br /> in the work. The Queen has accepted the<br /> dedication.<br /> <br /> The fifteenth edition of an advanced mathe-<br /> matical work is some proof of the extent of<br /> mathematical studies. Thirty years ago Mr. W. H.<br /> Besant, F.R.S., D.S.C., produced the first edition<br /> of ‘“‘Elementary Hydrostatics, with Chapters on<br /> <br /> the Motion of Fluids and on Sound.” On an<br /> average each edition has lasted two years. Few<br /> books in science have so long a life. The<br /> <br /> publishers have always been George Bell and<br /> Sons.<br /> <br /> Mrs. John Croker’s new novel, ‘‘ Interference,”<br /> which has been running serially in India and<br /> England, will be published simultaneously in<br /> London (F. V. White), Canada, and America. It<br /> is also translated into German.<br /> <br /> <br />  <br /> <br /> 30<br /> <br /> There is a complaint that the tomb of Theodore<br /> Hook in Fulham churchyard is crumbling to<br /> pieces. As is the tomb, sois the man. Theodore<br /> Hook has been crumbling to pieces for many<br /> years. Who, nowadays, reads “Jack Brag”?<br /> His collected essays and pieces are dreary reading ;<br /> his jokes are all old; his stories forgotten. No<br /> one can remember many stories very long unless<br /> they have got the humanity strong and warm.<br /> Compare the grave of Theodore Hook with that of<br /> Charles Lamb. The latter is neat, well cared<br /> for, well kept, because his memory is green and<br /> his works delight as much now as in his own<br /> generation. If we leave off visiting the grave of<br /> Theodore Hook, if we leave it to fall into decay,<br /> it is because we are forgetting the man and all<br /> he wrote.<br /> <br /> Mr. Charles Garvice has written, and Mr. George<br /> Munro of New York has published, a story entitled<br /> ‘Paid For.” This is a strong tale. Many of<br /> its situations are not very novel, but they are<br /> strikingly treated.<br /> <br /> It has been arranged, through the Authors’<br /> Syndicate that Mr. James Payn’s new story, “A<br /> Stumble on the Threshold,” should run serially<br /> through the Queen, beginning in July next.<br /> The story will be published in the autumn<br /> simultaneously by Mr. Horace Cox and Messrs.<br /> D. Appleton and Co.<br /> <br /> Messrs. Chatto and Windus are holding back<br /> Mr. Walter Besant’s “ London” until October, in<br /> consequence of the probable near approach of the<br /> General Election. A very large number of<br /> publishers have made arrangements to hold over<br /> their forthcoming volumes for the same cause.<br /> <br /> The Authors’ Syndicate has also arranged for<br /> the serial publication of the following stories :—<br /> “Capt&#039;n Davy’s Honeymoon,” by Hall Caine,<br /> in Lloyd’s Weekly Newspaper ; ‘‘ The Countess<br /> Radna,’ by W. EH. Norris, in the Cornhill<br /> Magazine; ‘The Last Sentence,” by Maxwell<br /> Gray, in Great Thoughts; ‘‘ December Roses,”<br /> by Mrs. Campbell Praed, in Sala’s Journal.<br /> <br /> Mr. E. J. Goodman’s new mystery story,<br /> “The Fate of Herbert Wayne,’ will commence to<br /> run in a number of newspapers in July. The<br /> <br /> arrangements have been made by the Authors’<br /> Syndicate.<br /> <br /> Mr. Hall Caine has practically re-written the<br /> new edition of the ‘ Scapegoat,” which has just<br /> been published by Mr. Wm. Heinemann Several<br /> chapters have been deleted and three new chapters<br /> added, and the story has been largely re-cast.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Mr. A. Egmont Hake has written a volume<br /> entitled “Suffering London, or the Hygienic,<br /> Moral, Social and Political Relation of our<br /> Voluntary Hospitals to Society,” which, with an<br /> introduction by Mr. Walter Besant, has just been<br /> published by the Scientific Press Limited. The<br /> volume undoubtedly throws a vivid light on the<br /> whole of the hospital question, and is sure to<br /> attract wide attention. Mr. Hake shows a wide<br /> and many-sided knowledge of all the elements<br /> of this great problem.<br /> <br /> Mr. William Toynbee’s English version of<br /> Béranger will be issued this month by Walter<br /> Scott Limited, in the Canterbury Poets series.<br /> <br /> Messrs. F. V. White and Co. will publish<br /> during this month a new novel by John Strange<br /> Winter under the title of ‘My Geoff; the<br /> Experiences of a Lady Help,” in one volume. at<br /> 2s. 6d. The story has been running as a serial<br /> during the last six months in Winter’s Weekly.<br /> <br /> A small illustrated volume entitled ‘“ The<br /> Cruise of the Tomahawk; the Story of a Summer<br /> Holiday,” is about to be published by Messrs.<br /> Eden and Remington. It is wmitten by Mrs.<br /> Leith-Adams, assisted by two friends, and gives<br /> a graphic description of life on the river.<br /> <br /> Mrs. Leith-Adams has also a new three volume<br /> work in the press. It is called “The Peyton<br /> Romance,” and will be published by Messrs.<br /> Kegan Paul, Trench, and Co.<br /> <br /> H.S.H. the Princess Victoria Mary of Teck,<br /> having accepted with approval the Prelude to<br /> the Idylls of the Queen (by William Alfred<br /> Gibbs), has also expressed a wish for the con-<br /> tinuation of this work. Part I. will now,<br /> therefore, be published by Messrs. Sampson,<br /> Low, Marston, and Co. early in June. The<br /> profits will be given in aid of the Royal National<br /> Lifeboat Institution.<br /> <br /> A correspondent asks us to call attention to a<br /> novel called, ‘A Fellowe and his Wife.” by William<br /> Sharp and Blanche Howard.<br /> <br /> “Devil Caresfoot,” the stage version of Mr.<br /> Rider Haggard’s ‘‘ Dawn,” by C. Haddon Cham-<br /> bers and J. Stanley Little, is to be put up for a<br /> run in the provinces shortly, and its revival in<br /> London is talked about.<br /> <br /> Mr. R. Orton Prowse has written, and Messrs.<br /> Methuen have published, “The Poison of Asps,”<br /> a one volume story which shows considerable<br /> promise.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR, 31<br /> <br /> In our specification of the more noticeable books<br /> issued last month, we omitted to mention “‘ Golden<br /> Face:-A Tale of the Wild West,’ by Bertram<br /> Mitford. A stirring story full of dramatic inci-<br /> dent, based upon the state of affairs immediately<br /> preceding the Sioux War of 1876. Itis published<br /> by Trischler and Co.<br /> <br /> Mr. Leonard Merrick’s new two-volume novel,<br /> “The Man Who Was Good,” is announced by<br /> Messrs. Chatto and Windus.<br /> <br /> The Publisher&#039;s Circular is responsible for the<br /> rumour that Mr. Rudyard Kipling intends to<br /> reside permanently at Vermont, U.S.A.<br /> <br /> Messrs. Chatto and Windus have published<br /> Mr. Walter Besant’s new collection of short<br /> stories, “‘ Verbena, Camellia, Stephanotis.” The<br /> other stories included in this volume are “ The<br /> Doubts of Dives,” ‘The Demoniac,” and “The<br /> Doll’s House.”<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> ————<br /> <br /> Theology.<br /> <br /> Aton, Henry, D.D. Comfort in the Wilderness. The<br /> last sermon preached in Union Chapel, Islington, on<br /> Sunday, April 10, by the late Henry Allon, D.D.<br /> With portrait. Williams, Moorgate Street, E.C.<br /> Paper covers, 6d.<br /> <br /> Auton, Henry D.D. The Indwelling Christ, and other<br /> Sermons. Isbister and Co., Tavistock Street. 7s. 6d.<br /> <br /> Barron, Epw. Pinper, M.A. Regni Evangelium; A<br /> Survey of the Teaching of Jesus Christ. Williams<br /> and Norgate, Henrietta Street. 6s.<br /> <br /> Bru, Cuartes D.,D.D. The Name above Every Name,<br /> and other Sermons. Edward Arnold, Bedford Street. 5s.<br /> <br /> Burns, WALTER. Anthems and Hymns. New and<br /> enlarged edition. Published by the author, at Rose-<br /> mary Street, Belfast. Cloth, 1s. 6d.<br /> <br /> CHURCH OF IRELAND, THE. By Thomas Olden,M.A. The<br /> National Churches Series, edited by P. H. Ditchfield,<br /> M.A. With maps. Wells Gardner, Paternoster Build-<br /> ings.<br /> <br /> D’Atvietta, Count G. The Hibbert Lectures on the<br /> Origin and Growth of the Conception of God, as illus-<br /> trated by Anthropology and History. Williams and<br /> Norgate. 10s. 6d.<br /> <br /> Dawson, Rev. W. J. The Church of To-morrow: a series<br /> of addresses delivered in America, Canada, and Great<br /> Britain. James Clarke and Co. 43s. 6d.<br /> <br /> Ho.isorow, Arruur. Evolution and Scripture, or the<br /> relation between the teaching of Scripture and the con-<br /> clusions of astronomy, geology, and biology, with an<br /> inquiry into the nature of the Scriptures and inspira-<br /> tion. Kegan Paul.<br /> <br /> Lay, Joun Warp. St. Matthew’s Gospel: Who Wrote it,<br /> and How Far may it be Considered Apocryphal ?<br /> Kegan Paul. 3d.<br /> <br /> Mactaren, AuEx., D.D. The Gospel of St. Matthew.<br /> Vol. 1. Hodder and Stoughton. 3s. 6d.<br /> <br /> MopERN CuurcH, Tax: A Journal of; Scottish Religious<br /> Life. Vol. 1. E. W. Allen, Ave Maria Lane.<br /> <br /> Murpuy, THomas. The Position of the Catholic Church<br /> in England and Wales durmg the Last Two Centuries:<br /> Retrospect and Forecast. Prize Essays. Edited for<br /> the XV. Club by the Lord Braye, president of the club.<br /> Burns and Oates. 2s. 6d.<br /> <br /> Or THE IMITATION OF CHRIST.<br /> Kegan Paul.<br /> <br /> RawnsuEy, H. D. Notes for the Nile, together with a<br /> metrical rendering of the Hymns of Ancient Egypt and<br /> of the precepts of Ptah-Hotep (the oldest book in the<br /> world). Heinemann, Bedford-street. 5s.<br /> <br /> In Latin and English.<br /> <br /> RoBERTSON-SmitH, W. The Old Testament in the Jewish<br /> Church: a Course of Lectures on Biblical Criticism.<br /> Second Edition, revised and much enlarged. A. and C.<br /> Black.<br /> <br /> Srrona,T.B., M.A. A Manual of Theology. A. and C.<br /> Black.<br /> <br /> Taytor, C., D.D. The Witness of Hermas to the Four<br /> Gospels. C. J. Clay and Sons, Cambridge University<br /> Press.<br /> <br /> THOROLD, Rr. Rev., A. W., D.D. Questions of Faith and<br /> Duty. Isbister and Co., Tavistock Street, Covent<br /> Garden.<br /> <br /> Tuckrmr, A. B. Witnesses of These Things. With a<br /> preface by the Bishop of Durham. Griffith, Farran.<br /> Is. 6d.<br /> <br /> WILLINK, Rev. A. Not “Death’s Dark Night;’ an<br /> Hour’s Communion with the Dead. Skeffington and<br /> Son, Piccadilly.<br /> <br /> History and Biography.<br /> <br /> BaiLtey, JoHN Burn. From Sinner to Saint; or, Cha-<br /> racter Transformations. Being a few biographical<br /> sketches of historic individuals whose moral lives under-<br /> went a remarkable change. Chapman and Hall. 6s.<br /> <br /> BELLASIO, Epwarp. Cardinal Newman as a Musician.<br /> Paper covers. Kegan Paul.<br /> <br /> BLoMFIEZLD, J. C.<br /> Elliott Stock.<br /> <br /> Bioaa, H. Brrpwoop, M.A. The Life of Francis Duncan,<br /> C.B., R.A., M.P., late Director of the Ambulance<br /> Department of the Order of St. John of Jerusalem in<br /> England. With an introduction by the Bishop of<br /> Chester. Kegan Paul.<br /> <br /> Bonnar, THomAs. Biographical Sketch of George Meikle<br /> Kemp, Architect of The Scott Monument. Edinburgh.<br /> Blackwood.<br /> <br /> CuARKE, WituIaAmM. Walt Whitman. With a portrait.<br /> Dillettante Library Series. Swan Sonnenschein and<br /> <br /> History of Lower and Upper Heyford.<br /> <br /> Co.<br /> Craik, Henry. Swift—Selections from his Works.<br /> Edited, with Life, Introductions, and Notes. In two<br /> <br /> vols. Vol. I. Clarendor Press, Oxford, and Henry<br /> Froude, Amen Corner. 7s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> of<br /> <br /> In THE TEMPLE: Sketches, some of them reprinted from<br /> the Law Gazette. Hutchinson and Co. Paper covers, Is.<br /> <br /> Keyser, CHarues 8S. Minden Armais: The Man of the<br /> New Race. With a preface and a post-face on the<br /> establishment of the marital relation between the white<br /> and black races in the former Slave States. And an<br /> appendix containing the views of Bishop Dudley,<br /> Archbishop Ireland, Bishop Tanner, and Bishop Potter,<br /> and of Canon Rawlinson, on its advantages to the<br /> nation. American Printing House, Philadelphia. Paper<br /> covers, 50 cents. :<br /> <br /> Lana, ANDREW, Letters on Literature. A new edition.<br /> <br /> Longmans. 2s. 6d.<br /> <br /> Laurie, §. §., LL.D. Teachers’ Guild Addresses and the<br /> Registration of Teachers. Percival and Co. 53.<br /> <br /> Lawrig, A. D. How to Appeal against your Rates (outside<br /> the metropolis), with forms and instructions. Fifth<br /> edition. Effingham Wilson. ts. 6d.<br /> <br /> L’EstrRancE, Mires. 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440	https://historysoa.com/items/show/440	The Author, Vol. 03 Issue 02 (July 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+02+%28July+1892%29"><em>The Author</em>, Vol. 03 Issue 02 (July 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-07-01-The-Author-3-2					41–80																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-07-01">1892-07-01</a>							2			18920701	The Muthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> GoMDUCTED BY WALTER SESANT.<br /> <br /> <br /> Vou. III.—No. 2.] JULY 1; F802. [Prick SIXPENCE.<br /> CONTENTS.<br /> <br /> PAGE PAGE<br /> Warnings ae a See es as mie ae oe .. 43 Feuilleton—Autobiography of an Article one ee ae sea DB<br /> How to Use the Society... ies ace ies wee oe oe ee Notes from Paris. By Robert H. Sherard ... ss oer Sa OD<br /> The Authors’ Syndicate... eae ae ae — ee .. 44 Sonnet. By Zitella Tomkins a os wee eS, ave ee OR<br /> Notices... eae ee noe cae ore Sen eee cee ap ae Women in Journalism oe see aes ae g&#039;s ee ser (02<br /> Literary Property— Authors by Profession. By W. Minto ... te ee as a. 64<br /> <br /> L.—A Publisher in Bankruptcy ee tae ves es ioe 468 Correspondence—<br /> <br /> Il.—Newspaper Copyright ... sr aS ee aoe meee I.—Useful Books =. aoe coe cos eae oe maa 6D<br /> I1I.—Newspaper Copyright and the Contributor ... Pe eee IL—The ‘&#039; Higher Literature” coe ioe ies kos S00<br /> IV.—Serial Rights... ave ee pes ae es pe eo ae T1I.—Another Side oy ee Boe eae bee ie 00<br /> <br /> The Annual Dinner— IV.—Bodenstedt des Cas va tes ioe en cee te<br /> L—The Report ... ae Bs a ies — a =e) 00 V.—Press Copies ae eee eas nae bee oe wos’ OF<br /> e IL—The Times on the Society ... oe = a oes ae OL VIL—Editor or Proprietor... eee oe he aoe Eps<br /> Publisher’s Expenses cee ay es oe aes aes os 62 VIL—An Obliging Publisher ... a nas es 5 ens ee<br /> Press Copies .. cea mas oe ae ae ms Be cin OD VII1.—Literature and Independence ... cag a oes son 68<br /> The American Societies... ae ee Yes e waa sox Oe ‘* At the Author’s Head” ... oe = ee es ais aoe OF<br /> Our Enemies ... 5 ee 55 ee tes oe ee san Oe New Books and New Editions... a see aaa a hes Ok<br /> Notes and News. By the Editor... ae te aoe ave Sen 8<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> &amp; 8. The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br /> 5 the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4. Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 33s.<br /> <br /> 5. The History of the Societe des Gens de Lettres. By S. Squire Spricen, Secretary to the<br /> Society. Is.<br /> 6. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> <br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squire Spricer. In this work, compiled from the<br /> papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> a. 8. Copyright Law Reform, An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Luny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> <br />  <br /> <br /> 4<br /> <br /> |<br /> |<br /> i &#039;<br /> |<br /> <br /> <br /> <br /> 42 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> LINOTYPE COMPOSING JIAGHINE.<br /> <br /> SPECIALLY ADAPTED FOR BOOKWORK.<br /> <br /> <br /> <br /> <br /> <br /> Extract from the “ Printers’ Register,’ Dec. 7, 1891:<br /> <br /> “The result of the contest between four American composing machines—the Linotype,<br /> the Rogers’, the MacMillan, and the St. John Typo-bar systems—inaugurated by the American<br /> Newspaper’ Publishers’ Association, Chicago, has been announced. The Linotype showed the<br /> best results, composing on the first day of eight hours 47,900 ems, and nearly 49,000 ems on<br /> the second day. The matter chosen consisted partly of sporting, market reports, and cable news,<br /> which had to be read and corrected.”<br /> <br /> THE ABOVE SHOWS THAT 49,000 AMERICAN EMS, EQUAL TO 98,000 ENGLISH ENS,<br /> WERE SET IN EIGHT HOURS—GIVING<br /> <br /> AN AVERAGE OF 12,250 ENS AN HOUR, CORRECTED MATTER.<br /> <br /> <br /> <br /> AUTHORS’ CORRECTIONS<br /> <br /> Can be made on the Linotype Machine in about a quarter of the time occupied by hand-setting.<br /> To demonstrate this experiments were conducted by the well-known publisher, Mr. H. Rand. Into<br /> 9200 ens of matter from the daily press a large variety of errors were purposely introduced both<br /> in Linotypes and ordinary type. The Linotype matter was corrected in twenty-seven minutes,<br /> while the type matter occupied an hour and a half.<br /> <br /> THE ECONOMIC PRINTING &amp; PUBLISHING CO. LIMITED,<br /> <br /> 39, BOUVERIE STREET, FLEET STREET, E.C.,<br /> <br /> <br /> <br /> <br /> <br /> Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br /> in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br /> Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br /> best makers.<br /> <br /> <br /> <br /> y<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> Che Huthor.<br /> <br /> (The Organ of the Incorzorated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 2.]<br /> <br /> JULY 1, 1892:<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> for the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsvble.<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> } (1.) NEvER sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (z.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one,<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement proposes to give to the<br /> author and what to the publisher.<br /> <br /> 4) (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Nuver, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away American rights. Keep<br /> them. Refuse to sign any agreement<br /> VOL. III.<br /> <br /> <br /> <br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign an agreement or a receipt<br /> which gives away copyright without<br /> advice.<br /> <br /> (9.) Keep control over the advertisements by<br /> clause in the agreement. Reserve a veto.<br /> If you are yourself ignorant of the sub-<br /> ject, make the Society your agent.<br /> <br /> (1o.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men.<br /> <br /> Society’s Offices :—<br /> 4, Portueat Street, Lincoun’s Inn FIELps.<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements for inspection and note. The<br /> information thus obtainable is invaluable.<br /> <br /> 2. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 3. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> D2<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 44<br /> <br /> ~<br /> <br /> <br /> <br /> 4. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 5. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> nation at being asked what his proposal gives<br /> him compared with what it gives the author;<br /> and (4) irrepressible irritation at any mention of<br /> the Society of Authors.<br /> <br /> 6. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 7. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now m a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society it will conclude<br /> agreements, collect. royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but it is<br /> intended to reduce the rates to the lowest<br /> possible amount compatible with effi-<br /> ciency. Meanwhile members will please<br /> accept this intimation that they are not<br /> ‘entitled to the services of the Syndicate<br /> gratis.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MSS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted. On his behalf ©<br /> members are requested—<br /> <br /> 1. To place on paper briefly the points on which<br /> advice is asked.<br /> <br /> 2. To send up all the letters and papers con-<br /> nected with the case, if it is a case of<br /> <br /> dispute.<br /> 3. Not to conceal or keep back any of the<br /> facts.<br /> pect<br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy —<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary —<br /> the modest 6s. 6d. subscription for the year. He<br /> finds that, while the interest in the paper increases,<br /> and while it is acknowledged to be doing good<br /> service by its exposures and investigations, —<br /> there has been some tendency this year to forget<br /> the subscription. Perhaps this reminder may be |<br /> of use. With 800 members, besides the outside<br /> circulation of the paper, the Author ought to<br /> <br /> prove a source of revenue to the society. :<br /> <br /> <br /> <br /> <br /> “Io<br /> jem pelos<br /> <br /> i te oe<br /> <br /> {Co Fao<br /> <br /> a= Jee<br /> <br /> i<br /> <br /> nf<br /> <br /> 7<br /> a<br /> i<br /> re<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The Editor would also be very glad to receive<br /> papers and communications on all subjects con-<br /> ne ‘ted with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of this Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> SS =<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> <br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> <br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> —o<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?P<br /> <br /> oS<br /> <br /> How, we are asked almost every day, is the<br /> young writer to make a beginning? He should<br /> first get an opinion from one of the Society’s<br /> readers as to the merits and chances of his book.<br /> <br /> 45<br /> <br /> It may be that certain points would be suggested<br /> foralteration. It may be that he will find himself<br /> recommended to put his MS. in the fire He<br /> should then, if encouraged, offer his MS. toa list<br /> of houses or of magazines recommended by the<br /> Society There is nothing else to be done. No<br /> one, we repeat, can possibly help him. If those<br /> houses all refuse him, it is not the least use trying<br /> others, and, if he is a wise man, he will refuse to<br /> pay for the production of his own work. If, how-<br /> ever, as too often happens, he is not a wise man,<br /> but believes that be has written a great thing, and<br /> is prepared to back his opinion to the extent of<br /> paying for his book, then Jet him place his work<br /> in the hands of the Society, and it shall be<br /> arranged for him without greater loss than the<br /> actual cost of production. At least he will not be<br /> deluded by false hopes and promises which can<br /> end in nothing.<br /> <br /> <br /> <br /> Several correspondents have asked whether Mr.<br /> P, F. Collier, who has already been mentioned in<br /> connection with an advertisement offering to give<br /> English authors an immense circulation, is a<br /> person to be trusted. There scems little doubt<br /> that he can do what he promises, which is to run<br /> a novel through his journal. What more he will<br /> or can do is quite uncertain We therefore repeat<br /> the warning given in our last number. Let<br /> authors be careful to secure the usual business<br /> arrangement in an agreement before sending their<br /> work across the Atlantic, either to Mr. Collier or<br /> to any other.<br /> <br /> SS<br /> <br /> The committee of the Lowell Memorial is now<br /> formed. The form of the Memorial has been<br /> decided upon, and the committee are now pre-<br /> pared to receive donations. Need we in these<br /> pages do more than chronicle the fact ? Lowell<br /> was so staunch a friend of the Society that every<br /> member ought to forward something towards<br /> this admirable and worthy object. Mr. Herbert<br /> Thring, secretary of the Society, is also hon. sec.<br /> to the Lowell memorial. Letters can be addressed<br /> to him. Among the men and women of letters<br /> on the committee are, in alphabetical order, Mrs.<br /> Lynn Linton, Mrs. Richmond Ritchie, Miss Anne<br /> Swanwick, Walter Besant, Augustus Birrell,<br /> R. D. Blackmore, James Bryce, Austin Dobson,<br /> Canon Doyle, Archdeacon Farrar, Edmund Gosse,<br /> Rider Haggard, R. H. Hutton, Professor Huxley,<br /> Dean Kitchen, Andrew Lang, W. E. H. Lecky,<br /> Sidney Lee, Sidney Low, Justin M ‘Carthy,<br /> Norman M‘Coll, James Martineau, George Mere-<br /> dith, Sir F. Pollock, and Theodore Watts.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 46 THE<br /> <br /> <br /> <br /> The Globe (June 11, 1892) called attention toa<br /> very remarkable offer of the International Peace<br /> and Arbitration Association. This society had<br /> offered a prize of £50 for the best essay on peace,<br /> with the condition that all the essays offered should<br /> become their property. Who would believe that<br /> the ignorance as to hterary property was so deep<br /> and so extensive ? Here are a body of, apparently,<br /> honourable men banded together for an honour-<br /> able object. Yet they propose calmly to “ annex”’<br /> an unknown quantity of literary property.<br /> Suppose that only ten of the essays sent in were<br /> worth as much as £10 each as their marketable<br /> value. This society actually proposed to keep<br /> this £100 in return for nothing! Would these<br /> gentlemen make the same offer with regard to<br /> desks say, or pictures, or cabinets, or statues ?<br /> Certainly not. But they did not understand that<br /> they were dealing with literary property, or that<br /> there was any such thing as literary property.<br /> Since this was written the society has rescinded<br /> their original resolution. They will return the<br /> unsuccessful essays. As an illustration of pre-<br /> vailing ignorance as to literary property, the<br /> above may remain.<br /> <br /> <br /> <br /> The Globe also did good service in the same<br /> number by making a rough classification of the<br /> books of the month. There are 240 new books.<br /> Of these 73 are works of fiction, mostly little<br /> story books. One out of every four books is<br /> meant for a student. That means that the<br /> literature of education is 25 per cent. of our whole<br /> literature, a fact useful to remember.<br /> <br /> <br /> <br /> To quote again from the Globe, mention is<br /> made of the way in which Richard Jefferies<br /> scattered his books among different publishers.<br /> The reason was that the returns from the sale of<br /> his books seemed to him so much out of propor-<br /> tion to the laudatory reviews that he thought<br /> himself ill-treated, and so changed his publishers.<br /> It is a great trouble therefore to get a com-<br /> plete list of his books. In the good time to<br /> come, when the relation of author to publisher<br /> shall have been equitably arranged, this trouble<br /> will not exist. Meantime, there are other sinners<br /> besides Jefferies. It is most difficult to get all<br /> the scattered works of Andrew Lang. Louis<br /> Stevenson’s books are here and there. So are<br /> Rudyard Kipling’s, so are Rider Haggard’s, so<br /> are Thomas Hardy’s, so are William Black’s.<br /> <br /> <br /> <br /> The dispersion of the Althorp Library is a<br /> national loss. The books will mostly go to<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> America. The sale is said to have been necessitated<br /> by the agricultural depression. No one seems<br /> ever to have sat down and calmly estimated what<br /> this depression means, and what it is doing to<br /> this country. It affects ourselves especially in<br /> increasing enormously the number and the com-<br /> petition of those who are trying to write. The<br /> professional incomes at home—tfrom glebe lands,<br /> from pew rents, in the law, in medicine, in teaching<br /> —have shrunk so terribly that the girls of the<br /> family are growing distracted with the desire, and<br /> the necessity, to earn money somehow——anyhow.<br /> <br /> <br /> <br /> The M‘Kinley Tariff is giving trouble as to the<br /> importation of books. They must be old books:<br /> their binding, also, must be old—at least twenty<br /> years old. Now, the binding is very often com-<br /> paratively new. What is to be done? Perhaps<br /> the simplest plan would be to declare boldly the.<br /> binding as well as the book to be more than<br /> twenty years old.<br /> <br /> <br /> <br /> The Literary Ladies’ Dinner was held on<br /> June 8, at the Criterion, Mrs. Graham Tomson<br /> was the president of the evening, and among<br /> those present were Lady Lindsay, Lady Violet<br /> Greville, Mrs. John Forsey, Mrs. Pennell, Miss<br /> Clementina Black, Miss Dora ‘Tulloch, Miss<br /> Hawke, Miss Beatrice Whitby, Mrs. Bennett<br /> Edwards. A dinner where the guests are all<br /> ladies seems to the undisciplined mind an insipid<br /> thing; but then undisciplined minds are not<br /> invited. If the ladies themselves did find it<br /> insipid they would not repeat it. There is a<br /> picture of the banquet in the Queen, showing<br /> champagne glasses in the usual position. The<br /> ladies, therefore, refreshed themselves in the<br /> customary manner. Miss Clementina Black is<br /> reported to have tendered a piece of advice so<br /> excellent that it must be repeated. It was, never<br /> to undersell men—or each other.<br /> <br /> ee<br /> <br /> ON LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> A PusiisHER IN BANKRUPTCY.<br /> <br /> \ N 7E UNDERSTAND that many cases have<br /> recently arisen in which an author,<br /> having sold or otherwise parted. with<br /> <br /> his copyright to a publisher, has lost heavily by<br /> <br /> that publisher’s bankruptcy. Especially has this<br /> happened in cases where the sale has been wholly<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> IA AUTHOR,<br /> <br /> ‘© or partly on credit, and the bankruptcy finds the<br /> *» author in the position of unpaid creditor, with a<br /> «new debtor in the shape of a trustee in bank-<br /> ruptcy in the place of his publisher to look to for<br /> ¢ payment. The trustee in bankruptcy, or the<br /> | liquidator of a company, whose legal position is<br /> practically the same as that of a trustee in bank-<br /> ruptcy, claims to keep the copyright and make<br /> money out of it either by carrying on the pub-<br /> / lisher’s business, or selling it, but to substitute<br /> 1} the mere right to a dividend out of the bank-<br /> rupt’s estate for the right to payment in full.<br /> This is so hard upon the author, that at first we<br /> » could hardly think that the claim of the trustee<br /> ( in bankruptcy could be sustained in law. But on<br /> *) talking the matter over with more lawyers than<br /> f<br /> )<br /> <br /> <br /> <br /> one, we have practically satisfied ourselves that<br /> <br /> the claim of the trustee in bankruptcy is in most<br /> <br /> cases good.<br /> It becomes, therefore, of consequence to con-<br /> <br /> » sider what is the best course for an author to<br /> | pursue. It is an awkward thing to suggest to<br /> <br /> i) the publisher, with whom ea hypothesi the author<br /> i is, and wishes to continue, on friendly relations,<br /> ) that he may one day become bankrupt, but as a<br /> | matter of business we think that in all publishing<br /> » agreements, where the author gives credit, it would<br /> | be well for him to stipulate that in case of the<br /> <br /> publisher&#039;s bankruptcy the copyright should<br /> &#039; revert to the author until the whole purchase<br /> <br /> “ money has been paid. The form of such a<br /> <br /> %@ stipulation may not be very easy to settle, but we<br /> ©) think that it would hold good if properly shaped,<br /> <br /> 4 it being a general rule attaching to the ownership<br /> <br /> | 19 of property, that the owner “ may, upon aliena-<br /> <br /> &#039;) tion, qualify the interest of his alienee by a con-<br /> <br /> &quot;dition defeating it on his bankruptcy, so that it<br /> ‘t will not pass to his trustee on bankruptcy :”’ (see<br /> <br /> &quot;7 Williams on Bankruptcy, 5th edit., at Dp. 172.)<br /> <br /> &#039; There is, however, a very important exception<br /> ©) to the general rule that a bankrupt’s “‘ property ”<br /> 6% passes to his trustee, and that is that contracts<br /> ™ involving the personal skill of the bankrupt do<br /> o% not so pass. “It is not easy to say” (it is<br /> <br /> “© observed in Williams on Bankruptcy, p. 174),<br /> <br /> “what makes the personal skill of the bankrupt<br /> <br /> so of the essence of the contract as to entitle the<br /> <br /> other contracting party to refuse anything else ;”<br /> but an autho.’s contract with a publisher has<br /> been twice held by the courts to involve personal<br /> skill on the part of the publisher as well as of<br /> the author, so as not to be assignable, and the<br /> case of a sale of copyright, not for money down,<br /> but merely for royalties, seems to differ essen-<br /> tially from the case of a sale out and out.<br /> <br /> The whole question of the relations between<br /> an author and the trustees in bankruptcy of his<br /> publisher is as difficult as it is important, and<br /> <br /> is<br /> <br /> <br /> <br /> <br /> <br /> 47<br /> <br /> concerns journalists as well as authors. We shall<br /> be glad to receive from our readers, especially<br /> from those who are learned in the law, any sug-<br /> gestions throwing light upon the question with a<br /> view to the amendment of the present practice so<br /> far as may be shown to be desirable.<br /> <br /> So<br /> <br /> II,<br /> ’ NewsparErR Copyricur.<br /> <br /> In connection with the important question of<br /> newspaper copyright, it may be pointed out that<br /> the Royal Commission on Copyright of 1878 re-<br /> ported to the effect that “much doubt appeared<br /> to exist, in consequence of several conflicting<br /> legal decisions, whether there is any copyright in<br /> newspapers,” and suggested that “in any future<br /> legislation the defect might be remedied by de-<br /> fining what parts of a newspaper might be con-<br /> sidered copyright, and by distinguishing between<br /> announcements of facts and communications of a<br /> literary character.” In compliance with the sug-<br /> gestion, it was proposed to provide, by the<br /> Government Bill of 1879 (introduced by the<br /> present Duke of Rutland when Lord John<br /> Manners), that all the clauses of the bill as to<br /> books published in series should apply to a news-<br /> paper, “so far as the newspaper should contain<br /> original compositions of a literary character, but<br /> should not apply to such portion of a newspaper<br /> as should contain news ;”’ and, further, “ that the<br /> publisher of a newspaper should, within one<br /> week after the publication of every number<br /> thereof, deliver a copy of that number to the<br /> trustees of the British Museum, and in default<br /> should be liable to the same fine to which the<br /> publisher of a book is liable on failing to deliver<br /> a copy thereof to those trustees.” Lord Monks-<br /> well’s Bill, which was read a second time in the<br /> House of Lords in the session of 1891, more<br /> elaborately provided that newspaper copyright<br /> should extend only to articles, paragraphs, com-<br /> munications, and other parts which are composi-<br /> tions of a literary character, and not to any<br /> articles, paragraphs, communications, or other<br /> parts which are designed only for the publication<br /> of news, or to advertisements, but added that<br /> “the making of fair and moderate extracts from<br /> a newspaper in which there should be subsisting<br /> copyright, and the publication thereof in any<br /> other newspaper should not be deemed to be<br /> infringement of copying if the source from which<br /> the extracts have been taken is acknowledged.”<br /> Inasmuch as the existing Copyright Act of 1845<br /> does not mention a newspaper by name, and even<br /> the Newspaper Libel and Registration Act, 1881,<br />  <br /> <br /> 48<br /> <br /> which requires registration of the titles of news-<br /> papers and of the names of all their proprietors,<br /> is absolutely silent on the question of copyright,<br /> a short amending bill incorporating, so far as<br /> deemed desirable, the legal effect of the late<br /> decision of Mr. Justice North in Walter v.<br /> Steinkopf appears to be urgently required.— Law<br /> Journal.<br /> <br /> Ss<br /> <br /> TI.<br /> NewspPaPer CopyRIGHT AND THE ConrTRIBUTOR.<br /> <br /> The comments and the controversy on the<br /> subject of newspaper copyright have been carried<br /> on, with one exception, in entire disregard of<br /> the rights of the contributor. In the court<br /> no notice wastaken of him; he was supposed to<br /> have no rights, or to have sold all his rights ; in fact,<br /> he was not considered atall. At last. a letter ia<br /> the Times of June 9 does really hint at such<br /> a thing as the rights of the contributor. What,<br /> in fact, does the contributor to a paper really<br /> sell? If there is no agreement tothe contrary<br /> he sells the exclusive right to publish for one day.<br /> That is all. The proprietor of the paper may<br /> claim to have bought the whole copyright of the<br /> paper, but, without an agreement to that effect, he<br /> would find it difficult to prove that claim. In<br /> most cases the contribution is of ephemeral value<br /> only, but there may arise instances in which great<br /> damage and injustice may be done to the writer<br /> by reproducing his work in other papers. Take,<br /> for instance, a series of articles writen for a<br /> magazine, to be afterwards published in volume<br /> form. Suppose those articles are copied whole-<br /> sale, the readers of the book are, of course, reduced<br /> in proportion. For instance, in the case of Mr.<br /> Rudyard Kipling’s papers, they are, presumably,<br /> to appear ultimately m volume form; the serial<br /> right, also presumably, is purchased by the<br /> Times. Now, the writer in selling that right to<br /> the Times certainly does not sell it to the wide<br /> wide world. It is true that the Tvmes goes over<br /> the whole world, but it is not true that the whole<br /> world reads the Times.<br /> <br /> This aspect of the case becomes more serious<br /> when we consider the present tendency of Jour-<br /> nalism to engage the services of well-known<br /> specialists who sign their names. Papers written<br /> by these men have more than an ephemeral<br /> interest and more than an ephemeral value.<br /> It is no longer the anonymous paper, whose<br /> authorship may perhaps be guessed from in-<br /> ternal evidence; it is a weighed, responsible<br /> opinion by one who has a reputation to support,<br /> that is placed before us. To reproduce this<br /> <br /> paper without permission, and whether with<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> acknowledgment or not, is not only a certain<br /> infringement of copyright which has been ac-<br /> quired by honourable payment, but it is also a<br /> probable injury to the writer of the paper.<br /> <br /> This view of the subject shows that many other<br /> persons besides the proprietor of a paper may be<br /> concerned in safeguarding these rights — the<br /> contributor first, the publisher employed by the<br /> author next, and the persons employed by the<br /> publisher—printer, paper maker, binder. If a<br /> series of articles, written for one paper, is copied<br /> by all the papers of the country, the volume<br /> which they were afterwards to form is simply<br /> destroyed. Instead, therefore, of talk about<br /> “tacit understanding of honourable reciprocity ”<br /> it seems to be the real interest of all papers alike<br /> to guard their own property with the greatest<br /> jealousy. And if this is the result of the recent<br /> controvery a long step will have been made in<br /> that respect for property which lies at the bottom<br /> of all order.”<br /> <br /> <br /> <br /> IV.<br /> SreriaL RicHTs.<br /> <br /> One of the unexpected results of the American<br /> Copyright Act is the difficulty with which it<br /> has surrounded the sale of serial rights. If a<br /> story is serialised in England and is not serialised<br /> simultaneously in the States, the American copy-<br /> right is of course seriously jeopardised. It is<br /> not clear that serials that run im England can<br /> be annexed by American pirates at their own<br /> sweet will, but, in order to protect the copy-<br /> right in both countries, the better opinion<br /> appears to be that formal publication in book<br /> form should take place before the serialisation<br /> commences in either country. This is imcon-<br /> venient, but it is certain; and in the midst of so<br /> much uncertainty, that is much. From this it<br /> will be seen that the sale of serial rights, always<br /> difficult, is becoming extremely complicated. It<br /> will not only be necessary in future to make<br /> arrangements a long way ahead—every story-<br /> teller knows that magazines and journals make<br /> their fiction arrangements twelve, twenty-four, or<br /> even thirty-six months in advance, and arrange-<br /> ments for 1895 have already been concluded in<br /> many quarters by many of the foremost writers—<br /> but, added to that, it will be necessary for the<br /> story to be complete and ready for the press six<br /> months before it commences to run as a serial.<br /> In other words, writers who have not completed<br /> their arrangements will have to choose between<br /> a long postponement of book publication on the<br /> one hand or the loss of their serial rights, or, if<br /> not, of their American copyright on the other. It<br /> <br /> <br /> <br /> <br /> OE<br /> <br /> JOS<br /> SE<br /> <br /> aka<br /> ioe<br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> is desirable that authors should understand the<br /> difficulties with which serialisation is surrounded :<br /> they would thus save themselves much disap-<br /> pointment. There seems to be a widespread<br /> notion that serials can be arranged for at any<br /> time and with no notice whatever; but it may be<br /> taken for granted that arrangements so con-<br /> cluded must be made on extremely bad terms,<br /> and authors have only themselves to thank if<br /> they do not take the trouble to ascertain the con-<br /> ditions of the market.<br /> <br /> This brings us to the elementary fact which<br /> cannot be insisted upon too strongly, or reiterated<br /> with too much frequency—that serial rights are<br /> the most valuable of all and of course the most<br /> important of all. It is impossible to generalise,<br /> but one successful novelist at least declares that<br /> his serial rights are to his book rightsas5 tol. It<br /> is ridiculous to imagine that editors will put them-<br /> selves out to meet the convenience of writers<br /> when, having regard to the importance of their<br /> Support, they are entitled to have their own<br /> arrangements considered. Authors who wish to<br /> make the most of their serial rights will do well to<br /> fall in with the conditions imposed. To arrange<br /> for book publication first and even to fix this date<br /> and then to expect that the story will be serialised<br /> successfully is ridiculous. It will probably be<br /> worth the writer’s while to postpone book publica-<br /> tion until serial arrangements have been properly<br /> concluded, or it has been conclusively proved<br /> that such arrangements are impracticable. A<br /> word may be said here as to the use of fiction in<br /> newspapers. There is no doubt that newspapers<br /> represent a most important and a growing<br /> market. The capacity of the press of the world is<br /> practically inexhaustible. At the present time<br /> nearly all the best fiction is pre-empted by the<br /> newspaper market, which has lately advanced<br /> with enormous strides in this direction. The<br /> periodicals will certainly have to look to their<br /> laurels if they are going to hold their own against<br /> the big provincial, Colonial, and American week-<br /> lies. Hitherto the newspaper market has been in<br /> the hands of middlemen who, it may be presumed,<br /> have found it not unprofitable, but the attempt<br /> which has been made hy the Authors’ Syndicate,<br /> and not without a promise of success, to bring<br /> authors into direct communication with the news.<br /> paper press, is at least worthy of recognition.<br /> <br /> The greatest misapprehension exists as to the<br /> method whereby a story can be syndicated. The<br /> fact that much inferior fiction runs through the<br /> columns of the provincial press is urged as a<br /> reason for believing that a ready market can here<br /> be found. But this is very far from being the<br /> case. One or two agencies exist which supply<br /> fiction by the yard and at any price you please<br /> <br /> VOL, III.<br /> <br /> AUTHOR. 49<br /> <br /> from 1s. 6d. per column, and it is easy to under-<br /> stand that the quality of the wares they have to<br /> offer is not, to say the least, remarkably high.<br /> There does not at present exist any means of<br /> getting into the columns of journals of this<br /> character except through the instrumentality of<br /> the agencies mentioned. Arrangements with<br /> journals which only buy the best fiction in the<br /> market are an altogether different matter, and<br /> have to be arranged for with as much care as<br /> with the leading periodicals of the day. I£ it be<br /> remembered that for a story to be properly<br /> syndicated, contracts have to be concluded in<br /> America, Australasia, India, Africa, and through-<br /> out Great Britain and Ireland, it will be seen at<br /> once that much time must be occupied in carrying<br /> through negotiations.<br /> <br /> To sum up, therefore, the one thing needful<br /> to bear in mind in serialising stories is to con-<br /> clude arrangements a long time ahead, certainly<br /> twelve months, and better still, twenty-four<br /> months, in advance, or making allowance for the<br /> run of the story certainly two if not three years<br /> before final publication in book form.<br /> <br /> A few words may be added here as to the sale<br /> of serial rights, especially serial rights in short<br /> stories. Some editors who express a not un-<br /> natural predilection for dealing with authors<br /> direct, send out a form of receipt which contains<br /> the words “including copyright,” and this might<br /> of course operate, if not as an assignment, as<br /> evidence of a prior assignment. Authors will<br /> do well to consider, in making any arrangements,<br /> what rights they are really selling. It should be<br /> borne in mind that even the serial rights of a<br /> short story are often valuable, or become valuable.<br /> The use can be sold over and over again in all<br /> parts of the world unless it is limited to the<br /> organ purchasing it in the first instance, In no<br /> case should the copyright be thrown in as a sort<br /> of make-weight. Collections of short stories may<br /> in the near future be more popular than they are<br /> now, and in any case the copyright should on<br /> principle never be parted with except for an<br /> adequate consideration.<br /> <br /> One other matter which it is important to bear<br /> in mind, is, the desirability of a clear under-<br /> standing as to the time when the right of re-<br /> publication in book form or otherwise reverts to<br /> the author. In the absence of this authors may<br /> find valuable matter locked up in the pages of a<br /> magazine for twenty-eight years.<br />  <br /> <br /> <br /> <br /> THE ANNUAL DINNER.<br /> <br /> <br /> <br /> HE annual dinner of the Society was held in<br /> , the Holborn Restaurant on Tuesday, the<br /> 31st of May. The chair was taken by<br /> Michael Foster, F.R.S., Professor of Physics in<br /> the University of Cambridge, and Fellow of<br /> Trinity College, Cambridge. The number of<br /> those who sat down was 198, as many as the room<br /> would hold. At the last the secretary was<br /> obliged to refuse tickets. The following is a<br /> list:<br /> <br /> Major-General Alexander, C.B.;_ A. W.<br /> a’Beckett ; W. Allmgham, F.R.S.; Rev. Pro-<br /> fessor Bonney, F.R.S.; Walter Besant; Mrs.<br /> Walter Besant; H. C. Burdett; Miss Belloc and<br /> Guest; F. Boyle; Mrs. Brightwen; Mrs. H.<br /> Blackburn ; H. Blackburn; Mackenzie Bell; G.<br /> Theodore Bent ; Dr. Bridges; James Baker ; Mrs<br /> Batty; Aubyn Trevor Battye; Comtesse de<br /> Brémont; Miss Ella Curtis; Oswald Orawfurd,<br /> C.M.G.; Lieut.-Col. Campbell; F. H. Cliffe;<br /> Miss Lily Croft ; Edward Clodd ; Mrs. Clarke ; E.<br /> Clodd, jun.; Egerton Castle ; John B. Crozier ;<br /> Mrs. Cox; Miss Cox; W. Morris Colles; Mrs.<br /> Morris Colles; Thomas Catling; Mrs. Mona<br /> Caird ; Thistleton Dyer, C.B.; G. Darwin, F.R.S. ;<br /> Mrs. Darwin; Austen Dobson; G. Du Maurier ;<br /> the Daily Graphic ; the Daily News; the Daily<br /> Telegraph; the Daily Chronicle; C. F. Dowsett ;<br /> Sir G. Douglas ; John Dennis; A. Conan Doyle;<br /> A. W. Dubourg; Sir John Evans; Rev. Pro-<br /> fessor Harle; Eric Erichsen, F.R.S.; Miss A.<br /> Edwards; Mrs. Edmonds; W. Ellis; A. Esclan-<br /> gon; Mrs. Foster; G. K. Fortescue; Michael<br /> Foster, Jun.; Miss M. Foster; S.M. Fox; Basil<br /> Field; Percy French; Sir A. Geikie, F.R.S. ;<br /> R. Garnett, LL.D.; W. A. Gibbs; Francis<br /> Gribble; Edmund Gosse; Mrs. Gosse; Corney<br /> Grain; W. O. Greener; G. T. Grein; H.<br /> Rider Haggard ; Miss Hector; W. Earl Hodg-<br /> son; A. Egmont Hake; Mrs. Egmont Hake;<br /> Mrs. Harrison ; Mr. Harrison, John Hill; T. C.<br /> Hedderwick ; Miss V. Hunt; Rev. W. Hunt ;<br /> Clive Holland; Henry Harland; J. D. Hutche-<br /> son; Mrs. H. Hutcheson; Professor Huxley,<br /> F.R.S.; Prebendary Harry Jones; T. Heath Joyce;<br /> Mr. H. Jenner; Mrs. Jenner; C. T. C. James;<br /> Jerome K. Jerome; R. B Sheridan Knowles;<br /> H. G. Keene, C.LE.; Veva Karsland and Guest;<br /> Rev. J. A. Kerr; Mrs. E. Kennard and Guest ;<br /> Andrew Lang; Mrs. Lynn Linton; Norman<br /> Lockyer; J. M. Lely; Mrs. Laffan; Stanley<br /> Little; Rev. E. P. Larken; Mrs. Lefroy; Miss<br /> Low; A. H. Lewers; Professor Ray Lankester ;<br /> Miss Loftie; Helen Mathers; S. C. McKinney ;<br /> Mrs. Myall; E. Martin; D. S. Meldrum; Miss<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> H. McKerlie; Rev. C. H. Middleton Wake; the<br /> Morning Post; Charles Mercier; Rev. Prof.<br /> Momerie; Athol Maudslay; R. L. Nettleship:<br /> Mrs. Orpen; Mr. Orpen; J. A. Owen; Sir<br /> William Pole, F.R.S.; G. H. Putnam; Stanley<br /> Lane Poole; Mrs. S. Lane Poole; Arthur Pater-<br /> son; Richard Pryce; Norman Porritt; Mrs.<br /> R. Pennell; R. Pennell ; Pall Mall Gazette ; Mrs.<br /> W. H. Pollock; W. H. Pollock; Miss K. Beatrice<br /> Pownall; A. G. Ross; G. Rolt ; Sir R. Roberts; R.<br /> Ross; Mrs. J. K. Spender; Julian Sturgis ; George<br /> Sumner; Clement Shorter; Miss Stevenson;<br /> J. J. Stevenson; C. J. Smith; Miss C. J. Smith ;<br /> St. James’s Gazette; G. Anderson Smith; J. A.<br /> Steuart; Miss A. Sargent; Sir N. Staples;<br /> Douglas Sladen; the Standard; Dr. Sisley ;<br /> S. 8S. Sprigge; W. Baptiste Scoones; Rev. Pro-<br /> fessor Skeat; Ashby Sterry; G. W. Sheldon;<br /> Frank R. Stockton; G. H. Thring ; Mrs. Thring ;<br /> H. RB. Tedder ; Sir Richard Temple ; W. G. Thorpe ;<br /> the Times ; Mrs. Tweedie ; Alex. Tweedie ; A. W.<br /> Tuer; Dr. J. Todhunter; H. G. T. Taylor; E. M.<br /> Underdown, Q.C.; Rev. C. Voysey; Humphry<br /> Ward; Mrs. Humphry Ward; A. Warren ;<br /> Mrs. Arthur Warren; Mrs. Iltyd Williams;<br /> R. Whiteing; Arthur Waugh; William Watson ;<br /> Oscar Wilde.<br /> <br /> After the usual loyal toasts the chairman pro-<br /> posed “The Society.” In doing so, he said that<br /> the great public mmd which was taught so much<br /> and which learnt so little, seemed to be still a<br /> great deal in the dark about the Society of<br /> Authors. He was often asked, What is the<br /> Society of Authors? He asked the inquirers in<br /> turn if they realised the power of the individual<br /> author ; if they realised that he exercised a power<br /> such as few other individuals possessed. They<br /> might estimate it as they pleased. They might<br /> take the numerical estimate, or consider the value<br /> of his autograph after he was dead. Let them<br /> think of the power of the individual author. If<br /> he were great it was immense; if he were<br /> ordinary it was considerable; if he were weak<br /> it was something, But if they bore in mind the<br /> power of authors as a class, it was nothing<br /> compared with that of every other profession.<br /> That society existed for the purpose of giving<br /> authors as a body the influence and the power<br /> which were their due. The society was not<br /> wrong in making a sound financial basis one of<br /> the first objects of its labours. The present<br /> year had been one of unbroken progress. They<br /> now numbered no fewer than 780 members, and<br /> they had experienced the sincerest form of<br /> flattery—they were beginning to be copied.<br /> There had been established in America an<br /> authors’ society similar to their own. They had<br /> the pleasure of having as their guest that<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> evening the distinguished American novelist,<br /> Mr. Stockton, who had been active in promoting<br /> that society. During the past year they had lost<br /> some members, and he could not omit in this<br /> connection to recall the names of Lord Lytton,<br /> whom they all looked upon as a brother, and of<br /> Mr. Lowell, who took part in the earlier meetings<br /> of the society. It was true that men of science<br /> wrote a great deal. The list was numerous,<br /> but he doubted whether they were authors<br /> in the same sense in which one spoke of<br /> novelists, of poets, of historians, and of those<br /> who wrote those short outbursts of literature<br /> called essays, or by some persons trials. He<br /> would venture to suggest that they did not<br /> belong to the regular army of authors, and that<br /> at most they were volunteers. For there was one<br /> very marked distinction between men of science<br /> and other authors. The latter were paid for their<br /> labours, or expected to be paid. Men of science<br /> did not often expect to be paid; they had to pay.<br /> He wondered whether any of them ever went<br /> to the British Association for the Advancement<br /> of Science. He had been there, and had<br /> observed that the reporters of the newspapers,<br /> when any paper was being read that was not<br /> at all scientific, were very hard at work with<br /> their pens, which flew with enormous rapidity.<br /> But when any really scientific paper was read—<br /> and that did happen sometimes—they stopped ;<br /> and it was generally stated that “the remaining<br /> papers were of a strictly technical character.”<br /> Sometimes, however, a great writer appeared who<br /> combined literary gifts with a genius for scientific<br /> investigation ; and then such a work was pro-<br /> duced as “The Origin of Species.” (Loud<br /> cheers. )<br /> <br /> The CHarrman next proposed the toast of<br /> “Science and Literature,” coupling with it the<br /> names of Sir Archibald Geikie, F.R.S., Mr. R. L.<br /> Nettleship, and Mr. Andrew Lang, who responded<br /> in turn.<br /> <br /> Mr. F. R. Srocxron, who was received with<br /> loud cheers, also replied to the toast at the in-<br /> vitation of the chairman. After speaking of the<br /> great demand in America for the works of<br /> English writers, he said that, though Americans<br /> wrote in the same language, they could never, he<br /> thought, expect to speak in the same language;<br /> at least he could not. He had a good many<br /> recollections of occasions which illustrated the<br /> truth of his statement. When he had called a<br /> cab, and had seated himself in it, he said to<br /> himself, ‘‘ The man who is driving me thinks, and<br /> says to himself, ‘the man inside here isan Ameri-<br /> can. Very likely in the course of his life he has<br /> bought a good many English books which have<br /> been pirated; and the authors of those books<br /> <br /> AUTHOR. 51<br /> <br /> never received a cent. I will see what I can do<br /> to benefit myself at any rate where my fellow-<br /> citizens, the British authors, should have been<br /> benefited.’ ’’ When he got out of that cab he<br /> gave the man a shilling. The driver said<br /> ““Highteenpence.” He asked whether it was<br /> more than two miles from Charing-cross to<br /> Ludgate-hill. The driver looked at him and<br /> replied, “ Highteenpence.” He was impressed by<br /> the exceeding earnestness of the driver’s face,<br /> and he paid the sum demanded. They might<br /> regard that as an instance of retaliation. He<br /> thanked the company on behalf of American<br /> authors for the compliment they had received.<br /> (Cheers. )<br /> The “ Health of the Chairman” followed.<br /> <br /> <br /> <br /> ele<br /> Tue “Times” on tHE Soctrerty.<br /> <br /> From the Times, June 1, 1892 :—“ Last night<br /> the Incorporated Society of Authors dined to-<br /> gether at the Holborn Restaurant, the chairman<br /> being Professor Michael Foster. Perhaps there<br /> is nothing remarkable in this bald announce-<br /> ment; but to any one who looks back for ten<br /> years upon the disjointed and disorganized con-<br /> dition in which literary men then were, and how<br /> their cliques and divisions seemed to make it<br /> impossible for them ever to combine, the news<br /> gives ground for reflection. It is something that<br /> a Society of Authors should have been well and<br /> truly incorporated, with a president and a com-<br /> mittee and a secretary, and, above all, a subscrip-<br /> tion list ; it is still more that it should have been<br /> already able to perform all that, by its mere<br /> existence and by taking action in a certain<br /> number of typical cases, this Society has per-<br /> formed. The vitality and comprehensiveness of<br /> the Society, of which Lord Tennyson is the<br /> president, were shown yesterday in more ways<br /> than one. In the first place, a man of science<br /> was in the chair, as though to show that, what-<br /> ever may be the higher relations between belles<br /> lettres and treatises on curves or nerves, authors<br /> have common interests, whether they write in<br /> symbols or in flowing periods. Again, the com-<br /> prehensiveness of the Society was shown by the<br /> presence of ladies at the dinner, which is more<br /> than has as yet been conceded by the Royal<br /> Academy. As to the speaking, none of it was<br /> quite so exhilarating as Mr. Corney Grain’s song ;<br /> but the chairman showed conclusively that a<br /> man of science might be amusing, and, thanks to<br /> an impromptu demand, the company was made<br /> happy by a speech from the author of “Rudder<br /> Grange.” The Society of Authors has not yet<br /> <br /> E2<br />  <br /> <br /> 52<br /> <br /> had a long life, but it has done enough to make<br /> its value recognised and its power to a certain<br /> extent felt. This youngest of trade unions was as<br /> necessary as any other union; more 80, indeed,<br /> than almost any other, since from the nature of<br /> the case an author is generally quite unacquainted<br /> with the ways in which his wares may best be<br /> brought before the public. What he does not<br /> understand, the publisher promises to manage for<br /> him, with the result that has often been described<br /> by pens that have been dipped in the gall of dis-<br /> appointment. That the Society has met a want<br /> is shown by the growth of its members, which<br /> now reach the large total of 780 or thereabouts ;<br /> and that it has done no great harm to the<br /> respectable publishers is shown by the consider-<br /> able number of new houses that have come into<br /> existence during the last few years, all expecting<br /> to live by issuing books. The real good that the<br /> Society has done, and continues to do, consists<br /> chiefly in putting the relations between the writer<br /> and his agent—for a publisher is nothing else—<br /> on a businesslike footing. The mystery which<br /> used to surround the trade of publishing has been<br /> invaded; the author has learnt that there is<br /> nothing in the book trade which he has not a<br /> right to know, and that he is just as much<br /> entitled to a fair and square agreement as if he<br /> were selling a house or a field or a parcel of rail-<br /> way shares. It may be said that many of the<br /> leading firms have always recognised this obliga-<br /> tion on their part; but the real difficulty with<br /> which young authors, especially women, have had<br /> to contend, is the existence of a number of<br /> unscrupulous houses which prey on their ignorance<br /> and simply rob them. Thanks to the publicity<br /> which the Society of Authors gives, these firms,<br /> which only flourish in the shade, have been much.<br /> less prosperous of late, and have tended to<br /> disappear altogether. Again, although that great<br /> but imperfect boon to the British author, the<br /> American Copyright Act, would never have been<br /> passed unless the American author and printer<br /> had wished for it, it is true to say that the<br /> existence of a representative body like the Society<br /> of Authors had no small influence upon its<br /> passing. Ina word, the Society does, or can do,<br /> most of the things that a trade union can do for<br /> its members. There is indeed only one thing<br /> that the public commonly associates with a trade<br /> union which the Society has not yet suggested or<br /> encouraged. It has not yet ordered an author’s<br /> strike. Perhaps, with a view of limiting the<br /> literary output, such an order, periodically issued,<br /> might not be an unmixed evil.”<br /> <br /> al a<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> PUBLISHERS’ EXPENSES.<br /> <br /> <br /> <br /> N that excellent paper the Critic of New<br /> York (May 14) there is a paragraph which<br /> embodies a fallacy constantly being re-<br /> <br /> peated. Yet it is a thing so patent that one is<br /> astonished to find anybody led away by the<br /> thing. It occurs in a column called the<br /> “Younger,” and is apparently written by a lady.<br /> After reproducing a little sum from the Author<br /> in which the respective shares of author, pub-<br /> lisher, and bookseller were set down under<br /> certain royalty arrangement, the author getting<br /> 24 cents (translated_ into Americanese), the<br /> bookseller 28 cents, and the publisher 36 cents.<br /> Then the “Lounger” intelligently remarks as<br /> follows :—<br /> <br /> There is an old saying that there are none so blind as<br /> those who won’t see. Mr. Besant is one of these blind men,<br /> for he won’t see that the 36 cents is not spent by the<br /> publisher in riotous living. Books are not manufactured<br /> and then stored away on the publisher’s shelves. They<br /> must be put into circulation to sell, and that is one of the<br /> heaviest of the publisher’s expenses, not to mention the<br /> little items of advertising, rent and salaries. I am always<br /> glad when an author makes money, but Iam not indignant<br /> when a publisher makes a little something. He takes great<br /> risks, much greater than an author would care to take, I<br /> fancy.<br /> <br /> No one, to begin with, is indignant when a<br /> <br /> publisher makes a “little something.” On the<br /> contrary, though the writer insinuates that we<br /> are indignant when the publisher gets his<br /> little something—poor, helpless lamb !—we are<br /> continually, whenever we speak on the subject,<br /> impressing upon everybody that the publisher<br /> must receive what is equitable for his services,<br /> and that these services are substantial. Next<br /> we are continually impressing upon people the<br /> truth—not evolved from imagination, but arrived<br /> at by seven years’ experience of the management<br /> of literary property—actual living experience—<br /> by agreements, letters, revelations, such as no<br /> single person can possess, and no other body of<br /> persons have ever attempted—that the (English)<br /> publisher, as a rule, never takes any risk at all.<br /> With the exception of a few houses which now<br /> and then do take a risk—there are no risks<br /> taken. By risk, I mean the chance of not getting<br /> back the small sum of money invested in the<br /> production of a book. This, I say, is not<br /> theorising or speculation—it is fact.<br /> <br /> Next, about this eighteen pence—this share of<br /> 36 cents. What does a publisher get paid for ?<br /> Is the book his book? Not at all, unless he buys<br /> it outright. It is the author’s property. Why<br /> is he to get anything out of it at allf Why is<br /> <br /> he to take any share in a work in whose creation<br /> <br /> <br /> <br /> <br /> <br /> <br /> ane AUTHOR. 53<br /> <br /> he had no part ? For services rendered. He says:<br /> “T will publish your book. I must be paid so<br /> much for it.” Since he does not do everything<br /> himself, as John Ruskin’s publisher used to do,<br /> he must have his machinery. Are we to pay him<br /> first for his machinery and then for himself ?<br /> Certainly not. Do we pay the carrier so much<br /> for taking a parcel and so much more for the cart<br /> and horse? Do we pay the lawyer so much for<br /> his work and so much more for his rent and his<br /> clerks, and the red tape and the ink? In busi-<br /> ness of all kinds the machinery does not count.<br /> If it is too expensive it can be cut down. The<br /> first carrier was a messenger who carried<br /> parcels under his arm. Then he started his cart.<br /> <br /> But he was paid no more for his cart. That<br /> is exactly the position of the publisher. And<br /> that is the common sense of the matter. It is<br /> <br /> only a question of the proportion which is justly<br /> due to the publisher. W. B.<br /> <br /> PRESS COPIES.<br /> <br /> Ss<br /> <br /> <br /> <br /> N the subject of Press copies our correspon-<br /> dent, H. Haes, returns to the charge. He<br /> proposes that if books are sent for review,<br /> <br /> those which are reviewed shall be paid for, and<br /> those which are not reviewed shall be sent. back.<br /> He thinks that by asking for a review the author<br /> sacrifices his own dignity. He also says that<br /> reviews of books are of interest to readers, other-<br /> wise they would not appear. His letter will be<br /> read with much interest, and may give rise to not<br /> a little discussion.<br /> <br /> Another way of putting the question, however,<br /> is this: An author desires, above all things, to<br /> get a hearing. How is he to do this? How is<br /> he to get people to ask for his books at the<br /> libraries, the shops, and the stalls? He may<br /> advertise in the papers—keep on advertising—<br /> which is extremely costly ; he may send the book<br /> for review, and trust not only to the favourable<br /> review, but also for a more telling advertisement,<br /> containing that favourable review. Lastly, he<br /> may trust to the book making its own way by<br /> being talked about. The last, when once it<br /> happens to a fortunate author, causes his book<br /> to run swiftly to the uttermost corners of the<br /> globe,<br /> <br /> Still another way of putting it is as was<br /> attempted in&#039;August of last year. The passage<br /> <br /> was as follows (Author, August, 1891, p. 94) :—<br /> “Unless the Editor were supplied with copies of<br /> new books he and all authors would be at the<br /> <br /> mercy of the critic, who wonld go round the world<br /> of letters and the outer offices of publishers,<br /> begging and extorting books on the promise of a<br /> favourable review. This would be a tyranny<br /> unendurable. It may be said that a gentleman<br /> could not do such things. If the reviewer had to<br /> cadge about in order to find his own copies for<br /> review, very few gentlemen would be left in the<br /> profession. The extortion of books under promise<br /> of a favourable notice is sometimes done even now.<br /> Here followeth fact. There was a man, about<br /> twenty years ago, a clergyman and the lecturer for<br /> a well-known society, who persuaded a certain<br /> geographer that he was a great man on the<br /> London press, and actually got from him a parcel<br /> of atlases, maps, and books on a promise of<br /> favourable notices. He wrote no notices and he<br /> sold the parcel for £25.”<br /> <br /> The distribution of press copies is certainly a<br /> thing that requires prudence, and some knowledge<br /> of the position of newspapers. Some publishers<br /> pitchfork copies of books in all directions with-<br /> out asking what kind of notice, whether favour-<br /> able or unfavourable, they are going to get. If,<br /> for instance, one knows beforehand that one will<br /> have a notice of three lines among a batch, and<br /> that the chances are three to one that it will be a<br /> spiteful notice, what earthly reason exists for<br /> wasting a copy worth so much good money upon<br /> such a paper? This department of the publishing<br /> business requires very careful overhauling.<br /> <br /> Another thing may be noted. A book is not<br /> necessarily open to criticism because it is pub-<br /> lished. If a copy is sent for review, the author<br /> must take whatever is given him, good or bad.<br /> He can only complain when the review misrepre-<br /> sents or falsifies his work. On the other hand, if<br /> he refuses a copy toacertain paper, and that<br /> paper abuses his work, it is as if one should say<br /> of a baker that his bread is adulterated, or of a<br /> doctor that he is a quack. An action for libel<br /> might certainly be brought, and would probably<br /> prove successful.<br /> <br /> Considering all these points, it certainly seems<br /> that the present system needs modification<br /> only in certain omissions. Where the reviews<br /> are inadequate, contemptuous, or spiteful, the<br /> books should be withheld. In the good time<br /> coming, when authors will take a more personal<br /> share in the conduct of their business, they will<br /> stipulate beforehand the papers which are to<br /> receive the copies.<br /> <br /> ee<br /> <br /> <br />  <br /> <br /> 54 THE<br /> <br /> <br /> <br /> THE AMERICAN SOCIETIES.<br /> <br /> <br /> <br /> Two Rrvau Socrerrss.<br /> \ | ENTION has already been made of the<br /> <br /> existence of two American associations,<br /> <br /> one called the Society of Authors; the<br /> other, the Association of American Authors.<br /> The former, of which Mrs. Katherine Hodges is<br /> secretary, was founded about a yearago. The<br /> latter, of which Mr. Todd is secretary, was<br /> founded early this year. The aims and objects of<br /> the two societies are identically the same; the<br /> prospectus of the latter appears to be based upon<br /> that of the former. The headquarters of both<br /> seem to be New York. The membership of the<br /> former is 200; that of the latter is not known.<br /> The former has many branches scattered about<br /> the country; notably one at Washington, which<br /> has recently celebrated its birth by a_ great<br /> function. The latter numbers among its members<br /> Mr. W. D. Howells.<br /> <br /> All this is perhaps to be lamented ; if, however,<br /> there should be found support sufficient for the<br /> maintenance of two distinct societies, they might<br /> possibly do good to each other by an honourable<br /> rivalry. It would ill become us to attempt any<br /> interference or advice with our American brethren.<br /> But, this, at least, may be said. The interests at<br /> stake should be considered before all other points.<br /> Surely Mr. Howells and other American leaders<br /> might be trusted to know how these interests can<br /> best be served. The most prominent names of<br /> the younger society are Col. Higginson, Miriam<br /> Conway, A. W. O. Howells, Dudley Warner, and<br /> Mrs. Moulton. Dr. Oliver Wendell Holmes is<br /> reported to be a well wisher to the second society.<br /> <br /> <br /> <br /> Tur AmERICAN PROSPECTUS.<br /> <br /> Tux following is the original prospectus of the<br /> second society.<br /> <br /> “The undersigned, believing that the interests<br /> of American authors and literature demand the<br /> organisation of a society of American authors on<br /> the same basis as the very successful English and<br /> French societies, invite you to meet at the Berkeley<br /> Lyceum, 23, West 44th-street, New York, on<br /> May 18, at 12 m., to organise a society of<br /> ‘American Authors,’ of which all literary<br /> workers, both men and women, may become<br /> members, with annual dues not exceeding 5 dols.,<br /> and having these general objects :—<br /> <br /> “rst. To promote sociality and a professional<br /> spirit among authors.<br /> <br /> “ and. To settle disputes between authors and<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> publishers, by arbitration, or by an appeal to the<br /> courts.<br /> <br /> “2rd. To advise authors as to the various<br /> methods of publishing, and see that their con-<br /> tracts are so drawn as to protect them in their<br /> legal rights.<br /> <br /> “ ath. To co-operate with publishers in bringing<br /> about better business methods between author<br /> and publisher.<br /> <br /> “sth. To secure minor reforms, such as an<br /> extension of copyright, carriage of literary pro-<br /> perty through the mail at the same rate as other<br /> merchandise, and in general to advance the<br /> interest of American authors and literature.<br /> <br /> “W. D. Howells, Thomas W. Higginson,<br /> Charles D. Warner, Moncure D. Conway, George<br /> W. Cable, Julian Hawthorne, James Grant<br /> Wilson, Charles Burr Todd.”<br /> <br /> General James Grant Wilson, on behalf of the<br /> Genealogical and Biographical Society, which<br /> controls the Lyceum, welcomed the members, and<br /> nominated Colonel T. W. Higginson as chairman of<br /> the meeting. The latter, in accepting, disclaimed<br /> any ill-feeling against publishers, and declared<br /> himself and his associates to be animated simply<br /> by a desire to protect authors.<br /> <br /> OUR ENEMIES.<br /> <br /> <br /> <br /> IL—A Lonpon Eprror.<br /> <br /> HERE has been another and quite a new<br /> iL set of charges invented against the society.<br /> This time by a writer calling himself<br /> “Qondon Editor” in the National Review. He<br /> formulates a curious collection of charges. Practi-<br /> cally, they may be reduced to one—that we are<br /> secretly purposing to make literature a “ close pro-<br /> fession” and to drive out of it all but ourselves.<br /> This is very funny. Malignity could hardly be<br /> more perverse. Last year we were charged with<br /> encouraging bad writers and increasing the output<br /> of bad books. This year we are accused of doing<br /> exactly the opposite. What does it mean—this<br /> continual and never-ending misrepresentation ?<br /> Tt means the wriggling of the man whose<br /> fraudulent and secret profits have been exposed.<br /> This exposure has touched his pockets.<br /> <br /> The great discovery of our real intentions is —<br /> presented very curiously by the writer of the<br /> article. The whole work of the society, says<br /> the discoverer, is to have a dinner once a year 5<br /> to keep a watch on fraudulent publishers, and<br /> to keep new comers out of literature. The<br /> <br /> second, he rays, has been so well done that —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> foe AUTHOR. 55<br /> <br /> publishing is now as honest a trade as any. There<br /> - remains the third.<br /> Now, supposing it to be true—which is not the<br /> » case—that we have been so successful as to con-<br /> » vert the dishonest to ways of honesty—the temp-<br /> ‘station to dishonesty would still remain. The<br /> i property whose interests we defend would still<br /> remain, and the defence would be still a necessary.<br /> The society would have to remain.<br /> <br /> But itis a special note of those who write<br /> articles and paragraphs against the society that<br /> they never allow the existence of literary pro-<br /> spects. Hither they do not know that there is<br /> such a thing, or they are silent for interested<br /> reasons.<br /> <br /> We have called attention to this vast interest<br /> # im paper after paper. Weshall continue to do so.<br /> We will do more. We will attempt to obtain<br /> sifigures which shall give some approximation to<br /> | the reality of the property in question.<br /> <br /> As regards the stuff about a “close profes-<br /> sion,” we need not waste time over it. Two points<br /> sonly need be mentioned. In his haste to pick up<br /> » stones the writer makes one most unfortunate little<br /> ‘mistake which betrays his animus. He says that<br /> vhe has been “conning the long list of its<br /> »members.” Of course he imagined, when he<br /> made that statement, that there must be such a<br /> “list available for everybody. Now, there is no<br /> wsuch list at all. The last list of the members<br /> was printed four or five years ago, when there<br /> » were only 200 or so. Weare now 800. The only<br /> 4 list is in the hands of the secretary, who shows it<br /> © to no one,<br /> <br /> The second point is an assertion made in the<br /> “last page but one of the article. It is that<br /> “people “are ceasing to buy books because books<br /> &quot;are generally bad.” The exact opposite is the<br /> “truth. Whether books are good or bad, people<br /> * are buying them more and more. The trade<br /> increases daily ; new publishers are always<br /> * coming into the field. And this fact is quite<br /> “consistent with the other statement which the<br /> ‘writer advances, viz., that journalism is more<br /> “and more attracting the brightest intellect of the<br /> 1% day.<br /> <br /> &amp;<br /> <br /> <br /> <br /> II.—A Boston Enemy.<br /> <br /> The American Society—or Societies, if there<br /> ‘tare still two—is attracting quite the same sort of<br /> »‘ treatment and criticism that we have ourselves<br /> received. First, itis anew thing, therefore absurd.<br /> Secondly, nobody wants it; and the members<br /> ‘fouly number so many. Such and such a great<br /> ®©man is uot a member ; therefore it is not wanted.<br /> * Thirdly, it is not practical; therefore it is not<br /> <br /> <br /> <br /> wanted. Fourthly, no author of weight has any<br /> real grievance against the better class of American<br /> publishers. We know all these arguments. The<br /> last, especially, used to be very commonly used<br /> over here, but it is used no longer. One might<br /> just as well say that there are no pickpockets in<br /> Oxford-street, therefore policemen may as well be<br /> abolished. The real argument for the foundation<br /> of such a society—that literary property is an<br /> enormous interest, that it belongs to the creators,<br /> that it must be defended on the behalf of the<br /> creators—is not met or even alluded to.<br /> <br /> <br /> <br /> aa ee<br /> <br /> <br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> UT of our Sixty Minor Poets we have lost one<br /> whom we would fain have kept with us. The<br /> author of “ Ionica”’ is dead. It was but<br /> <br /> yesterday that the little book appeared which made<br /> him known to all of us. His first volume, however,<br /> had come out in 1858. The second—our friend<br /> —of 1891, was a reprint of the former, with<br /> additions. He lived in a small house at Hamp-<br /> stead, very near my own; yet I have never met<br /> or spoken to him. And now, alas! I never<br /> shall, for he is dead. In his own words, in<br /> “ Heraclitus :”’<br /> And now that thou art lying, my dear old Carian guest,<br /> A handful of grey ashes, long, long ago at rest,<br /> <br /> Still are thy pleasant voices, thy nightingales, awake,<br /> For Death he taketh all away, but these he cannot take.<br /> <br /> We have William Cory’s nightingales. There is<br /> an eloquent and graceful tribute to his memory in<br /> the Speaker of June 18.<br /> <br /> <br /> <br /> In a reported interview Mr. Grant Allen is<br /> reported to have said, in speaking of the material<br /> rewards of literature, that I ‘make a great deal”<br /> of the fifty modern English writers whose incomes<br /> are over a thousand pounds a year. This is a<br /> little misapprehension. I do not make much of<br /> the fact, nor do I glory in it, nor do I see in it<br /> any special recommendation to the literary career,<br /> seeing that in any other profession that man<br /> succeeds poorly indeed who cannot make an<br /> income of a thousand. But the fact was stated<br /> in order to do something—if only a little—to<br /> lessen the contempt in which the profession of<br /> letters—as a profession—lies. Fifty people in<br /> it, actually making each a thousand a year!<br /> As a matter of fact, there are more than fifty<br /> who do so. But the assertion was received at<br /> first with universal derision; everybody laughed<br /> <br /> <br />  <br /> <br /> 56<br /> <br /> at it. Fifty authors with’ a thousand a year<br /> each! Authors! Fancy, authors! Ludicrous!<br /> Impossible! There was not, everybody felt, so<br /> much in the whole trade. Even when the truth<br /> is told it is a poorly paid profession. Even if<br /> an equitable arrangement were arrived at, once<br /> and for all, the great prizes would still be very few.<br /> Yet there seems little cause for lamentation over<br /> that. Since there are so few prizes there can<br /> be few prizemen; the mass of those who follow<br /> letters must either remain poor or they must<br /> follow some other pursuit. Let us assure them,<br /> if we can, of their independence and their self-<br /> respect. Then their poverty will be a com-<br /> paratively small evil.<br /> <br /> —<br /> <br /> Another literary monument is gone. Those<br /> who knew Grub-street—now Milton-street—will<br /> remember a quaint little square which stood on<br /> its western side. It was a poor kind of square,<br /> standing round a paved court; vehicles—except<br /> the coster’s barrow—could not enter there. The<br /> houses were small and mean; yet they had the<br /> eighteenth century air. The rest of the street<br /> was built up with vast warehouses. This alone<br /> remained of the glorious past. Into this corner<br /> had been driven the real associations of Grub-<br /> street. One knew every room in every house. In<br /> this starved Boyes; in this, Otway. Here two<br /> translators occupied one room, and shared one bed,<br /> one blanket, and one shirt. Johnson knew this<br /> square. Goldsmith often came here, when he<br /> had any money, to give it away among his poorer<br /> brothers. Very few of them went about the<br /> streets in complete absence of anxiety concerning<br /> the sheriff’s man and the Compter. Sunday was<br /> a day of relief. Here Smollett made the acquain-<br /> tance of my Lord Potatoe. The square was<br /> fragrant with the memories of the starveling<br /> bards. Sham travellers abounded here who had<br /> never been beyond Greenwich; Greek scholars<br /> who knew not the alphabet; essayists on polite<br /> society who never advanced beyond a sixpenny<br /> ordinary. But now the square is gone, and a great<br /> warehouse stands upon the spot. Grub-street is,<br /> indeed, no more.<br /> <br /> <br /> <br /> I hear that a young writer in a weekly paper<br /> speaks of the air being dark with the sky signs<br /> set up by the Society of Authors. Sky signs are<br /> illegal; does he mean that the action of the Society<br /> is illegal? Whether he means this or not does<br /> not matter. What he does mean, besides, is as<br /> plain as the biggest sky sign ever elevated above<br /> the roofs. Let us wait. When the time comes<br /> for the work of this young writer to be in request<br /> by the reading public—let us hope that it will be<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> in very large request and that the time will soon<br /> come—he will either be able to congratulate him-<br /> self on the sky signs which have kept him, as<br /> well as others, out of pitfalls and traps; or he<br /> will bemoan his unfortunate lot that, by neglect-<br /> ing these friendly sky signs, he has had to<br /> undergo the loss and humiliation—especially the<br /> latter—of being robbed without the power of<br /> redress. The man who really likes to feel that<br /> he has been fraudulently entreated is not known<br /> to exist. Let us note, meantime, that those<br /> who cry out the loudest upon the mercenary<br /> spirit shown in the resolution to safeguard<br /> literary property belong to one of four classes:<br /> Either they are those who as yet are too young to<br /> have any; or those who have gone through a life<br /> of failure without being able to acquire any; or<br /> those who think that literary property means a<br /> ten pound note; or those who desire vehemently<br /> to join in the plunder. Of these four classes<br /> the third is the noisiest and the most numerous.<br /> What is the good, they think, of talking about<br /> literary property? There is not any such thing;<br /> there can’t be any such thing. ‘“ Why,’ they say,<br /> “my own publisher could only give me ten pounds<br /> for my last book—and a book well reviewed, Sir<br /> —a book that sold 300 copies! Absurd!”<br /> <br /> <br /> <br /> An invitation has been sent to certain writing<br /> persons of this country—to myself among the<br /> rest—asking them to join in contributing to a<br /> memorial designed to celebrate, on the 400th<br /> anniversary of the discovery of America, the<br /> services rendered by Columbus to mankind. Hach<br /> contributor is to choose his own special topic.<br /> The subject means, in other words, the services<br /> rendered to mankind by the discovery of America.<br /> This is rather a large subject, and I, for one,<br /> have not felt able to comply with the invitation.<br /> The discovery has added sixty millions of those<br /> who speak the English language; if these sixty<br /> millions were allied by commercial and other<br /> bonds of brotherhood and friendship with our<br /> own thirty millions, there would be something<br /> worth rejoicing over, because the Anglo-Saxon<br /> race would then be absolutely master of the<br /> situation and impregnable. What country or<br /> combination of countries could stand against a<br /> federation already a hundred millions strong, and<br /> increasing with a rapidity previously unknown in<br /> history? But an English-speaking America,<br /> <br /> where no President can be elected until he has<br /> first insulted the English nation in order to catch<br /> the Irish vote, is not a country over which we can<br /> be expected to rejoice quite hearti&#039;y. I shall wait<br /> for the 500th anniversary. By that time I hope<br /> to find the Irish question settled somehow, and<br /> <br /> <br /> <br /> <br /> THE AUTHOR. 57<br /> <br /> the United States in firm alliance and brother-<br /> hood with ourselves.<br /> <br /> <br /> <br /> Ihave received a copy of the “ Book Review<br /> Index.” Apparently it is the first copy—Vol. 1.,<br /> No. 1.—but no number appears in the title page.<br /> It consists, apart from a few notes of no great<br /> significance, of a list of books published during<br /> the last three months, each accompanied by an<br /> index to the papers which have noticed it. For<br /> instance.<br /> <br /> ALONE ON A WIDE WipE SzEa—By W. Clark Russell—<br /> (Chatto and Windus).—Glas. Her., 10 March; Athen.,<br /> 19 March; Scot. Lead., 17 March; Man. Guar., 29<br /> March; Scotsman, 14 March; Leeds Mer., 28 March;<br /> Sat. Rev., 2 April; Standard, 16 April; Nat. Obs., 2<br /> April; Bookman, April; Spectator, 30 April; Acad., 14<br /> May ; Morn. Post, 9 May; Novel Rev., April.<br /> <br /> Those writers, therefore, who desire to know<br /> where they have been reviewed may buy the Index<br /> and ascertain for themselves. In looking through<br /> the pages the question arises what books have<br /> been most reviewed during the quarter? The<br /> answer to this question does not prove more or<br /> less popularity, because publishers vary in their<br /> <br /> practice of sending out books for review. The<br /> following results, however, are not without<br /> interest: Lord Tennyson’s “The Foresters,”<br /> <br /> heads the lists with 82 reviews; Rudyard Kip-<br /> ling’s “ Barrack Room Ballads” follows with 49<br /> reviews; ‘after him comes Owen Meredith’s<br /> “March” Edwin Arnold’s “ Potiphar’s Wife,”<br /> and Charles Booth’s “‘ Temperance,” and “ Faces<br /> and Places” by H. W. Lucy, each with about<br /> 40 reviews; and then a whole shower of<br /> books each with its 30 reviews. Some of<br /> them are quite unknown books. Now those who<br /> want to see the reviews would have to buy this<br /> Index first, write next to all the papers to order a<br /> copy and pay for each copy. Thus one of those<br /> which had forty reviews would have to pay<br /> forty pence for posting letters with 7s. enclosed<br /> for copies, and 6d. for the Index. That is to say,<br /> it would cost him half-a-guinea for getting his<br /> reviews with all the trouble of writing and<br /> collecting. Now the ordinary service of cuttings<br /> would cost him only a guinea for a hundred slips,<br /> and at no trouble to himself.<br /> <br /> <br /> <br /> A paragraph appears in the Publishers’ Circular<br /> quoting at second-hand certain remarks attributed<br /> to Mr. Gosse on the modern novel. He is reported<br /> to have said that “in the old days the novelist<br /> was not a professional writer, but a man of affairs<br /> who turned aside to amuse himself by weaving<br /> romance. But now it isa continual, professional,<br /> <br /> VoL. III.<br /> <br /> commercial grinding out of novels-—a never ending<br /> flow of rubbish.” If Mr. Gosse said this, he<br /> talked rubbish. It would be a fair and logical<br /> conclusion to say—therefore Mr. Gosse did not say<br /> this. But, perhaps, with some softening, some<br /> exceptions offered in an unquoted context, he said<br /> something to the effect that a good deal of<br /> “commercial grinding” goes on. That is quite<br /> true. ‘Commercial grinding” always goes on<br /> whenever the article produced has a commercial<br /> value. The ‘commercial grinding” of magazine<br /> articles, for instant, is incessant. The only way<br /> to stop “commercial grinding” is to stop the<br /> commercial value, not only of novels, but of<br /> every other form of literature. But to brand<br /> the modern novel en bloc, as the production of a<br /> “continual, professional, commercial grinding ”’<br /> would be monstrous and preposterous. As for the<br /> novelist having been at any time a man of affairs<br /> “ who turned aside to amuse himself by weaving<br /> romance ”’—when was that?— Were Defoe, Fielding,<br /> Smollett, Goldsmith, Scott, Dickens, Thackeray,<br /> Wilkie Collins, Reade, George [liot, men of<br /> affairs who occasionally turned aside to amuse<br /> themselves by weaving romance? Or even, to go<br /> to other countries, were Hawthorne, George Sand,<br /> Balzac, Dumas, men of affairs who occasionally, &amp;e.?<br /> <br /> If the editor of the Publishers’ Circular<br /> had asked himself these simple questions, he would<br /> not have been so ready to cry out upon the wares<br /> upon which his clients and supporters grow rich.<br /> For my own part, whenever—which .is every<br /> other day—I see these sweeping charges made<br /> upon the modern novel, I always ardently desire<br /> to subject the critic to an examination in the<br /> very works which he thus ventures to denounce.<br /> His contempt for the modern novel would be<br /> found to be in exact proportion to his ignorance<br /> of the modern novel. In other words those who<br /> ery out the loudest against the modern novel are<br /> the people who read it the least.<br /> <br /> ————— &gt;<br /> <br /> A modern novelist writing or the assumption<br /> that Mr. Gosse did really make these remarks,<br /> which I do not believe, says: ‘“‘ When there is<br /> nothing else to talk about, the editor of a maga-<br /> zine always puts in someone to have a fling at<br /> the novelists. Very well; it shows the attention<br /> paid to the novel. But their attentions sometimes<br /> prove a little too pressing. Could not the editor,”<br /> my correspondent adds, “occasionally take a<br /> turn at the poets and the critics and the essay-<br /> ists’ There are many novelists who would<br /> be pleased to give a little consideration to the<br /> practitioners in these branches, if only out of<br /> gratitude for kindness showed to themselves ; and,<br /> really, fair play seems to demand that the modern.<br /> <br /> EF<br /> <br /> <br />  <br /> <br /> <br /> <br /> 58<br /> <br /> <br /> <br /> poets, too, should receive a portion of the love<br /> and admiration which they lavish upon the modern<br /> novelists.”<br /> <br /> <br /> <br /> The Speaker questions my contention that<br /> there is no genius at this moment who is starv-<br /> ing. He asks, with the careless inaccuracy which<br /> is now so common in paragraph writing, “ What<br /> does Mr. Besant mean by ‘real genius?’”” Now,<br /> I did not use the word real. I said “ genius ”<br /> without the adjective “real” at all. I also said<br /> that there were no applications at the Royal<br /> Literary Fund when I was a trustee from men<br /> or women of “literary position.” Now, says the<br /> Speaker, of course there were not, because<br /> “literary position”? means an income. My point,<br /> exactly—an income from literature means literary<br /> position ; if you have genius you very soon get<br /> that income. Then he goes on tosay: “ By ‘ real<br /> genius’ he implies apparently ‘ successful genius ; ’<br /> if you have a bank account, you are a ‘real<br /> genius,’ if not, you are an ‘unfortunate man of<br /> _letters.’” Quite so. Put an adjective which he<br /> <br /> did not use into the mouth of a speaker and<br /> then you can make a man talk any rubbish you<br /> like.<br /> <br /> <br /> <br /> Again, therefore, I repeat. While I was on the<br /> council of the Royal Literary Fund there were<br /> many applications from men and women who were<br /> unfortunate men and women of letters. There<br /> was never one from any person, man or woman,<br /> who had done good work. I speak of two years<br /> only, and give this experience for what it is worth.<br /> Never once was there an application from any<br /> man or woman who had done good work. From<br /> which and from other information I infer that<br /> the world is swift to recognise good work. Well,<br /> “but,” it may be objected ; “ what about poetry ?”<br /> The world does not buy poetry. Poets—minor<br /> poets—do not try to live by their verses.<br /> Happily, that phase of starved literature has<br /> vanished. The unfortunates are chiefly unsuc-<br /> cessful novelists, about whom a great deal might<br /> be written, and the unlucky tribe of those who<br /> live by compiling books. ‘This is a tribe growing<br /> rapidly smaller, because, first, journalism offers<br /> much greater attractions, and because the made-<br /> up books—books which nobody wants — are<br /> becoming more and more discredited. A man<br /> who will turn you out a volume on Arctic Dis-<br /> covery, having never seen an iceberg; or a book<br /> on Malay lands, having never seen the Narrow<br /> Seas ; or a History of Japan, having never been<br /> there; is rapidly finding that the man who has<br /> experienced the pleasure of Arctic discovery, or<br /> has lived among the Malays, or knows Japan and<br /> <br /> THE AUTHOR.<br /> <br /> the Japs, has cut him out altogether. I do not<br /> say that the Fund has not often relieved the<br /> wants of good men. I only say that the condi-<br /> tions of things are changed, and that those who<br /> now apply are unfortunate because they are<br /> failures.<br /> <br /> <br /> <br /> A publisher sends me a delightful little corre-<br /> spondence. A young aspirant placed in his hands<br /> last yeara MS. which he refused to publish. The<br /> young author, after the manner of most young<br /> authors, could not possibly accept the decision of<br /> the publisher. The man was prejudiced; the<br /> man did not know his own interest ; the man was<br /> a fool to refuse sucha splendid thing. Therefore,<br /> the author published the book himself, and paid<br /> for it. He now writes to tell the publisher that he<br /> has sold exactly twelve copies, and has about 2000<br /> copies on his own hands. What does the society<br /> advise ? Never, never, NEVER pay for the produc-<br /> tion of your work. Young author, you well pay<br /> for it. You cannot believe that no one wauts<br /> your work. You will pay—you will learn by<br /> experience.<br /> <br /> <br /> <br /> The books of the month are Stevenson’s<br /> “Wrecker,” and William Black’s “ Magic Ink.”<br /> WaLtER BuEsant.<br /> <br /> eS<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> Tue AUTOBIOGRAPHY OF AN ARTICLE.<br /> <br /> AM an Article. I consist entirely of words:<br /> <br /> | twelve thousand wordsare used up in making<br /> <br /> me. Hach word contains so many letters. In<br /> <br /> an average of six letters to a word—the author of<br /> <br /> my being uses a good many long and Latin words<br /> <br /> —I have used up seventy-two thousand letters.<br /> <br /> I do not state this with any boastfulness, but that<br /> <br /> you may know and understand that I am a long<br /> and a serious Article.<br /> <br /> I was brought into the world about three years<br /> ago. My birth, I have been told, was difficult,<br /> long, and painful. The sufferer, on many occa-<br /> sions during the long agony of travail, declared<br /> that I should_be the death of him; that he<br /> should never get me finished; that he wished he<br /> had never thought of me; that if he had known<br /> what a trouble I should be he never would have<br /> thought of me; that no one knew the sufferings<br /> of one who brought forth an Article ; that if men<br /> only did know, nobody would undertake the trouble-<br /> some andaccursed task of literature or production of<br /> Articles: with much more to the same effect. But<br /> the moment his’ Article—I myself—was born, he<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 59<br /> <br /> began to frisk and frolic, to dance and prance<br /> about the room, patting me—the Article—ten-<br /> derly, saying that there never was such an Article<br /> known since the world began; that there was the<br /> reputation of a lifetime in that Article; with<br /> many other extravagances common, I believe,<br /> to mothers with tender infants, hens who have<br /> just laid an egg, and authors with their newly-<br /> produced articles.<br /> <br /> I was a very sober, steady, even solemn, Article.<br /> I bristled with figures, statistics, and quotations.<br /> Acts of Parliament were considered in my pages.<br /> There can be no doubt that I was an Article<br /> demanding patient attention. Not one of your<br /> flippant, humorous, comic papers; not written to<br /> make the world laugh; but to make grave and<br /> serious statesmen ponder and consider. I had<br /> reason to be proud of myself; in fact I was proud<br /> of myself.<br /> <br /> Not only was I a sober and serious article, but<br /> I was written out, in a legible and beautiful hand,<br /> upon thick and costly paper. It was easy to see<br /> from my externals alone that Iwas an Article of<br /> which the author was justly proud—a noble<br /> Article—an aristocrat among Articles.<br /> <br /> My parent, after a careful survey of the<br /> various magazines then before the public, resolved,<br /> first, that he would not allow any American<br /> journal to have me—British by birth, British I<br /> should remain in the magazine where I was to<br /> appear. Hetherefore forwarded me toa shilling<br /> magazine called Burdock’s, after the illustrious<br /> Burdock, publisher, who owns that organ. The<br /> reasons which influenced him were, first, the fact<br /> that the magazine was comparatively new, and<br /> therefore presumably not so overladen with papers<br /> as some others; and next, a je ne seas quot of<br /> profundity, or gravity, peculiar to that organ.<br /> Nothing frivolous had, so far, been seen in this<br /> paper. Accordingly the author of my being sent<br /> me on to Burdoch’s.<br /> <br /> It was my first journey.<br /> <br /> The editor took me out of my wrappings and<br /> banged me on the table. I observed that there<br /> were many other MSS. lying about before him.<br /> He looked at the title—my title—all of my kind<br /> enjoy a title—and then he turned over the pages<br /> and looked at the signature. He thought a little<br /> and then he wrote in the corner at the right hand<br /> of the left page three mysterious letters—<br /> “U. B.D.” This done he tossed the MS. aside,<br /> and took up another, which he also tossed aside,<br /> <br /> Presently a boy came in and picked up the<br /> papers. He glanced at the letters in the corner and<br /> carried away all which lay in the same pile. I know<br /> not what he did to the others, but as regards<br /> myself he rubbed out the letters with a piece of<br /> greasy indiarubber, which left an indelible stain<br /> <br /> on the white paper; he then filled up a printed<br /> form which stated that the subject of the article<br /> was not suited to the pages of Burdockh’s Maga-<br /> zine, and that the editor sent it back with thanks.<br /> He then tied me up—his fingers were at once<br /> greasy and inky and muddy—and when I returned<br /> home my condition had already altered greatly<br /> for the worse.<br /> <br /> My parent received me with strong words. He<br /> cursed Burdock’s; he wished it might never<br /> prosper; he wished it might die; he read one of<br /> the cursing psalms over it. When this had<br /> calmed him he sat down and wrote to the<br /> editor of the Marlborough, offering a paper on the<br /> subject—my subject.<br /> <br /> Next day the editor replied on a printed form,<br /> that he was unfortunately too full to admit any<br /> new articles for the moment.<br /> <br /> My parent, a choleric young man, used the<br /> same language concerning the Marlborough as he<br /> had used concerning Burdock’s. Only he ab-<br /> stained from reading the cursing psalm. He<br /> also wrote off, the same day, to the editor of the<br /> Berkeley, who answered promptly, on a printed<br /> form, to the same effect.<br /> <br /> It appeared, in fact, as if nobody wanted me—<br /> nobody—wanted—Me! This was incredible.<br /> My parent tried three or four more editors with<br /> a similar result in every case. Their space was<br /> completely full; they could accept no more paper<br /> for the present.<br /> <br /> At last, however, a more favourable reply came.<br /> This editor liked the subject and would willingly<br /> read the paper. I was sent to him. This editor<br /> turned over the pages carelessly and then wrote a<br /> note. Hesaid that the paper pleased him very much,<br /> but that he thought it should receive a little hghter<br /> treatment ; something of the sportive vein; a touch<br /> of the humorous should be introduced. If the<br /> author would do this, the editor would gladly<br /> publish the article.<br /> <br /> The author received his MS. back again.<br /> Heavens! how grimy I was beginning to get<br /> already. But this was nothing compared with<br /> what followed. For my parent began to cut me<br /> to pieces ; he took out the stately Acts of Parlia-<br /> ment; he suppressed quantities of the most<br /> beautiful figures; and he put in comic anec-<br /> dotes. Thus disfigured and with the loss of<br /> all my original nobility, I went back to the<br /> editor.<br /> <br /> What follows is a bad dream to me whenever<br /> I think of it. For he put me on a shelf; ona<br /> <br /> high shelf in a dark and dirty room where gas<br /> was burned all day long, and where they used bad<br /> coal in a bad grate, the dust of which flew about<br /> all day, got down the throats of the office boys<br /> and killed them swiftly, and covered up all the<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 60<br /> <br /> hopeless MSS. My editor put me up there and<br /> left me there, and forgot me there.<br /> <br /> I lay there a year—forgotten by everybody,<br /> even by my parent, who by this time had other<br /> children to look after. I was quite forgotten. I<br /> lay there helpless, wondering why I had been born<br /> at all; why any of my companions had been born ;<br /> hidden below an inch of black dry dust, that got<br /> between the leaves and made me grimy through<br /> and through.<br /> <br /> One day the editor looked in.<br /> <br /> “ What are these?” he asked. “Take them<br /> down and send them back to their authors. No!<br /> T shall write nothing. Least said soonest mended.<br /> The writers will come along to-morrow with more<br /> stuff just the same. I shan’t make any apology<br /> to any of the crew.”<br /> <br /> So I returned again tomy parent. Nowin my<br /> absence a thing had happened. The very points<br /> advocated by him in Me had been advocated by<br /> a great statesman. He, therefore, took me again<br /> in hand, wiped off as much as he could of the<br /> grime, took out the funny things and put back<br /> the figures. ‘ Now,” he said, when he had added<br /> a clean title page—upon my word the wash and<br /> the clean title page was as refreshing as a bath<br /> and a clean shirt to a man— we will try them<br /> all over again.”<br /> <br /> He sent me once more to Burdock’s. This time<br /> the editor, who had entirely forgotten the previous<br /> rejection, looked me through and sent me to the<br /> printers. The author corrected the proof.<br /> “Now,” I said, ‘I shall surely come out.”<br /> <br /> I waited—in a drawer this time—for six<br /> months. Then another thing happened, for<br /> an Act of Parliament was passed embodying all<br /> the suggestions. The author wrote to the editor<br /> asking how long he was to wait. The editor sent<br /> me back for alterations. Again I was pulled to<br /> pieces and rewritten.<br /> <br /> Then I came out at last. Two years anda half<br /> since I was first sent in.<br /> <br /> What attention I received on my appearance I<br /> know not. No Article ever knows. It must have<br /> been great, though, because Burdock’s died that<br /> very month. Burdock’s was killed by Me!<br /> <br /> oe<br /> <br /> NOTES FROM PARIS.<br /> <br /> <br /> <br /> N returning to Paris from fooling round on<br /> <br /> a bicycle in some of the prettiest country<br /> imaginable, I find on my bureau table a<br /> volume of 636 pages, on the fly-leaf of which is a<br /> dedication in autograph from “son devoué con-<br /> frére, Emile Zola.” This is the long-waited-for<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “La Débicle,” by far, the most important work<br /> that the great master has yet put forth. It is not<br /> my place to criticise this extraordimary and epoch-<br /> making novel which should certainly be read by<br /> everybody who has any interest in literature, and<br /> I accordingly content myself by subjoining the<br /> descriptive notice, which the amiable publishers<br /> Messrs. Charpentier and Fasquelle, enclose in<br /> each press-copy, with a priére d’insérer. It gives<br /> a brief description of the work, as well as certain<br /> <br /> indications of the enormous success that this book |<br /> <br /> is destined to achieve.<br /> <br /> “ Jamais un livre d’Emile Zola n’a été aussi im-<br /> patiemment attendu que ‘La Débacle,’ qui sous<br /> sa couverture jaune envahit depuis ce matin<br /> toutes les vitrines des libraires.<br /> <br /> “Son succts anticipé est tel, que le jour méme<br /> de la mise en vente, les éditeurs Charpentier et<br /> Fasquelle répandent dans le public, pour les<br /> seules demandes d’avance, soixante-six mille<br /> exemplaires. Cet engouement ne sera certes pas<br /> décu, car ’époque néfaste de 1870-71 a inspiré<br /> au Maitre une ceuvre grandiose et terrible, com-<br /> parable aux épopées antiques. Dans ce roman<br /> qui captivera également les femmes, l’auteur a<br /> choisi ses personnages principaux surtout parmi<br /> les plus humbles, ce qui rend plus frappants<br /> encore les tableaux de désorientation, de carnage,<br /> d’héroisme et de désolation décrits en des pages<br /> superbes. Malgré l’étendue inusitée de cette<br /> ceuvre, ‘La Débicle’ est contenue en un seul<br /> volume de la Bibliothéque-Charpentier.”’<br /> <br /> <br /> <br /> To understand the familiar expression, dear<br /> alike to authors and to publishers, about a book<br /> “going off like hot cakes,’ one ought to stroll<br /> on the boulevards the day of the publication of<br /> one of Zola’s novels. Already early in the morn-<br /> ing the trottoir shelves of the booksellers are<br /> yellow with piles of copies—mountain-high—of<br /> the new work, and hour by hour these piles<br /> dwindle down, and are renewed by panting book-<br /> stall clerks. A new animation is given to the<br /> boulevards, and in every hand may be seen the<br /> yellow back, so that a new colour is given to the<br /> streets. An impressionist painter might make a<br /> very striking picture out of the subject, ‘‘ Paris<br /> on a Zola morning,” and for this he would need<br /> not much more than his tube of light yellow.<br /> Zola’s works are never packed up in paper and<br /> string, but carried off hastily, as for immediate<br /> consumption, and this, in the eyes of the book-<br /> sellers’ clerks, means far more as a sign of his<br /> immense popularity than the sale of ever so<br /> many thousands. The purchasers can’t wait till<br /> they get home to have a taste, and even to-day I<br /> saw tardy buyers walking down the streets turn-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ing over the leaves. ‘‘ La Débacle” is not, how-<br /> ever, a book to be so lightly read. It is a work<br /> for the study.<br /> <br /> <br /> <br /> Professor Minto prefaces a highly interesting<br /> account of the earnings realised by various<br /> authors of the past, which appeared in a recent<br /> number of the Speaker, with a good-humoured<br /> criticism of my “ inconsistency ” in blaming the<br /> habit of speaking about authors’ incomes and<br /> earnings which certain journals indulge in, in<br /> the same number of the Author in which I had<br /> given certain particulars about the remuneration<br /> earned by a number of noted French authors.<br /> It does look inconsistent to be sure, but, at the<br /> same time, is not the Author entre nous, and may<br /> we not talk about our own affairs between our-<br /> selves? If this is not a good excuse, I may pos-<br /> sibly defend myself that the incriminated para-<br /> graph was perhaps the outcome of the anger of<br /> the Author Jekyll against the Journalistic Hyde.<br /> Jekyll might very justly be incensed at Hyde<br /> for not holding his tongue, because the author<br /> and the journalist by their very natures work on<br /> different lines. The journalist must say every-<br /> thing, whilst with the author ne pas tout dire still<br /> remains the great art.<br /> <br /> <br /> <br /> Apropos of authors and journalists, I was<br /> rather amused at reading in a recent American<br /> magazine an article by a_ well-known lady<br /> novelist in which writing about the “ Penalty of<br /> Greatness” she animadverted, in no measured<br /> language, on the custom of interviewing, which<br /> she described as a nuisance, an impertinence, and<br /> so forth. She added something about the “great<br /> writer being forced to divulge his private affairs<br /> to the newspaper hack.” It is high time that<br /> writers of books should cease their de haut en bas<br /> ways, their sneering little ways towards their con-<br /> fréres of the press. There is far more good<br /> writing in the daily press than in all but very few<br /> novels, and it is beyond dispute that a leader by<br /> such men as Sala and Lang, not to mention<br /> many other names, shows as much literary skill<br /> and artistic sense as many pages in the best con-<br /> temporary fiction. And as to hacks this term is<br /> foolishly inappropriate as applied to writers for<br /> the Press, inasmuch as most journalists make far<br /> better incomes and have a much higher and older<br /> time of it than all but very few writers of books.<br /> Many men who would make very good writers of<br /> books prefer to remain journalists because their<br /> talents lie in quick work and their hankerings are<br /> after quick returns. Some, doubtless, also prefer<br /> the immeasurably larger public that the news-<br /> paper as compared to the volume assures them,<br /> <br /> 61<br /> <br /> A good article is far more read and far more<br /> noticed by the larger public than nearly any<br /> book,<br /> <br /> ——+ &gt;—__~<br /> <br /> “The great. writer” by the way is almost in-<br /> variably delighted to see the newspaper hack and<br /> to shovel out his experiences and opinions for his<br /> purpose. Zola, for instance, or Daudet, or Rénan<br /> can always be interviewed at any length, and the<br /> same may be said of almost all French writers.<br /> Poor De Maupassant, on the other hand, invari-<br /> ably refused to be interviewed.”<br /> <br /> <br /> <br /> The journalist Hyde, maugre the author<br /> Jekyll, wants to give a few more particulars<br /> about the earnings of the writers of the roman-<br /> Jeuilleton which have come his way since last<br /> month. Jules Mary, for instance, makes his<br /> 60,000 frances with one of his thrillers, and in<br /> this way. His price for the use of a serial by a<br /> paper is 30,000 francs. The publishers who bring<br /> the story out in penny parts after its appearance<br /> in the paper pay him for such use a further sum<br /> of 25,000 francs. The book is then published in<br /> volume form, which brings in the balance of<br /> 5000 franes. Besides these sums he always turns<br /> a pretty additional penny by authorising its<br /> reproduction in the country newspapers. M.<br /> D’Ennery charges fifteen pence a line for his<br /> feuilletons, but prefers dramatic work. His<br /> novel, “An Angel’s Remorse,” brought him<br /> 70,000 francs. De Montépm also works “A la<br /> ligne” and makes 70,000 frances a year with one<br /> novel. Times have changed since the days when<br /> the editor .of La Constitutionel was thought<br /> to be going out of his mind when he paid Eugene<br /> Sue 6000 francs for the serial rights of “ Les<br /> Mystéres de Paris.”<br /> <br /> &lt;I<br /> <br /> Richebourg, who is still one of the most succes-<br /> ful feuilletonists, was originally employed as a<br /> clerk in the offices of the “ Societé des Gens de<br /> Lettres.” His duty was to make up the author’s<br /> accounts with the provincial papers, and to pay<br /> over the large sum to which the members were<br /> entitled. He was paid for this work £80 a<br /> year. One day, struck by the large profits which<br /> the feuilletonists seemed to earn, he began<br /> reading some of ths feuilletons, for which he had<br /> paid over such large sum-. It then struck him<br /> that he could write as good stuff if not a jolly<br /> sight better. He tried it, succeeded, and in a<br /> very short time had increased his income thirty-<br /> fold. He is now a millionaire and has shed more<br /> blood in and caused more tears to flow over his<br /> pages than perhaps any living writer.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 62<br /> <br /> Jean Moréas, who by many is considered the<br /> first poet in France, is one of the most curious<br /> personalities in contemporary French literature.<br /> Of arestless temperament, he is constantly moving<br /> his chattels from one quarter of the town to<br /> another. I bave found him on the heights of<br /> Montmartre, and in remote Montrouge. Asa<br /> rule he is very mysterious about his address, and,<br /> being irrevocably noctambulist, is very rarely seen<br /> except at nights. He was the founder of the<br /> Symbolist school of poetry, and is now engaged in<br /> forming the Ecole Romane, the members of which<br /> are recruited amongst the dissidents fiom the<br /> former School, which was split into parties by the<br /> quarrels provoked by Huret&#039;s book on the literary<br /> movement in France. Moréas may sometimes be<br /> seen between the hours of ten o’clock and four<br /> in the mornmg, either walking the Boulevard St.<br /> Michael or sitting in some little frequented<br /> marchand de vin’s shop. His three or four<br /> disciples are always with him, and itis interesting<br /> to see how they hang upon his lips. Moréas is a<br /> thorough poet, and, as he walks along with his<br /> eyeglass fixed, he mutters his rhymes aloud. He<br /> publishes very rarely, and only after long elabo-<br /> ration His books, which are published in very<br /> small editions, are out of print, and copies fetch<br /> phenomenal prices. He is an excellent swordsman<br /> and has great personal courage. Iwas his second<br /> in one of his duels against Darzens, and really<br /> adwired the pluck with which he fought during<br /> an hour and a half.<br /> <br /> Rosert H. SHERARD.<br /> <br /> Paris, June 24.<br /> <br /> eae<br /> <br /> SONNET.<br /> <br /> <br /> <br /> ON HEARING A FRIEND PLAYING REMINISCENCES OF<br /> WAGNER.<br /> <br /> Hark! in my soul, how those sweet concords flow ;<br /> Liquid and clear; like tardy summer rain,<br /> That drops—and stays—then hurries down again,<br /> The while soft winds begin to stir, and blow.<br /> <br /> I seem to see, beneath the still moonlight<br /> A Rhineland town; and, by some ancient tower,<br /> Two lovers who have known foul envy’s power<br /> Fled for communion in the quiet night.<br /> <br /> But all too fast the trancéd moments fly ;—<br /> They must not linger, murmuring heart to heart ;<br /> They hear the watchman’s solemn measured cry ;<br /> Yet cannot tear those passionate lips apart.<br /> <br /> The deep toned tower clock tolls the hour supreme,<br /> And music dies on love’s enraptured dream.<br /> <br /> Ziretua F. TomKIns.<br /> Acton, 1892.<br /> <br /> sree<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> WOMEN IN JOURNALISM.<br /> <br /> <br /> <br /> with modern journalism is the rapidity<br /> with which women have pressed into its<br /> ranks during the last ten years.<br /> <br /> When, a few months ago, the idea of a club<br /> for women journalists was promulgated, even its<br /> promoters felt some doubt as to whether there<br /> were a sufficient number of women engaged in<br /> newspaper work to make such an institution<br /> financially possible. But such fears were dissipated<br /> within a month of the time that the idea found<br /> articulate expression; and at this moment the<br /> Writers’ Club (within less than a year of its<br /> foundation) is a flourishing concern, with some<br /> hundreds of members, all of whom are engaged<br /> in literary, and the majority in newspaper work.<br /> <br /> These numbers constitute a sufficiently startling<br /> fact when we remember that journalism as a pro-<br /> fession for women is only a thing of yesterday;<br /> and in that consideration of it two aspects<br /> immediately present themselves to 2 thoughtful<br /> person :—<br /> <br /> (1.) Is the effect produced on journalism by<br /> this invasion of women a salutary one ?<br /> <br /> (2.) Is journalism a desirable method for<br /> women to earn their living ?<br /> <br /> With regard to the first question the answer<br /> must necessarily be of a cautious character, and<br /> will to a great extent depend upon the attitude<br /> taken up towards modern newspaper literature<br /> by the individual who answers it. Those who<br /> look upon the present condition of the press with<br /> unalloyed satisfaction, and those who consistently<br /> maintain in the face of anything in the way of<br /> proof or evidence that the influence of women in<br /> journalism, as in everything else, is necessarily a<br /> good one, will probably regard the situation from<br /> the optimistic point of view only. Those, how-<br /> ever, who prize that vigour and virility of senti-<br /> ment and writing which characterises the best<br /> masculine pens ; who deplore the personalities,<br /> gossip, and feminine tone which find so prominent<br /> a place in many of the papers; who value style<br /> and scholarship and humour, all of which stand<br /> a chance of being neglected if not lost, will see<br /> reason for regret that so. much of the literature<br /> of the day is written by women.<br /> <br /> Nowhere, in the opinion of the present writer,<br /> can this deteriorating and demoralising influence<br /> be seen to better advantage than in the society<br /> papers, which, however, it is only just to say are<br /> as much read by men as by women.<br /> <br /> There area large number of so-called high class<br /> society periodicals, the greater part of which con-<br /> sists of the vulgarest gossip and personalities<br /> <br /> N | OT the least striking feature in connection<br /> <br /> <br /> <br /> <br /> <br /> <br /> Ave &gt;<br /> <br /> ibe<br /> <br /> a ia<br /> <br /> <br /> <br /> THE AUTHOR. 63<br /> <br /> about the conversation, mode of life, and move-<br /> ments of persons who are in no sense of the word<br /> “‘ public ;’ who have distinguished themselves in<br /> no legitimate way, and often in no way at all<br /> outside existing; and whose “smartness,” or<br /> fastness, or money alone, make them the object<br /> of this rubbishing tittle-tattle. Whilst, however,<br /> a good portion of this literature is as harmless as<br /> it is stupid, the same cannot be said of the very<br /> latest development of feminine enterprise in the<br /> press, which seems likely to have a flourishing<br /> existence before it. This takes the form of<br /> a “lady’s letter,’ and is written ostensibly by a<br /> lady of fashion whose fastness not only goes to<br /> the verge of disreputability, but some way beyond<br /> it. She purports to give an account of her week’s<br /> doings, which generally include visits to music<br /> halls and other places not usually considered<br /> classic ground for decent women. Somewhere or<br /> other there is one “ Charlie’”’ or “ Jack ”’ in tow,<br /> and this accommodating husband invariably<br /> figures in the description so as to give the thing<br /> presumably an air of propriety. Let any im-<br /> partial person peruse some of this bare flippant<br /> worthless stuff now becoming so general, and ask<br /> himself whether it can have anything but a<br /> vicious effect on the brainless young persons (it<br /> is to be supposed they are young) who read it<br /> every week. But, even if these society papers are<br /> left out of account, it must be apparent to any<br /> one who has an intimate acquaintance with current<br /> newspaper literature, that the ewig weibliche<br /> strain is far too predominant, and that the<br /> hysterical and emasculate attitude taken up in<br /> some quarters on certain social and other ques-<br /> tions is a direct result of this feminine influence,<br /> Of course a large amount of respectable journalism<br /> is done by women, and is read by women; and<br /> the proof of this is to be found in the existence<br /> of so well written and ably conducted a paper as<br /> the Queen; and in the successful launching of<br /> the new paper for women, Hearth and Home,<br /> which has papers on purely literary topics written<br /> in excellent style. But (with the exception of a<br /> few individual women who have made their<br /> literary reputation elsewhere) the better sort of<br /> newspaper work, which includes leader writing,<br /> reviewing, and miscellaneous literary articles is not<br /> in the hands of women at all, whose main busi-<br /> ness is concerned with paragraphs and articles<br /> about social functions, the shops, fashions,<br /> cookery, home decoration, and reports of lectures,<br /> meetings, weddings, and so forth. To write<br /> <br /> successfully upon cookery and art decoration<br /> requires a certain amount of technical knowledge,<br /> and women who are well up in these subjects<br /> find a ready market and very good prices for<br /> Carried on legitimately<br /> <br /> their literary wares.<br /> <br /> —that is to say, without puffs and bribes—this<br /> seems a very suitable and desirable field for the<br /> action of the feminine pen. But—and this<br /> brings me to the second part of my inquiry—can<br /> much be said in praise of the work of the ordi-<br /> nary lady journalist, which involves the constant<br /> wear and tear of reporting, night work, severe<br /> physical strain; which necessitates, if she is to<br /> get on, an astounding exhibition of audacity and<br /> push, and which perpetually compels her to place<br /> her natural impulses of reserve and unaggressive-<br /> ness in the background, which includes the inter-<br /> viewing of persons who are not gentlemen, and<br /> the formation of promiscuous acquaintance ; and<br /> which, above all, forces her to write about worth-<br /> less trivialities, which, if she have any better sort<br /> of aspiration or literary taste, she heartily des-<br /> pises. As a set-off against these disadvantages,<br /> it must be admitted that a woman possessing but<br /> average intelligence and quickness (even if her<br /> education be of the most limited kind), can make<br /> a very fair living out of this sort of journalism;<br /> whilst a woman with moderate ability, with good<br /> education and a facile pen, and a quick eye, can<br /> make double the income earned by her scholarly<br /> sister who has graduated at Newnham, and become<br /> a high school teacher—which is only another<br /> way of stating that journalism is the one profes-<br /> sion, vocation, or trade, or whatever its enemies<br /> like to call it—in which the work of men and<br /> women is paid for at precisely the same prices.<br /> So far as I know, the real genuine life of the<br /> woman journalist has yet to be written, and would<br /> afford interesting and fresh ground for a female<br /> Thackeray, if she ever arises. What a pity it is<br /> that some enterprising Press lady does not herself<br /> give us her experiences, and “betray the secrets<br /> of the prison house.” We might then get a<br /> solution of the problem that has puzzled a good<br /> many of us, as to the reason that certain ladies,<br /> whose scholarship is as little evident as their shy-<br /> ness, are in the happy position of realising large<br /> incomes. A recipe given me by an artless and<br /> pretty young lady journalist, might be of some<br /> use to the future novelist : ‘ Oh, it’s quite easy to<br /> get heaps of work if the Editor ’s ‘gone on you.’”’<br /> It must be remembered the speaker had charming<br /> eyes and lips, but how about the women who are<br /> not young or attractive? For them there is<br /> nothing but hard work, unflagging alertness, per-<br /> severance, and patience. If they have not sound<br /> nerves and good health, God help them!<br /> <br /> x YZ.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 64<br /> <br /> AUTHORS BY PROFESSION.<br /> <br /> <br /> <br /> (Reprinted from the Speaker by kind permission<br /> of Professor Minto.)<br /> <br /> The first man who is known to have called<br /> himself an “author by profession’? — ‘ book-<br /> seller’s drudge,” or “‘ Grub-street hack,” was the<br /> less dignified and more common designation—<br /> was one William Guthrie, who wrote for the<br /> Gentleman’s Magazine before and along with<br /> Samuel Johnson, and produced some historical<br /> works of considerable merit. “Sir,” said his<br /> great contemporary of him, “he is a man of<br /> parts. He has no great regu&#039;ar fund of know-<br /> ledge; but by reading so long and writing so<br /> long, he no doubt has picked up a good deal.”<br /> But seeing that Guthrie eked out his income<br /> from the booksellers by soliciting and taking the<br /> pay of the Government, we had better leave him<br /> with this compliment. The Society of Authors<br /> would not be proud of him ; his modern analogue<br /> is to be found in the “reptile press’ of<br /> Germany.<br /> <br /> The first great “author by profession,” the<br /> first man who made a living by his writings and<br /> at the same time a classic reputation, was Samuel<br /> Johnson himself. His independent and practical<br /> spirit first put the profession or trade of author-<br /> ship on a sound footing, and substituted the<br /> capitalist for the patron. One of the letters<br /> recently published by Mr. Birkbeck Hill is a<br /> curious evidence of his business-like spirit. He<br /> writes to a correspondent and mentions various<br /> literary schemes suitable for “an inhabitant of<br /> Oxford.” But he adds: “I impart these designs<br /> to you in confidence, that what you do not make<br /> <br /> use of yourself shall revert to me uncommuni-’<br /> <br /> cated to any other. The schemes of a writer are<br /> his property and his revenue, and therefore they<br /> must not be made common.”<br /> <br /> A prior claim might be made for Pope, on the<br /> strength of two lines in one of his “ Imitations of<br /> Horace ”’—<br /> <br /> “ But (thanks to Homer) since I live and thrive<br /> Indebted to no Prince or Peer alive.”<br /> <br /> Pope certainly made more money out of his books<br /> than Johnson. Johnson got ten guineas for his<br /> “ London,” and 1500 for his Dictionary, whereas<br /> Pope made 8000 out of his translations of Homer.<br /> But Pope held the profession of authorship in<br /> high disdain. He was what, on the analogy of<br /> “ gentleman-farmer,” might be called a “ gentle-<br /> man-author.” He professed to write for the<br /> passing of time and the improvement of man-<br /> kind.<br /> <br /> The first authenticated sale of copyright by an<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> author is commonly said to be Milton’s sale of<br /> “ Paradise Lost” to Simmons. But money had<br /> often passed between publisher and author long<br /> before this. Fuller, the witty author of “The<br /> Worthies,” avows as one of his objects in<br /> publishing, “which he is not ashamed publicly<br /> to profess,” “ to procure a moderate profit to him-<br /> self, in compensation of his pains.” “ Hitherto,”<br /> he boasts, no stationer hath lost by me.” He<br /> published, however, by subscription ; that is, he<br /> had to act as his own commercial traveller.<br /> <br /> This was under the Commonwealth: Fuller, a<br /> Royalist clergyman, was driven to seek some<br /> “honest profit” out of books by the troubles of<br /> the times. But a century earlier there were men<br /> who made their living, or part of their living, by<br /> books, and yet made a certain name for them-<br /> selves in literary history. They were not all so<br /> fortunate as Sir Thomas Elyot, the author of the<br /> “The Governour,’ who, when accused by his<br /> friends of “neglecting his profit” in writing<br /> books, mentioned this to his readers, and assured<br /> them that he desired only their “gentyll report<br /> and assistance agaynst them which do hate all<br /> thynges which please not their fantasyes.”<br /> There were others who felt moved to write, and<br /> yet were under the necessity of trying, like Fuller,<br /> to get some compensation for their pains.<br /> <br /> How was it done in the days before copyright<br /> developed into a marketable commodity? The<br /> printers were protected by royal privilege, and it<br /> would seem that our earliest men of letters, from<br /> soon after the introduction of printing, eked out<br /> a livelihood as correctors of the press. This was<br /> a recognised resort for the poor scholar. In the<br /> times of persecution under Mary, several of the<br /> Protestant refugees settled at Basle, and this,<br /> Strype tells us, they did “upon two reasons.<br /> One was because the people of that city were<br /> especially very kind and courteous unto such<br /> English as came thither for shelter; the other,<br /> because those that were of slenderer fortunes<br /> might have employment in the printing-houses<br /> there, the printers of Basil in this age having<br /> the reputation of exceeding all others in that art<br /> throughout Germany, for the exactness and<br /> elegancy of their printing. And they rather<br /> chose Englishmen for the overseers and cor-<br /> rectors of their presses, being noted for the most<br /> careful and diligent of all others. Whereby<br /> many poor scholars made a shift to subsist in<br /> these hard times.”<br /> <br /> One of these was John Foxe, the historian of<br /> the martyrs, who obtained employment with the<br /> printer Oporinus (Herbst), to whom he offered<br /> his services in what Strype calls “a handsome<br /> epistle,” “wherein he desired to be received by<br /> him into his service, and that he would vouchsafe<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> LHE AOTHOR. 65<br /> <br /> to be his learned patron, being one that would<br /> be content with a small salary.”’<br /> <br /> Another early instance of the printer acting as<br /> learned patron is found in the case of Thomas<br /> Wilson, author of the first English treatises on<br /> logic and rhetoric. In the preface to his Logic<br /> (1552) he says :—“ Notwithstanding I must nedes<br /> confesse that the printer hereof, your Majestie’s<br /> Servaunt, provoked me firste hereunto, unto<br /> whome I have ever found myselfe greately<br /> beholdyng, not onely at my beyng in Cambridge,<br /> but also at al tymes els, when I most neded<br /> helpe.” This honourable printer was the famous<br /> Richard Grafton, of whom many creditable<br /> things are recorded in the chronicles of printing.<br /> <br /> Grafton’s partner in more than one of his enter-<br /> prises, notably in the printing of the New Testa-<br /> ment and the Bible, was Edward Whitchurch;<br /> and perhaps the very first authentic example of<br /> the author by profession was a “-ervant”? with<br /> Whitchurch, This was William Baldwin, an<br /> Oxford man. who lived by the press, not asa<br /> casual resource, or while waiting tor church pre-<br /> ferment, but till at least thirty years after taking<br /> his degree, his only other ascertained employment<br /> being some share in the preparation of entertain-<br /> ments for the Court.<br /> <br /> Baldwin is said to hive set up with his own<br /> hands the type of his metrical version of the<br /> Canticles ; but that, nevertheless, he held what<br /> might be called a good literary position is proved<br /> by his share in the “ Mirror for Magistrates.”<br /> When Wayland, a printer of Mary’s time, projected<br /> a continuation in English verse of Boccaccio’s “ De<br /> Casibus Virorum Illustrium,” it was to Baldwin<br /> he went with the idea; and the modest Baldwin,<br /> though he would not undertake the work single-<br /> handed, seems to have had no difficulty in getting<br /> men of note to work under his editorship.<br /> <br /> This is an interesting example of the early<br /> relations between authors and publishers. Caxton<br /> was often his own author; but he was soon<br /> followed by others wh:, though they could not<br /> write themselves, could see where there was an<br /> opening for talent. Ido not know of any instance<br /> where the printer has suggested his subject to a<br /> man of genius, and I rather doubt whether any<br /> such instance is tv be found; but the sagacious<br /> foresight of the printer has undoubtedly often<br /> been profitable in this way to authors of talent.<br /> Thomas Wilson is not the only author who has<br /> been “ greately beholdynge” to a publisher for a<br /> timely suggestion, though not a few may have<br /> found their employer, as Johnson found Cave, a<br /> “‘penurious paymaster.” This also was in the<br /> nature of things.<br /> <br /> W. Minto.<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> Ee<br /> Usrrut Booxs.<br /> Me I suggest that the very valuable<br /> <br /> list of books, useful to authors as works<br /> <br /> of reference, published in the Author,<br /> would have an enhanced value if those kind<br /> enough to submit the lists of their favourites<br /> would append price, which they would no doubt<br /> willingly do if you drew attention to the want of<br /> such information by others as well as<br /> <br /> J. D. Hurcrsson.<br /> <br /> &lt;a<br /> <br /> iT,<br /> Dors tHe HicHer Literature Pay?<br /> <br /> Most phrases, in these days, are but shams.<br /> But if there should happen to be some truth<br /> in the phrase ‘‘ Republic of Letters,” I may,<br /> perhaps, be permitted to question, with Repub-<br /> lican freedom, certain dicta of our honoured<br /> editor. He “can see no ‘higher form’ of<br /> literature at all, unless it be poetry.” And<br /> philosophy—in which, of course, the whole round<br /> of the sciences is included—he declares to be, “so<br /> far as he can discover,” no higher a form of litera-<br /> ture than “essays, or biography, or fiction.”<br /> Literature, then, is to be judged by what it con-<br /> tributes to human amusement, not by what it<br /> contributes to human progress. And the essayists,<br /> and biographers, and novelists of, say, the last<br /> three hundred years, are all, as authors, on a<br /> level of equality with—if, indeed, considering the<br /> greater amount of amusement they have given,<br /> not ona much higher level than—such philoso-<br /> phers as Bacon and Newton, and Hobbes, and<br /> Locke, and Hume, and all the scientific dis-<br /> coverers put together down to Darwin and<br /> Spencer, classics though their chief works will<br /> certainly remain long after—<br /> <br /> Rudyards cease from kipling,<br /> And Haggards ride no more.<br /> <br /> I trust that I may be allowed to record my strong<br /> protest against judging literature, in the large<br /> sense of the word, by a standard so low as that<br /> which places “essays, and biography, and<br /> fiction” on a level with works m which the laws<br /> of the universe, and of man’s nature and history<br /> are being progressively revealed.<br /> <br /> Our editor is also certain that “the :eading<br /> public is wise enough and clever enough to dis-<br /> cover the great genius, and even the little genius,<br /> as soon as ever he appears.”” And in verification<br /> <br /> of this assertion, he “instances Messrs. Stevenson,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> 66<br /> <br /> Rudyard Kipling, and J.M. Barrie.” That such<br /> a thing exists as philosophic and scientific genius,<br /> as distinguished from the sort of genius that<br /> “the reading public can discern as soon as ever it<br /> appears,” is not recognised by oureditor. Had it,<br /> indeed, been recognised, our editor’s contention in<br /> his “‘ Notes” for June could not have been main-<br /> tained for a moment. That contention is, that<br /> there 1s no possibility now, in the wide bounds of<br /> the Republic of Leiters, of the existence of such<br /> an unfortunate as ‘“‘a neglected anda starving<br /> genius.” Possibly this may be so, if the term<br /> “genius” is limited to those who have a genius<br /> for amusing. Butif the term is used in its larger,<br /> and indeed, ordinary sense, to include philosophic<br /> and scientific genius, I say that, under present<br /> conditions in this country, genius, if it takes up<br /> philosophy or science, will almost certainly en-<br /> counter both ‘‘ neglect and starvation,” if it is<br /> not, by private fortune, made independent of the<br /> discernment of ‘the wise and clever reading<br /> public.”<br /> <br /> For what are the facts? Not a single one of<br /> all the men of philosophic and scientific genius<br /> abovenamed or alluded to, could have pursued<br /> those philosophic and scientific researches which<br /> are the chief glory of English literature, had it<br /> not been for private fortune, or the aid of private<br /> friends. “If a man,’ says our editor, “is a<br /> writer of ‘solid’ literature, he is a professor or<br /> lecturer, a fellow of his college, a teacher of some<br /> kind.” Possibly, if it is very ‘“ solid literature,”<br /> this may be so. But if it is highly original<br /> literature, immensely advancing human thought,<br /> and hence social progress—yet, for that very<br /> reason, neither decorously dull, nor prettily<br /> “amusing ’’—the author of it, a Darwin, or a<br /> Spencer, for instance, will have no change of a<br /> professorship, and, if he is without private<br /> fortune, will have but the dire alternative of<br /> starvation, or abandonment of his work. Except;<br /> perhaps, he were a mathematician, hardly one of<br /> the great thinkers and discoverers, to whom<br /> English literature chiefly owes its place among<br /> literatures, was a professor, or would probably—<br /> notwithstanding “the wisdom, and cleverness,<br /> and quick discernment of the reading public ”»—<br /> have been allowed to become a professor. For<br /> consider these two significant facts :<br /> <br /> The late Lord Giffard, in 1887, bequeathed<br /> £80,000 to found, at the Scottish Universities,<br /> four Lectureship on Natural Theology, in nominat-<br /> ing to which he enjoined, in the most express<br /> language which it was possible to use, that these<br /> lectures should be made the means of stimulating<br /> the freest scientific discussion on religious sub-<br /> jects, even to the denial of the existence of a God,<br /> if that should be the conclusion of any mani-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> festly earnest thinker. What has been the<br /> result? Not the encouragement of new thinkers,<br /> as intended by the testator, but an ampler<br /> endowment either of orthodox Christians or of<br /> men whose scientific opinions have been before<br /> the world for the last thirty years and more, and<br /> which are now, to say the least, very seriously<br /> questioned, if not altogether overthrown by the<br /> later results of scientific research. Or consider<br /> another fact, of which the reader will find fuller<br /> particulars in a paper by Lord Rayleigh, Sec.<br /> R. S., in Mature, 12th May, 1892. Nearly half a<br /> century ago (1845) the now received scientific<br /> theory of gases was anticipated by a Mr. J. J.<br /> Waterston. But his paper—now, at length,<br /> published by the Royal Society im full—was, at<br /> the time, reported on as nothing but nonsense,<br /> unfit even for reading before the Royal Society.<br /> “Little chance for such a genius of gaining his<br /> living as a ‘ professor.’ ”’<br /> <br /> J. S. Sruart GLENNIE.<br /> <br /> [Granted the fact that scientific research does<br /> not by itself suffice to keep a man ; there remains<br /> the additional fact that this is recognised, and<br /> that no scientific man tries to live by research. So<br /> that there is no such thing as a scientific genius<br /> who is starving. I did not say that there could<br /> be no such thing, but that there is not, any more<br /> than there is a starving poet. I venture to<br /> reassert my claim that there is no kind of<br /> literature higher than another, unless it be<br /> poetry.—W. B.]<br /> <br /> <br /> <br /> III.<br /> ANOTHER SIDE.<br /> <br /> In the Author for April was a _ story—<br /> imagined of course—about a plain yuung writress<br /> —I use the adjective as we say “a plain man,” un<br /> homme moyen—who attained to constant publica-.<br /> tion and high pay by nobbling editors in a—<br /> what shall I say ?—physiological manner. It<br /> was a good story. Every story is good until<br /> another is told. And the teller of the other story<br /> in this case is “ Georges de Peyrebrune ” (whose<br /> legal status is Mme. Mathilde-Georgina-Hliza-<br /> beth de Judicis) in “Le Roman d’un Bas Bleu”<br /> (Ollendorff, 1892). This new novel is supposed<br /> to disclose the Confessions of another young<br /> littératrice who is by no means so plain and down-<br /> right as our own young person, and who declares<br /> that whenever a (French) journal or a review is.<br /> directed by men, no authoress can get anything<br /> inserted without “submitting to the exigencies<br /> of these gentlemen.” Is this the moment to<br /> quote our pseudo-Yorick, and say: “They order<br /> this matter better in France?” ‘That is not what<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 67<br /> <br /> Mile. Sylvere du Parclet says in this realistic<br /> novel. If we believe her, every (French) editor’s<br /> sanction is “the grotto of a satyr,” and the inter-<br /> views between Mlle. Sylvére and the autocrat of<br /> the grave and learned Revue des Universités,<br /> with his fine tawny beard and his inflammatory<br /> grey eyes, are of the most stirring actuality.<br /> Sylvére, of course, rises superior to the occasion,<br /> to all the occasions; but the depressing result is<br /> that virtue is her own and only reward, for the<br /> word goes about, and “no newspaper, no maga-<br /> zine, will accept anything more from her.” All<br /> she has to do is to disappear from literary life.<br /> But before doing so, she determines to have her<br /> revenge in writing this novel, of which the real<br /> authoress in the flesh is now—may one be indis-<br /> creet enough to stater—in her 46th year. She<br /> has written some sixteen successful books, several<br /> of which have passed through the Revue des<br /> Deux Mondes. One supposes la moralité, or<br /> shall we say the morality of all this, lies in the<br /> fact that neither story, neither the French nor<br /> the English, is true. Both can’t be, surely?<br /> <br /> <br /> <br /> TV.<br /> BopENSTEDT.<br /> <br /> Germany is not forgetful of her writers. The<br /> grave has hardly closed over her poet Frederich<br /> von Bodenstedt, when a committee is appointed<br /> in Wiesbaden, his home, to collect funds for a<br /> national memorial to the creator of Mirza Schaffy,<br /> the poet-philosopher. In the appeal sent forth<br /> from this committee is the note, that Bodenstedt<br /> will live in the minds of Ger mans of all shades of<br /> politics or thought; but, “a nation only honours<br /> itself when it shows itself thankful to its mind-<br /> heroes, even after the grave has received their<br /> mortal remains,’ Frederich von Bodenstedt had<br /> a marvellous knowledge of English literature; a<br /> list of his works on Shakespeare would fill a<br /> column of the Author, and in his last letter to<br /> me, he refers to the demand for a new edition of<br /> his translation of Shakespeare’s Sonnets; and I<br /> well remember, the last time I was with him in<br /> his study in Wiesbaden, his outburst of sarcasm<br /> and anger when a Halle Professor asked him his<br /> opinion as to the Bacon authorship of Shakes-<br /> peare. His powerful brain (he had an immense<br /> head) and abnormal memory made him a most<br /> interesting conversationalist ; but perhaps I may<br /> be allowed to speak of him more fully at another<br /> date.<br /> <br /> James Baxur.<br /> <br /> Vv.<br /> Press Copies.<br /> <br /> As, from a reference in this month’s issue of<br /> the Author to a letter of mine which appeared in<br /> the last August number, advocating the abolition<br /> of presentation copies of books to the press, it<br /> might appear that there are insurmountable<br /> objections to the proposal bemg carried out, I<br /> would like to be allowed to state my case again,<br /> and perhaps strengthen it in the light of further<br /> experience<br /> <br /> A journal is conducted for the profit of its<br /> owner. He does all he can to interest his readers,<br /> and enhance its circulation. Reviews of books<br /> are inserted because it is believed that they will<br /> interest the readers, and thereby assist the sale of<br /> the paper. Some books that are sent to be<br /> reviewed are not reviewed, because it is believed<br /> that an account of them would not interest the<br /> readers. The readers of the paper (the public)<br /> are the persons considered in deciding whether a<br /> book shall be reviewed or not. The author of<br /> the work is not considered, because the review is<br /> not written for his benefit. The review is written<br /> for the benefit of the paper, the profit of the<br /> proprietor, not for that of the author. The<br /> author may benefit by the review. The review<br /> may be unfavourable to the author, even inju-<br /> rious. To say that the object of the review is<br /> the injury of the author is as much reason as to<br /> say that the object is his benefit. The result of<br /> the review to the author, its benefit or detriment<br /> to him, is accidental and incidental.<br /> <br /> Books are now given to journals for review so<br /> that the author may benefit by the publicity thus<br /> obtained. He does not always obtain this pub-<br /> licity. The publicity is not always to his benefit.<br /> <br /> By presenting copies to the press, the author or<br /> publisher asks for the benefit of publicity. The<br /> proprietor of the journal gives or refuses it ac-<br /> cording as he thinks it will interest his readers or<br /> not—will or will ‘not advance his own interests.<br /> The author or publisher does not take up an in-<br /> dependent position. The newspaper proprietor<br /> would be bound to come to him for the sake of<br /> the interests of his paper, his own interests, if<br /> the author or publisher did not run after him.<br /> The author or publisher sacrifices his position and<br /> his dignity. He seems to think that only he<br /> gains through the review, whereas the journal<br /> gains as much through him as he does through<br /> it. The author or publisher, when he advertises<br /> a book, does not plead that the announcement is<br /> for the benefit of the paper or the public, and<br /> should therefore not be charged for. That would<br /> <br /> be as reasonable as the plea that the review is<br /> for the benefit of the author, and therefore should<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 68<br /> <br /> be paid for (by presentation of a copy of the<br /> book).<br /> <br /> No matter how the anomaly of asking for a<br /> review has come about, the position is now a false<br /> one, and the review is not areturn service for<br /> the presentation of the book. That there is<br /> not always a review in return for it proves that.<br /> <br /> Were journals to purchase the books they want<br /> to review, there would no longer be the scandal of<br /> presentation copies of books, both reviewed and<br /> unreviewed, being sold by the needy or greedy<br /> into whose hands they fall.<br /> <br /> The Author should be the sole exception in<br /> favour of a press copy, because it is the organ of<br /> the authors’ own organisation, and to present a<br /> copy for review by its own organisation would be<br /> furthering the author’s own interests.<br /> <br /> The proposal is this. Let copies be sent to the<br /> press, exactly as is done now. Let the books that<br /> are not reviewed be returned to the sender. Let<br /> the books that are retained for review be paid for<br /> by the proprietor of the journal. Thus can the<br /> anomaly of “ press copies’ be abolished, and the<br /> independence of authors and of the press be more<br /> firmly established.<br /> <br /> H. Hazs.<br /> <br /> [The question is referred to on p. 53.]<br /> <br /> <br /> <br /> VI.<br /> Epitor OR PROPRIETOR ?<br /> <br /> In the year 1888, I was asked by the editor<br /> of a paper well known and widely circulated in<br /> Ireland, to write a weekly letter for it; the<br /> payment to be a guinea a week. I wrote for three<br /> months, and then sent a note to the manager to<br /> remind him. In answer to this I got a cheque<br /> fo the amount due, and (as I knew the editor<br /> personally) I wrote to him to say I had received<br /> the money. He was just then in Paris, and<br /> replied as follows: “I am glad you have had<br /> your cheque from It is ‘sure henceforth to<br /> be sent regularly every quarter. . . . ‘Out<br /> of Town’ would now be a good title to your<br /> letters. I read your last one here, and thought it<br /> very good.” Now comes the curious part of the<br /> story. Hardly had I received the editor’s letter<br /> from Paris before an intimation was sent me<br /> from the manager that no more letters would be<br /> required till the following spring; it was then<br /> Autumn, and somehow it was clear tome that I<br /> was “chucked.” I wrote to the editor again, but<br /> only got a vague and unsatisfactory answer.<br /> Can anybody explain the matter ?<br /> <br /> [The explanation is that the proprietor of the<br /> <br /> paper was also the manager. The editor should<br /> have explained that his power was limited. ]<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> VIL.<br /> An Opiicinec PUBLISHER.<br /> <br /> Here is an incident that may amuse and<br /> perhaps instruct your readers :<br /> <br /> A woman of fashion, wealthy, and a widow,<br /> having no occupation, and desiring distinction,<br /> resolved to become an author. Having taken the<br /> first. step towards the fulfilment of her desire, and<br /> written hundreds of pages of balderdash, she<br /> submitted them to a publisher—a man of fair<br /> repute, well known and much beloved. So greatly<br /> was he struck by the excellence of the story and<br /> the certainty of success, that he generously<br /> offered to produce it for the sum of £150 payable<br /> on or before date of publication. This sum was<br /> willingly given to so gracious a benefactor. The<br /> young novelist’s knowledge of the literary world<br /> may be gauged when ’tis mentioned she, anxious<br /> for a good review in the Morning Post, actually<br /> wrote to the editor asking what his price was for<br /> a favourable notice !<br /> <br /> In due time her book was born and damned.<br /> This she was assured was the fate of all first<br /> novels, and, nothing daunted, fearing nothing, she<br /> wrote a second story. As proof of the paternal<br /> kindness of publishers to young authors it may<br /> be stated that the same publisher consented to<br /> produce the second novel on the same terms as<br /> the first. Before this arrangement was completed<br /> she wisely bought herself a husband—and she<br /> published no more.<br /> <br /> Firzerratp Mo.Luoy.<br /> <br /> <br /> <br /> VIII.<br /> LivERATURE AND INDEPENDENCE.<br /> <br /> I should like to be allowed to say that I<br /> concur cordially in Mr. Lecky’s view, that young<br /> men without independent means should not<br /> attempt the higher forms of literature. The<br /> more distinct their literary success, the more<br /> certain (while they remain nameless) will be<br /> the refusal of their work on every hand. And<br /> for this reason. In all the higher forms of<br /> literature, imaginative and other, there is ever<br /> a didactic or philosophic vein—a tone of freedom,<br /> privilege, and authority —and this the public<br /> will not receive from any writer who has not<br /> already made a name. &lt;A certain degree of<br /> commercial success, which has no necessary<br /> identity with literary success, gives him the<br /> required status. One must not, unless or until<br /> one is somebody, presume to teach; what is<br /> power in the acknowledged man is pretentiousness<br /> in the unacknowledged. It has been asked, what<br /> are the higher forms of literature, and what the<br /> <br /> <br /> <br /> <br /> <br /> <br /> i hd eed Oe ee<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR,<br /> <br /> lower? The higher forms of literature are the<br /> intellectual forms, those which are exhibited in<br /> works which appeal to brain and culture in the<br /> reader. The reader in whom these properties are<br /> non-resident will lay aside such works as tedious<br /> and unprofitable ; he does quite right ; to him they<br /> are unprofitable, and he represents ninety-nine<br /> hundredths of the reading public. The higher<br /> form of literature, whether embodied in poetry,<br /> history, the drama, or the novel, is always<br /> immediately recognisable by this stamp of intel-<br /> lectuality. It is intellectual, and appeals to the<br /> intellect ; where there is no intellect to respond it<br /> is an inert factor, and this explains the coldness<br /> of publishers towards works which are truly<br /> worthy of production and fit to live—for intellec-<br /> tual readers form a pitiful minority. To speak of<br /> fiction, it may be said without offence that the<br /> large majority of novels have no discoverable<br /> intellectuality, and these—for the distinct reason<br /> of their inferiority—often sell in tens of thousands.<br /> I would suggest, at any rate, to any young man<br /> meaning to attempt the higher forms of litera-<br /> ture, that he first attempt that yet ‘“ higher”<br /> form recommended by your able Paris correspon-<br /> dent as a passport to literary acceptance, by<br /> standing on his head on the point of Cleopatra’s<br /> Needle for twenty-four hours! He might, after<br /> achieving that distinction, be as ironical as<br /> Thackeray, as sanguine as George Eliot, as dog-<br /> matic as Carlyle, and society would bow to his<br /> decisions. O tempora! O mores!<br /> <br /> C. Davenport JoNEs.<br /> <br /> Doc:<br /> <br /> “AT THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> “ My Stewardship,” by E. McQueen Gray (Me-<br /> thuen). This is a book of which one is induced<br /> at first merely to say that it carries one on with<br /> increasing interest to the end. But it is more.<br /> The book is a seriously subtle revelation of a<br /> character grown, by long indulgence, solitude,<br /> and disappointment, soured and selfish to the last:<br /> degree. The lady concerned relates the tale, and<br /> with it, reveals herself. It is a remarkable<br /> study.<br /> <br /> “The Desert Ship,” a novel, by Jno. Bloundelle-<br /> Burton, author of “ The Silent Shore,” and ‘“ His<br /> Own Enemy,” is now running as a serial in<br /> Old and Young. Arrangements are being made<br /> for its production also in Australia and the<br /> United States in a similar manner, as well as in<br /> volume form in London, The story has already<br /> <br /> 69<br /> <br /> attracted attention from some of the London<br /> newspapers.<br /> <br /> Professor Max Miiller’s lectures on “India”<br /> are to appear in a new edition. Mr. Gifford’s<br /> lectures will also advance to a new edition of the<br /> first volume, and the first appearance of the<br /> fourth volume (Longmans.)<br /> <br /> The “Idylls of the Queen,” by William Alfred<br /> Gibbs (Sampson Low and Co.) is just ready.<br /> Whatever profits may accrue from the sale of<br /> the book are to be given to the fund for help-<br /> ing wives and children of our soldiers and<br /> sailors.<br /> <br /> John Bickerdyke has just completed, for<br /> Sampson Low, Marston, and Co., a revision of<br /> the late J. G. Ffennell’s ‘Book of the Roach,”<br /> an exhaustive work, concerning the most popular<br /> of the British fishes. The new edition to which<br /> an introductory chapter and numerous other<br /> additions have been made by the editor, will first<br /> appear, in serial form, in the Mshing Gazette.<br /> The “ Book of the Roach” was published about<br /> twenty years ago by Longmans, and is still the<br /> only work devoted to the subject. Since its<br /> publication roach anglers have increased amaz-<br /> ingly. There are in London alone about 12,000<br /> working men anglers, members of clubs, and who<br /> one and all are roach fishers.<br /> <br /> Of Miss Augusta A. Varty-Smith’s novel<br /> “Matthew Tindale,’ Mr. Gladstone writes :— It<br /> is not commonplace or conventional. Were it a<br /> jailure I should say magnis tamen excidit ausis.<br /> ‘Matthew Tindale’ is a great conception power-<br /> fully expressed. I think the verdict was wrong,<br /> but with being able to suggest any easy or satis-<br /> factory escape from the situation.~ It cannot, I<br /> think, be doubted that the writer capable of con-<br /> ceiving and setting out Matthew is possessed of<br /> a gift.”<br /> <br /> Mr. Edric Vredenburg is at present engaged on<br /> a story that will shortly appear as a serial in the<br /> Weekly Dispatch.<br /> <br /> Lady Fairlie Cuninghame publishes “A Wan-<br /> dering Star” with Messrs. Ward and Downey.<br /> <br /> Mr. G. H. Jennings has produced (Horace Cox,<br /> Law Times Office) the Third Edition of his<br /> “ Anecdotal History of the British Parliament.”<br /> The Dictionary is arranged under the heads of<br /> Statesmen. For instance, under the heading<br /> “Sir Robert Peel,’ there are eleven pages of<br /> anecdotes, covering the whole of the career of<br /> this great minister. An excellent reprint of an<br /> old friend.<br />  <br /> <br /> 79<br /> <br /> Mr. E. J. Goodman’s “The Best Tour in<br /> Norway” is now ready. The publishers are<br /> Sampson Low, Marston, and Company. The<br /> illustrations and the map are beautiful—the<br /> narrative is bright, clever, and picturesque. It<br /> ought to be a handbook for the route followed.<br /> <br /> <br /> <br /> “Suffering London” is an appeal on behalf<br /> of voluntary hospitals by A. Egmont-Halle. The<br /> book has already gone through nearly five thou-<br /> sand copies—which, in a rough-and-ready way,<br /> speaks for it. There is a preface, giving in brief<br /> the history of medieval hospitals by Walter<br /> Besant.<br /> <br /> The fact that the “ Vision of Martyrs,” by the<br /> Rey. James Bownes, has gone into another edition<br /> shows that religious poetry, at least, is not dead.<br /> Besides the larger poem the little volume contains<br /> hymns and other verses filled with the religious<br /> spirit.<br /> <br /> In the“ Fairy Ballad Book” theauthor of “ Endy-<br /> mion’s Dream ” has told five-and-twenty stories<br /> —are they all old?—in verse. They are fairy<br /> stories, told quite simply. It ought to become a<br /> favourite with children.<br /> <br /> “Songs of Universal Life.” By Marcus 8. C,<br /> Rickards, M.A., F.1.S., is published by J. Baker<br /> and Son, Clifton. They are verses written by one<br /> who is a true lover of nature, one who would<br /> make of the common objects which he sees around<br /> him a ladder to the higher philosophy. The<br /> poetry is simple and unstrained; the thoughts<br /> rise at times to an unexpected level.<br /> <br /> “Conversations with Carlyle,” by Sir Charles<br /> Gavin Duffy, K.C.M.G., appeared originally in<br /> the Contemporary Review. They are conversa-<br /> tions which took place as far back&#039;as 1845. They<br /> were preserved by being written down every da<br /> while the memory was fresh. The book is like<br /> another volume added to the “ Past and Present”<br /> and “Sartor Resartus.”’<br /> <br /> The Cassell Publishing Company, New York,<br /> have just brought out a one volume novelette,<br /> “By a Himalayan Lake,” which appeared as a<br /> serial in.the Pictorial World, by “An Idle<br /> Exile.” This author’s - “Indian Idyls,” and<br /> “In Tent and Bungalow,” collections of short<br /> stories of Anglo-Indian sport and society, have<br /> already been published this year by the same<br /> firm, and have beer very flatteringly noticed by<br /> the American Press in all parts of the country.<br /> <br /> “Twelve Men of To-day” (Chapman and<br /> Hall, 1s.) is a portrait gallery of twelve “ celebri-<br /> ties.” Literature is represented by Sir Edwin<br /> <br /> Arnold and Rudyard Kipling.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Messrs. Methuen, publishers in this country of<br /> “In Tent and Bungalow,” have in the press for<br /> the coming season a children’s illustrated book<br /> by “An Idle Exile,” entitled « Only a Guard.<br /> room Dog,” descriptive of soldiers’ adventures<br /> in the Egyptian War and in India,<br /> <br /> Mrs. Edith E. Cuthell’s new yachting serial<br /> “The Wee Widow’s Cruise,” is to run this<br /> summer in the Lady’s Pictorial, and she has just<br /> completed for Cassell’s Magazine two serials,<br /> One, “The Story of a Glamour,” will appear<br /> shortly.<br /> <br /> “The Robber Baron of Bedford Castle,” a<br /> story of the 13th century, founded on an old<br /> chronicle, by Mrs. Edith E. Cuthell and the Rey.<br /> A. J. Foster, will be published this season by<br /> Messrs. Nelson.<br /> <br /> The collection of “ Black and White”’ drawings<br /> <br /> (with the results when reproduced by various<br /> <br /> processes), may be seen on any Wednesdays in<br /> June and July, between 10 a.m. and 4 p.m. in<br /> Mr. Henry Blackburn’s studio, 123, Victoria-<br /> street, Westminster.<br /> <br /> The “ Jolly Pashas,” the Story of an Unphilan-<br /> thropic Society, is Mr. John A. Stewart’s new<br /> volume. It forms part of the “ Whitefriars<br /> Library of Wit and Humour” (Henry and Co.),<br /> This little library now numbers fifteen volumes,<br /> some very good, some not quite so good. This<br /> book belongs to the former kind,<br /> <br /> Mr. Powis Hoult’s Dialogues on the “ Efficiency o<br /> of Prayer” should have been noticed in the last _<br /> <br /> number of the Author. The book represents a<br /> controversy between four combatants—two who<br /> affirm and two who deny.. There are in all<br /> eight dialogues.<br /> <br /> It does not require the appreciative memoir<br /> of the author by Henry James to create curiosity<br /> as to the literary work of the late Wolcot<br /> Balestier, presented to the world by his friend<br /> Mr. William Heinemann. Here are three or<br /> four stories, all that is left—except his book<br /> collaborated with Rudyard Kipling. The little<br /> ook is called “The Average Woman.”<br /> <br /> Mr. Alfred Sidgwick has published, through<br /> Longmans, his new book called ‘“ Distinction;<br /> and the Criticism of Beliefs.” This announce-<br /> ment should have been made last month, but was<br /> omitted by accident.<br /> <br /> Dr. Farrar’s Sermons, called “In the Days of —<br /> my Youth,” preached to the boys of Marlborough<br /> in the seventies, have gone into their ninth edition<br /> (Macmillan and Co.),<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Litt?<br /> <br /> 1<br /> <br /> Wealden Painters<br /> ©1892.”<br /> <br /> COS<br /> <br /> tis<br /> <br /> <br /> <br /> THE<br /> <br /> Mr. J. Stanley Little has issued a pamphlet<br /> from the office of the West Sussex Gazette,<br /> Arundel, and the Artist, London, entitled ‘‘ The<br /> at the Summer Exhibition,<br /> Mr. Little traces the growth of the small<br /> band of English romanticists settled in the<br /> <br /> “Weald of Sussex, Surrey, and Kent, and giving<br /> <br /> a<br /> <br /> Mark Fisher, A. D. Peppercorn, Wm. Hstall, and<br /> G. Lion Little as its leaders, he has shown how<br /> <br /> -the Norwich, Nottingham, and Barbizon schools<br /> - are the natural fathers in an artistic sense of the<br /> <br /> oo<br /> =<br /> <br /> Kage SS pom. Bh<br /> <br /> ag<br /> <br /> a<br /> <br /> ae<br /> <br /> m<br /> Se<br /> <br /> fh<br /> <br /> vot<br /> Sey<br /> <br /> s&amp;s<br /> bers<br /> <br /> itt<br /> <br /> bE<br /> at<br /> al<br /> wh<br /> <br /> « entitled ‘‘ Gods and Men.”<br /> <br /> school of the Weald.<br /> <br /> Mr. Arthur Dillon has issued a book of verses<br /> The volume contains<br /> his drama, “King Cophetua and the Beggar<br /> <br /> ; Maid.”<br /> <br /> A committee has been formed which has for its<br /> object the placing of a memorial tablet of the<br /> <br /> slate Mrs. J. Dallas-Glyn in the Shakespeare<br /> <br /> Museum at Stratford-on-Avon. ‘The memorial is<br /> to consist of a medallion in white marble, the<br /> <br /> execution of which has been entrusted to Mr. A.<br /> » E. L. Rost, a son of the Oriental scholar.<br /> &#039;scriptions may be paid to Mrs. J. Morgan<br /> | Richards, 56, Lancaster-gate, W., who is acting<br /> <br /> Sub-<br /> <br /> as hon. treasurer.<br /> <br /> Heinrich Heine’s “Italian Travel Sketches,”<br /> <br /> | translated by Elizabeth A. Sharp, has just been<br /> <br /> issued in the Scott Library Series.<br /> <br /> When Mr. J. Stanley Little first urged apon<br /> the people of Sussex, and especially upon the<br /> <br /> ) citizens of Horsham, the desirability of celebrating<br /> <br /> in a becoming fashion the centenary of Shelley’s<br /> birth, the proposal fell flat. Now, however, there<br /> is every prospect of something being done. Public<br /> meetings have been held and a representative<br /> committee appointed, and a manifesto is to be<br /> issued to the English-speaking people, backed by<br /> signatures of eminent men of letters, asking for<br /> help in the founding of a Shelley Memorial<br /> Library and Museum. There is also to be a<br /> public meeting on August 4 at Horsham.<br /> <br /> The Forum for July will contain an article by<br /> Mr. Walter Besant, on “The Encouragements of<br /> the Literary Life.”<br /> <br /> Mr. Frank Mathew makes his first appearance<br /> in the Jdler with a very powerful Irish story,<br /> “A Connemara Miracle.” The members of the<br /> <br /> Idlers’ Club have settled in their customary airy<br /> fashion, the best way to reach the North Pole.<br /> Guy de Maupessant contributes a short, but<br /> laughable, tale, and Mr. James Payn is at his<br /> best in the story of his first book, which would<br /> appear to have been “The Family Scapegrace”<br /> <br /> AUTHOR.<br /> <br /> ay<br /> <br /> although most people pin their faith to “ Lost<br /> Sir Massingberd.” A new feature is “ People I<br /> have never met,” by Scott Rankin. Apropos of<br /> the Jdler music hall articles, Mr. G. B.<br /> Burgin is the author of a story showing that<br /> narrowmindedness is still rife in the Land of<br /> Cakes. A little village, far up in the Highlands,<br /> some few months ago, took to its rugged bosom a<br /> young Free Church minister. Of course the<br /> feminine members of the congregation evinced a<br /> deep interest in all his movements ; they felt it<br /> their duty to watch over him and “keep his title<br /> clear, to mansions in the skies,” the more so that<br /> the Manse itself was a trifle out of repair, and<br /> leaked a good deal in rough weather. Certain<br /> old dames noticed that the new minister bought<br /> the Jdler regularly at the village shop. .They<br /> had never heard of the magazine in question.<br /> All they knew about it was that it sported a<br /> salmon-pink cover. Fearing that the minister<br /> was falling from the paths of rectitude by per-<br /> using such a flightly-looking publication, they<br /> determined to purchase a copy and to sit in judg-<br /> ment on it. The magazine, unfortunately for<br /> the minister, opened at the portrait of Miss Lottie<br /> Collins. After a moment of silent consterna-<br /> tion, the old lady who held it, carefully dropped<br /> the magazine into the fire with a groan: “ Losh<br /> me, the hizzie,” she exclaimed in tearful tones.<br /> “‘ What’s the Free Kirk come to now!” The<br /> minister, however, has not yet resigned.<br /> <br /> <br /> <br /> ee<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Barnpriage, Purp. The Day-Dawn from on High.<br /> Some thoughts on Pre-Christian religions completed<br /> in Christ. J. Masters and Co. Paper covers.<br /> <br /> Cunyne, Rev. T. K. Aids to the Devout Study of<br /> Criticism. Part I—The David Narratives. 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Hodder and Stoughton. 3s.<br /> <br /> McCiymont, Rev. J. A. The New Testament and its<br /> Writers. A. and C. Black, Edinburgh. Paper<br /> covers, 6d.<br /> <br /> Nyx, G.H.F. The Church and Her Story, with Ilustra-<br /> tions. Griffith, Farran. Paper covers, 1s. 6d. net.<br /> <br /> Rivineton, Rev. L. The English Martyrs, or Where is<br /> Continuity P A Sermon. Kegan Paul. Paper covers,<br /> 6d.<br /> <br /> Ryuze, H. E. The Canon of the Old Testament: an Essay<br /> on the Gradual Growth and Formation of the Hebrew<br /> Canon of Scripture. Macmillan. 6s.<br /> <br /> Sincnair, ARcHDEAcON. The Church: Invisible, Visible,<br /> Catholic, National. Archdeacon Sinclair’s charge at St.<br /> Sepulchre’s, May 24. Elliot Stock. Paper covers.<br /> <br /> StaTer, W. F. The Faith and Life of the Early Church.<br /> An introduction to Church history. Hodder and<br /> Stoughton. 7s.<br /> <br /> History and Biography.<br /> BaLestieR, Woncott. The Average Woman. 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Education Department, Minute of May 31<br /> establishing a code of regulations for evening schools<br /> (1d.).—Parliamentary Papers: Boundary Questions in<br /> Zululand, Correspondence (1s. od.). Theatres and<br /> Places of Entertainment, Report of the Select Com-<br /> mittee (23d.). East India (Financial Statement) for<br /> 1892-93. Eyre and Spottiswoode. Foreign Office<br /> Annual Series.—Turkey (Smyrna and District), 1891<br /> (13d.). China (Tainan), 1891 (1d.). Spain (Corunna<br /> and District), 1891 (23d.) Miscellaneous Series:<br /> Germany (Hamburg). Progress of Trade for 1841-<br /> 1890 (13d.). Mexico, Henequen Hemp Industry in<br /> Yacatan (1d.). United States, Earnings of Labour and<br /> Cost of Living in the Consular District of Chicago (3d.).<br /> —Public Accounts, Third Report from the Committee<br /> (13d.) Telegraphs Bill, Special Report and Report<br /> from the Select Committee (4d.). Military Lands<br /> Consolidation Bill, Report from the Select Committee<br /> (id.). | East India Accounts and Estimates, 1892-1893,<br /> Explanatory Memorandum by the Under-Secretary of<br /> State for India (5$d.), Eyre and Spottiswoode. West<br /> Africa, Arrangement between Great Britain and France<br /> (3d.) Zanzibar, Papers relating to Slave Trade and<br /> Slavery (14d.)., Harrisonand Sons.—Convention between<br /> Great Britain and the Netherlands defining Boundaries<br /> in Borneo, signed in London June 20, 1891; ratifica-<br /> tions exchanged at London May 11, 1892. Harrison<br /> and Sons (#d.). ;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> 72<br /> <br /> 1 The Society of Authors (Sucorporated).<br /> <br /> PRESIDENT.<br /> <br /> Tue Rigor Hon. tHE LORD TENNYSON, D.C.L.<br /> <br /> COUNCIL.<br /> <br /> &gt; Pm<br /> <br /> OX)<br /> <br /> [<br /> «A<br /> I<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Str Epwin ARNOLD, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barris.<br /> <br /> A. W. A BECKETT.<br /> <br /> RosBERT BATEMAN.<br /> <br /> Srmr Henry Berens, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLACKMORE.<br /> <br /> Ruv. Pror. Bonney, F.R.S.<br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Hau. CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris CouueEs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin DOBSON.<br /> A. W. DusouRe.<br /> <br /> EpMUND GOSSE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Lewy.<br /> <br /> <br /> <br /> OswALp CRAWFURD, C.M.G.<br /> Tue Ear. or DESART.<br /> <br /> J. Eric ERicuseEn, F.R.S.<br /> Pror. MicHaEL Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHarp GARNETT, LL.D.<br /> <br /> H. Riper HAGGARD.<br /> <br /> JEROME K. JEROME.<br /> RupYARD KIPLING.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rev. W. J. Lortin, F.S.A.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> GrEoRGE MEREDITH.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLeTon-WakeE F.L.S<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULLER.<br /> <br /> J. C. PARKINSON.<br /> <br /> Tue Eart or PEMBROKE AND MonrT-<br /> GOMERY.<br /> <br /> Sir FREDERICK PoLiock, Bart., LL.D.<br /> <br /> WALTER HEeRRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GEORGE AUGUSTUS SALA.<br /> <br /> W. BaprTisTE ScOONES.<br /> <br /> G. R. Srms.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> WiturAm Moy THomaAs.<br /> <br /> H. D. Traut, D.C.L.<br /> <br /> Baron HENRY DE WORMS,<br /> E.R.S.<br /> <br /> EDMUND YATES.<br /> <br /> MP.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Frnup, Roscoxz, and Co., Lineoln’s Inn Fields.<br /> Secretary—C. HmerBERT THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortucaL STREET, Lincoun’s Inn Freips, W.C.<br /> <br /> ‘ Sfandaro ”’<br /> TYPE - WRITING OFFICE,<br /> <br /> 1, Charles-st., Neweastle-on-Tyne.<br /> ee<br /> <br /> ALL KINDS OF COPYING EXECUTED WITH<br /> NEATNESS, SECRECY, &amp; DESPATCH.<br /> <br /> <br /> <br /> <br /> <br /> WwOoRK DONE.<br /> <br /> GRAPHOSTYLE<br /> <br /> TERMS ON APPLICATION.<br /> <br /> <br /> <br /> NOW READY, Super-royal 8vo., price 15s., post free.<br /> <br /> CPROCKHFORKD&#039;S<br /> CLERICAL DIRECTORY 1892.<br /> <br /> Being a STATISTICAL BOOK of REFERENCE<br /> For facts relating to the Clergy in England, Wales, Scotland, Treland,<br /> and the Colonies; with a fuller Index relating to Parishes and<br /> Benefices than any ever yet given to the public.<br /> Crockrorp’s CLERICAL Directory is more than a Directory ; it con-<br /> tains concise Biographical details of all the ministersand dignitaries of<br /> the Church of England, Wales, Scotland, Ireland, and the Colonies.<br /> <br /> TWENTY - FOURTH ISSUE.<br /> Horace Cox, ‘Law Times” Office, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> A BOOK FOR MEMBERS AND CANDIDATES.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br /> 700 pages, price lds.<br /> <br /> AN ANECDOTAL HISTORY<br /> <br /> OF THE<br /> <br /> BRITISH PARLIAMENT,<br /> <br /> From the EARLIEST PERIODS to the PRESENT TIME,<br /> <br /> With Notices of Eminent Parliamentary Men, and Examples of<br /> their Oratory. Compiled from Authentic Sources by<br /> GEORGE HENRY JHNNINGS.<br /> CONTENTS :<br /> <br /> Part L—Rise and Progress of Parliamentary Institutions.<br /> <br /> Parr IL—Personal Anecdotes: Sir Thomas More to John Morley.<br /> <br /> Part IL.—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br /> Strangers; Publication of Debates. 3. Parliamentary<br /> Usages, &amp;c. 4. Varieties.<br /> <br /> Appenpix.—(A) Lists of the Parliaments of England and of the<br /> United Kingdom. (B) Speakers of the House of<br /> Gommons. (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to 1892.<br /> <br /> OPINIONS OF THE PRESS OF THE PRESENT EDITION.<br /> ‘The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in both instruction and amuse-<br /> ment.’’—Scotsman.<br /> “Tt is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.” —Globe.<br /> “Jt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.”—Kentish Observer.<br /> «We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> 1 Orders may now be sent to<br /> Horace Cox, ‘ Law Times” Office, Bream’s-buildings, E.O.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> .<br /> |<br /> }<br /> <br /> <br /> <br /> <br /> <br /> 80 ADVERTISEMENTS.<br /> <br /> Not Work, but Play.<br /> <br /> Leave the drudgery of the Pen—Soiled Fingers—Blotted and Obscure<br /> Manuscript, to those who prefer darkness to light. Quick, up-to-date<br /> writers use<br /> <br /> THE BAR-LOCK TYPE-WRITER.<br /> <br /> Easiest Managed; Soonest Learned; Most Durable; Writing Always<br /> Visible ; does best work, and never gets out of repair.<br /> <br /> |<br /> <br /> |<br /> Wh 9 | Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals<br /> i —Hdinburgh (1890) and Jamaica (1891) Exhibitions; is used in principal<br /> <br /> <br /> <br /> <br /> <br /> Government Departments, and greatest number of English business houses,<br /> and by the Society of Authors.<br /> <br /> We send interesting supply of further information free.<br /> <br /> THE TYPE-WRITER COMPANY LIMITED.<br /> <br /> 12 &amp; 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow.<br /> Local Agents in all Districts.<br /> <br /> <br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD. MRS. GILL,<br /> (Tue LeapennaLtL Press Lrp., H.C.) 35 LUDGATE HILL. Ec<br /> : (ESTABLISHED 1883.) oo<br /> <br /> Contains hairless paper, over which the pen —<br /> slips with perfect freedom. Authors’ MSS. carefully copied from 1s. per<br /> <br /> Siwpence each: 58. per dozen, ruled or plain. 1000 words. Plays, &amp;e.. Is. 3d. per 1000 words.<br /> <br /> <br /> <br /> Miss R. Vv. GILL, Reference kindly permitted to Walter Besant, Esq.<br /> Miss PATTEN,<br /> <br /> TYPE-WRITING OFFICES, TYPIST.<br /> 6, Adam-street, Strand, W.C. 44, Oakley-street Flats, Chelsea, S.W. :<br /> ee Authors’ MSS. carefully transcribed, 1s. 3d. per 1000 i.<br /> <br /> Authors’ and dr ists’ iality. All kind<br /> a 2 estimates given for extra copies (Carbon) on application.<br /> <br /> of MSS. copied with care. Extra attention given to difficult Reference Kindly permitted to George Augustus Sala, Esq. : 4<br /> <br /> hand-writing and to papers or lectures on scientific subjects.<br /> <br /> Type-writing from dictation. Shorthand Notes taken St 1 C k p h a st<br /> <br /> and transcribed.<br /> <br /> FURTHER PARTICULARS ON APPLICATION. PASTE<br /> for joining papers and sticking in scraps:<br /> <br /> <br /> <br /> FOR SALE, Sixpence and One Shi&#039; ling, with strong useful brush. — o<br /> <br /> NEW &amp; ORIGINAL “PLOTS” for NOVELS | tne skinea snscion, th hoasst nd compstont criticism, -<br /> <br /> and the offering of MSS. in the American market, are the —<br /> <br /> FROM £1 HACH. specialities of the New York Bureau of Revision.<br /> Established 1880. Endorsed by George W. Curtis, J. BR<br /> <br /> <br /> <br /> <br /> <br /> Apply to MISS SMALLWOOD, Tux. Lzxs, GREAT Lowell, and many authors.—20 W., Fourteenth-street, —<br /> <br /> MALVERN. New York.<br /> <br /> HH AUTHORS’ AGENCY. Gstablishod 1879, Proprictor, Mr. A. M. BURGHES,<br /> <br /> 1, Paternoster Row. ‘The interests of Authors capably represented. Proposed agreements and estimates a<br /> examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years —<br /> ‘ practical experience in all kinds of publishing and. book producing. Consultation free. Terms and testimonials from —<br /> <br /> <br /> <br /> leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Bream’s-buildings, London, H.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> eae<br /> <br /> words. Plays, &amp;c., ss. per Act of 18 pages. Special J	https://historysoa.com/files/original/5/440/1892-07-01-The-Author-3-2.pdf	publications, The Author
441	https://historysoa.com/items/show/441	The Author, Vol. 03 Issue 03 (August 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+03+%28August+1892%29"><em>The Author</em>, Vol. 03 Issue 03 (August 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-08-01-The-Author-3-3					81–116																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-08-01">1892-08-01</a>							3			18920801	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. 111 —No. 3.] AUGUST 1, 1892.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> GCONTENTS.<br /> <br /> PAGE | PAGE<br /> Warnings we eae oc ae ia Soy vee wee Ss On a Birthday. By F. B. Doveton ua me oo ae a 08<br /> How to Use the Society... kee Bee a soe = eae More Maxims ... ee ae ay oes ee ee ae 99<br /> The Authors’ Syndicate... Ses ase See e ae ees Mr. Saintsbury on the English Novel ... ne he See wz 100<br /> Notices... — Ss a ase ee mee Se So 0 8D Women in Journalism—<br /> <br /> Literary Property— 1.—By Mary Francis Billington ie ee Sy Bye ae 0<br /> 1.—A Publisher in Bankruptcy ees One Ses Mi e388 2.—By Grace Gilchrist ... ... a aes es oss ws 104<br /> 2.—A Charge of Plagiarism ... ae me Sate ye SOF 3.—By L. ES. .. oe ae ees ts ae aes ae Ae<br /> 3.—Yet not a Plagiarism — ei Pe a Se ce 88 The Criticism of Novels. By Henry Creswell... ees ae .» 105<br /> <br /> The ‘‘London Editor” Again... oe ee es ue a 88 Correspondence—<br /> <br /> The New Civil Pension List oes se oe See aes Be 1.—The Authors’ Fund a3 es &lt; wer Ree se 106<br /> <br /> The Shelley Centenary as Se a oe sa oe oo) 2.—Neither—Nor ass sy ne vee ae ee ee L0G<br /> <br /> L’Association Littéraire es sas ose ses oe A eo 3.—Praised, yet Refused aus se eee os oe see LOT<br /> <br /> The Lame Boy in the Woods. By Mackenzie Bell ... as Se Oe 4.—A Case of Honour ... as ee Oe oe es sec LOT<br /> <br /> Notes and News. By the Editor... ie es ose mss cae 5.—Another Case of Honour... ee ay nee fe om 107<br /> <br /> Feuilleton— 6.—An Agency for Literary Work ... wi os Any Bee ies<br /> 1.—The Publisher’s Reader ... oe ae ae ue oe OB ‘At the Author’s Head” ... Be se as age oe ... 108<br /> <br /> Notes from Paris. By Robert Sherard Osborne ae es eee OT | New Books and New Editions... os oe me Xe .» 109<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4, Literature and the Pension List. By W.. Morgis Couuzs, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 33s.<br /> <br /> 5, The maety of the Societe des Gens de Lettres. By S. Squire Srricaz, Secretary to the<br /> ociety. Is.<br /> <br /> 6. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. sat<br /> <br /> 7. The Various Methods of Publication. By 8. Squiru Spriccx. In this work, compiled from the<br /> papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of frand which have been made possible by the different clauses in their agreements,<br /> <br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> ; Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> co<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> THE<br /> <br /> INOTYPE COMMPOSING JIAGHINE,<br /> <br /> SPECIALLY ADAPTED FOR BOOKWORK.<br /> <br /> “A MIGHTY BUT PEACEFUL REVOLUTION.”<br /> <br /> OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE.<br /> <br /> For full List of Experts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet.<br /> <br /> _“It will do away with type, and composition, and<br /> distribution, as now practised, will be known no more.”—<br /> Manchester Courier.<br /> <br /> “Saves 70 per cent. in cost of composing, and from three-<br /> fourths to nine-tenths in time.” —Sheffield and Rotherham<br /> Independent.<br /> <br /> “It bids fair to revolutionise the present system,<br /> especially of newspaper production, for which it seems<br /> peculiarly well adapted. The instrument is one of the most<br /> beautiful and ingenious pieces of mechanism ever introduced<br /> in connection with the art of printing.” —Scotsman.<br /> <br /> “ The absolute saving of distribution, which is reckoned<br /> as equivalent to one quarter of the cost of composition, is<br /> an important factor in the economy of this machine. :<br /> With it comes emancipation from the frequent errors arising<br /> from faulty distribution. To pye matter is impossible.<br /> Unquestionably the most remarkable machine ever invented<br /> in the art of printing.” —The Printers’ Register.<br /> <br /> “Tt stands to reason that an invention that economises as<br /> well as expedites work, without aiming a blow at those who<br /> had previously done without it, must be a success.” —Echo.<br /> <br /> “ The rapidity and accuracy of the process impressed Mr.<br /> Gladstone very powerfully, or, as he expressed it himself, it<br /> ‘staggered ’ him.”—Daily Chronicle.<br /> <br /> “One of the most remarkable machines ever invented.” —<br /> Engineer.<br /> <br /> “A steam-driven, type-composing and casting machine<br /> which really promises to bring about a revolution in the<br /> <br /> <br /> <br /> composing-rooms of newspaper and book printing offices.”<br /> —Home and Colonial Mail.<br /> <br /> “ This remarkable invention promises to revolutionise all<br /> our ideas as to type-setting by machinery. It dispenses<br /> with movable type, and substitutes matrices in which the<br /> letters are cast in solid lines.”—Leeds Mercury.<br /> <br /> “One of the most remarkable labour-saving Machines<br /> ever devised in an age remarkable for such inventions.”<br /> —Western Mail (Cardiff).<br /> <br /> “The work never stops, line after line is added with<br /> astonishing smoothness and regularity.”—Newcastle Daily<br /> Chronicle.<br /> <br /> “Has come into existence to create amazement, where<br /> surprise hitherto found a home.<br /> <br /> “The Linotype, to be brief, is a machine which does away<br /> with the present expensive and slow method of type-setting.<br /> It performs all the work of a compositor automatically, with<br /> greater precision and with far more rapidity. The most<br /> important feature of the patent, however, lies in the<br /> enormous saving it effects in the cost of setting, while a no<br /> less startling fact is that the labour of ‘ distributing,’ or the<br /> putting of the type back into cases, is dispensed with.”—<br /> Admiralty and Horse Guards Gazette.<br /> <br /> “ Printing without types. A marvellous machine that<br /> makes fresh types for every line. The advance of<br /> industrial science is so rapid that this machine must, sooner<br /> or later, come into extensive use.”—Evening News and Post<br /> (London).<br /> <br /> THE ECONOMIC PRINTING &amp; PUBLISHING CO. LIMITED,<br /> <br /> 39, BOUVERIE STREET, FLEET STREET, E.C.,<br /> <br /> Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br /> in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br /> Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br /> <br /> best makers.<br /> <br /> <br /> <br /> <br />  <br /> <br /> Che<br /> <br /> Fluthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> PONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IIIl.—No. 3.]<br /> <br /> AUGUST 1, 1892.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed: or initialled the Authors alone are<br /> responsible.<br /> <br /> WARNINGS.<br /> <br /> ———<br /> <br /> <br /> <br /> Sprcran Warnine. — Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for three weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other side<br /> never neglect this simple precaution. The stamp<br /> duty varies from 6d. up to 10s. or more, according<br /> to the form of agreement. The Society, to save<br /> trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to<br /> themselves except the cost of the stamp.<br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon thedangersto which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> VOL. IIT.<br /> <br /> <br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement proposes to give to the<br /> author and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. has been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away American rights. Keep<br /> them. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign an agreement or a receipt<br /> which gives away copyright without<br /> advice.<br /> <br /> (9.) Keep control over the advertisements by<br /> clause in the agreement. Reservea veto.<br /> If you are yourself ignorant of the sub-<br /> ject, make the Society your agent.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men.<br /> <br /> Society’s Offices :-—<br /> 4, PortuGaL STREET, Lrncoun’s Inn FIEvDs.<br /> <br /> —————s ac<br /> <br /> bo<br /> <br /> <br />  <br /> <br /> 84<br /> <br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements for inspection and note. The<br /> information thus obtainable is invaluable.<br /> <br /> 2. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 3. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 4. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 5. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> nation at being asked what his proposal gives<br /> him compared with what it gives the author;<br /> and (4) irrepressible irritation at any mention of<br /> the Society of Authors.<br /> <br /> 6. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 7. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> ec<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society it will conclude<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem.<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. Thig<br /> varies, and must vary, according to the<br /> nature of the services rendered, but it is<br /> intended to reduce the rates to the lowest<br /> possible amount compatible with effi-<br /> ciency. Meanwhile members will please<br /> accept this intimation that they are not<br /> entitled to the services of the Syndicate<br /> gratis.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> <br /> <br /> <br /> <br /> 6. That when a MSS. has been sent from pub- — :<br /> <br /> lisher to publisher, and from editor to<br /> <br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition, —<br /> authors will do well to moderate their —<br /> <br /> expectations.<br /> <br /> To this it may be added, that where advice is —<br /> <br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted. On his behalf<br /> members are requested—<br /> <br /> 1. To place on paper briefly the points on which<br /> advice is asked.<br /> <br /> 2. To send up adi the letters and papers con-<br /> nected with the case, if it is a case of<br /> dispute.<br /> <br /> 3. Not to conceal or keep back any of the<br /> facts. .<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> FaFYNHE Editor of the Author begs to remind<br /> oa members of the society that, although the<br /> paper is sent to them free of charge, the<br /> cost of producing it would be a very heavy<br /> ‘charge on the resources of the society if a great<br /> semany members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year. He<br /> | finds that, while the interest in the paper increases,<br /> }-and while it is acknowledged to be doing good<br /> reservice by its exposures and investigations,<br /> + there has been some tendency this year to forget<br /> the subscription. Perhaps this reminder may be<br /> ‘of use. With 800 members, besides the outside<br /> “ circulation of the paper, the Author ought to<br /> 74 prove a source of revenue to the society.<br /> <br /> <br /> <br /> The Editor is always glad to receive papers<br /> ++ and communications on all subjects connected<br /> .with literature from members and others.<br /> io) Nothing can do more good to the society than<br /> -&gt; tomake the Author complete, attractive, and<br /> ‘6 interesting. Will those who are willing to aid<br /> &#039; 4 in this work send their names and the special<br /> i subjects on which they are willing to write ?<br /> <br /> <br /> <br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> «) kind, whether members of this Society or not,<br /> “. are invited to communicate to the Editor any<br /> 4 points connected with their work which it would<br /> “| be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> “© are requested not to send them to the Office with-<br /> “&gt; out previously communicating with the Secretary.<br /> ‘2 The utmost practicable despatch is aimed at, and<br /> ly’ MSS. are read in the order in which they are<br /> 4 received. It must also be distinctly understood<br /> 4) that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> <br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street, Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> — i<br /> me COs<br /> <br /> <br /> <br /> Will members take the trouble to ascertain<br /> * whether they have paid their subscriptions for<br /> ) the year? If they will do this, and remit the<br /> © amount or a banker’s order, it will greatly assist<br /> } the Secretary, and save him the trouble of<br /> ® sending out a reminder.<br /> <br /> <br /> <br /> go<br /> O5<br /> x<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ? :<br /> <br /> <br /> <br /> How, we are asked almost every day, is the<br /> young writer to make a beginning? He should<br /> first get an opinion from one of the Society’s<br /> readers as to the merits and chances of his book.<br /> It may be that certain points would be suggested<br /> foralteration. Itmay be that he will find himself<br /> recommended to put his MS. in the fire. He<br /> should then, if encouraged, offer his MS. to a list<br /> of houses or of magazines recommended by the<br /> Society. There is nothing else to be done. No<br /> one, we repeat, can possibly help him. If those<br /> houses all refuse him, it is not the least use trymg<br /> others, and, if he is a wise man, he will refuse to<br /> pay for the production of his own work. If, how-<br /> ever, as too often happens, he is not a wise man,<br /> but believes that he has written a great thing, and<br /> is prepared to back his opinion to the extent of<br /> paying for his book, then let him place his work<br /> in the hards of the Society, and it shall be<br /> arranged for him without greater loss than the<br /> actual cost of production. At least he will not be<br /> deluded by false hopes and promises which can<br /> end in nothing.<br /> <br /> ————<br /> <br /> Here is an advertisement which we have great<br /> pleasure in reproducing, name and all, for nothing.<br /> Why should not a woman make plots for stories?<br /> It is very certain that there are many novelists<br /> who cannot make plots for themselves, and try<br /> to do without:<br /> <br /> “Home Work.—Good Plots for novels for<br /> Sale.—Apply Miss Smallwood, The Lees, Great<br /> <br /> Malvern.”<br /> <br /> <br /> <br /> Some time ago a lady wrote offering plots at half<br /> a guinea. This seems a ridiculously small sum<br /> for a plot. Perhaps those of Miss Smallwood<br /> are priced at a higher figure. Mr. Andrew Lang,<br /> in the National Review for July, gives away a<br /> most excellent plot, a plot so good that it is<br /> recommended to any novelist who can command<br /> the local colouring and the Scottish language.<br /> Are the plots advertised provided with characters ?<br /> Are they divided into chapters? One would like<br /> a little fuller information.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 86<br /> <br /> To that poor derided thing, the novel with a<br /> purpose, Mr. Andrew Lang, also in the July<br /> number of the National Review, addresses words<br /> of comfort. He calls attention to certain novels<br /> with a purpose which have not, somehow, done so<br /> very badly. Such are “ Don Quixote,” ‘“ Uncle<br /> Tom’s Cabin,’ ‘Sandford and Merton,’’<br /> “T’Assommoir,”’ “Nicolas Nickleby,’ ‘ Bleak<br /> House,” ‘‘ Old Mortality,” for instance. Then he<br /> shows how Fielding, Thackeray, Goethe, are con-<br /> stantly preaching. The fact is thatthere is nothing<br /> the whole world loves so much as preaching—in<br /> the active sense ; but the novelist is the only man<br /> who is allowed to preach without taking orders.<br /> <br /> The mere possession of a purpose does not, by itself,<br /> make a novel a consummate work of art: so far I do not<br /> mind going—I can even conceive such a thing as a dull and<br /> dismal novel with a purpose. But, on the other hand, its<br /> possession of a purpose does not thrust a novel beyond the<br /> pale, does not make it taboo, does not entitle us to say,<br /> “Tt’s pretty ; but is it art?” These are the taboos which<br /> critics invent when they simply happen not to like a book,<br /> when, as we said, there is a pre-established discord between<br /> their tastes and the author’s taste. Let us try to be more<br /> honourable and sportsmanlike in criticism. Let us record<br /> our impressions. ‘This book bores me.” “This book<br /> amuses me.” Nothing else is genuine.<br /> <br /> <br /> <br /> The committee of the Lowell Memorial is now<br /> formed. The form of the Memorial has been<br /> decided upon, and the committee are now pre-<br /> pared to receive donations. Need we in these<br /> pages do more than chronicle the fact? Lowell<br /> was so staunch a friend of the Society that every<br /> member ought to forward something towards<br /> this admirable and worthy object. Mr. Herbert<br /> Thring, secretary of the Society, is also hon. sec.<br /> to the Lowell memorial. Letters can be addressed<br /> to him. Among the men and women of letters<br /> on the committee are, in alphabetical order, Mrs.<br /> Lynn Linton, Mrs. Richmond Ritchie, Miss Anne<br /> Swanwick, Walter Besant, Augustine Birrell,<br /> R. D. Blackmore, James Bryce, Austin Dobson,<br /> Conan Doyle, Archdeacon Farrar, Edmund Gosse,<br /> Rider Haggard, R. H. Hutton, Professor Huxley,<br /> Dean Kitchen, Andrew Lang, W. E. H. Lecky,<br /> Sidney Lee, Sidney Low, Justin M‘Carthy,<br /> Norman M‘Ooll, James Martineau, George Mere-<br /> dith, Sir F. Pollock, and Theodore Watts.<br /> <br /> THE AUTHOR.<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> A PusLisHeR In Banxruprcy.<br /> <br /> HE conclusion to be drawn from the article<br /> <br /> in last month’s Author on the effect of a<br /> publisher’s bankruptcy, seems to be this:<br /> <br /> that every author should consider the possibility<br /> of such an event happening when he parts with<br /> his copyright or with any portion of it. It is sug-<br /> gested that to hint at bankruptcy in dealing with<br /> a publisher would be invidious ; possibly it would,<br /> but so would it be to hint at death, though per-<br /> haps in a less degree; death being inevitable<br /> and so not discreditable ; and if there is anything<br /> in the point made in your article with regard to<br /> the personal skill of the publisher being part of<br /> what is bargained for, assuredly there should be<br /> a clause in every contract determining the fate<br /> of the wrk in question, in the event of the pub-<br /> lisher’s decease ; and if death is to be considered,<br /> why not bankruptcy r—‘ And in the event of the<br /> death or bankruptcy of the said A. B.”’ One can<br /> imagine it becoming a common form, though<br /> some skill will probably have to be exercised in<br /> drawing it. But, common form or not, it will<br /> often be omitted, and if it is omitted, what<br /> then? I submit that if the author has parted<br /> with his copyright, and the purchaser has ac-<br /> quired it (and this will be the first, and often a<br /> very knotty, question to be determined), then, if<br /> he has sold it for a fixed sum, not yet paid,<br /> he can only prove as a creditor for what<br /> is owing to him. If he has sold it for<br /> a royalty, he can prove for an amount<br /> to be assessed as damages for what he has lost.<br /> He has selected a mode of payment which has<br /> resulted unprofitably to him. ‘tis very unfortu-<br /> nate for him that the publisher has failed, but<br /> can any legal member of the society of authors<br /> regarding the matter as a lawyer, and without<br /> sympathy or prejudice, contend that the author<br /> can “‘sell” his copyright, and yet attach to a<br /> valuable piece of property, which certainly is<br /> “saleable,” a condition onerous to all future<br /> assignees of it? If this is possible, then no doubt<br /> it can be shown that the trustee in bankruptcy<br /> may disclaim such an asset. It may, however,<br /> be found that what was believed to be a sale of<br /> the copyright was only a licence to publish upon<br /> certain terms. Such a contract as this may no<br /> <br /> doubt be within the cases mentioned in your<br /> article (Stevens v. Benning, 1 K. &amp; J. 168; Hole<br /> v. Bradbury, 12 Ch. Div. 886) in which it was<br /> expressly held that the copyright had not passed<br /> to the publisher.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> Tt must not be forgotten that minute differences<br /> of wording may make the difference between a sale<br /> and no sale, that agreements between authors and<br /> publishers are often highly informal, and seldom<br /> contemplate every possible contingency, and that<br /> each case must stand by itself, by whatever<br /> general principles its decision is guided. I have<br /> assumed that the case of hardship suggested in<br /> your article is one where the property in the copy-<br /> right has passed before the bankruptcy took<br /> place.<br /> <br /> There is one hard case of not infrequent occur-<br /> rence which suggests itself while one is on this<br /> subject— What happens when a magazine fails,<br /> which has accepted an article (but not published<br /> or paid for it) ©”<br /> <br /> I should be inclined to think that if it could<br /> be established that the contract was that publi-<br /> cation should precede payment, it would be held<br /> to follow that the copyright intended to be sold<br /> remained the property of the author till the<br /> publication took place. This opinion, too, may<br /> provoke contradiction or discussion.<br /> <br /> ArcHig FAIRBAIRN.<br /> <br /> <br /> <br /> Temple, July 22.<br /> <br /> Tel<br /> A CHarGsE or PLAGIARISM.<br /> (Before Mr. Justice Wrieut, without a jury.)<br /> GODFREY V. BRADLEY AND CO.<br /> <br /> This was an action brought by the administra-<br /> tor of the late Mrs. Mary Rose Godfrey, authoress<br /> of a three-volume novel called “‘ Loyal,” to recover<br /> damages fo« infringement of copyright. “ Loyal ie<br /> was written by Mrs. Godfrey in 1870 and 1871, and<br /> published by &#039;Tinsleys in 1872. In 1874 the defen-<br /> dants published in the London Journal, weekly<br /> periodical, a story called ‘Mad Marriage.”<br /> Between May and November, 1888, the defendants<br /> published a reprint of “Mad Marriage, of which<br /> the plaintiff complained, on the ground that the<br /> plot in ‘Mad Marriage” was substantially the<br /> same as that in “ Loyal,” the scenes and incidents<br /> of the stories being the same, and in many places<br /> the language being identical. For the plaintiff<br /> Mr. Edmund Routledge and Mr. Spender were<br /> called, and said they had read the stories “ Loyal”<br /> and “Mad Marriage,” which were substantially<br /> identical, and if the parts of ‘Mad Marriage”<br /> which had been taken from “Loyal” were<br /> eliminated, the merit of “Mad Marriage” as a<br /> story would be gone. For the defence it was<br /> proved that ‘‘ Mad Marriage” had been written<br /> by Mrs. Fleming, an American lady, and was<br /> published in the Mew York Weekly; and that<br /> <br /> AUTHOR. 87<br /> <br /> the former proprietor of the London Journal paid<br /> Mrs. Fleming £300 for it. Several witnesses<br /> were also called to show that the two stories<br /> were not identical, the minor characters being<br /> different. .<br /> <br /> Mr. Justice WricHt, in giving judgment,<br /> said there was no doubt as to the fact of<br /> the piracy, although the defendants no doubt<br /> did it innocently. There were a succession of<br /> similar scenes, and exact similarity of language<br /> to corresponding characters in corresponding<br /> situations. That showed that the comcidents of<br /> the plot were not accidental. This coincidence of<br /> the plots was very different to mere similarity of<br /> literature usually found in novels. The main plot<br /> of “Loyal” had been incorporated into ‘“ Mad<br /> Marriage.” As to the nature of relief that<br /> should be granted, no doubt the American<br /> authoress would say she had worked up the<br /> English copper and added her own gold. But,<br /> whatever she might say, there was no doubt she<br /> was seriously indebted to the author of “ Loyal.”<br /> Tt was not apparent that the plaintiff had suffered<br /> any substantial damage, and he thought the<br /> justice of the case would be met by a judgment<br /> for £50 with costs, the defendants being by<br /> agreement at libe ty to go on publishing already<br /> printed numbers ot the London Journal containing<br /> the story of ‘ Mad Marriage.”<br /> <br /> Mr. R. T. Reid, Q.C., and Mr. Cababé were for<br /> the plaintiff; Mr. Channell, QC. and Mr<br /> Wilkinson for the defendants.<br /> <br /> The secretary of the Society of Authors was<br /> subpeenaed in the above case as a technical<br /> witness, and stated as his opinion, after reading<br /> both books, that “Mad Marriage” was not such<br /> a substantial copy of “Loyal” as to amount to<br /> infringement of copyright. The case was decided<br /> by the judge almost entirely on the similarity of<br /> the plots.— From the Times of July 23.<br /> <br /> <br /> <br /> The case of Godfrey v. Bradley and Co.<br /> presents many points of interest. In the first<br /> place we must remember that nothing is so easy<br /> as to bring forward charges of plagiarism, while<br /> nothing is more difficult to disprove. Further,<br /> nothing is so likely to happen in the present<br /> multiplication of novels than the adoption of the<br /> same leading idea by two or more writers at the<br /> same time or at different times. Everyone will<br /> remember cases in which this novel or that<br /> novel has been shown to possess the same plot<br /> as some other. Livery novelist of any distinction<br /> can auote letters received by him, charging him<br /> with the appropriation of a plot, of a character,<br /> of a situation, of a whole group of characters<br /> and situations. In most cases, the charge is,<br /> <br /> <br />  <br /> <br /> <br /> <br /> 88<br /> <br /> <br /> <br /> brought by a writer of whom the world has never<br /> heard, against a writer who is successful. One<br /> novelist states that he has been accused of theft<br /> by a dozen different people, concerning whom<br /> he knows nothing, and whose works he has never<br /> seen or heard of. Another novelist was once<br /> accused of stealing from a well-known work by<br /> a poet of the last generation, which is as much<br /> as if one were to steal Barnaby Rudge or Samuel<br /> Weller. We are, therefore, very deeply con-<br /> cerned in the matter. If resemblance of plot<br /> and character is to be taken as constituting<br /> plagiarism, then all novelists are liable to be<br /> hauled before the High Court of Justice, and<br /> condemned in costs. And nothing can well be<br /> more disastrous to novelists, poets, or dramatists,<br /> than a decision against the author in such a<br /> charge, except upon the clearest possible evidence.<br /> <br /> In the case above reported Mr. Thring was<br /> invited by a well-known novelist, not concerned in<br /> the case, to read the two books called respectively<br /> “ Loyal” and ‘Mad Marriage,” and to give his<br /> opinion as to whether the latter could be called a<br /> copy of the former. He accepted, not knowing<br /> that the plaintiff was a member of the Society ;<br /> he could not very well guess the fact, because the<br /> author of the first novel was deceased. After<br /> reading both books, he came to the conclu-<br /> sion that, though there were some points of<br /> similarity in the plot—for instance, the sacrifice<br /> that one brother makes for another is the same<br /> motif in both books—yet, by the existing con-<br /> ditions of copyright law, and by cases recently<br /> decided. by the courts, the case was not one which<br /> could legally be called an infringement of copy-<br /> right. This opinion, on being subpeenaed, he<br /> stated in court. The case was given against Mr.<br /> Thring’s opinion, but he continues to think that<br /> the points of similarity which certainly exist may<br /> be explained im one or two ways, without admitting<br /> plagiarism at all. For instance, the author of<br /> the second work may never have read the first<br /> work at all, or she may have read the moézf in a<br /> review, and remembered it, while she forgot the<br /> circumstance of having read it; or both might be<br /> due to a common origin. Thus it was proved by<br /> several witnesses that the minor characteristics<br /> were different. And it does not appear from the<br /> decision of the judge, as given by the TZimes,<br /> that he had himself read both books.<br /> <br /> Mr. Thring’s action, which was authorised<br /> perhaps hastily and without ascertaining that the<br /> plaintiff in the case was a member of the Society,<br /> was wholly prompted by a laudable desire to<br /> forward the interests of the Society and its<br /> members from the point of view set forth above.<br /> <br /> —S<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> IIl.<br /> YET Not A PLAGIARISM.<br /> <br /> The following extract from a letter received by<br /> the editor of this paper may show how ideas<br /> floating in the air may take root in different<br /> minds and produce similar fruits:<br /> <br /> “How did this idea come into my head when<br /> I was in the back blocks of New South Wales<br /> some five or six years ago, and when I had never<br /> heard of your book or the writer? Your bookis<br /> said to have originated the People’s Palace, and<br /> my book is entitled ‘The: People’s Palace,’ and<br /> I never heard of that building or its name until<br /> I came back to London three years ago. When<br /> ITheard the name I thought that was coincidence<br /> enough, but when my curiosity led me to read the<br /> book in which the idea was first put forward—but<br /> you can perhaps imagine my feelings. You have<br /> even named your hero Harry, the same as mine.”<br /> <br /> oc<br /> <br /> “THE LONDON EDITOR” AGAIN.<br /> <br /> I<br /> <br /> N the National Review c.f July there is an<br /> article by myself in reply to the ‘“ London<br /> Editor’s’”’ misrepresentations and attacks<br /> <br /> In that reply I point-d out what has already<br /> appeared in the Author, that he had examined a<br /> list which had not been published, and which he<br /> could not possibly have seen. Very well. Hereis<br /> his reply, added to my article as a postscript :—<br /> <br /> It does seem.odd that “A London Editor” should have<br /> spoken about conning a list which no mortal eyes but those<br /> of Mr. Besant and his immediate colleagues have ever<br /> beheld. But the error is one of expression merely ; no dis-<br /> regard for truth was involved in it. Although the list of<br /> the society’s members is now concealed, it is not impossible<br /> to con it with the mind’s eye. It was published four or five<br /> years ago; every year since then we have had a sample of<br /> it in the printed lists of those who attended the annual<br /> dinner ; and the sum total of the members has been declared<br /> from time to time. Therefore—especially when we consider<br /> that there is constantly published a list of the council, on<br /> which list the names of the most representative members of<br /> the society appear—there is nothing very dreadful in the<br /> slip of which Mr. Besant makes so much.<br /> <br /> He said in his article distinctly: ‘“ When one<br /> cons the long list of the members ’’—those were<br /> <br /> his words. I say, ‘There is no list of the<br /> members. You cannot con a thing which does<br /> not exist. In saying this you deliberately give<br /> <br /> readers to understand that you have the present<br /> list of members 1n your hands. Nobody from<br /> your words could understand anything else.<br /> And you could not have the list m your hands<br /> because it is not published.”<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Very well. He now says that he knows who<br /> the members are. How?<br /> <br /> First, by an old list, when we were about<br /> 200 in number, which was printed some years<br /> <br /> 0.<br /> <br /> F econd, by the printed lists of those who<br /> attend the annual dinner, about a hundred and<br /> eighty in number, at the most. Did he cut out<br /> those lists, two of which had, when he wrote,<br /> appeared in the Author? Or did he remember<br /> them ?<br /> <br /> Third, by the list of the council, which contains<br /> forty-five names.<br /> <br /> From these data he pretends to know the<br /> 850 members of the society.<br /> <br /> I fear that this paragraph will be set down as<br /> —to say the least—evasive. As regards the rest,<br /> he evades all the points, and leaves my answer<br /> untouched. In fact, what I had to say was so<br /> simple and straightforward that there was nothing<br /> to answer, except to deny damaging and malig-<br /> nant assertions disproved by every document put<br /> forward by the society.—W. B.<br /> <br /> <br /> <br /> T,<br /> <br /> “Tt is a little difficult to understand why the<br /> efforts of a large body of representative English<br /> men and women of letters to vindicate the dignity<br /> of their profession, and to secure greater protec-<br /> tion for literary property, should provoke the<br /> wrath of any member of their own calling. Dis-<br /> honest publishers— who, happily, are not a very<br /> numerous body—may be expected to love the<br /> Society of Authors no better than the thief does<br /> the policeman; and even the honest publisher,<br /> being human, may occasionally feel disposed to<br /> censure it as meddlesome; but why should any<br /> writer lift his pen against it? Whether he is a<br /> member or not, it is working for his benefit, and<br /> the more completely the society succeeds in the<br /> attainment of its objects, the more reason will he<br /> have to be glad of the day when it was called<br /> into existence. If the supposed writer be not a<br /> member of the society one would imagine that he<br /> would be all the more gratefully disposed towards<br /> it. Here are some 800 menand women of letters<br /> subscribing their annual guinea in order that his<br /> property, as well as theirs, may rise in value and<br /> his calling in public esteem. Is it possible for<br /> him to do otherwise than entertain a hearty<br /> desire for the success of their labours? One<br /> would be tempted to reply that it is not, were it<br /> not that in the June number of the National<br /> Review there appeared a paper subscribed “ A<br /> London Editor,” to which Mr. Besant replies in<br /> the new issue of the same magazine. The anony-<br /> <br /> VOL. III.<br /> <br /> 89<br /> <br /> mous editor in question was careful indeed to<br /> state that he wrote in general sympathy with the<br /> Society of Authors, but he contrived in his criti-<br /> cisms to dissemble his love of the society so<br /> successfully, that it is not surprising its chairman<br /> should have credited him with a desire to kick it<br /> downstairs. Mr. Besant, accordingly, handles<br /> his critic without the gloves in the July number<br /> of the National Review and delivers a succession<br /> of telling blows. The assailant thus converted<br /> into the assailed is permitted by the editors of<br /> the Review to subjoin a rejoinder to Mr. Besant’s<br /> reply; but he would probably have been better<br /> advised had he refrained from doing so, He<br /> cannot attempt to deny that he is convicted of<br /> grave inaccuracies ; and his sneers at the annual<br /> dinner of the Society of Authors are as pointless<br /> in themselves as they are beside the point at issue.<br /> Why should not the society in question hold its<br /> yearly dinner as well as any other body of crafts-<br /> men in art or science? It has long been the<br /> reproach of the literary calling that its members<br /> were more divided by petty jealousies and more<br /> incapable of union than those of almost any<br /> other profession. If an annual dinner helps to<br /> extinguish feud and to promote the recognition of<br /> a common interest, it is to be hoped that that of<br /> the Society of Authors will long continue to<br /> draw together as numerous and representative a<br /> company as it did a few weeks ago.” —Salisbury<br /> and Winchester Times, July 16.<br /> <br /> ee<br /> <br /> THE CIVIL LIST.<br /> <br /> <br /> <br /> 1.<br /> <br /> HE Civil List Pensions for the year ending<br /> June 20th, 1890, are now announced. They<br /> include grants as follows:<br /> <br /> Literature : Miss Amelia Edwards (for services<br /> in literature and archeology) ; three daughters of<br /> the late Rev. F. H. Scrivener (Greek Testament<br /> scholar) ; Mrs. Garden, daughter of the Ettrick<br /> Shepherd ; Mrs. Freeman, widow of Professor<br /> Freeman, the historian ; Edward Walford;<br /> Henry Bradley (of the New English Dictionary).<br /> <br /> Science: Mrs. Bettany, widow of G. T. Bettany ;<br /> Mrs. Carpenter, widow of Dr. Philip Carpenter ;<br /> T. W. Levin (philosophy and mental science) ;<br /> George Gore, F&#039;.A.S., chemistry ; H. D. Dunning<br /> (political economy).<br /> <br /> Thrust into the list where they do not belong,<br /> except by what used to be called a job, the widow<br /> of a consul, who has besides a larger grant than<br /> any person connected with letters; and three<br /> <br /> i<br /> <br /> <br />  <br /> <br /> go THE AUTHOR.<br /> <br /> daughters of the late head of a Government<br /> department.<br /> <br /> A further exainination of the list shows that to<br /> be the widow of a consul is to be assessed at a<br /> pension of £120 a year, while to be the widow of<br /> the greatest historian of the day only entitles one<br /> to a pension of £100. Itfurther shows that there<br /> is some malign influence at work in connection with<br /> this list, which not only includes cases never con-<br /> templated in the Resolution by virtue of which this<br /> grant is annually made, but also excludes persons<br /> who achieve eminence (but not fortune) in fiction<br /> and belles lettres. Now, among the applicants<br /> of this year was a lady whose novels have gained<br /> her a very high place among contemporary artists.<br /> The case was so strong and so splendidly backed<br /> that it seemed as if it must command success,<br /> No, she is a novelist; fiction is not literature. Let<br /> her starve. Let the pension which should be<br /> her’s be given to the widows and daughters of men<br /> in the Civil Service, who have nothing whatever to<br /> do with literature, science, or art. Further, we<br /> remark that out of seventeen pensions eleven are<br /> granted to widows and daughters and six only to<br /> living people; that eight are bestowed on litera-<br /> ture, five on science, and none at all on art; that<br /> four are robbed of their original intention and<br /> given away outside. We observe lastly that<br /> poets, dramatists, actors, novelists, essayists, and<br /> journalists, are not represented at all on the list.<br /> Yet, even with these objections, the list is the best<br /> that has appeared for years.<br /> <br /> <br /> <br /> II.<br /> <br /> In the list above quoted it was stated that the<br /> pension was granted to Miss Amelia B, Edwards<br /> in recognition of her services to literature and<br /> archeology and in consideration of her in-<br /> adequate means of support. The Academy<br /> states that Miss Edwards received the pension<br /> thinking that it was in recognition of her ser-<br /> vices to archeology ; that she never put forward<br /> any claim on the ground of poverty; that she<br /> had means quite sufficient, and that she never<br /> understood that she had any claims on the<br /> ground of services to literature. In fact, though<br /> Miss Amelia Edwards wrote during a period of<br /> sixteen years, namely from 1864 to 1880, half a<br /> dozen novels, all of them reaching and maintain-<br /> ing a high level, she was not in any sense a great<br /> writer, nor could she be rightly spoken of as<br /> having rendered great services to literature.<br /> <br /> SHELLEY CENTENARY.<br /> <br /> <br /> <br /> ERCY BYSSHE SHELLEY was born at<br /> Field Place, near Horsham, Sussex, on<br /> Aug. 4, 1792. The Centenary of his<br /> birth is, therefore, close at hand. As Shelley<br /> was the foremost man Sussex has given to<br /> the world of letters, the county has naturally<br /> taken the lead in organising a centenary cele-<br /> bration. Meetings have been held at Horsham,<br /> and the following influential committee, fully<br /> representative of the town and neighbourhood,<br /> has been appointed: Mr. R. H Hurst, J.P.,<br /> D.L. (Chairman West Sussex Quarter Sessions),<br /> the Rev. C. J. Robinson (Vicar of Horsham), the<br /> Rev. R. Bowcott (Vicar of Warnham), the Rev.<br /> A. F. Young, the Rev. J. J. Marten, the Rev.<br /> C. M. Greenway, Mrs. Prewett, Miss Sadler,<br /> Mr. E. J. Bostock (chairman of the Local<br /> Board), Mr. Henry Mitchell, Mr. J. F. A.<br /> Cotching, Mr. T. Kirsopp, Mr. A. Agate, Mr.<br /> H. Churchman, Mr. J. Harrington, Mr. S. Price,<br /> Mr. William Sharp, Mr. J. Stanley Little, and<br /> Mr. J. J. Robinson. With these are associated<br /> the president and hon. secretary of the Shelley<br /> Society, Mr. W. M. Rossetti, and Mr. T. J.<br /> Wise.<br /> <br /> At a meeting of this committee, held on Friday,<br /> June 17, it was decided that, both on general and<br /> local grounds, the most fitting memorial to the<br /> poet would be a ‘Shelley Library and Museum,”<br /> to be established at Horsham. It is intended that<br /> the institution shall absorb existing libraries, and<br /> that it shall be governed in such a manner as to<br /> secure the support of all sections of the com-<br /> <br /> munity. The library will include, in addition to —<br /> <br /> general literature, all such works as may be<br /> specially connected with Shelley. In the museum<br /> a home will be found for such personal relics<br /> of the poet as the committee may be able to<br /> acquire.<br /> <br /> The present opportunity of honouring and<br /> perpetuating Shelley’s memory in the place of<br /> his birth, is one of which students and lovers of<br /> his poetry in every continent will be eager<br /> to take advantage. For this purpose funds are<br /> needed, and this appeal is issued in the confi-<br /> dent belief that there must be many who<br /> would wish to enable the committee to give<br /> complete and substantial expression to an aim,<br /> <br /> so thoroughly in accord with Shelley’s message .<br /> <br /> to the world.<br /> <br /> Subscriptions may be sent to the hon. secre- —<br /> <br /> taries, J. Stanley Little, Buck’s Green, Rudewick,<br /> <br /> Horsham, Sussex; and J. J. Robinson, West S<br /> <br /> Sussex Gazette, Arundel, Sussex. Cheques<br /> should be crossed “London and County Banking<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> Company, Limited, Horsham Branch,” and made<br /> :payable to “The Shelley Memorial Fund.”<br /> We have the honour to be, Sir,<br /> Your obedient Servants,<br /> Frederick Leighton.<br /> Noel Paton.<br /> Onslow Ford.<br /> Henry Irving.<br /> W. B. Ripon.<br /> FE. W. Farrar.<br /> Walter H. Pollock.<br /> Walter Crane.<br /> Edmund Clarence<br /> Stedman.<br /> EK. Lynn Linton.<br /> Hallam Tennyson.<br /> Thomas J. Wise.<br /> <br /> Tennyson.<br /> ) Coleridge.<br /> <br /> / William Morris.<br /> <br /> c Edward Dowden.<br /> Stopford A. Brooke.<br /> <br /> a Richard Garnett.<br /> <br /> AY W. M. Rossetti.<br /> Leslie Stephen.<br /> Andrew Lang.<br /> Theodore Watts.<br /> William Sharp.<br /> <br /> H. Buxton Forman.<br /> Gabriel Sarrazin.<br /> Walter Besant.<br /> <br /> R. H. Hurst, Chairman,<br /> <br /> J. J. Robinson, ) Hon.<br /> <br /> Jas. Stanley Little,<br /> <br /> “On behalf of the Shelley Centenary Committee<br /> at Horsham.<br /> <br /> Secs.,<br /> <br /> <br /> <br /> | It is suggested that a Shelley library and<br /> / museum should be erected at Horsham, the poet’s<br /> ‘ai birth place. It is unfortunate that no place can<br /> _» be found for a monument to the poet which is free<br /> aofrom unhappy associations, whether Horsham,<br /> ‘4 Oxford, London, or Italy. Since we cannot bring<br /> “any remedy to this misfortune, we must endure it.<br /> «. Aninstitute, something like the Shakespeare house<br /> <br /> Jat Stratford, would be an excellent form of<br /> ‘memorial. It is to be hoped that the committee<br /> ‘© will let us know before long how much money<br /> “ithey require. A mere invitation to give some-<br /> sidthing is not the best way to get anything.<br /> 1oW Would such an institute cost a thousand, two<br /> -o@ thousand, ten thousand pounds ?<br /> <br /> <br /> <br /> <br /> <br /> —_———_—__——— oc<br /> <br /> THE ASSOCIATION LITTERAIRE.<br /> <br /> <br /> <br /> of HE secretary of the Association Littéraire<br /> et Artistique Internationale, which boasts<br /> <br /> =. Of having Victor Hugo for its founder,<br /> <br /> rt writes to the Times (July 14, 1892), disclaiming<br /> &quot;4 any connection with the person Morgan, and his<br /> “merry company. Surely that disclaiming was<br /> <br /> 9 needless. No one ever dreamed of connecting<br /> «if this Association with the person now awaiting<br /> 4 trial. It is, however, difficult to understand what<br /> of the Association does or proposes to do for the<br /> <br /> <br /> <br /> AUTHOR. of<br /> <br /> interests of literature and of literary men. It<br /> holds a congress every year. This year it will be<br /> held at Milan. Two or three years ago it was<br /> held at London. They ignored this Society<br /> altogether, which was one reason why not a<br /> single man of letters attended the Congress.<br /> <br /> The following, however, is the programme for<br /> the Milan meeting. In case any of our members<br /> find themselves at Milan during the third week<br /> of September, they may be interested in the<br /> proceedings :—<br /> r4® CONGRES INTERNATIONAL — MILAN<br /> <br /> 1892.<br /> PROGRAMME DES TRAVAUX.<br /> <br /> 1. Etude complete de la Convention de Berne<br /> et des modifications A y introduire en vue de la<br /> Conférence diplomatique qui doit se réunir a<br /> Paris en 1893 ;<br /> <br /> Littérature. — Thédtre. — Musique. — Arts<br /> graphiques. — Architecture.<br /> Rapporteurs: MM. Frédéric Baetzmann,<br /> <br /> Victor Souchon, Alcide Darras, Charles Lucas,<br /> Henri Morel, Harmand, Mettetal, Buloz, G.<br /> Maillard, Rothlisberger, G. Giacosa, Charles<br /> Panattoni, Augusto Ferrari, Jules Lermina, c.<br /> <br /> 2. Des rapports existant entre la protection de<br /> la propriété intellectuelle et le développement des<br /> littératures nationales. Rapporteur: M. Max<br /> Nordau ;<br /> <br /> 3. Projet de loi sur le contrat<br /> Rapporteur: M. Eugéne Pouillet ;<br /> <br /> 4. De la statistique internationale des ceuvres<br /> littéraires et des régles 4 formuler pour I’¢tablisse-<br /> ment de ladite statistique. Rapporteur: M.<br /> Rothlisberger.<br /> <br /> PRoGRAMME DES Fites ET SOLENNITES.<br /> <br /> Excursion sur le lac de Céme et banquet<br /> organisés et offerts aux Congressistes par la<br /> municipalité de Milan.<br /> <br /> Concert offert par la Société des Auteurs Italiens.<br /> <br /> Excursion et banquet pique-nique a la Char-<br /> treuse de Milan.<br /> <br /> Réception au Palais de la Ville.<br /> <br /> Inauguration au Palais de Brera du monument<br /> élevé A la mémorie de ‘“ Paolo Ferrari,’ auteur<br /> dramatique, ancien président de Y Association<br /> littéraire et artistique internationale au Congres<br /> de Rome (1883).<br /> <br /> Les séances du Congrés auront lieu dans les<br /> Salles du Conseil municipal, au Palais de la<br /> Ville de Milan, du samedi 17 au samedi 24<br /> septembre 1892.<br /> <br /> Des salles seront réservées pour la réunion des<br /> Commissions.<br /> <br /> Une séance préparatoire aura lieu le vendredi 16<br /> <br /> H 2<br /> <br /> d’édition.<br /> <br /> <br />  <br /> <br /> g2<br /> <br /> septembre, dans l’aprés-midi. Les membres du<br /> Congrés sont instamment priés d’y assister.<br /> <br /> Le centre de réunion amicale est établi dans les<br /> salles dela Société la Famigha Artistica auprés<br /> du Palais de la Ville, quis’est mise cordialement<br /> 4 la complete disposition des Congressistes.<br /> <br /> Le Congrés se compose :<br /> <br /> 1. Des membres de l’Association littéraire et<br /> artistique internationale ;<br /> <br /> 2. Des membres de la Société des Auteurs<br /> italiens ;<br /> <br /> 3. Des adhérents au Congrés présentés par<br /> deux membres de 1’Association ou par la Société<br /> des Auteurs italiens ;<br /> <br /> 4. Des délégués des Sociétés Frangaises et étran-<br /> géres, désignés par le bureau de ces Sociétés et<br /> porteurs de pouvoirs réguliers.<br /> <br /> Les dames sont admises.<br /> <br /> Les cotisations sont fixées :<br /> <br /> Pour les membres de |’ Association et pour les<br /> délégués des Sociétés (non Italiennes) 4 la somme<br /> de 20 francs.<br /> <br /> Pour les adhérents présentés (non Italiens) a la<br /> somme de 30 francs.<br /> <br /> Pour les membres Italiens s&#039;adresser au Comité<br /> italien, a Milan.<br /> <br /> Comité Italien: — Président, M. Giovanni<br /> Visconti-Venosta, président de la Société des<br /> Auteurs; vice-président, M. Enrico Rosmini ;<br /> secrétaire, M. Augusto Ferrari; membres, MM.<br /> Carlo Baravelli; Arrigo Boito; Enrico Fano,<br /> sénateur ; Giuseppe Giacosa; comte Emilio Gola;<br /> Leone Fortis; Luigi Gualda; Ulrico Hepli;<br /> Giulio Ricordi; Edoardo Sonzogno; Emilio<br /> Treves.<br /> <br /> spec<br /> <br /> THE LAME BOY IN THE WOODS.<br /> <br /> <br /> <br /> Each season hath its sadness, but for me<br /> Summer hath most of all. I scarce know why,<br /> But though its sylvan beauty soothes my soul<br /> And brings sweet reveries—though the happy birds,<br /> Discoursing music, stir my mind with dreams,<br /> With melodies, with thoughts of deep delight,<br /> Yet still there lurks within the summer’s heart,<br /> Or in mine own, a pain—a deep, wild pain—<br /> Which, even amid still Autumn’s ravages<br /> I never feel, nor yet in Winter’s storms.<br /> Is it, I ask, that Summer’s voiceless spell,<br /> Her loveliness of copse and lea and flower<br /> Is all too soon dissolved—that blossoms fade<br /> When Summer’s glory dies?<br /> <br /> Ah, no; Ah, no!<br /> It is that Summer’s mocking gladness lends<br /> To loss a sharper sting when I recall<br /> The joy of buoyant health and tireless limbs<br /> Which others feel—a joy that knows not me.<br /> <br /> Macxenziz BELL.<br /> oct<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> R. CHURTON COLLINS has published<br /> (Macmillan and Co.) a Plea for the<br /> recognition of English Literature at<br /> <br /> the Universities. That is to say, he would<br /> separate literature from philology, and place<br /> the former on a proper footing. The thing<br /> has already been advocated by Goschen, and by<br /> John Morley, by Mr. Churton Collins in the<br /> Quarterly Review, by Matthew Arnold, Jowett,<br /> Pater, and Froude. The plea is not one to which |<br /> we ought to turn a deaf ear. I venture to ~<br /> invite all who are concerned in the cultivation of<br /> literary taste; all who desire that the noble<br /> literature of our country should be properly<br /> taught, and systematically studied; to procure<br /> this book and to read it carefully; perhaps the<br /> reader may have it in his power to forward the<br /> views advanced ; in any case he can lend the book,<br /> and get it talked about, which is the surest way<br /> of advancing a book. More than ever is sucha<br /> study as is advocated by Mr. Collins wanted at<br /> the universities. We have, growing up among _<br /> us, an ever increasing number of readers—<br /> those who have learned to look upon reading ©<br /> as a necessity, one of the simple wants of life,<br /> Formerly only those read much who had received _<br /> some kind of literary training. Their minds were<br /> filled with literary traditions. These new readers —<br /> have no literary traditions—no knowledge of —<br /> literature. How then would a school at Oxford —<br /> influence the new class of readers? In this way. —<br /> It would fill the country with professors and<br /> teachers of literature; these professors and<br /> teachers would spread abroad a knowledge of the =&lt;<br /> thing itself as an existent and an important sub-—<br /> ject; they would also, quite naturally, take over<br /> those critical duties on. the local papers,<br /> which are now relegated as often as not<br /> to the youngest recruit. Criticism based<br /> on recognised standards of style, on trained<br /> knowledge of structure and form, and on<br /> learning exact and broad, would place litera<br /> ture in quite a new light to the average reader.<br /> There are a thousand reasons, in short, why @ —<br /> school of literature must be founded, most 0<br /> which will be suggested by an examination 0<br /> this important little book. -<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> I am sorry to notice the death of John Mac<br /> gregor whom I have known for five-and-twent,<br /> years. During the last few years of his life h<br /> had retired to Eastbourne, where his power<br /> rapidly declined. John Macgregor was a man 0<br /> singular activity, both mental and physical, an<br />  <br /> <br /> THE AUTHOR.<br /> <br /> _was also a man of great pluck and perseverance.<br /> «4 What he did for the cause of poor and friendless<br /> -‘lads was extraordinary ; what he tried to do with<br /> shis “Pure Literature Society’—I believe it<br /> J&gt;excludes Dickens on account of a strong word or<br /> . two which has been discovered in that generally<br /> «+ blameless novelist—was even more extraordinary.<br /> - He wrote two or three books of travel, but his<br /> + literary gift was not great; he held the narrowest<br /> views of religious doctrine, but he held them quite<br /> clearly. They were sharply outlined in his own<br /> = mind, and I believe they never changed. From<br /> _ jhis point of view they were quite logical ; he was<br /> | a leader in that declining school of which the<br /> + late Lord Shaftesbury was the most complete<br /> «7 representative. John Macgregor, who knew his<br /> ‘own value, partly because he really had done<br /> aie things considerably in the philanthropic world,<br /> baand partly because many people took care that<br /> - -he should not forget the fact, was one of the<br /> &#039;« first to introduce the canoe; he was generally<br /> / to be seen onthe bank before the University race.<br /> -}, Let me add that he was a gentleman in every sense<br /> / 4 of the word; a gentleman born; a gentleman<br /> b bred; and a gentleman who hated things base<br /> ba and mean with the contempt which one should<br /> + bestow upon all things reptile. I learn, from a<br /> i short notice in the Athenzum, what I did not<br /> ron know before, that he formerly wrote for Punch.<br /> &lt; | It is astonishing to think that John Macgregor<br /> + could ever have written a single line for that<br /> periodical. It must have been a long time ago.<br /> Was there not once a short period when Punch<br /> was—well—not quite so funny as usual ?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ee<br /> <br /> The other day I bought for fourpence and tried<br /> “9 to read, but with only partial success, the ‘‘ Pur-<br /> gatory of Suicides.” It is not an inviting poem.<br /> 41 I thought that the author had been dead a long<br /> a) time. Yet he was living, and he died in the<br /> vl middle of last month, having attained to the age<br /> » 16 of eighty-seven. The death of Thomas Cooper<br /> has caused quite a revival of old Chartist<br /> ‘6; memories. The survivors of the leading spirits<br /> <br /> «) in that movement are now very few. _ Its history<br /> sea has never been written, though Carlyle furnished<br /> »+ a contemporary commentary upon it.<br /> <br /> Sa<br /> <br /> Mr. Louis Stevenson appears to find the climate<br /> 1, of Samoa conducive to industry. Two more<br /> © volumes of his are announced to be published in<br /> 61) the course of the next month, a History of Samoa<br /> “ae and a volume containing two stories (Cassell).<br /> «ff Three volumes, with “The Wrecker,” and“ Across<br /> sd) the Plains,” and “David Balfour,” which is to<br /> 29% begin in the autumn, make up a very good show<br /> <br /> <br /> <br /> 93<br /> <br /> for the year. His friends, however, have not yet<br /> begun to ask for less. A club conference, sitting<br /> the other day in judgment on his recent works,<br /> unanimously agreed that “The Wrecker” is as<br /> good as anything he has ever done.<br /> <br /> <br /> <br /> The writer of the interview with Mr. Gosse,<br /> from whom a line was quoted last month, begs us<br /> to state, in justification of his own accuracy, that<br /> he read over his report twice to Mr. Gosse. His<br /> accuracy was not in any way questioned, but it<br /> is quite possible to say things in conversation,<br /> and even to listen to a report of words which<br /> mean more than one would commit to the printed<br /> page. With this reservation we quite accept the<br /> accuracy of the interviewer.<br /> <br /> Se<br /> <br /> In the new and current number of Longman’s,<br /> Mr. Andrew Lang refers to the Author. “Is it<br /> not,” ne asks, “a little careless to assert that<br /> a half-crown book costs twenty-six shillings?”<br /> Surely, but how does the question affect the<br /> Author? I have looked carefully through the<br /> July number, and cannot find that any such state-<br /> ment has been made. Next, Mr. Lang refers to<br /> my complaint—not mine alone, but that of every-<br /> body who wants to complete the works of a<br /> favourite author—on the scattering of books<br /> among various houses. He says that different<br /> publishers issue different kinds of books. True,<br /> But in the case of popular and distinguished<br /> writers, I do not know any publisher who would<br /> not willingly issue all the books, whatever the<br /> subject, which that writer might choose to put<br /> forth. Again, after a word or two on certain late<br /> contributions to the Author, he asks what is meant<br /> by saying that “ Mr. Gifford’s Lectures ”’ are to be<br /> published ? What is meant, indeed? This is a<br /> question that has been asked by many. The<br /> writer of that unlucky paragraph has already<br /> received nearly as terrible a punishment as he<br /> deserves, and the editor who passed the blunder<br /> without notice consents to be set down as—what-<br /> ever the reader pleases to call him.<br /> <br /> ————<br /> <br /> In the same magazine and the same number,<br /> everybody will read with delight Mr. Grant<br /> Allen’s Biography of Lucy and Eliza<br /> <br /> <br /> <br /> One out of the twelve essays forming Mr.<br /> George Saintsbury’s latest book has been noticed<br /> elsewhere, at some length, for reasons there<br /> explained. There are, however, at least four of<br /> <br /> <br />  <br /> <br /> 94<br /> <br /> <br /> <br /> the remaining essays which very closely concern<br /> ourselves—that is, those who are presumably the<br /> most deeply interested in literature. They are<br /> essays on English prose style, on modern English<br /> Prose, on the Young England Movement, and on<br /> the Contrasts of English and French literature.<br /> I hope that we may find room to consider their<br /> essays in our next number.<br /> <br /> <br /> <br /> Is there any reader of recent verse who can<br /> name the author of the following ?<br /> <br /> A MEETING.<br /> <br /> “T can recall so well how she would look—<br /> How at the very murmur of her dress<br /> On entering the door, the whole room took<br /> An air of gentleness.<br /> “ That was so long ago, and yet his eyes<br /> Had always, afterwards, the look that waits<br /> And yearns, and waits again, nor can disguise<br /> Something it contemplates.<br /> “May we imagine it? the sob, the tears,<br /> The long, sweet, shuddering breath ; then, on her breast,<br /> The great, full, flooding sense of endless years<br /> Of heaven, and her, and rest.”<br /> <br /> —<br /> <br /> The following comes from Texas, which is a<br /> long way off :<br /> <br /> “Dear Sir,—Could you send me for preserva-<br /> tion in my collection, letters or other papers,<br /> written or signed by the following distinguished<br /> persons? Notice letters would be of greater<br /> interest than the signatures alone. If portraits<br /> or photographs can be sent also, they would be<br /> highly appreciated, adding very much to the<br /> interest of my collection.—Sincerely yours,<br /> <br /> + 3<br /> <br /> <br /> <br /> *<br /> <br /> One is naturally so very desirous of adding to<br /> the interest of a stranger ina foreign land. That<br /> may be taken for granted! And it is so sweetly<br /> reasonable for that foreign collector to invite com-<br /> plete strangers in another land to strip them-<br /> selves of valuable and interesting autographs !<br /> And how about our own collections ?<br /> <br /> The letter is remarkable for another reason.<br /> It is type written in very small type, all capitals,<br /> on a tiny sheet of notepaper. I have long<br /> expected the arrival of the small type-writer,<br /> and here it is. The whole letter is not more<br /> than an inch and a half long by three inches<br /> broad. How delightful it will be to get rid of<br /> the great square letter size, sometimes on thick<br /> paper! Does this invention come from Texas?<br /> In that case I think I must show my gratitude<br /> and send a letter or two for preservation in this<br /> alien’s valuable collection.<br /> <br /> —<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The Dundee Advertiser has a few remarks<br /> about the “‘ Notes from Paris”’ and Mr. Sherard’s<br /> remarks on Zola. The article suggests that I<br /> shall probably decline responsibility for Mr,<br /> Sherard’s notes. [ certainly might do go,<br /> The article also speaks of Zola as the “ unspeak- |<br /> able,” as ‘‘ vicious and abominable ;”’ as a novelist<br /> <br /> -who has all the “ wickedness and more of the wit<br /> <br /> of either Fielding or Smollett.” I really was of<br /> opinion that in the genius of Zola the world had<br /> come to an understanding that it was agreed on all —<br /> hands that Zola has very great genius. I thought<br /> it was also understood that there were things in —<br /> his novels which render them wholly unfit for<br /> <br /> school girls or young people. As we are not all<br /> school girls, as the members of our society may<br /> at least be allowed to recognise genius, to admire<br /> genius, to be interested in reading about them<br /> who are endowed with this rare and precious<br /> quality, it was, one submits, pleasing to read in<br /> Mr. Sherard’s notes, the enthusiasm of a young<br /> writer for genius, and the enthusiasm of Paris—<br /> not School Paris—for a new book by that man of<br /> genius. And does the writer preach or teach no<br /> morality? Does he in that most terrible of alltem-<br /> perance tracts—‘ L’ Assommoir ’”’—teach drunken-<br /> ness ? One might go farther and claim that inthe —<br /> <br /> rigid fidelity of his “vicious” scenes he disgusts<br /> <br /> the reader with vice. One need not, however,<br /> seek to defend Zola in his realistic moods. There<br /> <br /> are things in him—as there are in a dissecting<br /> <br /> room—which some eyes cannot gaze upon. Allow —<br /> for this; keep his books from the school girl, and<br /> acknowledge the genius of the writer.<br /> <br /> <br /> <br /> It is significant of the way in which opinion<br /> is drifting that the Hospital is advocating the<br /> creation of medical peerages. “ Why,” asks this<br /> paper, “should an eminent physician, such as<br /> Jenner or Paget, be less worthy of a peerage<br /> than the lawyers, soldiers, sailors, and statesmen,<br /> who have been raised to the Upper House.”<br /> Why, indeed? And in another paper one reads<br /> the report — repeated with approval — that the<br /> President of the Royal Academy is to be created<br /> a peer. It is, however, added, as if the circum-<br /> stance would make the thing easier, that the<br /> president is unmarried. Hereupon, one naturally<br /> asks why the son of an artist should be less<br /> worthy to succeed to a peerage than the son of<br /> a brewer or of a soldier? . We are gradually<br /> coming round, it will be observed, to the opinion<br /> that national distinctions, if they are to be re-<br /> tained at all, must be given for national services<br /> <br /> ‘of all kinds; thatthe present method of scatter-<br /> <br /> ing abroad these distinctions brings them into<br /> contempt; and that, though it is good for a com-<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 95<br /> <br /> ~ mercial nation to honour success in commerce, it<br /> is bad to refuse honours to those who advance<br /> -. that nation in literature, science, and art, and every<br /> | other liberal profession. Therefore, I repeat what<br /> {1 [have already advanced more than once, that, if<br /> _ national distinctions are contemptible, we ought<br /> -to do everything in our power to get them<br /> <br /> i} abolished ; but if they are desirable and honour-<br /> ‘able, they should be bestowed only in return for<br /> services to the country; and that all honourable<br /> «&gt; services of every kind must be equally recognised.<br /> <br /> Watter BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> I.<br /> Tur PusLisHeR’s READER.<br /> . THNHINGS were going very badly with Tom<br /> | Denny. They had been going very badly<br /> with him for some time.<br /> <br /> It was not his fault. It was certainly his mis-<br /> “4 fortune. His contributions to literature were not<br /> © appreciated ; the publishers refused to be bothered<br /> » with his manuscripts. It was not his fault, as we<br /> » said before; his style was easy, his stories were<br /> ; ingenious, and his opinions were sound. But he<br /> was in advance of his time—he said so himself;<br /> and this, with publishers, and even more with<br /> editors, is worse than being behindit. Even stale<br /> news is more marketable than prophecy. The<br /> public prefers overripe fruit to unripe. So, while<br /> the plagiarists and dealers in literary réchauffeés,<br /> and other time-servers, were thriving, our friend<br /> Tom Denny was positively starving. The only<br /> satisfaction he could cherish was that he was<br /> alone; he had no wife, no children, to starve<br /> <br /> in company with him.<br /> <br /> Until now he had proudly refrained from lean-<br /> <br /> ing upon friends and acquaintances for support<br /> in his profession ; a profession, the true appren-<br /> tices to which always hope a vain thing, namely,<br /> that mere merit alone will unlock the barred gate<br /> of the road leading to success. But as every<br /> successful writer can tell, while merit is some-<br /> thing, a touch of luck is everything, towards<br /> deflecting the needle of fortune from “stormy”<br /> to “ change,” “ fair,” and “ set fair.”<br /> : One day, during a period of great distress, and<br /> feeling as if he was throwing away the independ-<br /> ence of spirit to which he had hitherto clung,<br /> Tom set out to ask advice, and (if need be) help,<br /> from an old schoolfellow, whose literary fortunes<br /> were the very reverse of his own.<br /> <br /> George Davenport had chambers in the Temple.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Although in the swing of his morning’s work, he<br /> received Tom with a hearty welcome.<br /> <br /> “Haven&#039;t seen you for an age!” he com-<br /> plained.<br /> <br /> Tom apologised for his neglect of an old friend,<br /> and allowed the other to talk upon commonplace<br /> subjects for a minute or two. Then he braced<br /> himself for the effort, and commenced to explain<br /> the state of his affairs.<br /> <br /> “JT may as well make a clean breast of it! You<br /> know, George, that I have no regular income ;<br /> and my relations are so aristocratic that literary<br /> pursuits are far, very far, beneath their con-<br /> tempt.”<br /> <br /> “ Brutes!’? muttered George Davenport.<br /> <br /> “ Well, I have worked till my health is gone.<br /> I have written till my pigeon holes and shelves<br /> are filled up. I have put into my work all that<br /> my conscience demands, and my powers allow.<br /> My manuscripts have been presented everywhere,<br /> and have been of late almost everywhere<br /> “declined with thanks.” Only two or three of<br /> them are in the publishers’ hands now. I have<br /> come to the end of my strength, of my spirit, and<br /> of my purse. I have absolutely nothing to live<br /> upon, and consequently nothing worth living for,<br /> and I dare not contemplate, nor suggest the<br /> result in prospect, if—if I cannot persuade some<br /> kind friend to give me a hand,”<br /> <br /> “Good heavens, man! Is it as bad as that? a<br /> <br /> Tom made no reply, and hung his head to hide<br /> the mist in his eyes.<br /> <br /> George Davenport looked at his watch, and<br /> clicked the lid sharply as he restored the gold<br /> repeater to his pocket. He made no reference<br /> whatever to the subject upon which Tom had<br /> spoken to him.<br /> <br /> “Are you in a hurry?” he inquired. “ Have<br /> you anything particular to do?”<br /> <br /> Tom shook his head in reply, as if he had<br /> nothing more to do in this life.<br /> <br /> “Don’t run away,” proceeded Davenport.<br /> “Stop with me, and have some lunch and a chat<br /> over old times.”<br /> <br /> Tom seemed too dispirited to offer any opposi-<br /> tion, He was hungry, moreover, poor soul,<br /> having scarcely known what a good meal was for<br /> months past. Meantime, so pessimistic was his<br /> judgment, that for a moment he suspected his<br /> friend of offering hospitality as a set-off against<br /> an intention to refuse help. In this he soon<br /> admitted himself wrong.<br /> <br /> Lunch was served.<br /> <br /> Davenport dismissed his man-servant, who had<br /> laid the table. He waited till Tom had began to<br /> enjoy the healthy stimulus of wholesome food,<br /> and then for the first time reverted to the object<br /> of Tom’s visit.<br /> <br /> <br /> 96<br /> <br /> “Can you review books?” he asked. “Why,<br /> of course you can; I ought to have known better<br /> than to ask.”<br /> <br /> “ Any fool can review a book—after his own<br /> fashion !”’<br /> <br /> “ Precisely,” said George Davenport, with a<br /> twinkle in his eye. ‘“ That is just how I review<br /> them. You can do much better. By the bye,<br /> why don’t you read for a publisher? The pay is<br /> not princely ; but it’s bread and cheese, after all.”<br /> <br /> “Why don’t IP Chiefly because I cannot get<br /> within a hundred miles of a publisher, so to<br /> speak. Besides, I hate the publishers!”<br /> <br /> “So does everyone! Butthey areuseful. For<br /> example, they employ me occasionally. They sent<br /> me half-a-dozen unpublished manuscripts to read<br /> for them a month ago—I haven’t had time to at-<br /> tend to them yet, though they are comparatively<br /> short—authors anonymous—unspeakable trash,<br /> no doubt. Stay! I glanced at one of them. It<br /> was not so very bad—rather clever, indeed—and<br /> quite an easy and inexpensive sort of volume to<br /> bring out. If the whole book is as interesting as<br /> the first page I should recommend the publishers<br /> to accept it.”<br /> <br /> “« What is it called ?”<br /> <br /> “T really cannot remember—it is a_ type-<br /> written thing.”<br /> <br /> Tom sighed. His manuscripts, too, were type-<br /> written ; but nobody recommended the publishers<br /> to accept them.<br /> <br /> “Now, Tom,” exclaimed George Davenport, ‘I<br /> wish you would do me a favour. I have been<br /> fearfully busy lately, and I really cannot find<br /> time to wade through the bundle of manuscripts.<br /> No doubt the publishers are growing impatient—<br /> to say nothing of the unfortunate authors.”<br /> <br /> “ Poor authors !”’ thought Tom.<br /> <br /> “Now, if you will do the work for me, you are<br /> welcome to the pay, and I shall be awfully<br /> obliged to you.”<br /> <br /> “ T shall be delighted,” Tom responded, seeing<br /> through his friend’s delicately-veiled device to<br /> assist him out of his difficulties.<br /> <br /> “ Well, you area good chap,” said Davenport,<br /> continuing to assume that the favour came from<br /> Tom. “And look here—I’ll give you a cheque<br /> row—I might be away, or ill, or dead, don’t you<br /> know, when you bring back your report.”<br /> <br /> Tom could only thank him, press his hand, and<br /> hasten to begin the work.<br /> <br /> The cheque was but a small one, not large<br /> enough to suggest that he was in receipt of<br /> charity, but large enough to stave off the spectre<br /> of starvation.<br /> <br /> Once at home, he sat at his table, and opened<br /> the parcel of manuscripts to which his friend had<br /> meted out such scant mercy.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> He removed the brown paper covering. On the<br /> top of the pile lay the type-written sheets alluded<br /> to by Davenport.<br /> <br /> On reading the title, Tom Denny started and<br /> grew pale. He ran his eye nervously over the first<br /> few lines, and threw himself back in his chair<br /> with an exclamation of astonishment.<br /> <br /> What was there in this manuscript which<br /> aroused in him such strange emotions ? Why did<br /> he bury his face in his hands ?<br /> <br /> An hour went by, but he had not turned a page,<br /> The precious time had been spent by him in<br /> musing, muttering, and malediction! He seemed<br /> to have lost the power of work—to be labouring<br /> under some inexplicable form of indecision, in-<br /> spired by the type-written leaves.<br /> <br /> At last he roused himself and flung aside the<br /> offending manuscript. Seizing upon the next one<br /> in order, he applied himself vigorously, heart and<br /> soul, to the duty of mastering its value and<br /> transferring his judgment of it to paper. This<br /> doue, he attacked the third likewise and so on<br /> with the rest. Having thus treated all but one,<br /> namely, the typed one, he returned the lot to their<br /> brown paper covering, and went to bed.<br /> <br /> Whether he went to sleep or not, it is impossible<br /> to say for certain. But one thing is clear; when<br /> he went to breakfast next morning he wore a<br /> smile on his lips, and moved with the air of a<br /> man who had squared some difficulty and is at<br /> peace with conscience.<br /> <br /> Before twenty-four hours had elapsed from his<br /> entermg Mr. Davenport&#039;s chambers on the<br /> previous day, Tom Denny re-entered that gentle-<br /> man’s room, with the bundle of manuscripts<br /> under his arm, and a conscientious type-written<br /> report upon their merits and shortcomings,<br /> together with some sound advice as to their<br /> publication or the reverse—all ready for despatch<br /> to the firm of publishers, if approved by<br /> Davenport.<br /> <br /> “My dear old fellow!” exclaimed that gentle-<br /> man, “I really cannot spare time to read what<br /> you have written about these things, I am sure<br /> it is all right and just what the publishers<br /> want!”<br /> <br /> “Do you not know who any of the authors<br /> are?”<br /> <br /> “ Not I, and I don’t want to know.”<br /> <br /> The bundle was sent on to the publishers without<br /> the MSS. or the reader’s opinion being so much<br /> as looked at by Davenport.<br /> <br /> Two day later Tom Denny received a note from<br /> the publishers who had his MS. ‘“ Dear sir,”.<br /> ran, “we should like to see you concerning the<br /> <br /> MS. with which you have favoured us. If you a<br /> <br /> could conveniently call any afternoon this week<br /> between three and five we should be very glad to<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> - see you.—Your obedient servants, SMILES AND<br /> <br /> SwEETBEAM.,”<br /> <br /> Tom smiled. Tom read the letter<br /> time. Tom laughed.<br /> <br /> He called the very next day. He was received<br /> by Mr. Smiles himself, the senior partner. ‘‘ We<br /> have received, Mr. Denny,” said the great man,<br /> “an opinion on your MS. which lifts your work<br /> quite above the average of MSS. submitted to<br /> us. He says, in fact ’”’— here he took up a type-<br /> written paper—“humph, ‘ plot quite fresh and<br /> original; characters strong ; humour abundant;<br /> situations strong; grip of the story from the<br /> opening page.’ Well, sir, this opinion induces us<br /> to make you an offer which you will not, I think,<br /> refuse. We will take the whole risk of this<br /> story ; we will publish it at our own expense and<br /> in our best style ; and we will give you, when the<br /> first five hundred copies of the three-volume<br /> edition are disposed of, a ten per cent. royalty.<br /> Does this suit you?”<br /> <br /> Of course it suited him. That it was a one-sided<br /> and an iniquitous proposal he found out after-<br /> wards. All he wanted at this moment was a start.<br /> <br /> And he got it. For the opinion was correct.<br /> Tom Denny did no more than justice to his own<br /> offspring. And Tom has now got both feet up<br /> the first half-dozen rungs of the ladder, but<br /> Messrs. Smiles and Sweetbeam will get no more<br /> of his work.<br /> <br /> a second<br /> <br /> ee<br /> <br /> <br /> <br /> NOTES FROM PARIS.<br /> <br /> <br /> <br /> hundredth edition of “La Débicle” will<br /> be on sale on the Paris boulevards. It<br /> is Zola’s most brilliant success, and this fact is<br /> the best answer that the admirers of Zola can<br /> <br /> 4a the time these lines appear in print the<br /> <br /> give to -tement often made in England, that<br /> Zola’s p larity is mainly due to the nastimess<br /> of thes 2s he depicts and to the coarseness of<br /> <br /> the lang. xe he uses. There are no nasty scenes<br /> though iaany terrible ones—in “ La Débacle,”<br /> and the language is throughout, singularly free<br /> from vulgarity.<br /> <br /> <br /> <br /> Apropos of Zola, I see that a certain paper<br /> published in Dundee has been attacking the<br /> Editor for allowing “(a certain Mr. Sherard”’ to<br /> eulogise this master in these columns. The<br /> attack on Mr. Besant leads up—after various<br /> sneers at myself and at my little ways—to an<br /> assault on M. Zola. Enviable M. Zola to be so<br /> so hated! The Dundee man calls him ‘“ the most<br /> cochon of novelists,” “the unspeakable Zola,”<br /> <br /> VoL. III.<br /> <br /> AUTHOR. 97<br /> <br /> “vicious and abominable,” “ filthy,” ‘the in-<br /> tolerable novelist.” Next to being well under-<br /> stood to be completely misunderstood is the<br /> best thing, and could I trouble Zola with such<br /> trifles as these, I am sure he would be hugely<br /> amused to listen to a translation of this dia-<br /> tribe. As a matter of fact there is no<br /> sweeter, cleaner-minded man than Emile Zola,<br /> few more refined amongst those who have had<br /> little chance of culture, few as artistic by<br /> temperament, and fewer as good, as lovable,<br /> as dignified, and as admirably-lived. Zola has<br /> set himself the task of recording certain phases<br /> of life in a certain period of history, and speaks<br /> the truth absolutely. The pictures are photo-<br /> graphic just as his conversations are phonogra-<br /> phically reported. It is the world that is cochon,<br /> not Zola. As works of art his books may be<br /> attacked; but they will always remain as ethno-<br /> logical, philological, and sociological documents<br /> of the highest importance to the student of French<br /> history in the third quarter of the nineteenth<br /> century. What a dreadful place Dundee must<br /> be!<br /> <br /> <br /> <br /> T was at an inn the other day which was once<br /> visited by a Scotch gentleman, who, when asked<br /> by the landlady to dictate her his name, so that<br /> she might write it down in the register, uttered<br /> syllables of which it was impossible for her to<br /> essay the writing down. She expressed her<br /> difficulty, and the gentleman then laughed and<br /> said, “Oh, write it down in French, ‘ Gauthier<br /> ’Ecossais”’ Under this pseudonym did Sir<br /> Walter Scott figure on a book of the Hotel du<br /> Grand Cerf, at the Grand Andely, in Normandy.<br /> The inn is one of the most picturesque of houses<br /> of entertainment, and though, as an inn, it has only<br /> existed 150 years, as a house it dates from the<br /> 15th century. The principal room, now modern-<br /> ised into a café with electric lights, a billiard<br /> table, and so forth, boasts a fireplace, at. which,<br /> as Hugo wrote, “a whole oak is used to warm us.”<br /> It is a queer old place, full of lovely old oak<br /> carvings. Gauthier !Ecossais must have found<br /> it entirely after his own heart. A mile off stands,<br /> on a prominence dominating the Seine, the<br /> Chateau Gaillard, built by Richard Coeur de<br /> Ton. When the stronghold was afterwards<br /> taken, craven Lackland, skulking in Poitou,<br /> whined out, ‘‘ Now, I have lost Normandy.”<br /> <br /> Se<br /> <br /> A familiar figure to those who sit out on the<br /> terrasses of boulevard cafés is that of a man who,<br /> as he walks along, cries out in doleful tones,<br /> ‘ Here is the Ruin of the publishing trade. Here<br /> <br /> I<br /> <br /> <br />  <br /> <br /> 98<br /> <br /> is the Despair of authors. At sixpence each. At<br /> sixpence.’ He is commonly known as “La<br /> Ruine des Editeurs.’’ A jovial fellow withal, by no<br /> means showing like a prophet of woe. His busi-<br /> ness is to buy up publisher’s remnants, and to<br /> retail them to his best advantage. Thanks to<br /> his clever patter, and to his skill in selecting<br /> only books with “fetching” titles, he is always<br /> able to dispose of his bundle of yellow backs<br /> before midnight. I took a petit verre with him<br /> the other night at a marchand de vins, in the<br /> Rue de la Paix, and learned that it was “a bad<br /> day on which he did not make his couple of louis.”<br /> How many authors here cansay the same! He looks<br /> on literature only as merchandise,” and “never<br /> read a book; not he.” He had something else<br /> to do. I consulted him as to titles, but, with the<br /> eyes of Dundee upon me, I dare not print what<br /> he said on his subject.<br /> <br /> <br /> <br /> I was speaking to a very prominent French<br /> poet the other night and elicited from him the<br /> opinion that there are only three French poets<br /> worth reading, Racine, La Fontaine, and himself.<br /> As to novelists, he considered them singly and<br /> severally so beneath contempt as not to be worth<br /> discussing. He describes Zola as “ nothing at<br /> all,” Flaubert as a mauvais écrivain, which ‘“ was<br /> already something, Zola not even bemg an<br /> écrivain at all,” and said that the only French<br /> novelist who had ever shewed any talent was<br /> Eugene Sue.<br /> <br /> <br /> <br /> It was owing to Sue, by the way, that literary<br /> gents are-not looked upon as at all eligible for<br /> membership to one of the swellest clubs in Paris.<br /> Since Sue’s election and enforced resignation,<br /> professional hommes de lettres have always beet<br /> black-balled at this house. Not that Sue made<br /> himself particulary objectionable, but he talked<br /> too much “shop” and flaunted his trade too much<br /> in the face of his dandy club-mates. A certain<br /> duke was taken faint, it is recorded, at the sight<br /> of him correcting some galley proofs on the<br /> green velvet of the table de jeu. Balzac hated<br /> clubs and “life” generally, though he did have a<br /> short period of boulevardomania, when he dressed<br /> as a fop, and sported the famous turquoise-studded<br /> walking-stick, As a general rule Frenchmen of<br /> letters eschew society and its pleasures, and inso-<br /> much are wise in their generation.<br /> <br /> — &gt;<br /> <br /> To-morrow we shall see to his last rest in<br /> Pére Lachaise cemetery, one of the most<br /> <br /> sympathetic of contemporary French litterateurs,<br /> Léon Cladel, who died yesterday at Sévres after a<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> long and painful illness. Cladel’s work affords a<br /> striking example of how even the most disinherited<br /> of fortune can attain mastery in an art, the best<br /> equipments for which will always be a careful<br /> education, a wide culture, and other mental luxuries<br /> which are not usually within the reach of the very<br /> poor. Cladel was a self-made man. Not that he<br /> made himself a rich man—God forbid, seeing<br /> what was his trade, but. he made himself an admir-<br /> able stylist, and proved himself to combine a most<br /> perfect artistic temperament with the greatest and<br /> kindest of hearts. His books, which are a!l<br /> strongly impregnated with socialistic tendencies,<br /> are but little known to the large public, but are<br /> the delight of connoisseurs. His collection of<br /> stories: ‘‘ Les Va-nu-pieds,” his famous “ Jaques<br /> Patient,” which ruined the fortunes of that anti-<br /> Empire publication ‘‘ L’Kurope de Francfort,” and<br /> his novel “La Féte Votive,” are acknowledged<br /> masterpieces. He leaves in MS two novels;<br /> “ T.N.R.I.,”’ which is conceived in somewhat the<br /> same spirit as was Swinburne’s “Before a Crucifix,”<br /> and ‘“Juive Errante,” which is a biting satire on<br /> the vices and follies of the day. Bold, too true,<br /> and partant, too bitter even to find a publisher,<br /> Cladel was a most generous man, and he was very<br /> fond of animals in general, and of dogs in par-<br /> ticular. Now there is never much wrong about a<br /> man who is indifferent to money, and who is kind<br /> to the humble, and who is good to dogs.<br /> <br /> ————<br /> <br /> Cladel always said that he owed all he possessed<br /> in craftmanship of style and grace of diction to<br /> Baudelaire, who, by the way, did him the honour<br /> of writing a preface to one of his first books.<br /> <br /> <br /> <br /> Zola is not going to write any novel about the<br /> Lourdes pilgrimages. He has already begun to<br /> write the novel which will close his “ Rougon-<br /> Macquart” series, and which is to be called “ Le<br /> Docteur Pascal.” The MS. is to be completed at<br /> the end of the year, and the serial publication of<br /> the new novel will commence in the early part of<br /> 1893, in La Revue Hebdomadaire, From what<br /> I have heard of the plot and the motive of “Le<br /> Docteur Pascal,” I am afraid it promises to be<br /> rather tedious.<br /> <br /> <br /> <br /> I have noticed in one or two papers the<br /> innuendo, dpropos of Oscar Wilde’s “ Salomé,”<br /> that Mr. Wilde is not sufficiently acquainted with<br /> the French language to have been able to produce<br /> this chef d’euvre himself, and that it was written<br /> largely in collaboration with one or other of his<br /> nunierous French literary friends. What can an<br /> <br /> author who lives in England do against abomin-<br /> <br /> <br /> <br /> <br />  <br /> <br /> te<br /> <br /> Mi<br /> <br /> 4<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> able attacks of this kind? As a matter of fact,<br /> Mr. Wilde is as admirable a French as he is a<br /> Greek, a Latin, an English scholar, and “Salomé ”<br /> was written from end to end exclusively and<br /> entirely by him. I can say this, as I saw him<br /> write most of it, and had the privilege of reading<br /> the draft MS. I may add that before it was<br /> copied out for the printer our mutual friend Mr.<br /> Marcel Schwob, editor of the literary supplement<br /> of “ L’Echo de Paris,” read it over lest any slips<br /> had been made, and that Schwob told me that the<br /> French was perfect throughout. No, the enemies<br /> and critics of Oscar Wilde must just swallow the<br /> fact that, after achieving triumphant success in<br /> the language of the country in which he resides,<br /> he has succeeded in writing in French a one-act<br /> play which was considered so perfect in style,<br /> language, and conception, that the greatest trage-<br /> dienne of the century, Sarah Bernhardt, to write<br /> for whom is the dream of every playwright in the<br /> <br /> world, was proud to be allowed the privilege of .<br /> <br /> producing it. Roserr H. SHERARD.<br /> <br /> Paris, July 22nd, 1892.<br /> <br /> <br /> <br /> Poe<br /> <br /> ON A BIRTHDAY.<br /> <br /> =<br /> <br /> Another stone passed, and so much nearer home,<br /> Where the vanished ones are.<br /> <br /> O’er life’s stormy sea, ’mid the darkness and foam,<br /> There is rising a star,<br /> <br /> A beacon most bright, that is lighting me on<br /> To a haven of rest,<br /> <br /> Where weeping for joy, in God’s garden, anon,<br /> I shall fall on her breast.<br /> <br /> Her breast that of yore was my Heaven below,<br /> When the blue skies of life<br /> <br /> Were clouded with care and the shadows of woe.<br /> When I shrank from the strife<br /> <br /> My head pillowed there ; those long tresses of gold<br /> Would fall down like a screen<br /> <br /> To shut me close in from the clamour that rolled<br /> Through the world, and its spleen.<br /> <br /> * * * *<br /> <br /> Must be up, doing now, for the day’s waning fast,<br /> And the night is at hand.<br /> <br /> The twilight is closing around me at last,<br /> On a verge do I stand!<br /> <br /> The fetters of flesh are all falling away,<br /> Larger outlook the soul,<br /> <br /> As it spurns in its rapture its casket of clay,<br /> Within sight of the goal !—<br /> <br /> Hush! World sounds grow fainter, as fainter the light;<br /> I must face the “‘ To-be”’ !<br /> <br /> Oh watchman out yonder, say what of the night<br /> That’s the question for me.<br /> <br /> Will it break in a shower of glory unknown<br /> AsI spring to the shore,<br /> <br /> Or clasp me for aye in some shadowy zone<br /> When the journey is o’er?<br /> <br /> Exeter. F, B. Doveton.<br /> <br /> AUTHOR.<br /> <br /> 99<br /> MORE MAXIMS.<br /> <br /> 1. The half truth is the devil’s own truth.<br /> 2. One syllable is enough to slander, more than<br /> enough to slay.<br /> 3. A little word may curse a whole life.<br /> 4. The truest fact oft hes in “ fiction.”<br /> 5. The realities of life are not confined to its<br /> waste products.<br /> 6. Deceit is to be distinguished from depth by<br /> inconstancy.<br /> 7. Character is not always to be judged by the<br /> ayes or the noes.<br /> 8. To a practised ear the voice reveals the soul.<br /> g. The smiling eye suggests the sleeping anger.<br /> 10. Jealousy is to the lover what jaundice is to<br /> the liver.<br /> <br /> 11. The best cure for jealousy is true love.<br /> <br /> 12. Who marries for kindness, marries in blind-<br /> ness,<br /> <br /> 13. Who loves only to get, loves not as yet.<br /> <br /> 14. Conditional love is counterfeit love.<br /> <br /> 15. In love there is no conditional mood nor im-<br /> perfect tense.<br /> <br /> 16. True love shows in deference; pure love<br /> in reverence.<br /> <br /> 17. Many love positively, some comparatively,<br /> but few superlatively.<br /> <br /> 18, Chivalry is the masculine of charity.<br /> <br /> 19. Creed is much, conduct is more, but character<br /> is most of all.<br /> <br /> 20. Who knows what is true, learns what is just.<br /> <br /> 21. Who understands woman may regulate man.<br /> <br /> 22. To understand woman, the heart must lead<br /> the head.<br /> <br /> 23. First catch your heart; then capture your<br /> public.<br /> <br /> 24. Selfishness is not the basis of life, but the<br /> basest.<br /> <br /> 25. Society can cure insanity of soul when itself<br /> gane enough.<br /> <br /> 26. There is no talent to compare with a best<br /> nervous system.<br /> <br /> 27. The best cure for gout is a new pair of grand-<br /> <br /> fathers.<br /> 28. To a practised eye the expression reveals the<br /> mind.<br /> <br /> 29. Petty pity is cousin to contempt; divine pity<br /> to chivalry.<br /> 30, To show justice one must know everything.<br /> <br /> PHINLAY GLENELG.<br /> <br /> <br />  <br /> <br /> 100<br /> <br /> MR. SAINTSBURY ON THE ENGLISH<br /> NOVEL.<br /> <br /> <br /> <br /> most and leader of living English critics—<br /> <br /> has published a collection of essays, among<br /> which is one on the present condition of the<br /> English novel. One may not agree absolutely<br /> with every point of the essay, but it is<br /> undoubtedly a chapter which should be read by<br /> every one interested in the welfare of a great<br /> department of English literature ; a department,<br /> as I think, going to become much greater, and to<br /> obtain much more importance in the future than<br /> ever it has enjoyed in the past.<br /> <br /> To begin with, the thanks of all living novelists<br /> are especially due to the writer for treating the<br /> subject without making it personal. I hardly know<br /> any other writer who could treat the subject on<br /> general principles without personal illustrations.<br /> Indeed, one hardly remembers any essay in the<br /> English language on the novel which is not a<br /> personal essay. We have articles from time to<br /> time on this man’s novels and that man’s novels—<br /> indeed, out of the large proportion of articles shown<br /> in the last number of the Author to be devoted<br /> to literature in the magazines more than the half<br /> are devoted to this novel or that novel. No one<br /> has treated the novel by itself as a form of litera-<br /> ture, nor has anyone ever attempted to consider<br /> it as possibly subject to laws and canons, and is<br /> capable of being criticised as a work of art.<br /> It is not many weeks since a certain weekly paper<br /> scoffed and sniffed at a certain writer for claiming<br /> a place for fiction among the fine arts. Mr.<br /> Saintsbury is the first critic, so far as 1 know, who<br /> seriously recognises the fact that the novelist,<br /> whether he is a good novelist or not, does actually<br /> follow, cultivate, and profess a fine art as much as<br /> the poet, the player, or the painter. This is a<br /> distinct step in advance, because the critic who<br /> recognises that’ he has to deal with an art, will,<br /> if he is worthy of being called a critic, begin to<br /> ask what are the elementary principles of that<br /> art, and how it differs from other arts, what are<br /> its limitations, what its achievements, with other<br /> pertinent questions.<br /> <br /> With these preliminaries, then, how does Mr.<br /> Saintsbury think that the present English novel<br /> stands ?<br /> <br /> First. of all, there is, he says, considerable<br /> improvement in the structure of the modern<br /> novel; “the average writing is better, and,<br /> generally speaking, a distinct advance has been<br /> made in the minor points of craftmanship.” At<br /> the same time he finds that, though the novel of<br /> the present day is largely devoted to character,<br /> <br /> tr accomplished critic—perhaps the fore-<br /> <br /> THE AUTHOR.<br /> <br /> there are few characters which live in the memo<br /> <br /> as certain old scenes live, such, for instance, as<br /> those of Partridge at the play, of Harry Esmond<br /> and the Prince. One is constrained to admit<br /> a certain truth in this criticism. But at the<br /> same time one may suggest that Tom Jones<br /> and Esmond were read when one was eighteen<br /> or thereabouts, and that there are certain more<br /> modern scenes which, if read at the same age,<br /> might have remained as clearly distinct. In<br /> short, we get, says Mr. Saintsbury, ‘a better turn<br /> out of average work, but we do not seem to get<br /> the very best things.” For my own part I am<br /> quite satisfied with this opinion. The same<br /> causes which have produced the better turn out<br /> of this day will operate to produce a still better<br /> turn out to-morrow, and yet a better turn out for<br /> the day after to-morrow. So long as the cultiva-<br /> tion of any art is advancing, so long there is<br /> hope for it. When it begins to decline in<br /> technique then its critics may begin to lament.<br /> <br /> The return to the earliest form of writing, to the<br /> <br /> pure romance of adventure, on which the critic<br /> dwells, is, he thinks, interesting and important.<br /> The multiplication of books on manners, which<br /> change very slightly and very slowly, produces in<br /> the end feebleness of strain. But an appeal to<br /> the passions and emotions which underlie manners<br /> can never lose its freshness, because the passions<br /> always remain. Always we must return to th:<br /> romance for freshness. “As for what we hear<br /> about the novel of science, the novel of new<br /> forms of religion, the novel of altruism, and<br /> Heaven knows what else, it is all stark naught.<br /> The novel has nothing to do with any beliefs,<br /> with any convictions, with any thoughts in the<br /> strict sense, except as mere garnishings. Its<br /> substance must always be life, not thought, con-<br /> duct, not belief, the passions, not the intellect,<br /> manners and morals, not creeds and theories. Its<br /> material, its bottom, must always be either the<br /> abiding qualities or the fleeting appearances of<br /> social existence — guicquid agunt homines, not<br /> quicquid cogitant.”<br /> <br /> As regards the last ten years there has been,<br /> Mr. Saintsbury points out, a great stir among the<br /> dry bones. A great deal more trouble has been<br /> bestowed upon style, plot, general management,<br /> and stage carpentry. ‘ Even that other symptom<br /> of the uprising of novelists against critics, and<br /> their demand that every newspaper shall give at<br /> least a column to the sober and serious laudation<br /> (for nothing else is to be thought of) of every<br /> serious work of fiction is, though rather a gro-<br /> tesque, a cheering and healthy sign.” Mr. Saints-<br /> bury should really give references. One would<br /> willingly find a place in the Author for discussion<br /> on: such a demand, but inquiries have failed<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> &#039; So far, then, there is advance.<br /> <br /> THE AUTHOR.<br /> <br /> hitherto to discover where it was made or by whom.<br /> There are, how-<br /> ever, disadvantages. The “ Young Person ” 1s too<br /> <br /> -. much with us, sometimes causing reactionary<br /> <br /> plunges into the fields which are supposed to be<br /> forbidden on account of this wonderful creation of<br /> the imagination. Generally, however, this bogey<br /> ties the hands of the novelist. There is, again, a<br /> tendency to ignore the story ; to present an endless<br /> <br /> | description of the process rather than the result ;<br /> 4 there is a tendency to mistake mannerism for<br /> <br /> <br /> <br /> <br /> <br /> Ei<br /> va<br /> <br /> Try pop? ope CIS<br /> <br /> Pe<br /> <br /> <br /> <br /> genius ; ina word the modern novelist is too much<br /> of a Martha and too little of a Mary. In the<br /> writer’s words:<br /> <br /> “He seems to be beguiled by the dictum—true<br /> and important enough in itself—that novel<br /> writing is an art. It is, and afine art. No doubt<br /> also all art has its responsibilities. But the re-<br /> sponsibilities of different arts are different, and<br /> the methods of discharging them are different<br /> too. What makes the art of literature in general<br /> the most difficult of all is the fact that nowhere<br /> is it more necessary to take pains, and yet that<br /> nowhere is mere painstaking not merely so insuffi-<br /> cient, but so likely to lead the artist wrong.<br /> ee It isa pity that a novel should not be<br /> well worked; but some of the greatest novels of<br /> the world are written anything but well.”<br /> <br /> There are other points touched upon in this<br /> remarkable essay. One is the fact that novelists<br /> take themselves seriously—a thing which Mr.<br /> Saintsbury permits, with a little contempt natural<br /> in one who has reviewed novels for twenty years.<br /> Yet if the writing of novels is the occupation of<br /> a life, surely the man who employs all the life<br /> that is given to him in this way should respect<br /> his profession, if only out of self-respect, to say<br /> nothing of the improvement produced in the work<br /> itself by such respect. Again, there is the danger<br /> of giving way to the demand for more work—and<br /> always more—in the case of a popular writer. It<br /> stands to reason that there can be in every<br /> generation very few good artists in any line. But<br /> the public demand is growing greater and greater<br /> for this particular line of art. Therefore they<br /> have to be contented with a good deal that is<br /> poor stuff. What remedy is there for this evil ?<br /> Plainly, none at all.<br /> <br /> There are two points in which this essay seems<br /> to me defective. It is natural with a reviewer<br /> who has read and reviewed every kind of novel<br /> for many years, to estimate his average from the<br /> whole of the stuff that has passed through his<br /> hand. I think that here he is wrong, and for<br /> this reason. The reviewer does not know—what<br /> we at the society’s offices do know—the immense<br /> number of novels which are published at the<br /> authors’ own expense, and after they have been<br /> <br /> lol<br /> <br /> refused by every house which respects its own title<br /> <br /> age. The reviewer does not know—what we do<br /> know—that there are houses which live by publish-<br /> ing this trash. When published it has no influence<br /> whatever ; no circulating libraries take this trash ;<br /> no sane persons buy it ; no one sees it on the book-<br /> stalls. The novel is printed; it is advertised ;<br /> copies are sent for review ; editors give out their<br /> copies for review; the review is contemptuous ;<br /> the book is dead. Such a book ought never to<br /> be reviewed ; it ought never to be weighed in<br /> considering an average. When we speak of the<br /> learning and science of Cambridge, do we give a<br /> thought to the Poll? So when we speak of the<br /> average novel, do we consider the wretched feeble-<br /> ness which hardly ventures to offer itself toa<br /> contemptuous reviewer? Again, what does Mr.<br /> Saintsbury mean, after acknowledging that fiction<br /> is a fine art, by saying later on that the novel is<br /> rather 2 low form of literature? How cana fine<br /> art be a thing which can be called low?<br /> <br /> Again, it has been argued that it is a waste of<br /> time and force to review merely for purposes of<br /> slating the poor feeble things that are never really<br /> bornatall. For,if the reviewer is to pass a judg-<br /> ment on them, thatis needless—they are condemned<br /> at the outset; if he is to instruct these authors,<br /> that is useless—these authors cannot learn ; if he<br /> is to derive lessons for other authors from their<br /> pages, it is impossible; you might as well derive<br /> a lesson in drawing from a child’s artless sketch<br /> of a pig; if he is to make readers laugh—well—it<br /> is not dignified, though it is certainly tempting.<br /> But, says Mr. Saintsbury, who is to know before-<br /> hand what is good and what is bad? Well,<br /> anyone who has read Mr. Saintsbury’s signed<br /> work in the Academy and elsewhere, may be<br /> perfectly certain that if he had a pile of<br /> seventy novels, and was asked to review the<br /> best, he would pick out that best work in ten<br /> minutes. First of all he would toss aside all<br /> those published by certain houses ; next he would<br /> take up those written by unknown names; It 18<br /> astonishing how easily, in most cases, one arrives,<br /> with unknown names, at the verdict of condemna-<br /> tion ; lastly, there would be the novels by the<br /> writers whose names he knew beforehand.<br /> <br /> A great deal more might be said, both by Mr.<br /> Saintsbury and by anyone commenting on his<br /> remarks. Enough has been said to show that<br /> this is an essay well worthy of being studied by<br /> novelists for the suggestions it offers in their<br /> art: and for “crib purposes, by certain<br /> criticasters, who at present have as much know-<br /> ledge of the art of Fiction, on which they<br /> undertake to write, as of that other art of<br /> painting, whose works they are equally ready<br /> to pass in review. These gentlemen will find it<br /> <br /> <br />  <br /> <br /> 102<br /> <br /> very much in their own interests to read the<br /> essay ; some parts they will not, perhaps, at first<br /> understand ; but they should persevere, and most<br /> things come in the end to the patient student.<br /> There are a few Latin phrases here and there, but<br /> they will perhaps have some acquaintance who<br /> can translate these for them; and there are a few<br /> references to past and modern literature which<br /> they may leave unexplained.<br /> W. Bz<br /> <br /> DO<br /> <br /> WOMEN IN JOURNALISM.<br /> <br /> <br /> <br /> FE<br /> <br /> HE article contributed by “X. Y. Z.” to the<br /> July number of the Author on the subject<br /> of “Women in Journalism” propounded<br /> <br /> the two following questions :—<br /> <br /> “Ts the effect produced on journalism by the<br /> invasion of women a salutary one?”<br /> <br /> ‘Is journalism a desirable method for women<br /> to earn their living ?”’<br /> <br /> The replies made by the writer are so curiously<br /> inconclusive that some practical woman member<br /> of the fourth estate is bound to attempt a more<br /> adequate answer to them, and I take upon myself<br /> the task, as I hold that, reduced by the same<br /> tests as are employed by men to define a profes-<br /> sional status, there are at present only very few<br /> women who have the right to be called journalists<br /> at all, while those of us who can fairly and fitly<br /> claim the title have won it in a manner to make<br /> us jealous of its dignity.<br /> <br /> When the project of a woman’s “ Press Club ”’<br /> was first broached I was asked to supportit. I<br /> opposed the movement strenuously on several<br /> grounds, chief among them being that such a<br /> title ought not to be used unless its promoters<br /> were prepared to make the conditions of member-<br /> ship strictly professional and to exclude the mere<br /> chance paragraphist or free lance whom one was<br /> scarcely anxious to meet upon the ground of club<br /> equality. That condition being made, and under<br /> the name none other was possible, it would have<br /> <br /> been utterly impracticable to have made any club .<br /> <br /> a success upon so small a membership roll as<br /> would then have been eligible. I believe every-<br /> one concerned regarded me as “mean” and<br /> “nasty” for taking this line, but they saw the<br /> justice of my contention, and ultimately adopted<br /> the vaguer, wider name of “ Writers” for the<br /> institution, which, so far from numbering ‘“ some<br /> hundreds,” as stated by “X. Y. Z.,” only has<br /> 170 members, of whom the majority are certainly<br /> not journalists, as laid down by, let us say,<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the Institute of Journalists or the Newspaper<br /> Press Fund.<br /> <br /> To support a negative answer to the first ques-<br /> tion, the writer falls foul of the “ ladies’ letter”<br /> of the society paper, and calls in the Queen as an<br /> example of what a woman’s paper ought to be,<br /> forgetful apparently of the fact that this really<br /> leading journal is entirely directed and con-<br /> trolled by a lady gifted with that rarest of<br /> powers even in a man, the true editorial genius.<br /> To the clever lady who first perfected the<br /> “letter”? form—and it is scarcely necessary to<br /> say that I allude to “ Madge” of Truth, whose<br /> society and doings are irreproachable, whose<br /> dresses are always in good taste, and whose<br /> gossip is invariably bright and interesting—all<br /> credit for an original idea well worked out is due.<br /> But here comes in the pity of it. Women, not<br /> journalists, as “‘ Madge” in her own line dis-<br /> tinctly is, attempted to imitate it and woefully<br /> failed. The unsuccessful novelist, the would-be<br /> actress, the demz mondaine even tried their hands at<br /> it, mistaking vulgarity. for originality, and impro-<br /> priety for wit, till the notion has been utterly<br /> done to death, and it is a foolish policy on any<br /> editors’ part now to adopt it, with its air of<br /> affectation, triviality, and irresponsibility when<br /> applied to the criticism of dress, books, pictures,<br /> music, and plays.<br /> <br /> There is an inconsistency of statement between<br /> the writer’s lament over the feminine influence<br /> which has brought about “that emasculate and<br /> hysterical attitude taken up in some quarters on<br /> certain social and other questions,” and the asser-<br /> tion a few lines further on that, ‘‘ the better sort of<br /> newspaper work which includes leader writing,<br /> reviewing, and miscellaneous literary articles, is<br /> not in the hands of women at all.” Supposing<br /> this to be the case, where would female thought<br /> have any directing scope at all? Asa matter of<br /> fact, neither proposition is correct, and the latter<br /> one especially needs qualification so far as the<br /> particular interests of women are concerned.<br /> Compared with men, women are not newspaper<br /> readers. To verify this, it is only necessary to stand<br /> at the bookstall of any great terminus and watch<br /> the relative number of the sexes who buy papers,<br /> and then to note that nine out of ten of the women<br /> who do so at all, will waste their penny on some<br /> miserable novelette, or one of those hateful<br /> messes of old jokes and American “ bits,” which<br /> unfortunately thrive while better papers fail.<br /> The modern editor is, however, waking to the<br /> fact that a very large field of feminine concerns<br /> has been long left unexplored. If full reports of<br /> football matches and athletic meetings help to<br /> command a sale for a paper, why should not<br /> records of women’s industries, efforts, and amuse-<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ments also assist in maintaining that proprietorial<br /> pride—a good circulation ?<br /> <br /> There it is, therefore, that I hold that women<br /> have a perfectly legitimate work to do in<br /> journalism. Looking back through the files of<br /> the Daily Graphic, I find columns and columns<br /> of special work that I have done for the paper<br /> on nursing, servants’ registry offices, working<br /> women’s movements, shop girls, women’s institu-<br /> tions, not to mention the frequent discussion of<br /> matters of dress, needlework, cookery, jewellery,<br /> involving, if women’s support is to be catered<br /> for, the sympathetic treatment which it would be<br /> unreasonable to expect from a man. Such<br /> subjects as these, as well as all that are akin to<br /> them in things domestic, together with the<br /> broader life of art and work which widened<br /> education has made possible to the sex, are in<br /> their way as worthy of newspaper notice as sport,<br /> finance, or even the Services them selves. Andsol<br /> would see women as women on the press. I do not<br /> welcome them there as mere reporters, taking<br /> their shorthand note, and doing mechanical work<br /> at pay below that of men. It is not pleasant to<br /> think of them in police courts, or being jostled in<br /> the crowd at agreat fire. But they will find that<br /> if they come in to the profession through this<br /> crowded doorway that they will be forced to<br /> accept starvation wages, and that the men will<br /> show neither chivalry nor mercy to them, for, as<br /> a blunt Kentish reporter once put it to me ata<br /> function at which there was royalty, a pretty<br /> sight, and a lunch, “ T’m d——d, Miss, if I’d do<br /> the police reporting and the Methodist meetings<br /> at our paper if they sent out a woman just to<br /> pick one’s few plums like this.”<br /> <br /> According to “X. Y. Z.” the profession is not<br /> a desirable one for women, because “ the ordinary<br /> lady journalists’ ” work involves, inter alia, the<br /> constant strain of reporting, night work, the<br /> chronicling of trivialities, and “ the interviewing<br /> of persons who are not gentlemen.”’ This is<br /> really a very comic catalogue of objections.<br /> Reporting, as I have shown, is a mistake at all<br /> on women’s parts, but it is fortunately only done<br /> by them at present to a very limited extent, and<br /> the “strain” about it is no greater than that of<br /> a female elerk or telegraphist. As women are<br /> not sub-editors or leader writers at the great<br /> morning dailies, night work need practically never<br /> affect them at all, unless they are in my own<br /> almost unique position of “special correspon-<br /> dent,” a post in which I know no other of my<br /> sex at present, except that most womanly of<br /> women, Mrs Crawford, the Daily News Paris<br /> correspondent. As to the recording of small<br /> events, I can only recall how Sir Edwin Arnold<br /> one day at the outset of my career, when I<br /> <br /> 103<br /> <br /> thought it rather, shall I say, beneath my<br /> dignity, to goto a ragged school prize distribu-<br /> tion in the East-end, recited to me almost im the<br /> words of the Acts of the Apostles, the vision of<br /> St. Peter who, falling into a trance, beheld a<br /> great sheet let down, upon which were all sorts<br /> of clean and unclean beasts. ‘‘ What God hath<br /> cleansed, that call not thou common,” said the<br /> Voice to the Apostle, and_ the “ great sheet” of<br /> the newspaper was, according to the view of the<br /> editor of the Daily Telegraph, an opportunity<br /> for the writer to present the humblest httle inci-<br /> dent in a manner neither “ common nor unclean.”<br /> Against the undesirability of acquaintance with<br /> “persons who are not gentlemen” may surely be<br /> set the unrivalled opportunities the profession<br /> affords for making advantageous and pleasant<br /> friends. One is not editorially required to add<br /> every secretary one may chance to meet to one’s<br /> visiting list, and one may at least discriminate<br /> when duchesses, demonstrators, and dustmen<br /> may all have to be consulted. Thanks to the<br /> calling, 1 number among my friends, men and<br /> women whom it is a privilege to know, and who,<br /> but for it, I should probably never have met.<br /> <br /> “ The real genuine life of the woman journalist<br /> has yet to be written,” says “X.Y. Z.,” with<br /> something of a sneer at the incomes made by<br /> ladies “ whose scholarship is as little evident as<br /> shyness.” My own, at least, would offer nothing<br /> either romantic or sordid. Brought up ima far-<br /> off Dorset rectory, I had no“ yearnings” to<br /> leave, but I did write some “turnovers” for the<br /> Globe which won some encouraging praise from<br /> Captain Armstrong, while three or four articles op<br /> the then newly enfranchised agricultural labourer<br /> offered to the Echo brought me a proposal from<br /> Mr. Passmore Edwards that I should joi his staff<br /> on a trial of three months, I came straight from a<br /> village of 200 inhabitants into London—and I<br /> have stayed. Iwas invited to join the Daily<br /> Graphic from its start, and there I have been<br /> ever since. Hard work, and some sense I think of<br /> acquiescence in office routine and discipline, have<br /> been my pathways all along, and those I believe<br /> are the only ones to a woman’s success in the pro-<br /> fession. But the gifts one must possess at the<br /> outset are so peculiar, that I believe the true<br /> journalist is born and not made. If a man does<br /> not own them, he plods patiently on in set grooves,<br /> and makes and leaves no mark, Sound health,<br /> an almost abnormal faculty of observation in the<br /> minutest detail, quickness to suggest, readiness to<br /> act, must be coupled to an absolutely indefinable<br /> flair or instinct for the work, ina man. To these<br /> qualities a woman most add a quiet reserve and<br /> tactfulness if she is to stand alone and maintain<br /> her womanly dignity in a big bustling office full of<br /> <br /> <br />  <br /> <br /> 104.<br /> <br /> <br /> <br /> It is sheer nonsense to talk of “getting<br /> <br /> 9:99<br /> <br /> men.<br /> plenty of work if your editor is ‘gone on you,<br /> for in journalism the reading public is the final<br /> court of appeal. One stands or falls on one’s own<br /> merits, and the proprietoys could not afford to<br /> allow an editor to “go” in the direction of the<br /> loveliest woman in the world unless her work was<br /> good. It has been proved, over and over again in<br /> the case of men, that unusual academic distinction<br /> is no condition of journalistic success. Bright<br /> human sympathy, common sense, facility of<br /> expression, and a sense of humour, are gifts worth<br /> more in Fleet-street than the profoundest know-<br /> ledge of the classics or the most erudite re-<br /> searches into the eastern languages. The field<br /> for women’s work in journalism is a limited one I<br /> admit fully. Very few possess the qualifications,<br /> too, to labour in it, as those necessary for success<br /> are by no means distinctively feminine attributes.<br /> But to the rarely met ones who have these, who<br /> view the work from its worthier side and its higher<br /> possibilities, who realise that the justification of<br /> their presence in the profession is that they should<br /> appeal primarily as women to women, and, above<br /> all, who possess a real intuitive temperament for<br /> the calling, it offers a career that the most ambi-<br /> tious need not reject.<br /> <br /> Mary Frances BILLINGTON.<br /> Milford House, Strand, July 14th, 1892.<br /> <br /> ——&lt;—<br /> <br /> II.<br /> <br /> Might I be permitted to say a few words in<br /> answer to, and in defence of, “ Women in Jour-<br /> nalism,” contained in the Author for July.<br /> <br /> In this the writer seems to think that women’s<br /> influence in journalism is mostly of a nature to<br /> be deplored and censured, as feeble, trivial, and<br /> devoid of humour. “Is the invasion of women<br /> into journalism a salutary one?’”? Why, since<br /> women read the newspaper, should they be called<br /> invaders because they beara part in the writing of<br /> them? There was a time, early in the eighteenth<br /> century, when it was deemed an invasion into a<br /> man’s province for a woman even to read a news-<br /> paper! And who can doubt that their influence<br /> is salutary, when glancing at the coarse satires<br /> and lampoons of Queen Anne’s and the Georgian<br /> reigns, by the Wilkses and Walpoles of those<br /> eras? When the great bulk of the middle class<br /> <br /> women did not read, men wrote for each other,<br /> with the result that no woman of to-day can ever<br /> take much pleasure in the perusal of the master-<br /> pieces of Fielding or Smollett, Sterne or Swift,<br /> which no doubt abound in masculine humour,<br /> decency alone being absent. It may therefore<br /> <br /> THE AUTHOR.<br /> <br /> be safely admitted that womanly influence is<br /> a good thing for journalism and_ literature<br /> generally.<br /> <br /> “Ts journalism a desirable method for women<br /> to earn their living?” And then the writer pro-<br /> ceeds to insinuate how much that is derogatory<br /> to modest womanhood there must always be in<br /> the mode of a journalist’s life, the seeking of<br /> interviews wish all manner of people, and the<br /> making of ‘“ promiscuous acquaintances.” That<br /> argument applies equally well to the life of an<br /> actress or a singer. She, too, must often inter-<br /> view “(men who are not gentlemen,” and rely a<br /> good deal on personal charm and fascination for<br /> promotion in her profession; but not more so<br /> than the society girl who looks for social advance-<br /> ment by the making of a wealthy marriage, and,<br /> as Byron cynically puts it, dances “ for a liveli-<br /> hocd.” The root of the evil being the economic<br /> dependence of woman on man. But, may it not<br /> be that woman journalists and workers begin to<br /> feel the stirrings of a healthy professional ambi- |<br /> tion which will carry them through the disagree-<br /> ables of interviews with flirtatious editors—a<br /> rather minor evil, seeing that the author must<br /> most often submit the MS. to the editorial eye,<br /> unseen.<br /> <br /> Perhaps we all of us, men, as well as women,<br /> realize in the struggle for existence.<br /> <br /> How salt his food who fares<br /> Upon another’s bread, how steep his path<br /> Who treadeth up and down another’s stairs.<br /> <br /> The society papers are mostly in the hands of<br /> women, it is true, and are full of vulgarity and<br /> personality, but then, unhappily, so is Society.<br /> Women do but hold up the mirror to it with an<br /> unsparing hand, having less to conceal than men,<br /> they are morally more fearless. The world does<br /> not so much need a female Thackeray to satirize<br /> the woman journalist ; we need, indeed, a female<br /> Christ to preach a new Gospel to women. to<br /> leaven the great mass of her sex. and thereby<br /> regenerate society, of which journalism is the<br /> faint echo.<br /> <br /> Gracr GILCHRIST.<br /> <br /> Penzance, July 19.<br /> <br /> <br /> <br /> III.<br /> <br /> The writer of an article on the above in the<br /> Author for July deplores, with ample show of<br /> reason, what he calls the invasion of women<br /> upon journalism. .While fully admitting, and<br /> equally deploring the ‘deteriorating and de-<br /> moralising influence” of which he writes, I<br /> would submit that the cause should be sought a<br /> little farther back. The press-woman has one<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> thing to do before all. She must satisfy her<br /> editor. The mischief arises out of the low esti-<br /> mate held by editors of so-called society papers<br /> in regard to women’s intelligence and women’s<br /> interests generally. Very few of these papers are<br /> really edited by women, although in the case of<br /> some specially feminine journals they are nomt-<br /> nally. But—then there is a manager. Editors<br /> get what they want, vulgar gossip and personali-<br /> ties. Three in six of the women so employed are<br /> consciously degrading their own powers, their<br /> better sense, in the work they prepare for the<br /> journals. Itis a case of “natural selection” by<br /> the editor. Of all women who present themselves<br /> as candidates for employment the well educated,<br /> quiet, thoughtful, from whose pens nothing<br /> vulgar is to be expected, will meet certain rejec-<br /> tion ; while the forward, flashy, frivolous girl,<br /> whom nothing astonishes, nothing abashes, is as<br /> sure to find acceptance in the editorial for all she<br /> says and does. At no period of the world’s his-<br /> tory were women more refined, more cultured or<br /> more gifted than are the women of England to-<br /> day. And yet the journals teem with mere<br /> inanity, and worse.<br /> <br /> In catering for his feminine readers the editor’s<br /> notion is that fashions and highly-spiced tittle-<br /> tattle are all that is needed. Doubtless he finds<br /> a market, but the women journalists are not alone<br /> to blame. i Es.<br /> <br /> <br /> <br /> ec<br /> <br /> THE CRITICISM OF NOVELS.<br /> <br /> <br /> <br /> side and on the other about reviews of<br /> <br /> novels; the wrongs of the author and the<br /> grievances of the reviewer have alike been amply<br /> ventilated ; and yet: something seems to remain<br /> which may be said, neither by way of attack nor<br /> of apology on either side, but with a simple aim<br /> of looking broadly at what the criticism of current<br /> fiction is, and of asking what is expected from<br /> a painstaking critic.<br /> <br /> That the reviewer is not always painstaking—<br /> that he is not always in a position to express his<br /> opinion independently—that he is sometimes in-<br /> competent—that he is very often ill-paid—and<br /> other facts of the same sort, are beside the subject<br /> of this paper, though no one should forget them.<br /> But for the present “let it be granted,” as Euclid<br /> likes to say, that the reviewer is painstaking, free,<br /> competent—an ideal critic. It is then that the<br /> real difficulties clearly come to light.<br /> <br /> And, first of all, what is asked from the<br /> reviewer? The reply seems ready—a fairly un-<br /> <br /> \ GOOD deal has been written both on one<br /> <br /> 105<br /> <br /> biassed and competent opinion of the value of the<br /> book before him.<br /> <br /> Be it so. Only, in point of fact, this is not<br /> always exactly what is wished. The publisher<br /> wishes for an advertisement. He will much<br /> prefer lukewarm praise, out of which a few lauda-<br /> tory lines can be extracted, to a high encomium of<br /> the work, couched in terms that he cannot quote<br /> in his advertisements. The author wishes for an<br /> advertisement too. How much of his vexation at<br /> an adverse review is occasioned by finding nothing<br /> done for his book no one knows—least of all him-<br /> self. Men cannot read their own minds about<br /> such matters. But the author also desires<br /> appreciation. ‘‘ Poets and parents,” as Aristotle<br /> has remarked, “love their own productions,” and<br /> the author feels kindly disposed towards the<br /> reviewer who shows himself appreciative, very<br /> much as the mother does towards the stranger<br /> who admires her offspring. Presumably, neither<br /> mother nor author can avoid this little weakness.<br /> Still, “this also is vanity.” It seems, however,<br /> pretty clear that if author and publisher suppose<br /> that they wish only for an unbiassed and com-<br /> petent opinion of the value of their book they are<br /> deceiving themselves. And the author probably<br /> deceives himself more often than the publisher.<br /> <br /> But let the case be assumed of a really super-<br /> human author, one to whom adverse criticism<br /> presents no indigestible qualities, even one who,<br /> well knowing that<br /> <br /> Whoever thinks a faultless piece to see<br /> Thinks what ne’er was, nor is, nor e’er shall be,<br /> <br /> desires to see pointed out all the errors of his<br /> work This wonderful man opens the pages of<br /> the review, which his confiéres dread, prepared<br /> to hail with delight, instead of indignation, the<br /> admonitions of the critic who will teach him to<br /> know himself.<br /> <br /> Probably he finds the admonitions. How much<br /> they teach him is another question. But, is it<br /> not odd that he should find them? ‘True, every-<br /> one has become so accustomed to these pieces of<br /> excellent advice addressed to authors by reviewers<br /> that no one pauses to ask “Why these words<br /> of counsel in the author’s ear here, in public<br /> print?” Only consider, Whom is the critic<br /> addressing? Is his aim to inform the public<br /> whether this new book deserves their attention or<br /> not? Or his aim to be to authors a schoolmaster<br /> of their craft ? Even if the latter be his mission<br /> the columns of the public press seem an odd<br /> medium through which one literary man should<br /> give another his ‘deas about how his book ought<br /> to have been written. Still this queer practice<br /> prevails. Presumably custom must be suppo-ed<br /> to be its sanction, and it is not likely to be<br /> <br /> <br />  <br /> <br /> 106 THE<br /> <br /> altered whilst to give opinions about what a book<br /> should have been is so much easier than to say<br /> exactly what it is.<br /> <br /> Even, however, should the imagined ideal<br /> reviewer confine himself to writing of the book,<br /> leaving the author alone, other problems still<br /> remain. Is the critic to serve the public as a<br /> guide to what they like, or as a guide to what<br /> they ought to like? These two things are not<br /> the same.<br /> <br /> To guide the public taste to what they ought<br /> to like is plainly the reviewer&#039;s higher office. It<br /> is by no means what his readers always desire,<br /> and the critic must consider his readers’ wishes,<br /> as must everyone who writes, otherwise they will<br /> read some one else. But neither is the man to be<br /> envied whose task is to tell the public what they<br /> will like. In this matter the public much<br /> resembles a woman: a charming creature, but<br /> a little renowned for not knowing what she<br /> wants; or rather who knows only that she wishes<br /> to be agreeably taken by surprise. No other<br /> writer is really in a position so impossible as the<br /> critic to whom the “ general reader”’ says: ‘Tell<br /> me what I shall like.” What he will like is<br /> sometimes nothing but what he has read before ;<br /> sometimes something entirely new; sometimes<br /> something that can put him in a good humour<br /> with himself; generally something which he<br /> fancies other people think it clever to like.<br /> <br /> If the unlucky reviewer of tales renounces this<br /> hopeless task of telling people what they will<br /> like, then he is reduced to telling them what they<br /> ought to like. For that they are seldom thank-<br /> ful, and he is himself confronted with new diffi-<br /> culties. Heis asked to measure the actual merits<br /> of each work put into his hands. But no one is<br /> able to suggest the standard by which the work<br /> is to be tried. Here is a formidable difficulty,<br /> because every measure means a standard of<br /> measurement. What is the standard in the case<br /> of a novel? For history and science the critic<br /> has astandard. That book is best which conveys<br /> the greatest amount of accurate information put<br /> in the manner most convenient to those for whose<br /> use itis intended. But what standard (beyond<br /> one of style, about which the public are sublimely<br /> indifferent) can be proposed for works whose<br /> raison d’étre is to please a taste which varies<br /> hardly less than the fashion of dress. Some-<br /> thing may be suggested respecting a true reflec-<br /> tion of life as it really is, if any such thing as a<br /> true reflection of life as it really is could be.<br /> But it is evident that in every form and school of<br /> fiction the view taken of the facts of life, is more<br /> dominant than the facts themselves, and, conse-<br /> quently, the fashion of the thought of the day<br /> reigns supreme, All that the cleverest critic can<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> do, therefore, is to indicate works likely to meet<br /> the fashionable taste, and this fashionable taste<br /> is ambiguous, shifting, undefined, casual to a<br /> degree.<br /> <br /> C’est souvent du hasard que nait l’opinion,<br /> <br /> Ht c’est opinion qui fait toujours la vogue.<br /> <br /> To hit this shifting mark if he can is the task<br /> of the reviewer of novels. Sometimes he misses<br /> it. The only thing wonderful about that is that<br /> people can be found to wonder at his doing so.<br /> <br /> One word more. Of how many novels might it<br /> be said with truth—* Neither good nor bad ; just<br /> like hundreds of others; and, whether you take to<br /> amuse you this or one of them, cannot matter a<br /> straw.” That would be a fairly unbiassed and<br /> competent opinion upon many works of fiction.<br /> Also one that no one, author, publisher, or novel<br /> reader, would like. And the author and publisher<br /> certainly have occasion to be grateful to the<br /> reviewer for not saying it, when it is so often all<br /> that there really is to be said.<br /> <br /> Henry CRESSWELL.<br /> <br /> ee<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I,<br /> Tue Avutuors’ Funp.<br /> <br /> S an illustration of the value of an honour-<br /> <br /> able loan office to honourable authors, I<br /> <br /> refer the reader to Thomas Moore’s<br /> <br /> Diary, June 19, 1839, from Earl Russell’s Life of<br /> him, vol. 7, p. 263.<br /> <br /> Those interested in the general question of<br /> accounts as between authors and publishers, will<br /> find a striking cor:espondence on the point from<br /> Wordsworth to Rogers, on pages 402 to 415 (inc.),<br /> of “ Rogers and his Contemporaries by Clayden,”<br /> vol. 1. C. S. OaKLey.<br /> <br /> <br /> <br /> II.<br /> NuitHer—Nor.<br /> <br /> THE Atheneum (June 24), in criticising a recent<br /> novel, finds fault with the expression “ Neither<br /> Helena nor Caliphronas were present” as being<br /> ungrammatical. Old-fashioned purists will pro-<br /> bably agree with the critic: but we believe the<br /> modern tendency in favour of the plural; and,<br /> further, we believe the modern tendency to be<br /> logically justifiable. The phrase is exactly equi-<br /> <br /> valent to ‘“ Both Helena and Caliphronas were<br /> absent,” in which nobody would dream of ques-<br /> tioning the correctness of the were.<br /> say ‘‘Ni l&#039;un ni l’autre ne sont.”<br /> <br /> The French<br /> Is the critic<br /> <br /> <br /> oe<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “ Neither he nor I am on the<br /> <br /> prepared to say<br /> list?” or the still more uncouth “ Neither of us<br /> am on the list,” which would hardly be improved<br /> <br /> by substituting 7s for am. An occasional dis-<br /> cussion in the Author on points of grammar like<br /> the one here submitted might be instructive.<br /> <br /> H. MC.<br /> <br /> <br /> <br /> ET.<br /> PRAISED—YET REFUSED.<br /> <br /> About two years ago I finished a novel, and<br /> forwarded it to a publisher for his consideration.<br /> In three months I received a letter from him, in<br /> which he said that he “fully appreciated the<br /> undoubted merits of the story,” but regretted<br /> that at the present moment he was compelled to<br /> decline it.<br /> <br /> T then sent the MS. to another firm, who kept<br /> it for nine months, and then, after I had written<br /> to them once or twice, returned it with the infor-<br /> mation that they could not see their way to taking<br /> the risk of producing an edition.<br /> <br /> The third publisher to whom I sent it retained<br /> it for over six months, and then, after expressing<br /> his regret at his engagements being too numerous<br /> to undertake its publication, offered to publish it<br /> at my expense.<br /> <br /> Two of the above three firms evidently con-<br /> sidered the book good enough to be published,<br /> but I suppose that the fact of my name being<br /> but very little known made them decide to de-<br /> cline it.<br /> <br /> Another MS. of mine was also spoken highly<br /> of by some publishers—they enclosed me their<br /> reader’s report—and declined.<br /> <br /> I formerly laboured under the delusion that if<br /> a reader reported favourably on a MS., it was<br /> sure to be accepted.<br /> <br /> Many young authors will no doubt agree with<br /> me that, dispiriting as it is to have our MSS.<br /> returned with the information that “our reader’s<br /> report is not such as would encourage us to<br /> undertake its publication,” it is far more dis-<br /> heartening to have them praised and yet refused.<br /> <br /> KaLoun.<br /> <br /> <br /> <br /> LY.<br /> A Case or Honour.<br /> <br /> In the year 1881 two short stories were sub-<br /> mitted to the editor of a Glasgow paper. These<br /> were accepted and duly appeared. Through some<br /> oversight no pecuniary acknowledgment was ever<br /> made, and the author, being then new to the work,<br /> did not think of pushing herclaim. In the mean-<br /> time the paper changed hands, and under all the<br /> circumstances, it seemed a forlorn hope to<br /> <br /> 107<br /> <br /> approach the new editor on the subject. But<br /> seeking the advice of the secretary of this society,<br /> and receiving his opinion that there could be no<br /> legal claim, though there might be a moral one,<br /> the matter was laid before the editor in that light,<br /> and a handsome cheque was promptly sent to the<br /> author. When experiences concerning the shabbi-<br /> ness of editors are so numerous, it seems only just<br /> that an unexampled case of generosity should be<br /> made public.<br /> <br /> <br /> <br /> Y.<br /> AnotHER Case oF Honour.<br /> <br /> Here is another encouraging story. Four years<br /> ago a writer sent a MS. to the editor of a certain<br /> magazine. The paper was acknowledged and<br /> accepted. But from time to time the editor sent<br /> an apology; he was crowded out; at last he sent<br /> back the paper itself with the following letter :<br /> <br /> «The editor of much regrets the long<br /> detention of Mr. ’s MS. Other matter of<br /> more general interest have seemed from month<br /> to month to claim precedence. He begs, there-<br /> fore, to return the MS. with apologies. A cheque<br /> for a guinea is sent in acknowledgment.”<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> VI.<br /> Aw Aaunoy ror Lirerary Work.<br /> <br /> Mention has been made in the Author of<br /> a certain agency for finding situations for ladies<br /> and others, as governesses, secretaries, journalists,<br /> &amp;e. This agency undertook for a fee of 5s.,<br /> to register the names of persons seeking em-<br /> ployment, and to advertise their requirements<br /> in the Zimes, Morning Post, Standard, Daily<br /> News, and other papers. Many persons appear<br /> to have paid their money, without ever asking<br /> themselves the two simple questions, (1) How<br /> far 5s. would go in advertising in “ influential”<br /> papers? (2) Whether editors, publishers, em-<br /> ployers of all kinds were in the habit of con-<br /> sulting this registry? However, the following<br /> letter seems to show that such an agency need<br /> not necessarily be a “bogus’’ coucern. The<br /> writer says:<br /> <br /> “There are others, besides myself, who feel that<br /> it is worth expending 5s. on the chance of getting<br /> employment. If anyone would poimt out a<br /> more exemplary agency we should, of course,<br /> patronise it ; till then, I am afraid we, victims<br /> though we be, shall go in tribes to the less<br /> commendable ones. We are not able to gain<br /> any knowledge of matters literary (I am leaving<br /> out the artistic side altogether), which anyone<br /> with the smallest acquaintance with the literary<br /> <br /> <br />  <br /> <br /> 108<br /> <br /> world would be able to do. We object to<br /> advertising, and probably, should we do so, we<br /> should advertise in the wrong papers. We<br /> should as soon think of flymg as walking into an<br /> office and asking if our services were required,<br /> and it would certainly cost us five shillings in<br /> postage to attack probable and improbable<br /> employers through the post ; besides, that course<br /> is more repugnant to us than risking five shillings<br /> in the business. Indirectly I obtained an intro-<br /> duction through an agent to a paper—a thing<br /> which I have no cause to repent; however, I<br /> know, as a matter of fact, that there is a large<br /> opening for such an agency, and could it be<br /> conducted in a thorough manner, I feel sure it<br /> would be successful. Those in the charmed<br /> circle of literary life have no idea what a<br /> howling wilderness it appears to those outside,<br /> nor how ignorant the outsider is and incapable of<br /> managing his own affairs, especially if he is not<br /> born with the gift of pushing himself.”<br /> * * *<br /> <br /> [Certain other letters are held over for want of<br /> <br /> space.—Ep. |<br /> <br /> De<br /> <br /> “AT THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> ae HE Association of American Authors,”<br /> a whose secretary is Mr. Charles Burr<br /> Todd, has now issued the first Book<br /> of Constitution, Bye-laws, &amp;c., with its first<br /> list of members. It is not stated whether<br /> any amalgamation has been effected or offered<br /> with the first society, but apparently this new<br /> association has attracted by far the better class<br /> of writers. Among the members we observe the<br /> names of George Cable, Oliver Wendell Holmes,<br /> Charles Dudley Warner, Julian Hawthorne,<br /> Edward Bellamy, William Dean Howell, Moncure<br /> Conway, Elizabeth Ward, Mary Wilkins, Louise<br /> Chandler Moulton, J. Chandler Harris, Margaret<br /> Deland, Thomas Bailey Aldrich, Ella Wilcox, John<br /> Bigelow, among many others. There are ninety-<br /> three members in all. They propose having a<br /> dinner in October.<br /> <br /> Mr. Reginald E. Salwey, author of ‘“ Wild-<br /> water Terrace,’ publishes this month, through<br /> Messrs. Hurst and Blackett, a new novel, in two<br /> volumes, called ‘‘ The Finger of Scorn.”<br /> <br /> Kossuth, we learn from an evening paper,<br /> though nearly ninety years of age, is still<br /> writing his own memoirs. He reads and writes<br /> without glasses, he is not deaf, and he lives in<br /> Turin.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> A new edition, in eight volumes, is to appear of _<br /> <br /> Lord Tennyson’s complete works.<br /> Mr. J. Stanley Little contributes an article<br /> <br /> entitled “A Pan-Anglican Alliance” to the<br /> current number of ‘Greater Britain,’ wherein —<br /> he presents for consideration an alternative —<br /> <br /> scheme of national unity should imperial federa.<br /> tion prove to be impracticable.<br /> <br /> “More Kin than Kind,” is the title of Mr.<br /> Loftus Tottenham’s new novel, which has just<br /> been published by Messrs. Hurst and Blackett.<br /> <br /> The output of the month has been limited by<br /> the excitement of the general election, now happily<br /> over. There are few new books to notice, and<br /> still fewer to announce. Among noticeable<br /> books are Cotton’s “ Mountstuart Elphinstone”<br /> <br /> (Clarendon Press) ; the new edition of Herrick’s —<br /> <br /> Poems with Swinburne’s Preface (Laurence and<br /> Bullen); Birrell’s “Res Judicate;” Round’s<br /> “Geofirey de Mandeville;” and Saintsbury’s<br /> Essays (noticed elsewhere).<br /> <br /> Mrs. C. E. C. Weigall is now writing the<br /> serial story in the Quiver, ‘A Lincolnshire Lass,”<br /> and she has just completed a serial for Cassell’s<br /> Magazine, which will shortly appear, entitled<br /> “A Romance of Man.” A short story by her<br /> will also appear in an early number of Winter’s<br /> Weekly.<br /> <br /> Mr. Mackenzie Bell contributes to the Christian<br /> <br /> Leader a poem founded on a supposed incident of<br /> <br /> the earlier Puritan period.<br /> <br /> Mr. Edward Clodd has written a memoir of<br /> his friend Mr. H. W. Bates, which will be pre-<br /> fixed to a reprint of the very scarce first edition of<br /> the Nationalist onthe Amazons. Some hitherto<br /> unpublished letters from Darwin, Wallace, and<br /> Dr. (now Sir) Joseph Hooker will be given in the<br /> memoir.<br /> <br /> Another royal poet. It is Queen Natalie of<br /> Servia, who writes “The Poem of the Crowned<br /> Child.”’ The crowned child is, we suppose, her<br /> own son.<br /> <br /> The name of Mrs. Macquoid’s new novel is<br /> “ Appledore Farm.” It will be published in the<br /> autumn.<br /> <br /> An article by Mr. J. Ellard Gore, F.R.A.S., on<br /> “The Secret of the Heavens,” appears in the<br /> Gentleman’s Magazine for July, and another on<br /> “Life in Other Worlds” in the Monthly Packet<br /> for the same month. .<br /> <br /> “The Life of Jack Wilton,’ by Thomas Nash,<br /> will be republished with an essay on Nash and<br /> his writings by Edmund Gosse.<br />  <br /> <br /> Tah AUGLHOR.<br /> <br /> “The Language of Monkeys.” We have heard<br /> ~ a good deal about this grand discovery. The dis-<br /> ~ecoverer has made a book about it, which will<br /> 44 appear very shortly.<br /> <br /> &#039; Another Carlyle book. This time the “ Letters<br /> , } of Geraldine Jewsbury to Mr. Carlyle,” edited by<br /> &lt;} Mr. Alexander Ireland.<br /> <br /> A new edition of Murray’s ‘“ Handbook for<br /> <br /> ob Norway” has been issued, edited by Mr. Thomas<br /> i) Michell, H.R.M. Consul at Christiania.<br /> <br /> Mr. Lehmann’s “ Ailesbury Election and other<br /> i papers,” from Punch, will be issued by Messrs.<br /> © Henry and Co.<br /> <br /> \ A new novel by the author of “The Leaven-<br /> os worth Case.” It is called “ Cynthia Wakeham’s<br /> Jf Money,” and will be published by G. P. Putnam’s<br /> oe Sons.<br /> <br /> A new and enlarged edition of Treloar’s,<br /> |* «“Ludgate Hill,” is preparing.<br /> <br /> Mr. James Sully has been appointed Professor<br /> io of Philosophy of Mind and Logic at University<br /> 69 College, London, in succession to Professor Croom<br /> <br /> €<br /> <br /> 4 Robertson, resigned.<br /> <br /> : Mr. Joseph Hatton has written a novel bearing<br /> di the title of “Under the Great Seal.”<br /> <br /> Mr. Andrew Tuer’s proffered prize of £100 for<br /> 7g guessing the title of a story has not been awarded.<br /> VY No one guessed the right title.<br /> <br /> Professor Nichol has written a ‘ Life of Car-<br /> yf lyle” for John Morley’s English Men of Letters.<br /> {| It was supposed that the series had been closed.<br /> <br /> “ A Son of the Fens,” by T. H. Emerson, is a<br /> 4 book which will delight anybody who loves<br /> i; the talk and the doings and the opinions<br /> 6 of those who live nearest to the earth. Mr.<br /> 7 Emerson is doing for Norfolk what Jefferies<br /> b did for Wiltshire. His “Pictures of East<br /> A&gt; Anglian Life,” ‘“ Wild Iife on a Tidal<br /> 7 Water,” and “Life on the Norfolk Broads,” are<br /> ‘s already known, and well known. This book, which<br /> 4 isan autobiography in the Norfolk tongue, will<br /> * meet with many readers and many admirers.<br /> <br /> “ Bast and West, or Alexander’s Death,” is the<br /> title of a book of verse written by the author of<br /> the “Fairy Ballad Book” (G, Bell and Sons).<br /> The tragedy which gives the title to the book is<br /> followed by a collection of poems on general<br /> topics, some of which are very pretty and graceful,<br /> both metres and rhymes being of the simple kind.<br /> Perhaps a little study of the recently-introduced<br /> metres might be of advantage to this writer, who<br /> shows already that she possesses the true poetic<br /> oift.<br /> <br /> <br /> <br /> 109<br /> <br /> Miss Anna Swanwick will immediately produce<br /> a work entitled “ Poets the Interpreters of their<br /> Age” (George Bell and Sons).<br /> <br /> Mr. William Alfred Gibbs has produced a<br /> volume of verse, in continuation of the “ Prelude,”<br /> by the wish of H.S.H. Princess May ot Teck.<br /> It is published by Messrs. Sampson Low and Ca:<br /> and all the profits, if any, derived from the work,<br /> will be given to the fund for helping wives and<br /> children of soldiers and sailors. All those<br /> interested in that fund are hereby, therefore,<br /> invited to purchase copies. Those who are<br /> interested in modern poetry may order the book<br /> as a strong-spirited, and in some respects, a<br /> noble poem.<br /> <br /> “Wife Yet no Wife” is the title of the new<br /> novel about to be published by Mr. John Cole-<br /> <br /> man, author of “The White Lady of Rose-<br /> mount,” “Players and Playwrights,” &amp;c. CH: J<br /> Deane, Wine Office-court, Fleet-street.) It will<br /> <br /> appear first in three-volume form. The tale is<br /> one of adventure, romance, and push of the<br /> present day. The scene is laid alternately in<br /> England, India, and Monte Carlo.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> +<br /> <br /> Theology.<br /> <br /> Buxton, Mrs. Sypney. Side Lights upon Bible History.<br /> With illustrations. Macmillan. 5s.<br /> <br /> Coaatn, F. E., M.A. Man’s Great Charter: an exposition<br /> of the first chapter of Genesis. James Nisbet.<br /> <br /> Mason, A. J.,D.D. The Faith of the Gospel<br /> of Christian doctrine. New edition.<br /> gs. Od.<br /> <br /> Mocarra, M. A. Stories from the Life of Our Lord: for<br /> children of the Church. Illustrated by Wyndham<br /> Hughes. Mowbray and Co.<br /> <br /> Newsout, Rev. W. C. E. Penitence and Peace, being<br /> Addresses on the 51st and 2grd Psalms. Longmans.<br /> 2s. 6d.<br /> <br /> Newman, JoHn HENRY. Lectures on the Doctrine of<br /> Justification. Sixth edition. Longmans. 35. od.<br /> <br /> Prrrson, ARTHUR T., D.D. The Heart of the Gospel.<br /> Twelve sermons delivered at the Metropolitan Taber-<br /> nacle in 1891. Passmore and Alabaster. 2s. 6d.<br /> <br /> Prescorr, Rev. P. Wesleyanism’ and the Bible.<br /> Bible League. Paper covers, 6d.<br /> <br /> Putrir Commentary, THE. Edited by the Very Rev.<br /> H. D. M. Spence, D.D., and by the Rev. Joseph 8.<br /> Exell, M.A. With introductions by Archdeacon Farrer<br /> and others. Hzekiel, vol. 2. Exposition by the Very<br /> Rev. E. H. Plumptre, D.D., and the Rey. T. Whitelaw,<br /> D.D. Kegan Paul.<br /> <br /> A manual<br /> Longmans.<br /> <br /> The<br /> <br /> <br />  <br /> <br /> 110<br /> <br /> Sanpay, W.—Two Present-Day Questions: 1, Biblical<br /> Criticism ; 2, The Social Movement. Sermons preached<br /> before the University of Cambridge by W. Sanday,<br /> D.D. Longmans.<br /> <br /> History and Biography.<br /> AuuiEs, Mary H. History of the Church in England,<br /> <br /> from the beginning of the Christian Era to the Acces-<br /> sion of Henry VIII. Burns and Oates. 6s.<br /> <br /> CuurcH or En@Lanp, THE: its Growth and Progress<br /> during the Present Century. Reprinted from the<br /> Daily Graphic. Simpkin, Marshall. Paper covers.<br /> 3d.<br /> <br /> CLIFFORD, IsaBeLLA G. C. The Descent of Charlotte<br /> Compton, Baroness Ferrers de Chartley, Baroness<br /> Compton, daughter of James Compton, Fifth Harl of<br /> Northampton, and Elizabeth Shirley, Baroness F. de<br /> Chartley. By her great-granddaughter. Methuen and<br /> Co. tos. 6d.<br /> <br /> Compton, THroporr. A Mendip Valley, its inhabitants<br /> and surroundings, being an enlarged and illustrated<br /> edition of Winscombe sketches. With original illus-<br /> trations by Edward Theodore Compton, and a chapter<br /> on the geological history of the Mendips by Professor<br /> C. Lloyd Morgan, F.G.S. Edward Stanford. ros. 6d.<br /> Large paper edition, limited to 100 copies, 21s.<br /> <br /> Dranz, Avausta T. Letters of Archbishop Ullathorne.<br /> Arranged by. (Sequel to the Autobiography.) Burns<br /> and Oates.<br /> <br /> GREEN, J. R. A Short History of the English People.<br /> Illustrated edition. Edited by Mrs. J. R. Green and<br /> Miss Kate Norgate. Vol.1. Macmillan. 12s.<br /> <br /> Haut, JosepH. Chapters in Anglo-Irish History, relating<br /> to Romanism and Protestantism. C. H. Kelly.<br /> Is. 6d.<br /> <br /> Innes, ALEXANDER. The Life and Adventures of Chris-<br /> topher Columbus. David Bryce and Son, Glasgow.<br /> <br /> JoHNsON, SamvueEn. Lives of the English Poets—Butler,<br /> Denham. Dryden, Roscommon, Sprat, Dorset, Rochester,<br /> Otway. Cassell’s National Library. Cassell’s. 6d.<br /> <br /> Kinesrorp, Wittiam, LL.D. The History of Canada.<br /> Vol. 5. (1763-1775). With maps. Kegan Paul.<br /> <br /> Lecxy, W.E.H. A History of England in the Eighteenth<br /> Century. New edition. Vol. 7. Longmans. 6s.<br /> <br /> Luorp, R. Duppa. Historical Chart and Notes on the<br /> Origin of the British Victorian Monarchy. C. J.<br /> Clark.<br /> <br /> PatTERson, Maurice. Johann Amos Comenuis: a Sketch<br /> of Life and Educational Ideas. Blackie and Sons.<br /> Paper covers.<br /> <br /> Payne, Epwarp J. History of the New World called<br /> America. Vol. 1. Oxford, at the Clarendon Press;<br /> London, Henry Frowde. 18s.<br /> <br /> Poon, Joun I. Studies in Mohammedanism, Historical<br /> and Doctrinal. With a chapter on Islam in England.<br /> Constable and Company.<br /> <br /> RoyrpuHouse, T.R. and TarerE., H. J. The Labour Party<br /> in New South Wales: A History of its Formation and<br /> Legislative Career, with biographies of the members<br /> and the complete text of the Trade Disputes Concilia-<br /> tion and Arbitration Act, 1892. Swan Sonnenschein<br /> and Co. Paper covers.<br /> <br /> THE AUTHOR.<br /> <br /> Suitu, J. Manton. The Essex Lad who became England&#039;s<br /> Greatest Preacher. Life of C. H. Spurgeon for the<br /> young. With illustrations. Passmore and Alabaster.<br /> Paper covers, 1s.<br /> <br /> Spark, F. R.and Bennett, JosepxH. History of the Leeds<br /> Musical Festivals, 1858-1889. With portraits and<br /> facsimile. Second edition. Novello, Ewer, and Co,<br /> SI 58.<br /> <br /> THe Srory or a Prenirent Soun. Being the private<br /> <br /> papers of Mr. Stephen Dart. In 2 vols. R. Bentley<br /> and Son.<br /> <br /> Urwicx, Wm. The Early History of Trinity College,<br /> Dublin, 1591-1660, as told in contemporary records, on<br /> the occasion of its tercentary. T. Fisher Unwin.<br /> Paper covers, 1s.<br /> <br /> General Literature.<br /> <br /> AnTIQUARY, THE. A magazine devoted to the study of<br /> the past. Vol. 25, January-June. Elliot Stock.<br /> <br /> Buavatsky, H. P. Nightmare Tales. Theosophical<br /> <br /> Publishing Society, Duke-street, Adelphi. Paper<br /> covers. 18.<br /> <br /> Boox or Trinity CoLueGe, Dupuin, 1591-1891, Tur<br /> Marcus Ward.<br /> <br /> Bore, J. R. Comprehensive Guide to the County of<br /> Durham, with maps and plans. Walter Scott. 7s. 6d.<br /> <br /> Browne, W. A. The Merchants’ Handbook of Money,<br /> Weights, and Measures, with their British Equivalents.<br /> Fourth Edition. Edward Stanford. 5s.<br /> <br /> Can PARLIAMENT BREAK FaitH. A conversation on the<br /> supply of water to the metropolis by companies<br /> established on the faith of private and public Acts of<br /> Parliament (Reported). Leadenhall Press pamphlets,<br /> No. 2. Field and Tuer. Paper covers. 6d.<br /> <br /> CONGREGATIONAL CANDIDATES for the New Parliament.<br /> James Clarke and Co. Paper covers. 2s.<br /> <br /> Coorrr, A. N. Our Villages: Another View. A reply to.<br /> the Special Commissioner of the Daily News. Reprinted.<br /> Home Words Office. Paper covers. 6d.<br /> <br /> Day, WitiiAm. The Racehorse in Training, with hints on<br /> racing and racing reforms, to which is added a chapter’<br /> on “Shoeing.’ Seventh edition. Chapman and Hall.<br /> 9s.<br /> <br /> D’Urpan, W. S. and MaruHew, Rey., M.A. The Birds of<br /> Devon. With an introduction and some remarks on<br /> the migrations of Devonshire birds. Illustrated by<br /> <br /> coloured plates, photographs, and maps. R. H. Porter.<br /> 21s.<br /> <br /> Durron, THomas, M.D. Digestion and Diet rationally<br /> discussed. Henry Kimpton, High Holborn. 2s.<br /> <br /> Epmonps, Exniz. M. The Herb of Love. By Tewpyios<br /> Apoowns. Translated by Eliz. M. Edmonds. Pseu-<br /> donym Library. Fisher Unwin. Paper covers. 1s. 6d.<br /> <br /> Froupe, James A. The Spanish Story of the Armada<br /> and other Essays, Newedition. Longmans. 6.<br /> <br /> Girrren, Ropert. The case against Bimetallism. George<br /> Bell and Sons. 7s. 6d.<br /> <br /> Guapstonn, Right Hon. W. E. Special Aspects of the<br /> Trish Question. A series of reflections in and since<br /> 1886. Collected from various sources and reprinted.<br /> John Murray. Paper covers.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR,<br /> <br /> Phil. May’s Summer Annual. Edited<br /> <br /> ia) GRIBBLE, FRANCIS.<br /> by. Central Publishing and Advertising Company,<br /> <br /> Bouverie House, Salisbury-square, E.C. Paper covers.<br /> 1B:<br /> <br /> 1.) Haves AND Bryonp, with some side-lights by the way-<br /> James Clarke, Fleet-street.<br /> <br /> | Haxes, Harry. The Discovery of America by Christopher<br /> <br /> Columbus. Columbian Fair edition. Robert Baur,<br /> Wilkes-Barre, Pa. Leatherette, 50 cents.; cloth, 75<br /> cents.<br /> <br /> }HanpBpook FOR TRAVELLERS IN Norway. LHighth<br /> edition, revised. With maps and plans. John<br /> Murray.<br /> <br /> /-) Haupt, Orromar. The Monetary Question in 1892.<br /> <br /> Effingham Wilson.<br /> <br /> 7 Hightanp Memory, A. By an old Colonial. With 45<br /> illustrations by the Author. Northern Chronicle<br /> Office, Inverness. Simpkin, Marshall. Paper covers, Is.<br /> <br /> | Hruzy, Aurrep, M.A. Plain Words on the Eight Hours’<br /> Day. ~ Difficulties of enforcing it by law. Petty<br /> and Sons, London Wall. Paper covers, 1d., or 78.<br /> per 100.<br /> <br /> 1 Hopeerrs, E. A. B. In the Track of the Russian Famine.<br /> The personal narrative of a journey through the famine<br /> districts of Russia. T. Fisher Unwin.<br /> <br /> 0) Hoouz, CHartzs H. An account of the Manuscripts of<br /> the New Testament hitherto unedited contained in the<br /> Library of Christ Church, Oxford. Frowde, 1s.<br /> <br /> foreigner’s point of<br /> Paper covers. 6d.<br /> <br /> ta IRELAND’s Woes, from a view.<br /> <br /> Williams and Norgate.<br /> <br /> _ “Joun STRANGE WINTER.” My Geoff; or, the Experiences<br /> of a Lady-Help. F. V. White and Co.<br /> <br /> 101 Jounson-Lavis, H. J. The Prescriber’s Guide to the<br /> Harrogate Mineral Waters. Henry Renshaw.<br /> <br /> 2a) JUNKER, Dr. WitHELM. Travels in Africa, during the<br /> years 1882-1886. Translated from the German by<br /> A. H. Keane, F.R.G.S. Illustrated. Chapman and<br /> i Hall. ats.<br /> <br /> 65 Luar, WatTer. A Companion to the Iliad. For English<br /> ‘ readers. Macmillan. 7s. 6d.<br /> <br /> Walks in Epping Forest. With illustra-<br /> 30, Fleet-street.<br /> <br /> About Ulster.<br /> <br /> 40) LinDLey, PERcyY.<br /> ; tions and maps.<br /> <br /> “ij Linton, Mrs. Lynn Methuen and Co.<br /> <br /> id.<br /> Mid Lirrtz Guipe to THE Town OF BAYREUTH AND ITS<br /> } Curiosttres, with a history and description of the<br /> <br /> theatre of Richard Wagner, with a new plan of the<br /> town. Heinrich Heuschmann, Bayreuth.<br /> <br /> 26) Lockn’s ANNUAL REGIsTER OF BrrTHS, MARRIAGES, AND<br /> Deatus, 1891. Vol. I., Births and Marriages, with<br /> complete Index. Charles Dickens and Evans. 10s.<br /> <br /> Moi Lomax, Cuartes J. Collection, Treatment, and Disposal<br /> of Town Refuse. R. Whewell and Sons, Bolton.<br /> <br /> 104 Lorp Brasspy at Hastinas, May 23, 1892: Party<br /> Government, Ireland, the Eight Hours Bill. Edward<br /> Stanford, Cockspur - street, Charing - cross. Paper<br /> covers.<br /> <br /> 131° “Voperta.” A Summer Sojourn on the East Coast.<br /> Tllustrated. Lowestoft, J. Rochford O’Driscoll. 1s. 6d.<br /> <br /> <br /> <br /> ig<br /> <br /> MARTINDALE, Wm. The Extra Pharmacopeia. Medical<br /> references and a therapeutic index of diseases and<br /> symptoms, By W. Wynn Westcott, M.B., Deputy<br /> Coroner for Central Middlesex. Seventh edition.<br /> H. K. Lewis.<br /> <br /> Matuews, G. B. Theory of Numbers.<br /> ton, Bell, and Co.<br /> <br /> Moorn, Tuomas, M.A. How to be Married, in all ways<br /> and everywhere throughout the British Empire and in<br /> Foreign States. Griffith, Farran. Paper covers. 1s-<br /> <br /> Morsr-SterHens, H. The Principal Speeches of the<br /> Statesmen and Orators of the French Revolution, 1789-<br /> 1795. Edited, with introductions, notes, aud indices.<br /> Vol. I., Mirabean, Vergniaud, Gensonné, Guadet, Louvet,<br /> Cambon. Vol. II., Barére, Danton, Robespierre, St.<br /> Just, Baudin. Oxford, at the Clarendon Press:<br /> London, Henry Frowde. 1 guinea.<br /> <br /> MountTAINEERING. By C. T. Dent, with contributions by<br /> W. M. Conway, D. W. Freshfield, C. E. Mathews, C.<br /> Pilkington, Sir F. Pollock, H. G. Willink, and an<br /> introduction by Mr. Justice Wills. Jlustrations by<br /> H. G. Willink and others. Volume of the Badminton<br /> Library, 10s. 6d.<br /> <br /> Neuman, B. Pauu. The Interpreter’s House: A Book of<br /> Parables. Fisher Unwin. 53s.<br /> <br /> Our Vorces AND HOW TO ImprRovE THEM, by a Lady.<br /> Willcocks and Co., Berners-street.<br /> <br /> Part I. Deigh-<br /> <br /> Some Ideas on University Exten-<br /> Simpkin Marshall.<br /> <br /> OxrorpD BLUE v. DRAB.<br /> sion. By an “ Extensioner.”<br /> Paper covers.<br /> <br /> PARTICULARS OF THE WaR Surips or THE WorLD. Tenth<br /> revised issue. Extracted from Lloyd’s Register Book,<br /> 1892-93. White Lion-court, Cornhill. 5s.<br /> <br /> Pracock, F. M. Ronald the Fusilier. Gale and Polden.<br /> Paper covers, Is.<br /> <br /> Prppiz, Jamzus. The New Wimbledon at Bisley.<br /> and souvenir, with plan, map, and portraits.<br /> Boot, Old Bailey. Paper covers, 6d.<br /> <br /> Piacort, F.T. The Garden of Japan: a year’s diary of<br /> its flowers. With four pictures by Alfred East, R.I.,<br /> member of the Meiji Bijutsu Kwai. George Allen.<br /> <br /> A guide<br /> Alfred<br /> <br /> Piayina Garps oF Various AGES AND COUNTRIES,<br /> Selected from the collection of Lady Charlotte<br /> <br /> Schreiber. Vol. 1, English and Scottish, Dutch and<br /> Flemish. John Murray. gl. 13s. 6d.<br /> <br /> Ber, Greorar, M.D. Practical Sanitation : a handbook<br /> for sanitary inspectors and others interested. With an<br /> Appendix on Sanitary Law by Herbert Manley, M.A.,<br /> M.B., D.P.H., with diagrams. Charles Griffin.<br /> <br /> Ripez, J. Jamus. Alcohol and Public Health. H. K.<br /> Lewis. 28.<br /> Rosz-Innes, Cosmo. Middle Class Organisation. Beau-<br /> <br /> mont and Co. Paper covers. 6d.<br /> <br /> Ross, FREDERICK. Hutchinson and Co.<br /> <br /> Bygone London.<br /> <br /> Rumspy, ALARIC. Handbook for Employers and Employed.<br /> 1. Domestic Servants and Servants Generally. 2.<br /> Modern Labour Legislation, Swan Sonnenschein.<br /> 38. 6d.<br /> <br /> Russevt, Hon. R. Factors in the Irish Problem. A letter<br /> to a fellow-elector. Hazel, Watson, and Viney. Paper<br /> covers, 3d.<br /> <br /> <br /> |<br /> |<br /> |<br /> |<br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> 112<br /> <br /> ScaTTERED Leaves. By a Banker. Simpkin, Marshall.<br /> <br /> Starrer, J. H. Book Collecting: a Guide for Amateurs.<br /> Swan Sonnenschein. 1s.<br /> <br /> SoutHam, A. D. Electrical Engineering as a Profession,<br /> and How to Enter it. Whittaker. 4s. 6d.<br /> <br /> Strong, J.M. “ Faithful unto Death.” An account of the<br /> Sufferings of the English Franciscans during the 16th<br /> and 17th Centuries, from contemporary records. With<br /> an Appendix containing a Short History of the Fran-<br /> ciscan Convent (Third Order) at Taunton, founded by<br /> Father Gennings in 1621, and a Preface by the Rev. J.<br /> Morris, §.J. Kegan Paul and Co. (Limited).<br /> <br /> Srupss, Masor-GeneRAL F. W. List of Officers who have<br /> Served in the Regiment of the Bengal Artillery, with<br /> tables of successive establishments, roll of the Victoria<br /> Cross, and stations of troops and companies from its<br /> first formation down to its absorption into the Imperial<br /> List, compiled by Seers, Argyle-street, Bath.<br /> <br /> Summary Remepies or Wives, Toe. A handy book for<br /> lay justices. By One of Themselves. Shaw and<br /> Sons.<br /> <br /> SwiFt, JONATHAN. Polite Conversations, in three dialogues.<br /> With introduction and notes by George Saintsbury.<br /> The “‘ Chiswick Press” edition. 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A Beckett.<br /> of Ropert BATEMAN.<br /> 1 Sir Henry Berene, K.C.M.G.<br /> Wo WALTER BESANT.<br /> ‘A AUGUSTINE BIRRELL, M.P.<br /> Ho R. D. Buackmore.<br /> (a Rev. Pror. Bonney, F.B.S.<br /> of Lord BRABOURNE.<br /> 44 James Bryce, M.P.<br /> ‘4 Hawt Carne.<br /> P. W. CLAYDEN.<br /> <br /> <br /> <br /> <br /> <br /> COUNCIL.<br /> <br /> OswaLpD CRAWFURD, C.M.G.<br /> Tue Ear. oF DESART.<br /> <br /> Austin Dosson.<br /> <br /> A. W. Dusoure.<br /> <br /> J. Ertc ERIcHsEN, F.R.S.<br /> Pror. MicHar. Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHAaRD GARNETT, LL.D.<br /> EpMuUND GOSSE.<br /> <br /> H. Riper HAaGa@arD.<br /> <br /> Tuomas Harpy.<br /> <br /> JEROME K. JEROME.<br /> <br /> RupyARD KIPuine.<br /> <br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rey. C. H. MrippLETON-WAKE F.L.S.<br /> <br /> Lewis Morris.<br /> Pror. Max MULLER.<br /> J. C. 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References<br /> kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> Twenty-fourth Issue, Super-royal 8vo., price 14s., post free.<br /> ROCKFORD’S CLERICAL DIRECTORY 1892.<br /> Being a Statistical Book of Reference for facts relating to the<br /> Olergy in England, Wales, Scotland, Ireland, and the Colonies ; with<br /> a fuller Index relating to Parishes and Beneflces than any ever yet<br /> given to the public.<br /> Horace Cox, ‘Law Times” Office, Bream’s-buildings, E.O.<br /> <br /> <br /> <br /> A BOOK FOR MEMBERS AND CANDIDATES.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br /> 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY<br /> <br /> OF THE<br /> <br /> BRITISH PARLIAMENT,<br /> <br /> From the EARLIEST PERIODS to the PRESENT TIME.<br /> <br /> With Notices of Eminent Parliamentary Men, and Examplss of<br /> their Oratory. Compiled from Authentic Sources by<br /> <br /> GEORGE HENRY JENNINGS.<br /> <br /> CONTENTS :<br /> <br /> Part L—Rise and Progress of Parliamentary Institutions.<br /> <br /> Part Il.—Personal Anecdotes; Sir Thomas More to John Morley.<br /> <br /> Part IlL—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br /> Strangers; Publication of Debates. 3. Parliamentary<br /> Usages, &amp;c. 4. Varieties.<br /> <br /> APPENDIX.—(A) Lists of the Parliaments of England and of the<br /> United Kingdom. (B) Speakers of the House of<br /> Commons. (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to 1892.<br /> <br /> OPINIONS OF THE PRESS OF THE PRESENT EDITION.<br /> “The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in both instruction and amuse-<br /> ment.”—Scotsman.<br /> “Tt is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.” —@lobe.<br /> “Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.”—Kentish Observer.<br /> “« We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> if” Orders may now be sent to<br /> Horace Cox, ‘ Law Times” Office, Bream’s-buildings, E.0.<br /> i<br /> |<br /> |<br /> |<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 116 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Leave the drudgery of the Pen—Soiled Fingers—Blotted and Obscure<br /> Manuscript, to those who prefer darkness to light. Quick, up-to-date<br /> <br /> writers use<br /> <br /> THE BAR-LOCK<br /> Why?<br /> <br /> Easiest Managed; Soonest Learned; Most Durable; Writing Always<br /> Visible ; does best work, and never gets out of repair.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tar Lzapennatt Pruss Lrp., E.C.)<br /> Se<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> Miss R. V. GILT,<br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> <br /> ee<br /> <br /> <br /> <br /> Authors’ and dramatists’ Work a Speciality. All kinds<br /> of MSS. copied with care. Extra attention given to difficult<br /> hand-writing and to papers or lectures on scientific subjects.<br /> Type-writing from dictation. Shorthand Notes taken<br /> and transcribed.<br /> <br /> Og oa<br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> Beware o: the Party cffer ng ‘mitations of Macniven<br /> and Cameron&#039;s Pens.<br /> <br /> THE FLYING “J” PEN.<br /> —<br /> ee ™<br /> <br /> 8)<br /> <br /> Ga aan<br /> a<br /> <br /> Writes over 150 words with one dip. “Seems endowed with the<br /> magician’s art.”. Soli everywhere. 6d. and 1s. per box.<br /> «&gt; Sample box, with all the kinds, 1s. 1d. by Post.<br /> <br /> MAGNIVEN &amp; GAMERO\, Waveetey Works, EDINBURGH<br /> <br /> HE AUTHORS’ AGENCY. [Established 1879. Proprietor, Mr. A. M. BURGHES<br /> <br /> The interests of Authors capably represented. Proposed agreements and estimate<br /> examined on behalf of Authors. MS. placed with Publishers. Transfers carefully conducted. Twenty-five years<br /> practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials from<br /> leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br /> <br /> 1, Paternoster Row.<br /> <br /> Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals<br /> —Edinburgh (1890) and Jamaica (1891) Exhibitions ; is used in principal<br /> Government Departments, and greatest number of English business houses, —<br /> and by the Society of Authors.<br /> <br /> We send interesting supply of further information free.<br /> <br /> THE TYPE-WRITER COMPANY LIMITED.<br /> <br /> 12 &amp; 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow.<br /> Local Agents in all Districts.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TYPE-WRITER.<br /> <br /> <br /> <br /> MRS. GiILE,<br /> TYPE-WRITING OFFICE,<br /> 35, LUDGATE HILL, EC.<br /> (ESTABLISHED 1883.)<br /> <br /> Authors’ MSS. carefully copied from ts. per<br /> 1000 words. Plays, &amp;c.. 1s. 3d. per 1000 words.<br /> Reference kindly permitted to Walter Besant, Esq.<br /> <br /> Miss PATTEN,<br /> TYPIST.<br /> <br /> 44, Oakley Street Flats, Chelsea. S.W.<br /> <br /> Aurnors’ MSS. CarEFULLY TRANSCRIBED. REFERENCES<br /> KINDLY PERMITTED TO GzorGE AvausTus SaLa, Esq.<br /> Partic«lars on Application.<br /> <br /> Stickphast<br /> <br /> PASTE<br /> for joining papers and sticking in scraps:<br /> Sixpence and One Shi ling, with strong useful brush.<br /> <br /> TO AUTHORS.<br /> <br /> The skilled revision, the honest and competent criticism,<br /> <br /> and the offering of MSS. in the American market, are the<br /> <br /> specialities of the New York Bureau of Revision.<br /> <br /> Established 1880. Endorsed by George W. Curtis, J. B.<br /> <br /> Lowell, and many authors.—20 W., Fourteenth-street,<br /> New York.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/441/1892-08-01-The-Author-3-3.pdf	publications, The Author
442	https://historysoa.com/items/show/442	The Author, Vol. 03 Issue 04 (September 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+04+%28September+1892%29"><em>The Author</em>, Vol. 03 Issue 04 (September 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-09-01-The-Author-3-4					117–148																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-09-01">1892-09-01</a>							4			18920901	The Muthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CPOWDUCTED BY WALTER BESANT.<br /> <br /> Vou. IIT&#039;—No. 4.] SEPTEMBER 1, 1892. [Prick SIXPENCE.<br /> CONTENTS.<br /> <br /> PAGE PAGE<br /> <br /> Warnings ae cas eos i ahs = ni me fe 9 In the Lower Ranks ... ee a ie bes na ee as Lee<br /> How to Use the Society... aa ais ee oo wee an L20: What is Read—<br /> <br /> The Authors’ Syndicate ... pe wee as 85 oo s5, 12 1.—Brentford Free Library ... aoe os wae ae «.. 136<br /> <br /> Notices... oe ae = sae oon yet ae eee way ded 2.—The People’s Palace Library... ae 3 ace swe 186<br /> <br /> Literary Property— American Independence _... on BP aes wale a eee.<br /> <br /> 1.—Lee v. Gibbings_... ae ee ae sas enh ao IL The Experiences of a Shy Woman oe one eS ee +.» 188<br /> <br /> 2.—Quinton v. Arrowsmith ... 2 Women in Journalism a cos eon tne as son .-- 139<br /> <br /> Correspondence—<br /> <br /> Fraudulent Authors ... an see oe us ore me cs 126 1.—Long Oredit ... Be oe ie ee 2. 140<br /> <br /> Feuilleton— 2.—Does the Higher Work Pay? ... ows. ve ewe 140<br /> <br /> A Writer of Novelettes See ieee es vee teeny 129 3.—Praised, but Refused see ase igen were 4d<br /> <br /> The Athenzwm on Construction in Fiction... ee as we. 132 ‘© At the Author’s Head” ... = =e oe ae aw ee EL<br /> <br /> The Story of a Mistake .... i. See a ee ee sae 158 New Books and New Editions... aes ae eee aed ce ae<br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> ®. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4. Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 3s.<br /> <br /> 6, The History of the Societe des Gens de Lettres. By S. Squirm Spricaz, late Secretary to<br /> the Society. Is.<br /> <br /> 6. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> <br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7, The Various Methods of Publication. By S. Squire Spricer. In this work, compiled from the<br /> papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> <br /> kinds of fraud which have been made possible by the different clauses in their agreements<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> o<br /> <br /> Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> THE<br /> <br /> <br /> <br /> LINOTYPE GOWPOSING JIAGHINE.<br /> <br /> SPECIALLY ADAPTED FOR BOOKWORK.<br /> <br /> <br /> <br /> <br /> <br /> “A MIGHTY BUT PEACEFUL REVOLUTION.”<br /> <br /> OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE.<br /> <br /> For full List of Eeperts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet.<br /> <br /> “Tt will do away with type, and composition, and<br /> distribution, as now practised, will be known no more.”—<br /> Manchester Courier.<br /> <br /> “ Saves 70 per cent. in cost of composing, and from three-<br /> fourths to nine-tenths in time.’—Shefield and Rotherham<br /> Independent.<br /> <br /> “Tt bids fair to revolutionise the present system,<br /> especially of newspaper production, for which it seems<br /> peculiarly well adapted. The instrument is one of the most<br /> beautiful and ingenious pieces of mechanism ever introduced<br /> in connection with the art of printing.” —Scotsman.<br /> <br /> “The absolute saving of distribution, which is reckoned<br /> <br /> as equivalent to one quarter of the cost of composition, is<br /> an important factor in the economy of this machine.<br /> With it comes emancipation from the frequent errors arising<br /> from faulty distribution. To pye matter is impossible.<br /> Unquestionably the most remarkable machine ever invented<br /> in the art of printing.” —The Printers’ Register.<br /> <br /> “ Tt stands to reason that an invention that economises as<br /> well as expedites work, without aiming a blow at those who<br /> had previously done without it, must be a success.”’—Echo.<br /> <br /> “The rapidity and accuracy of the process impressed Mr.<br /> Gladstone very powerfully, or, as he expressed it himself, it<br /> ‘staggered’ him.”—Daily Chronicle.<br /> <br /> * One of the most remarkable machines ever invented.’’—<br /> Engineer.<br /> <br /> “A steam-driven, type-composing and casting machine<br /> which really promises to bring about a revolution in the<br /> <br /> <br /> <br /> composing-rooms of newspaper and book printing offices.”<br /> —Home and Colonial Mail.<br /> <br /> “ This remarkable invention promises to revolutionise all<br /> our ideas as to type-setting by machinery. It dispenses<br /> with movable type, and substitutes matrices in which the<br /> letters are cast in solid lines.”—Leeds Mercury.<br /> <br /> “One of the most remarkable labour-saving Machines<br /> ever devised in an age remarkable for such inventions.”<br /> —Western Mail (Cardiff).<br /> <br /> ‘The work never stops, line after line is added with —<br /> <br /> astonishing smoothness and regularity.”—Newcastle Daily<br /> Chronicle.<br /> <br /> ‘Has come into existence to create amazement, where<br /> surprise hitherto found a home.<br /> <br /> “The Linotype, to be brief, is a machine which does away<br /> with the present expensive and slow method of type-setting. —<br /> It performs all the work of a compositor automatically, with —<br /> <br /> greater precision and with far more rapidity. The most<br /> important feature of the patent, however, lies in the<br /> <br /> enormous saving it effects in the cost of setting, while a no ~<br /> <br /> less startling fact is that the labour of ‘ distributing,’ or the<br /> putting of the type back into cases, is dispensed with.”—<br /> Admiralty and Horse Guards Gazette.<br /> <br /> “ Printing without types. A marvellous machine that —<br /> The advance of —<br /> industrial science is so rapid that this machine must, sooner —<br /> or later, come into extensive use.”—Hvening News and Post —<br /> <br /> makes fresh types for every line.<br /> <br /> (London).<br /> <br /> <br /> <br /> <br /> <br /> THE ECONOMIC PRINTING &amp; PUBLISHING CO. LIMITED,<br /> <br /> 39, BOUVERIE STREET, FLEET STREET, E.C.,<br /> <br /> Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br /> in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br /> <br /> Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br /> best makers.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> Che HMuthor,<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 4.]<br /> <br /> SEPTEMBER 1, 1802.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> for the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> <br /> <br /> <br /> responsible,<br /> oct<br /> WARNINGS.<br /> Specran Warnine. — Readers are most<br /> <br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> { _—~precaution is neglected for three weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> | brought to the secretary the agreement, or the<br /> | letter which serves for one, is without the stamp.<br /> f The author may be assured that the other party<br /> 1 to the agreement never neglects this simple pre-<br /> » caution, The stamp duty varies from 6d. up to<br /> 10s. or more, according to the form of agreement.<br /> (] The Society, to save trouble, undertakes to get<br /> f all the agreements of members stamped for them<br /> ‘= at no expense to themselves except the cost of the<br /> 2 stamp.<br /> <br /> <br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ workupon the dangers to which literary<br /> property is exposed :—<br /> <br /> RB<br /> <br /> a oe<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> VOL, 111,<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) NEVER accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away American rights. Keep<br /> them. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Nuvur forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men.<br /> <br /> Society’s Offices :—<br /> 4, Portueau Srrent, Lincoun’s Inn Fiaxps.<br /> <br /> 72ees<br /> <br /> Kk 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 120 THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> ’ 2, If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 3. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 4. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 5. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> <br /> nation at being asked what his proposal gives -<br /> <br /> him compared with what it gives the author;<br /> and (4) irrepressible irritation at any mention of<br /> the Society of Authors.<br /> <br /> 6. Remember always that in belonging to the ©<br /> <br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 7. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> eee<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> <br /> position to take charge in whole or in part<br /> <br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> <br /> the advisers of the Society it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but it is<br /> intended to reduce the rates to the lowest<br /> possible amount compatible with effi-<br /> ciency. Meanwhile members will please<br /> accept this intimation that they are not<br /> entitled to the services of the Syndicate<br /> gratis.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted. On his behalf<br /> members are requested— &#039;<br /> <br /> 1. To place on paper briefly the points on which<br /> advice is asked.<br /> <br /> 2. To send up all the letters and papers con-<br /> nected with the case, if it is a case of<br /> dispute.<br /> <br /> 3. Not to conceal or keep back any of the<br /> facts.<br /> <br /> ect<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> mewbers of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year. He<br /> finds that, while the interest in the paper increases,<br /> and while it is acknowledged to be doing good<br /> service by its exposures and investigations,<br /> there has been some tendency this year to forget<br /> the subscription. Perhaps this reminder may be<br /> of use. With 800 members, besides the outside<br /> circulation of the paper, the Author ought to<br /> prove a source of revenue to the society.<br /> <br /> <br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write?<br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of this Society or not,<br /> are invited to communicate to the Kditor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> <br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> <br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> AUTHOR.<br /> <br /> 121<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years P<br /> <br /> <br /> <br /> How, we are asked almost every day, is the<br /> young writer to make a beginning? He should<br /> first get an opinion from one of the Society’s<br /> readers as to the merits and chances of his book.<br /> It may be that certain points would be suggested<br /> foralteration. Itmay be that he will find himself<br /> recommended to put his MS. in the fire. He<br /> should, if encouraged, offer his MS. to a lst<br /> of houses or of magazines recommended by the<br /> Society. There is nothing else to be done. No<br /> one, we repeat, can possibly help him. If those<br /> houses all refuse him, it is not the least use trying<br /> others, and, if he is a wise man, he will refuse to<br /> pay for the production of his own work. If, how-<br /> ever, as too often happens, he is not a wise man,<br /> but believes that he has written a great thing, and<br /> is prepared to back his opinion to the extent of<br /> paying for his book, then let him place his work<br /> in the hards of the Society, and it shall be<br /> arranged for him without greater loss than the<br /> actual cost of production. At least he will not be<br /> deluded by false hopes and promises which can<br /> end in nothing.<br /> <br /> <br /> <br /> The address delivered by Mr. Edmund Gosse<br /> at the Shelley Centenary will be published in our<br /> October number, corrected by the author,<br /> <br /> ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> Lee v. GIBBINGS.<br /> <br /> HIS case promised ‘to raise a somewhat<br /> important question to authors, namely,<br /> whether, where an author has sold his<br /> <br /> copyright in a work, the work can be published ina<br /> condensed or popular form without stating that<br /> itis in fact condensed from the original work. The<br /> question arose upon the recent publication of a<br /> condensed edition of Mr. Sidney Lee’s “ Autobio-<br /> graphy of Edward, Lord Herbert of Cherbury.”<br /> The facts of the case were briefly these. In 1886<br /> the plaintiff, Mr. Sidney Lee, now editor of the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 122 THE<br /> “Dictionary of Biography,” prepared, at the<br /> request of Mr. J. C. Nimmo, the publisher, and<br /> at an agreed price, an edition of the “ Autobio-<br /> graphy of Edward, Lord Herbert of Cherbury,”<br /> who lived in the reigns of Queen Elizabeth and<br /> Kings James I. and Charles I. and II., and dis-<br /> tinguished himself as Ambassador to the Court<br /> of France, and a man of letters. Mr. Lee’s work<br /> contained a preface, a table of contents, an<br /> introduction, a bibliographical notice of the cir-<br /> cumstances under which the text was originally<br /> printed, explanatory notes, a continuation of Lord<br /> Herbert’s life from the point at which his auto-<br /> biography terminated until his death, also an<br /> appendix and an index. A certain number of<br /> copies were issued, but the work did not command<br /> any great sale. In May last the defendant, Mr.<br /> William Walter Gibbings, publisher, of Bury-<br /> street, Bloomsbury, announced the publication, at<br /> the price of 5s., of a smaller edition of the work,<br /> to form the third volume of a series called “ The<br /> Memoir Library,’ but omitting, in part or in<br /> whole, the preface, introduction, table of contents,<br /> bibliographical notice, and index of the original.<br /> On the title-page of this smaller edition Mr. Lee<br /> was stated to be the editor, and the date of<br /> publication as “1892.” It appeared that the<br /> defendant had purchased from Mr. Nimmo the<br /> remainder of the original work, omitted the<br /> parts already mentioned, and then published<br /> the smaller and cheaper form of the work,<br /> but without any intimation that it was taken<br /> from the original work of Mr. Lee. The<br /> plaintiff .complained that the omissions from a<br /> work of so serious and scholarly a character were<br /> so important as to be injurious to his reputation<br /> as an author and scholar, and accordingly he<br /> issued the writ in this action, and now moved for<br /> an interim injunction to restrain the defendant<br /> from publishing or selling any copies of the<br /> “ Autobiography of Edward, Lord Herbert of<br /> Cherbury,” edited by the plaintiff and published<br /> by Nimmo in 1886, with any material alteration<br /> or omission, and containing any representation to<br /> the effect that such copies had been prepared for<br /> publication by the plaintiff.<br /> <br /> Mr. Justice KexewicH gave judgment as<br /> follows:—There are two aspects of this case,<br /> one of which had better be left alone; but<br /> the other must, to some extent, be regarded.<br /> The one which I think had better be left<br /> alone, is what I may fairly call the moral side.<br /> The defendant’s evidence is directed almost<br /> entirely to that. Instead of giving me facts—and<br /> the disputed facts are extremely few—I have a<br /> considerable amount of evidence, which, of<br /> course, has occupied a long time in reading,<br /> <br /> ‘respecting what is called the custom, or more<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> strictly, the habit of the publishing trade, and<br /> there is more than something about common<br /> sense. Those affidavits, hke many other affidavits,<br /> might, with great advantage, have been omitted<br /> altogether. Certainly they might have been cut<br /> down within the narrowest possible limits. No<br /> doubt the same observation is, to some extent,<br /> applicable to the affidavits on behalf of the<br /> plaintiff, but not to the same extent. Whether a<br /> jury would take into consideration the moral<br /> side of the case or not, it is not for me to<br /> prophesy. I certainly cannot. Ican only regard<br /> it from the legal point of view, and I refrain<br /> from making such remarks as occur to me on the<br /> moral side.<br /> <br /> The legal side of the case is one of consider-<br /> able interest, and not at all free from difficulty.<br /> I regard the defendant for this purpose as the<br /> owner of the copyright of this work. He is not,<br /> Iam aware, the owner of the copyright, but he<br /> has purchased the unpublished sheets of the<br /> plaintiff’s work, and as regards those unpublished<br /> sheets he stands in Mr. Nimmo’s place, and is the<br /> owner of the copyright. He has Mr. Nimmo’s<br /> assent to their publication. He has even Mr.<br /> Nimmo’s assent to the publication in the present<br /> form, and he, therefore, though having no right<br /> to multiply copies in the sense of printing further<br /> copies and publishing anything else but these<br /> sheets, can deal with these sheets as he pleases pro-<br /> vided he gives the plaintiff no cause to complain.<br /> <br /> He thinks fit—that is to say he finds it con-<br /> venient to his trade—to publish the plaintiff&#039;s<br /> work in a mutilated form. The word “ mutilated”<br /> may or may not imply something in derogation<br /> of the work or of the defendant’s manipulation<br /> of it, but strictly speaking the form is mutilated.<br /> The index is left out. Ido not myself attribute<br /> very great importance to that in such a work as<br /> this, but I only speak for myself in saying that.<br /> There are other parts left out, including the<br /> introduction, and I should certainly say that the<br /> omission of the introduction to such a work as<br /> this was very nearly leaving out the principal<br /> part of the work. Then the date is altered so as<br /> to give the impression that it isa new work. I<br /> am told that is not so; that nobody would sup-<br /> pose it was a work published in 1892 because the<br /> figures “1892” are on the title page. I suppose<br /> that there are some people who would regard<br /> “1892” as meaning nothing; I confess to be<br /> amongst those who would have regarded it as<br /> meaning that the work was published in 1892<br /> and not in 1886; but that is a question of<br /> injury to the plaintiff to which I will come<br /> presently, and not otherwise a mutilation of<br /> the plaintiff&#039;s work. The omission of the intro-<br /> duction does seem to me to be a very cogent<br /> <br /> <br />  <br /> <br /> fr<br /> <br /> f<br /> it<br /> [t<br /> <br /> So fey SO es<br /> <br /> $<br /> [<br /> [<br /> s<br /> 3<br /> {<br /> i<br /> t<br /> t<br /> I<br /> <br /> <br /> <br /> THE<br /> <br /> instance of mutilation. Is the defendant entitled<br /> to do that? There is no law compelling a man<br /> to publish the whole of the work because he has<br /> the copyright in the whole. Nor can he be<br /> prevented from publishing extracts from the<br /> work. Whether it is right for him to publish<br /> extracts without saying they are extracts, or<br /> whether he can publish a work in a mutilated<br /> form without indicating in the least that there<br /> has been that mutilation is a question to my<br /> mind of some difficulty.<br /> <br /> The question resolves itself into this—does he<br /> thereby injure the author&#039;s reputation? For<br /> that, what is the author’s remedy in law? His<br /> remedy in law is, I think, undoubtedly libel or<br /> nothing. Injury to reputation is the foundation<br /> of the remedy in an action of libel. It is what<br /> you have to prove in order to get your damages,<br /> and if one endeavoured, which I am not intend-<br /> ing to do, to frame the innuendo in an action of<br /> libel by the plaintiff against- the defendant, it<br /> would necessarily point to the injury of the<br /> reputation of the author here, by informing the<br /> public that this mutilated work was really the<br /> work of the plaintiff, whereas in fact his work<br /> was something far superior; and that this would<br /> be discreditable to him. That would be neces-<br /> sarily the general line of complaint.<br /> <br /> It comes, therefore, to a question on this part<br /> of the case whether I ought to grant an injunc-<br /> tion now to restrain a libel before that question<br /> has been before a jury, which is the avowedly<br /> proper tribunal for the purpose of determining<br /> whether a libel exists or not. The jurisdiction<br /> of the court to restrain a libel is undoubted. It<br /> has been affirmed over and over again, even<br /> in those cases in which the court has<br /> refused to grant an injunction, in particular<br /> the last case of Bonnard v. Perryman. Of<br /> late years there has been no such thing as an<br /> injunction to restrain a libel except in the recent<br /> case, where Mr. Justice Chitty distinguished<br /> trade libels from other libels, and granted an in-<br /> junction, a decision with which, within the last<br /> week or two, I have had occasion to express my<br /> entire concurrence. But with that exception, as<br /> far as I know, the court has not of late granted<br /> an injunction to restrain a libel before the point<br /> has been submitted to a jury—ain other words, on<br /> interlocutory application.<br /> <br /> Now ought this to be an exceptional case? I<br /> see no reason for making an exception in favour<br /> of a case such as this. The balance of con-<br /> venience does not seem to me to point in favour<br /> of granting an injunction, because, though the<br /> sale of the work will no doubt go on, and though<br /> if it goes on it is injurious to the plaintiff&#039;s repu-<br /> tation—the injury will be continued—yet the<br /> <br /> AUTHOR.<br /> <br /> 134<br /> <br /> injury must to a great extent be done by the<br /> mere publication ; and, after all, success in the<br /> ultimate result would be quite satisfactory to the<br /> plaintiff. I mean, if it were eventually deter-<br /> mined that the plaintiff was right and could sus-<br /> tain an action for libel against the defendant by<br /> reason of this publication, then, not by the<br /> damages awarded, but by the mere verdict of the<br /> jury, he would have, I will not say rehabilitated,<br /> but maintained his reputation at the level at<br /> which it before existed. It cannot be suggested<br /> that the mere sale of a few copies more or less<br /> would place him in any worse position if even-<br /> tually he succeeded, and of course if he did not,<br /> then he has no reason to complain.<br /> <br /> Now, on the balance of convenience, I think I<br /> ought not to grant an injunction, especially it<br /> being, of course, understood that I express no<br /> opinion whether it is a libel or not. That is<br /> really the reason why the court in these cases<br /> does not grant an injunction, because, if it<br /> granted an injuction, or even if it refused it on<br /> the other ground than the one I have mentioned,<br /> the court would be obliged to express an opinion,<br /> and the court ought not to express an opinion on<br /> a matter that is to be left to a jury.<br /> <br /> But the plaintiff&#039;s case has been put by Mr.<br /> Renshaw on another ground, which strikes me<br /> as extremely deserving of attention, though I do<br /> not think I ought to grant an injunction on that<br /> ground at the present moment. He says this is<br /> like the case of Clarke v. Freeman, and Clark v.<br /> Freeman may be considered for this purpose, as<br /> decided quite differently from the way in which<br /> it was decided. In that I follow him. Ido not<br /> think that after the observations of Vice-Chancellor<br /> Malins, Lord Cairns, and Lord Selborne, on that<br /> case, I ought to hesitate to regard it as really<br /> erroneously decided, and I do not think that,<br /> having regard to Lord Cairns’ observations on<br /> page 310 of the 2nd Chancery Appeals, in the<br /> case of Maxwell v. Hogg, I ought to doubt what<br /> the proper decision should have been in Clarke v.<br /> Freeman or on what gronnd that proper decision<br /> would have been rested, because he says distinctly,<br /> speaking, be it remembered, in the Court of<br /> Appeal, “It always appeared to me that Clarke<br /> v. Freeman might have been decided in favour of<br /> the plaintiff on the ground that he had a pro-<br /> perty inhisown name.” The question of whether<br /> a libel was a fit subject for an injunction either on<br /> motion or at the trial, was not discussed in Clarke<br /> v. Freeman. It is not discussed by Lord Justice<br /> Cairns; itis not discussed by Lord Selborne, and<br /> it is not discussed by Vice-Chancellor Malins ;<br /> but they disapprove of the decision, and Lord<br /> Justive Cairns says, because the plaintiff hada<br /> property in his own name the name was invaded<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 124 THE AUTHOR.<br /> <br /> by the action of the defendant, and the plaintiff<br /> could therefore restrain the defendant from<br /> doing what he did on that ground, Thatis<br /> entirely independent of libel.<br /> <br /> Now can I decide this case on that ground in<br /> favour of the plaintiff ? I think not; and I think<br /> not because, when you come to test that argument,<br /> according to my present opinion, you really come<br /> back again to the question of libel in this case,<br /> though you would not have done so in Clarke v.<br /> Freeman. The pluintiff’s case on this part of it<br /> is, ‘“‘ that the defendant is publishing as my own<br /> what is not my own, that is to say, I am the<br /> author of an entire book; the defendant is pub-<br /> lishing only part of it, and such part that really<br /> he is not publishing my work at all; he is<br /> bringing out what I never sanctioned as my work,<br /> and which cannot be fairly represented as my<br /> work, and therefore I complain of him using my<br /> name in connection with a book that is not<br /> mine.” It comes back to this: Is the book the<br /> plaintiff’s or not? It is avowedly only part of it ;<br /> but it is such a substantial part of it that it may<br /> be fairly called the plaintiff&#039;s. It is so unless the<br /> mutilations are such as to give the plaintiff a<br /> right of action for libel. £0 that, try it as you<br /> will, it comes back to the same point, and I<br /> think, therefore, I should be doing wrong in<br /> seizing hold of the doctrine, not of Clarke v.<br /> Freeman, but which ought to have been supported.<br /> in Clarke v. Freeman, to give the plaintiff relief,<br /> which ought, on the other hand, to be denied<br /> him because he is really bringing an action of<br /> libel. I therefore, on those grounds, must refuse<br /> the motion, without expressimg any opinion<br /> whether what has been done is injurious to the<br /> plaintiff&#039;s reputation or not.<br /> <br /> This is really the whole question in the case.<br /> Tf the case is tried out there is nothing else to<br /> be tried, and therefore the proper way to deal<br /> with the costs isto make the costs of both parties<br /> costs in the action.<br /> <br /> <br /> <br /> The following is an extract from a letter by<br /> Mr. Lee which appeared in the Atheneum of the<br /> 13th ult. announcing tbat he had discontinued<br /> the action :—<br /> <br /> “ Lee v. Gibbings.<br /> <br /> “ My object in taking legal proceedings was to<br /> publicly show that I had no responsibility in the<br /> issue of the mutilated volume. The notices of<br /> the case in the Press have adequately relieved me<br /> of any suspicion that may have arisen on that<br /> score. But the judgment in the case secured for<br /> me, and I hope for other authors similarly placed,<br /> something more. Mr. Justice Kekewich held,<br /> despite the contentions to the contrary of Mr.<br /> Gibbings, his witnesses, and his counsel, that my<br /> <br /> work had been seriously mutilated. ‘The omis- :<br /> sion of the introduction to such a work as this,’ _*,<br /> he said, ‘was very nearly leaving out the a<br /> principal part of the work; this does seem to<br /> me,’ he continued, ‘to be a very cogent instance<br /> of mutilation.’<br /> “The alteration cf the original date to 1892<br /> was, in the judge’s opinion, calculated ‘to give<br /> the impression that it is a new work.’<br /> “The court further laid it down that the right ey<br /> of a purchaser who purchases the copyright of O38<br /> a work from the author to make changes in it, Don<br /> is subject to the limitation that he must give the , 8<br /> author ‘no cause to complain.’ :<br /> <br /> “Some friends have urged me, in the interest : x<br /> of myself and my fellow authors, to carry the | 8<br /> case to a final hearing. But I have already |x<br /> <br /> involved myself in much expense, and I am<br /> unwilling to incur more. I could not expect to<br /> recover very substantial damages, and I should<br /> be certain to suffer anxieties which must interfere<br /> with my usual avocations. I have done a little<br /> towards asserting the legal right of an author to<br /> some humane consideration at the hands of a<br /> publi her to whom he has parted with his copy-<br /> right. Iam content to leave the matter where<br /> it stands, and have instructed my folicitors to<br /> discontinue the action.”<br /> <br /> <br /> <br /> The points involved, to repeat, were the fol-<br /> lowing:<br /> <br /> 1. Mr. Lee wrote a life of Lord Herbert of<br /> Cherbury, which, together with certain introduc-<br /> tions, notes, explanatory matter and indices, he<br /> sold to Mr. Nimmo for asum of money.<br /> <br /> 2. Mr. Nimmo produced an edition of the work.<br /> <br /> 3. Mr. Nimmo sold, or transferred, to Mr.<br /> Gibbings, the remainder stock of the book.<br /> <br /> 4. Mr. Gibbings reproduced it in another<br /> edition, but without the introduction and other<br /> structural parts of the work.<br /> <br /> 5. Mr. Lee brought an action to restrain the<br /> publication of this mutilated form of his work,<br /> <br /> It is a perfect illustration of the chaotic con-<br /> dition of literary property that this action should<br /> have to be brought, and that counsel should be<br /> able to maintain the right of producing a<br /> mutilated copy of a work as the work itself.<br /> However, the important point is this: when one<br /> sells a work—any kind of work—does one sell<br /> that work alone—as it is—indivisible—or does one<br /> sell the power of issuing garbled, mutilated,<br /> incomplete, altered forms of that work with the<br /> original author’s name still attached? In other<br /> words, in selling a novel does one sell tpsissema<br /> verba—the work just as it is—without power of<br /> alteration, or does one sell the power of altering,<br /> <br /> <br /> <br /> <br />  <br /> <br /> Sn Seen any ag a» ME<br /> <br /> Fy<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> une AUTHOR.<br /> <br /> adding, condensing, any part of it? In sellinga<br /> poem, does one sell the right of publishirg it,<br /> with such alterations as the proprietor may see<br /> fit to add—a new rhyme here and there, the<br /> addition of a couplet or so to a sonnet—any-<br /> thing? It is not enough to say that no respect-<br /> able publisher would commit such acts. Respect-<br /> able publishers die; for other reasons they<br /> sometimes sell copyrights. What protection has<br /> the author? None, it appears, so far.<br /> <br /> Mr. Lee very wisely and, so far as concerns<br /> the common good, very nobly undertook to bring<br /> the point to an issue by taking his case into court.<br /> What has he got by it ?<br /> <br /> 1. Mr. Justice Kekewich, whose judgment we<br /> have given above verbatim from the note of the<br /> society’s shorthand writer, laid it down that the<br /> right of a publisher who purchases a copyright is<br /> subject to the limitation that he must give the<br /> author “no cause to complain’? But this is a<br /> very small thing. For who can decide what may<br /> constitute a ‘cause for complaint.” Perhaps he<br /> himself might decide that an additional couplet<br /> tacked on to a poet’s sonnet is not a ‘cause for<br /> complaint.’”” This admission, certainly, advances<br /> us a very little way.<br /> <br /> 2. The injunction sought was refused on the<br /> ground that the plaintiff&#039;s only remedy was a<br /> libel against Mr. Gibbings.<br /> <br /> Mr. Lee publishes in the Atheneum certain<br /> opinions of publishers. Mr. Murray stated that<br /> “itis calculated to damage the reputation of a<br /> literary man that a book edited—he includes, per-<br /> haps, written—in one year should be republished<br /> in another year in a mutilated form, and as<br /> though it were a new piece of editorial work.’<br /> Mr. F. Macmillan is said to have expressed the<br /> same opinion. Mr. George Smith was more<br /> guarded. He said, “It is unusual to publish as<br /> anew book a muti&#039;ated edition of an old book<br /> printed many years previously, and in my opinion<br /> it is an injustice to an author to print a new title<br /> page to such a mutilated work with a later date<br /> on it than that which appeared in the original<br /> edition.”<br /> <br /> Of the three publishers not one stated as his<br /> Opinion that the owner of the copyright has no<br /> right to make alterations or suppressions. Yet<br /> this is the real point at issue. The very guarded<br /> wording of the evidence of Mr. Murray and Mr.<br /> George Smith seems on the other hand to indi-<br /> cate that they think they have the right.<br /> <br /> We are left, therefore, as before, save for the<br /> little help gained by throwing light upon the<br /> doubt and confusion which wrap the subject. It<br /> still remains to bring a case before the court<br /> which shall decide this point. No one can com-<br /> <br /> VOL, III.<br /> <br /> <br /> <br /> 125<br /> <br /> plain that Mr. Lee finds it necessary to withdraw<br /> <br /> from further prosecution of the case. He has<br /> incurred heavy expenses and grievous interrup-<br /> tion to his own work; he would probably have re-<br /> covered very small damages. Still, it is a most<br /> grievous thing for all concerned that the action<br /> should have been abandoned. All that has been<br /> substantially gained is that the publishers have<br /> received a warning that similar actions may<br /> result in similar mulctings by way of law<br /> expenses.<br /> <br /> Meanwhile, it remains for us to stipulate by<br /> clause of agreement that the sale of copyright<br /> includes the right of reproduction of the actual<br /> book complete in all its parts, and that without<br /> suppression, alteration, or mutilation of any kind.<br /> <br /> On Aug. 20 letters from Mr. Nimmo and Mr.<br /> Gibbing appeared in the Atheneum. We have<br /> nothing to do with Mr. Nimmo’s letter, which<br /> does not touch our point. That of Mr. Gibbings,<br /> however, fairly and squarely claims the right of<br /> mutilation. He says:<br /> <br /> “T may say that I understand Mr. Lee’s feel-<br /> ings, and sympathise with them so far as he is<br /> grieved that an important part of his work<br /> relating to Lord Herbert, and with which he<br /> doubtless took great pains, has been cut away.<br /> I believe such excision to be within the rights<br /> of a copyright holder, and, in fact, that such<br /> holder (who is not necessarily a publisher, be it<br /> remembered) can “ mutilate”? an author’s work,<br /> which, as the judge held, “may or may not<br /> imply something in derogation of the work and<br /> its manipulation.”<br /> <br /> This puts the case quite plainly and fairly.<br /> The defendant in the case says, “I have the right<br /> to excise what I please in my copyright.” If<br /> this is so, authors have not the least protection.<br /> Yet who could imagine that in parting with his<br /> copyright he was parting with himself—his name<br /> —his fame—his reputation—everything? This<br /> is the pomt which must be brought before the<br /> courts of law and settled somehow.<br /> <br /> <br /> <br /> i,<br /> Quinton v. ARROWSMITH.<br /> <br /> HIS was a case tried before Mr. Justice<br /> Wills in which the author charged a<br /> publisher with negligence in carrying out<br /> <br /> his agreement. The book was a ‘“ commission<br /> book,” z.e., one in which the author paid for the<br /> printing while the publisher undertook the<br /> management of the book. The author found<br /> that the book was not put out on the railway<br /> stalls, nor was it, as he considered, properly<br /> advertised. There were certain minor points<br /> L<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 126 THE AUTHOR.<br /> <br /> about commission. In the end the plaintiff lost<br /> his case.<br /> <br /> Perhaps it was not to be expected, in a case<br /> involving literary property, that either side<br /> should show any perception of the real point<br /> at issue. Nor was any perception of that point<br /> displayed. For the reai poimt was simply this.<br /> Did the defendant, when he undertook the<br /> sole management of the book — its “ publica-<br /> tion””—include all that is ordinarily understood<br /> by publication ? What is the “publication”<br /> of a book? It includes, without doubt, print-<br /> ing, binding, sending out press copies, and<br /> notification in some way or other, to the trade.<br /> Does it also include advertising for the general<br /> public? ‘The plaintiff clearly thought it did.<br /> The defendant, as clearly, thought it did not.<br /> That was the point which should have been<br /> pressed. Everything turned upon that. What<br /> would have been the result had it been pressed,<br /> had it been put forward as the chief point, the<br /> sole point, we do not venture to say. Perhaps<br /> —we do not say—the verdict would still have<br /> gone against the plaintiff. But that and nothing<br /> else was the real question involved. The minor<br /> points of which so much was made, the trade<br /> terms and commission, and so forth, had really<br /> nothing to do with the case. Anybody who<br /> knew the trade could have told the plaintiff that<br /> from 10 to 15 per cent. is a common publisher&#039;s<br /> commission, not in the least exorbitant. These<br /> things should have been kept out altogether, and<br /> the case should have been tried on the single<br /> broad question. The defendant undertook the<br /> publication of the book. Did that include adver-<br /> tising it? Probably, had he so understood it, he<br /> would not have undertaken it. Probably, had he<br /> not so understood it, the author would not have<br /> given his work into the defendant’s hands.<br /> There was a little playing about the question, but<br /> it was never pushed to the front. The defen-<br /> dant’s counsel asked the plaintiff if he was aware<br /> that the defendant had brought the book to the<br /> notice of 1400 retail booksellers. But he did not,<br /> according to the report before us, ask the<br /> defendant himself if that was so, and how he<br /> had done it. The defendant himself explained<br /> that he did not “ specially advertise” books of<br /> this kind, meaning commission books, and added,<br /> with amusing frankness, that while it paid him to<br /> do so at the authors’ request in his own periodi-<br /> cals, he did not see how it paid the author.<br /> <br /> The real question, itis repeated, was whether<br /> or no the defendant undertook, or should have<br /> undertaken, advertising as an integral part of<br /> publication. Clearly he did not, in his own mind.<br /> Clearly, also, the plaintiff thought that he did, or<br /> should have done, And the question, never<br /> <br /> seriously advanced, remains undecided. The<br /> judge, on the conclusion of the case, remarked<br /> that it should never have been brought into<br /> court. On the issues pressed, perhaps not. On<br /> the real question at issue, the case was a very<br /> proper one to be brought into court, but it should<br /> have been a friendly action.<br /> <br /> This kind of commission book is issued every<br /> day by certain London houses. In all cases the<br /> author is charged with the advertising, which is<br /> considered a part of the cost of production. A<br /> clause in the agreement generally makes that<br /> point safe from dispute. Lucky for the author if<br /> the money is spent in real advertising, and not in<br /> holes and corners, so that the publisher shall<br /> pocket all, and the public see no advertisements,<br /> and the author get no advantage.<br /> <br /> So we come back to the same stale point—the<br /> original agreement, All this litigation, all this<br /> worry, would have been sayed had there been a<br /> simple clause inserted in the agreement, defining<br /> what the publisher was prepared to do in the way<br /> of making the book known, and what the author<br /> would be expected to do.<br /> <br /> ao<br /> <br /> FRAUDULENT AUTHORS.<br /> <br /> <br /> <br /> HE following is taken from the Buokseller of<br /> July last. I am sorry to say that though I<br /> am called upon by name I did not see it<br /> <br /> until to-day (Aug. 18th), when it came to me<br /> from America. Our society meets with scant<br /> favour from either organ of the trade. This, as<br /> has been pointed out over and over again, is rather<br /> unfortunate for the trade, because those little<br /> trifling exposures we have found it necessary to<br /> make from time to time in the course of our<br /> <br /> existence, affect none but fraudulent persons, —<br /> <br /> whose fraudulent interests we should expect to see<br /> defended in the police-courts, and nowhere else.<br /> It is a pity, indeed, that another and a separate<br /> journal has not long since been started devoted<br /> to the interests of these gentlemen. It might<br /> be called “ The Fence, Conducted for Fraudulent<br /> Publishers, by Jonathan Wild (great great<br /> grandson of Jonathan the Great).”<br /> <br /> The Society of Authors.—‘ The society isacquainted with<br /> the methods, and—in the case of fraudulent houses—the<br /> tricks of every publishing firm in the country.” This we<br /> learn from the organ of the aforesaid society, conducted by<br /> Mr. Walter Besant. Does Mr. Besant know anything of<br /> the tricks of fraudulent authors? Authors, of a certain<br /> stamp, are ready enough to confide their woes to any<br /> friendly ear, or to print them as the opportunity offers. A<br /> publisher, on the other hand, when he has been taken in by<br /> an author, mostly keeps his own counsel. He has no wish<br /> to be regarded as a simpleton. Therein lies the difference.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Do we know anything of the tricks of fraudu-<br /> 1 lent authors? Very little, it is true. But let us<br /> is) take up the question, and consider in what various<br /> *) ways an author may commit frauds upon a<br /> v4 publisher.<br /> <br /> 1. He may trick him with a work copied, stolen,<br /> 1) or made up of one or more previous works.<br /> .£ Against plagiarism a publisher would seem to be<br /> o9 powerless. But he can, and he does, take the ordi-<br /> *] nary precautions of employing—it is a part of<br /> 1) his machmery—a reader of education and culture.<br /> &#039;T This is always a certain protection—the memory<br /> 1) of some readers in the matter of novels and plots<br /> | is extraordinary. But he may still be taken in.<br /> i Heis, however, otherwise protected. First, by the<br /> ™ critic, who loves, above all things, to expose a real<br /> case of plagiarism; next, by the fact that he<br /> v2 generally knows something about the author and<br /> if his social position ; and, thirdly, by the fact that<br /> * exposure, sooner or later, is certain, and that any<br /> ‘ writer convicted of real unmistakeable literary<br /> a) theft is thereby ruined for life. The position of<br /> ae an editor who may accept copied and stolen<br /> i articles or stories, and publish them in his<br /> m@ magazine, is much more precarious. For him<br /> a} there is no protection, except the certainty of<br /> ih discovery and exposure.<br /> <br /> 2. He may land the publisher in-an action, or a<br /> iq prosecution, for libel, obscenity, or blasphemy.<br /> + This can hardly be called a trick, but itis a danger.<br /> i In recognition of this danger many publishers most<br /> ‘q properly insert a clause in the agreement, holding<br /> ‘ them free from damages in case of such actions.<br /> rd<br /> id<br /> £0<br /> <br /> <br /> <br /> =<br /> <br /> I know a case in which a publisher was threatened<br /> by a certain firm with an action for libel unless<br /> he withdrew, instantly, a single passage, reflecting<br /> “9 on their business, from a newly issued novel.<br /> H He recalled the whole edition, took out the page<br /> <br /> ‘ and substituted another. The whole operation<br /> “w was performed, I believe, in two days, and cost<br /> ‘@ about £200. I know not whether the publisher<br /> ™ called upon the author to pay back that £200.<br /> “| If he did not he ought to have done so, and the<br /> » author ought voluntarily to have made that repa-<br /> | ration, even though he had not intended a libel.<br /> ‘4 No writer can possibly object to such a clause<br /> 1 of protection.<br /> <br /> _ _ 3. An author may trade upon a name acquired<br /> @ by good work, and send in hasty, unconsidered<br /> &#039; rubbish when a proper price has been paid for<br /> | good work. That is certainly a danger, and, it<br /> &#039; would at first seem, a great danger. Publishers are,<br /> however, protected by the author’s own jealousy<br /> of his name. It is quite as easy to destroy a<br /> hame as it is difficult to build it up. I have,<br /> however, heard publishers complaining that so-<br /> and-so, being engaged beforehand, at a consider-<br /> able price, gave them after all only a work which<br /> <br /> VoL, II.<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 127<br /> <br /> proved a comparative failure. Well; but there<br /> is this to be said. An author is not always at his<br /> best. Did he, in this case, give the best that was in<br /> him? Was therescamping? Perhaps he thought<br /> he was actually giving work as good as any he<br /> had ever done. Or, again, the public is capri-<br /> cious ; not every work by the same man succeeds<br /> to an equal extent. Conceding the danger, the<br /> difficulty is to bring home the offence. How<br /> could one prove scamping and haste and care-<br /> lessness ? The author who can be guilty of these<br /> things is equally capable of denying them. One<br /> can quite understand a disappointment, a com-<br /> parative failure; but deliberate fraud in this<br /> direction is surely very, very rare.<br /> <br /> 4. An author may contribute a serial to<br /> to a journal which is totally unfit for its pages.<br /> This has been done on more than one occasion.<br /> One remembers that Charles Reade’s “Terrible<br /> Temptation” appeared in a household magazine,<br /> which suffered, it was said, greatly in conse-<br /> quence. It is, indeed, hardly a story quite to be<br /> recommended for reading aloud at the family<br /> tea-table. Again, when Charles Lever’s ‘“ Day’s<br /> Ride ” appeared in ‘‘ Household Words,” Charles<br /> Dickens took it into his head that it was unfitted<br /> for the paper, and announced—which was a thing<br /> unprecedented—that the story would be con-<br /> cluded on such a date. And if one should find a<br /> real old-fashioned Jolly Roger, swearing and<br /> swaggering, drinking, kissing the girls, and<br /> talking of bona robas, through the pages of the<br /> ‘Monthly Packet,” the world would stand agape,<br /> but those behind the scenes would know what it<br /> meant. Here again, one is protected by the<br /> common sense, as well as by the jealousy of<br /> authors over their own name; andI am sure that<br /> publishers will acknowledge that, as a rule,<br /> whenever an author, old or young, gets a chance<br /> he is zealous to acquit himself as loyally as he can<br /> to the magazine or the publisher who accepts his<br /> work, Isay,asarule. There may be, here and<br /> there, exceptions ; there may be abuse; but, as a<br /> rule, writers give honest work—their best work—<br /> for honest pay.<br /> <br /> 5. An author, again, may misrepresent the<br /> pecuniary value of his work. I have heard it<br /> asserted that men do sometimes declare that they<br /> have received for a previous work a sum of money<br /> very far in excess of the truth. This may have<br /> been done; the profession of letters does not<br /> necessarily convert a dishonest man into an<br /> honest one. Against this danger, however, a<br /> publisher is guarded by the customary rule in<br /> every kind of business. not to accept such assur-<br /> ances without proof.<br /> <br /> But misrepresentation as to pecuniary value<br /> may be made without intention or guile. Every-<br /> <br /> L 2<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 128<br /> <br /> body knows the extraordinary ignorance of people<br /> about the details of publishing. Nothing used<br /> to be more common—it is not now so common,<br /> thanks to our society—than to hear an author<br /> declare with every sign of sincerity and unblush-<br /> ingly, that he knows that Messrs. A. and B. sold<br /> “thousands upon thousands” of his book for which<br /> he got no more than so much. Pressed for proof,<br /> he says that his bookseller told him there was a<br /> brisk demand, or that it was on all the stalls, or<br /> that all his friends bought copies, or that it was<br /> well reviewed in the Stoke Pogis Review. They<br /> simply know nothing, these people; we do our<br /> best to teach them. They say thousands, mean-<br /> ing many; they say many, Jumping at conclu-<br /> sions without any facts; their vanity is pleased<br /> by the mere imagination of a success which has<br /> been denied them. And, of course, there have<br /> been known such things as fraudulent returns,<br /> which make authors suspicious. And, again of<br /> course, authors have been kept designedly in<br /> ignorance of their own business.<br /> <br /> 6. There has been, in my own experience, one<br /> instance, and only one, in which fraudulent<br /> practices have been seriously charged against an<br /> author who was a member of the Society. In<br /> this case, which was instantly brought before a<br /> committee specially convened, the person accused<br /> was called upon to explain. He did not. He<br /> ceased to be a member of the Society.<br /> <br /> 7. A publisher may suppose the pecuniary<br /> value of a writer to be more than it really is.<br /> There are certain writers who refuse to treat<br /> except on the simple principle of purchase. One<br /> knows many men who take up the position that<br /> they must have a sum of money down for their<br /> work, and that the subsequent commercial history<br /> of their books concerns them nolonger. Thisis a<br /> very intelligible position. Given a reasonable<br /> amount of fair play it is perhaps a more comfort-<br /> able position than that of an equitable royalty.<br /> The difficulty is that of arriving at the sum which<br /> is equitable. It can only, in fact, be arrived at by<br /> a knowledge of previous sales. Now here follows<br /> a case in which a very distinguished man, and a<br /> voluminous writer, is concerned. He is dead, but<br /> those who loved him are not dead, and therefore<br /> his name must be concealed. He wrote many<br /> volumes; he sold them all; he frequently<br /> changed his publishers. He would not publish<br /> except for a sum of money down. He always<br /> got that, or some less, sum of money. He<br /> never knew, or inquired, or cared, about the<br /> circulation of his books. When he had a new<br /> one ready he offered it to his last publisher,<br /> who either refused him altogether or offered<br /> a great deal less than for the previous work.<br /> He either accepted the offer or he took his<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> work elsewhere. Now, what he did not know—<br /> what his successive publishers did not know until<br /> they learned by experience—was this: none of his<br /> books ever paid the publisher. They were all—<br /> <br /> perhaps not quite all— losses. Whether this &lt;&lt;<br /> means a real loss of the money invested, or whether oe<br /> it means a loss in the sense of not proving a a<br /> <br /> remunerative sale, I do not know.<br /> <br /> This man was not in the least sense fraudulent,<br /> He was a highly honourable gentleman, scrupu-<br /> lous in all his dealings. He said, ‘Give me so-<br /> much; make what you please for yourselves. IT 8 |<br /> don’t care what you make.” His publishers .<br /> were deceived by his great name and by his long ©<br /> list of published works, not by him at all.<br /> <br /> 8. There are many other ways in which an —<br /> <br /> author may cheat a publisher, but they seem to «<br /> be antiquated. The eighteenth century presents =»<br /> many examples of literary frauds. There were<br /> <br /> travellers who never went beyond the walls ofthe =—«-_&quot;<br /> city ; scholars who translated Euripides without =&quot;<br /> out knowing the Greek alphabet; divines who ©<br /> wrote commentaries on Hebrew Prophets without —*<br /> <br /> being able to read Hebrew; historians who made<br /> histories of foreign countries without knowing<br /> more than their own language. These, and such<br /> things, need not be considered. They belong to<br /> a bygone time.<br /> <br /> 9. My conclusion from such experience as I<br /> have indicated, and such considerations as I have<br /> set down, is that publishers have singularly<br /> little to fear in the matter of frauds. Incom-<br /> petence they can protect themselves against,<br /> Unpopularity they can ascertain before hand.<br /> Plagiarism—rare — difficult to prove —is not<br /> necessarily, even when alleged, a bar to success.<br /> Why, some people actually alleged plagiarism<br /> against “She!” That most magnificent creation<br /> of modern fiction swept past the charge without<br /> the least notice ; nor did it affect her popularity in<br /> the smallest degree. Scamped work. Well, one<br /> should know the general character of a man<br /> before having any dealings with him. Libel—<br /> actions for injury to public morals. These may<br /> partly be guarded against by clauses in the<br /> agreement. Overpay—but this is matter of<br /> business. Very few publishers ever do risk their<br /> money by buying books. The purchase of books —<br /> for considerable sums is practised by three or |<br /> four firms only.<br /> <br /> The subject proposed by the Bookseller may be —<br /> larger than I think. Perhaps it cannot be<br /> exhausted in a single paper. I will therefore<br /> call upon those gentlemen who have been our<br /> secretaries, and may know more than myself, if<br /> there is more to be learned, to supplement these<br /> remarks from their own experience. we<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE: AUTHOR.<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> A Writer or NoveLeEtTtTeEs.<br /> <br /> a RANCES CHATELAIN,” otherwise Mrs.<br /> Gertrude Bradshaw, gave a sigh of relief,<br /> and placed her pen on the rack. She<br /> <br /> had finished her day’s work, and there was<br /> nothing more to do save to rest and chat with<br /> the girls. But before she gathered up the sheets<br /> of foolscap and covered them with the blotting<br /> paper she read her last paragraphs aloud :<br /> <br /> “Slowly, but surely, came the knowledge of<br /> the horrible death in store. Jocelynde went to<br /> the casement, threw it open, then returned to<br /> Truesdale’s side. She was trembling fearfully ;<br /> for between the window and the prospect dull<br /> volumes of smoke were rising, as 1f the lower<br /> story were a mass of flames. Her lover’s eyes<br /> were open now; she bent until her lips almost<br /> touched his ear.<br /> <br /> “«¢ We shall die together,’ she said. ‘ You have<br /> given up your life for me. Will death be so<br /> terrible—coming whilst we clasp hands?’ ”<br /> <br /> Mrs. Bradshaw’s eyes reddened ; a few tears<br /> crept downwards. Jocelynde’s peril was a very<br /> real thing to her creator. A fragment of an old<br /> song, however, heard from the next room, brought<br /> back her usual smile.<br /> <br /> “Three thousand and twenty-eight words to-<br /> day,” she said, “three thousand to-morrow, and<br /> then ‘The Mad Wooer’ will be finished. Ten<br /> guineas for it, and the nineteen hundred and<br /> ninety pounds changes to two thousand, and I<br /> can go back to my proper work. Thank God my<br /> task is so nearly done!”’<br /> <br /> The door opened, and a plaintive voice came<br /> in. ‘Mother, dear, do cease writing. The<br /> kettle is boilmg—Bessy is getting tea ready.”<br /> <br /> The authoress rose and hurried from the table<br /> to throw her arms around the neck of her eldest<br /> daughter Sylvia, a thin, tall woman of thirty,<br /> who was quite blind, although her eyes were as<br /> pretty as her mother’s. Mrs. Bradshaw was little<br /> and stout, so that she had much difficulty in<br /> embracing her; but Sylvia bent as low as she<br /> could.<br /> <br /> “T am coming now, child,” she said.<br /> just wait a minute.”<br /> <br /> She put the sheets neatly under the blotting<br /> paper and closed the ancient book on heraldry,<br /> which stood on a reading desk, and was valuable<br /> as a treasury of good names—Hornesey, Hunstan,<br /> Meres, Tourney, Guevero, Wyan, Fulnerby,<br /> Boraston—most of them she had utilised. Then<br /> she wiped her gold pen (a marriage gift thirty-<br /> five years old), and covering the inkpot, left the<br /> <br /> “There,<br /> <br /> 129<br /> <br /> study and went to the parlour, with Sylvia’s arm<br /> encircling her waist.<br /> <br /> The parlour was low-ceiled, with mullioned<br /> windows. Mr. Bradshaw had bought Balburgh<br /> Hall a few years before his death ; and, although<br /> it was only a shred of the ancient mansion, his<br /> widow had chosen to spend the remainder of her<br /> life there. Quaint pictures hung on the painted<br /> walls; Bartolozzi’s ‘‘Fortune Teller” and<br /> “Psyche” were there, with wood carvings of<br /> naked little boys fastened between; Liverpool<br /> plates were scattered about, and above the high<br /> oaken mantel-shelf was Adam naming the Beasts,<br /> a needlework miracle performed by Mrs. Brad-<br /> shaw’s mother in her thirteenth year. The most<br /> noticeable feature of this was a human-visaged<br /> lion; very disproportioned, and, like Thersites in<br /> the Interlude, afraid of a horned snail.<br /> <br /> A round table spread with grotesque china<br /> stood near the fire ; everything shone with clean-<br /> liness. Bessy, the younger daughter, a fantas-<br /> tical girl, who copied her gowns from old<br /> engravings, knelt on the hearth with a toasting<br /> fork in her hands. She turned her reddened face<br /> and laughed gladly.<br /> <br /> “You must be nearly starved, mother!”’ she<br /> cried. She sprang up and wheeled the sacred<br /> arm chair to the verge of the fender. Mrs.<br /> Bradshaw sat down, and Sylvia drew forward her<br /> own hassock and nestled at her mother’s feet.<br /> Very tiny feet they were; infinitely more suited<br /> to a child than to a matron of fifty-six.<br /> <br /> Bessy poured out the tea and they talked for<br /> an hour. When the table was cleared, the<br /> curtains were drawn and the fire stirred; for it<br /> was dusk, and rain pelted on the windows. Mrs.<br /> Bradshaw became very silent; she had over-<br /> worked herself of late, and felt very weary.<br /> <br /> After a time Bessy took out her needlework,<br /> and Sylvia went to the cabinet piano—a family<br /> instrument, with high front of sea-green silk,<br /> quilted round an immense golden tassel. She<br /> began to extemporise, with the excessive intro-<br /> spection of the blind. When Sylvia was in<br /> the mood for playing she could sadden every-<br /> body, for her music was so devoid of hope.<br /> She melancholy grew until her sister rebelled<br /> against it, and made her play a fairy-like valse of<br /> Jensen’s.<br /> <br /> Mrs. Bradshaw sat looking at the red coals, for<br /> to night, now that her purpose of the last fifteen<br /> years was so near consummation, she made all<br /> her principal memories come out of their hiding<br /> places. She craved keenly for the promise of<br /> fame that had attended her early womanhood,<br /> and somehow the craving brought a glitter to her<br /> eyes and a brighter smile to her lips. Once again<br /> was she puffed with the young novelist’s pride,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 130 THE AUTHOR.<br /> <br /> And she was admired—praised by those whose<br /> praise was worth most, commended by the great.<br /> <br /> She glanced furtively at Bessy and saw her<br /> watching interestedly. Poor Mrs. Bradshaw<br /> blushed; it is not always agreeable for one’s own<br /> children to understand. The girl had read her<br /> through and through, and it was not for the first<br /> time that she had been caught thus. Bessy went<br /> to a small book-basket, that held only four<br /> volumes; she took them down; held them<br /> slanting in the lamp-light to see if any dust had<br /> settled since morning; and, clasping them like so<br /> many babies, came to her mother’s chair and<br /> knelt on the floor.<br /> <br /> Their writer thanked her witha kiss. ‘“ Love<br /> for Ever’ was the first book. She opened it,<br /> and sought the place where her own lover had<br /> begged to interpolate his description of herself.<br /> Here it was: ‘A slim, dainty maiden; her<br /> cheeks pink-flushed; her dull, black hair rippled<br /> like oats in a midsummer wind.’ How that face<br /> had changed! The forehead and chin had be-<br /> come doubly massive; the eyes had sunk into<br /> caverns; and the once rich hair was thin and<br /> grey. Her battle with the world had made her<br /> unlovely.<br /> <br /> The books were bound in calf—white once, but<br /> fawn-coloured now. None had ever brought any<br /> money; but in those days she did not care.<br /> They were works of genius; fresh and breezy,<br /> with an untainted touch. She turned over the<br /> pages of all. The second—“&lt; A Holy Witch ”’—<br /> was written just before Sylvia’s birth. She had<br /> read the manuscript to her husband, and they<br /> had both cried, she wiping her eyes first. In<br /> this, ‘‘ Alnaschar’s Bride,” she had felt the divine<br /> ecstasy too strongly, and had selfishly begged for<br /> solitude, so that he had repined. Yet, after all,<br /> she regarded his jealous complaint that she<br /> gave him too little of her time, as her greatest<br /> triumph.<br /> <br /> Her last novel, ‘‘The Honeysuckle Knave,”<br /> had been praised most, but she passed over it<br /> quickly, for soon after its publication her husband<br /> had died, and, by no fault of his, had left her<br /> nothing save the tumble-down house and a<br /> thousand pounds. She had an annuity of a<br /> hundred and fifty pounds, and from the time of<br /> his death she had renounced, with the intention<br /> of making some provision for her daughters,<br /> the writing that did not pay for the writing<br /> that paid.<br /> <br /> Sylvia had become blind in her twenty-first<br /> year, but she bore her trouble very patiently.<br /> Bessy, who was ten years younger, was some-<br /> thing of an authoress herself, and had published<br /> several pretty little tales for children.<br /> <br /> “Frances Chatelain” had. done conscientious<br /> <br /> novelette-work, and, as her publishers respected<br /> the hack whose copy was always clear and in-<br /> teresting, she had been invariably successful,<br /> The time had come now when she might choose<br /> her own subjects, and with the broadened view of<br /> a lady of large experience, treat her stories so<br /> that, besides being artistic and healthy, they<br /> would appeal to all classes.<br /> <br /> ‘Children,’ she said at last, ‘“‘I have some-<br /> thing to tell you to-night. I intended to wait<br /> till to-morrow, but I feel so happy that I must<br /> share my news with you.”<br /> <br /> Bessy leaned on the back of.the chair, and<br /> stroked her mother’s head. Sylvia sat again<br /> on the footstool, and took her hands. Mrs.<br /> Bradshaw was silent for some minutes; she had<br /> rarely spoken of her writing, and now her words<br /> would only come with an effort.<br /> <br /> “T have nearly finished my last novelette,’<br /> she said, ‘‘ and thereby left myself free to follow<br /> the real bent of my talent. You may, perhaps,<br /> have thought me careful of the money I earned ”<br /> (here Sylvia threatened her hands), ‘but it has<br /> all been for you. If I were to die soon you would<br /> find yourself comfortably off. Out ot what I<br /> got by writing I have saved two thousand pounds, .<br /> and, with this house and the small capital I had<br /> before, you will each be worth about that sum.<br /> When your father died, his affairs, owing to<br /> another man’s unscrupulousness, were deeply<br /> involved; I set everything straight, kept his<br /> name so that we are proud of it, and determined<br /> that my little ones should not suffer. After<br /> to-morrow I shall not write another line for money,<br /> and we shall be merry as the day is long.”<br /> <br /> Sylvia and Bessy cried, and fondled her—the<br /> undaunted mother liked fondling. As soon as all<br /> the tears were dried she went to the piano—a<br /> journey she made at most once a year—and,<br /> sitting there, sang “The Token.” Her voice was<br /> worn and husky, yet, as she varied its expression,<br /> you would have wanted to laugh and to sob both<br /> at once. Oh, it was pathetic!<br /> <br /> Upon his ’bacca box he views,<br /> Nancy the poet, love the muse,<br /> <br /> “Tf you loves I, as I loves you,<br /> No pair so happy as we two.”<br /> <br /> But she faltered and broke down. “ Girls, I’m<br /> not crying,” she said, defiantly. ‘“ Come, it’s bed-<br /> time now. Light my candle, Bessy.”<br /> <br /> Feeling that it was a kind of holiday night<br /> they escorted her, one on either side, to her<br /> chamber, and waited until she was in bed before<br /> giving the usual embrace.<br /> <br /> She lay awake; she was exhilarated, and her<br /> brain would not quieten. Her room was panelled,<br /> with a little praying closet in one wall,—how<br /> often had she utilised its description !—and some-<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> how grotesque shadows seemed to lurk in the<br /> corners. She turned from side to side, but not<br /> finding rest she rose at last, and, having wrapped<br /> herself up in a large shawl, drew up the blind,<br /> and sat in the window-recess, near the wide open<br /> lattice.<br /> <br /> Beneath lay a gardenful of budding lad’s-<br /> love and sweetbriar. The rain had released their<br /> odours, and the perfume suggested thoughts of<br /> Arcady. It was quite fine now; the moon was<br /> rising over the odd roofs of Balburgh, and in the<br /> far distance the line of the tide receded.<br /> <br /> So the world of letters lay before her again,<br /> and this time she was certain to conquer. If<br /> only he were here to share the fame and the<br /> glory! It was too exciting; she felt that she<br /> could not bear to be alone any longer, and she<br /> went to the next room, and stooped over Sylvia’s<br /> pillow to kiss her closed eyes. Then she did the<br /> same to Bessy, and returned ; her heart singing<br /> a solemn thanksgiving to God for her daughters.<br /> <br /> Early in the morning her restlessness became<br /> so tiresome that she determined to dress, and<br /> work at the novelette. If it were finished before<br /> noon, they might take a drive, yes—hire a pony<br /> and a wicker-work pheton, and have tea at the<br /> coastguard’s near Bluff Head.<br /> <br /> She descended the stairs quietly and lighted<br /> her lamp. When she had consulted her notes<br /> for the last chapter, she dipped her pen in the<br /> ink and began to write furiously. She had a<br /> singular habit of counting her words. At four<br /> o&#039;clock, as the “long-sleeved” veteran in the<br /> lobby chimed, she had disposed of the lunatic<br /> abductor and murderer, and written a thousand ;<br /> at half-past five she had helped Lady Jocelynde<br /> and her lover Truesdale from the burning house,<br /> just as the agonised father drove up in his<br /> brougham. That meant another thousand. She<br /> had to depict a dawn after they were saved, and<br /> seeing from her window the morning sun just<br /> tinging the clouds, she did it with pre- Raphaelite<br /> exactness.<br /> <br /> ‘At eight she completed the following para-<br /> graph; of the order which, according to estab-<br /> lished custom, should follow the climax of a<br /> novelette :<br /> <br /> “Fortune, for having given Jocelynde so large<br /> a share of calamity in so short a time, has striven<br /> since to atone by granting her a most happy and<br /> placid married life. The shocking story of her<br /> misadventures only rests in her memory like a<br /> faded dream, and out of the wealth of her<br /> wedded peace she can spare a thought of pity for<br /> her mad wooer.”<br /> <br /> The pen fell from her tired fingers, and her<br /> head sank forward. Half an hour later Bessy<br /> found her in this posture, ~~<br /> <br /> <br /> <br /> 131<br /> <br /> “Qh!” she cried, maternally. “I did not<br /> know you were downstairs. It is wrong of you<br /> to hazard your health. Why, you’ve finished it!<br /> How could you?”<br /> <br /> Mrs. Bradshaw, looked up, laughing gently,<br /> “Yes,” she said, “my last novelette is done, and<br /> I’m a free woman.”<br /> <br /> Breakfast was ready soon, but the worker could<br /> eat nothing. She sat, idly sipping coffee, and<br /> toying with a piece of bread. Bessy remon-<br /> strated, to receive the reply, “ My dear, ’m not<br /> hungry. Ill lie down for a few hours. I have<br /> not slept at all in the night, and my head aches.<br /> Don’t tell Sylvia when you go up, for she’ll only<br /> be uneasy.”<br /> <br /> She returned to bed and fell into a heavy sleep,<br /> in which she dreamed of a perfectly rounded<br /> story that had never been written before, with a<br /> plot that probed to the core of holiest passion.<br /> She had written it herself, and men and women<br /> praised her; and her bosom swelled with joy in<br /> the thought of the good she had done to human-<br /> kind. Sylvia and Bessy thought it the grandest<br /> book in the world.<br /> <br /> When she woke they were standing at her bed-<br /> side. Some time passed before she could realise<br /> that she had not produced this marvellous work,<br /> but when the truth came a curious look of amuse-<br /> ment appeared on her face.<br /> <br /> “Children,” she said, “ I’ve had a most enjoy-<br /> able dream. I was the author of a story that<br /> began as a green-sheathed rose-bud, and unfolded<br /> until it became a flower of unparalleled beauty,<br /> radiant with life, and so sweet that everybody<br /> loved it. And at the very height of its loveliness<br /> it was endowed with eternal freshness.”<br /> <br /> She let her head fall back to the pillow. Her<br /> eyes were sparkling ; her features had_lost their<br /> look of a man’s features in miniature. Bessy went<br /> for some cooling drink, Sylvia lay on the bed and<br /> put her face beside her mother’s.<br /> <br /> Later in the day the old doctor came and felt<br /> her pulse.<br /> <br /> “Youve been working too hard,” he said<br /> pleasantly. “ You must rest in bed for a few<br /> days.”<br /> <br /> Downstairs he told Bessy that her mother’s<br /> brain was slightly over-wrought, and that she<br /> must be kept very quiet. He had not the least<br /> doubt that all would go well. Somebody was to<br /> stay with her always, and no business—he apolo-<br /> gised—professional affairs—must worry her.<br /> <br /> Meanwhile she was talking to Sylvia. ‘You<br /> know in my dream I felt very proud of the story,<br /> but I am sure I was not so proud as I shall be<br /> when Iam really writing it. I intend to put you<br /> and Bessy in, to make you the darlings of an<br /> old woman.”<br /> <br /> <br /> <br /> <br /> 132 THE<br /> <br /> In the night her illness took a serious turn,<br /> and she forgot again that the masterpiece was<br /> not written, and held conversations with divers<br /> celebrated people ; introducing her daughters, and<br /> ingeniously putting aside compliments; thanking<br /> the critics for their flattering and tender usage ;<br /> pleased with everybody and everything.<br /> <br /> The time crept on slowly. It was the first<br /> illness she had ever had, but her daughters went<br /> about their task of nursing as cleverly as if they<br /> had been trained.<br /> <br /> Early on the fifth morning she rose in bed<br /> suddenly. ‘The book, Sylvia!” she cried.<br /> <br /> “T will bring it, mother,’ Sylvia said. She<br /> awakened Bessy and felt her way down stairs,<br /> paused there for a moment, then brought from<br /> <br /> the shelf her mother’s first volume, ‘‘ Love for-<br /> <br /> Ever.” This she put into the hot, nervous<br /> hands.<br /> <br /> Mrs. Bradshaw crooned, and held it close to<br /> her heart. ‘My fame, my last born darling,’<br /> she whispered.<br /> <br /> Bessy sobbed loudly. Sylvia went to the end<br /> of the bed, and, taking the little naked feet on<br /> her palms, stooped and kissed them.<br /> <br /> The mother spoke again, very indistinctly,<br /> “ Girls, you&#039;ll keep together.”<br /> <br /> A grayness came over her trembling face.<br /> Bessy ran to draw aside the curtain, thinking the<br /> dawn had broken.<br /> disappear with the added light.<br /> <br /> R. Murray Gincwrist.<br /> <br /> ec<br /> <br /> ON CONSTRUCTION IN FICTION.<br /> <br /> <br /> <br /> HE “leading literary ’’ journal—.The Athe-<br /> iy neum—showed. in its issue of August the<br /> 6th so keen an appreciation of literature,<br /> and such a noble respect for popularity, especially<br /> that form of popularity which is greatly due to<br /> style, as to review Louis Stevenson’s latest work<br /> “The Wrecker” in the middle of a batch.<br /> It so happened— perhaps this may be urged<br /> as an excuse— that the batch was unusuall<br /> good. It contained books by Mrs. Oliphant, Mr.<br /> P..H. Emerson, and Mrs. Parr, besides others—<br /> nine in all, So important isa new book by Mr.<br /> <br /> Louis Stevenson that it is taken up fifth in the.<br /> <br /> batch and dismissed curtly with one-third of the<br /> space allotted to Mr. Emerson’s ‘Son of the<br /> Fens,” and about the same space as that given to<br /> a young lady’s first work, published by Messrs.<br /> Digby and Long. A week or two afterwards, the<br /> same paper gave Zola a review by himself, not<br /> one of a batch, several columns long, This<br /> <br /> But the grayness did not,<br /> <br /> AUTHOR.<br /> <br /> shows the comparative respect paid by the<br /> “leading literary” organ to Zola and to Steven-<br /> son. The reviewer, though this is not our<br /> concern, does not like the book. Such honour to<br /> an author of the first rank, afforded by the<br /> literary paper of the first rank, suggests matter<br /> for reflection by other authors. There is, of<br /> course, one simple remedy if the author does not<br /> like a review—he need not ask a paper to give him<br /> another. All this, again, concerns the Atheneum.<br /> It is only noticed here as a curious illustration of<br /> the respect to literature which one finds in a<br /> literary organ. We notice the review solely<br /> with reference to one passage in it. The<br /> writer lays down a maxim or law in the Art of<br /> Fiction. “It is impossible,’ she (or he) says,<br /> “to prove that the best way of telling a story is<br /> to introduce-it with a mass of irrelevant detail,<br /> and not to plunge into it at once.” We must,<br /> therefore, concludes the critic, plunge into the<br /> story at once. Is this so? Is this a law absolute<br /> in fiction ?<br /> <br /> Undoubtedly it is the duty of the novelist to<br /> interest his readers and to draw them on, to hold<br /> their attention, from the beginning. But is there<br /> no other way than by plunging into the story at<br /> once? Thackeray is a story-teller who may safely<br /> be produced in evidence. In which of his novels<br /> has Thackeray plunged into his story at once?<br /> In “ Denis Duval,’”’ which promised to become his<br /> finest story, as a story, he held the reader from<br /> the outset. Yet no one can tell what the story<br /> was going to be when the story-teller broke off in<br /> the middle. Again, who can tell Mrs. Gaskell’s<br /> stories from their beginning? Many novelists<br /> there are—and have been—who possess the art of<br /> leading the reader on, step by step, page by page,<br /> long before he is able to guess what the story is<br /> going to be. Yet in the long run he will find<br /> that this very introduction of detail, apparently<br /> irrelevant, helped to build up the characters, just<br /> as cement supports the house. To lay down as a<br /> law absolute that the only artistic way is to plunge<br /> straight into the story seems to us a dogma<br /> which shows ignorance, not only of the art itself,<br /> but of its practice. The motif may be preseuted<br /> in the form of a prologue, which is a very good<br /> way of presenting it; or it may be arrived at by<br /> a series of introductory chapters presenting it<br /> crude, undeveloped, growing into shape, till the<br /> reader arrives at certainty. There are, in fact,<br /> <br /> * many ways, all of them artistic, all of them<br /> <br /> legitimate, by which a novel may be opened.<br /> And to “plunge ”’ is only one.<br /> <br /> The first part of the story itself—The Wrecker<br /> —which is a very long one, longer than the<br /> average three-volume novel, will illustrate our<br /> point. We do not seruple to take an illustration<br /> <br /> <br />  <br /> <br /> —<br /> <br /> Shes ©<br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> from it because the secret itself is contained in the<br /> second part. Here is the leading situation.<br /> <br /> A San Francisco speculator, member of a ring,<br /> discovers that half-a-dozen men, survivors of a<br /> wreck, have been landed; he learns that the<br /> wreck is lying high and dry ona reef in a lagoon ;<br /> she is therefore safe from storms; she contains a<br /> cargo ; she will be sold as she lies; he proposes<br /> with the aid of his ring to buy the ship for a trifle.<br /> At the sale he bids a small sum, expecting to<br /> have the ship knocked down to him. But a<br /> stranger goes fifty dollars more; he advances his<br /> price: so does the stranger by fifty dollars more.<br /> He ascertains that the stranger is a low class<br /> lawyer acting for an unknown client. If, he<br /> argues, this man goes on bidding there must be<br /> some limit laid down; that limit must very<br /> certainly be a long way within the margin of<br /> profit: that limit will indicate the value of the<br /> cargo. Therefore he will bid till he reaches that<br /> limit and a little beyond. He does. The wreck<br /> is knocked down to him for 50,000 dollars.<br /> <br /> He sends out his partner in a schooner to take<br /> the cargo out and to carry it where it can be sold.<br /> The partner does this. So far from the ship con-<br /> taining a cargo worth 50,000 dollars her whole<br /> freight is not worth 10,000 dollars. He sails<br /> home with the melancholy news. His partner is<br /> already bankrupt. Then comes the question—<br /> the secret of the ship—Why did the unknown<br /> client bid five times the value of that cargo? This<br /> is the question of the book. Wilkie Collins<br /> would have begun the story with the auction of<br /> the wreck. That would have been his prologue.<br /> Then he would have proceeded to the voyage of the<br /> schooner, introducing what is necessary concern-<br /> ing each character by the way. That would be<br /> plunging at once into the story. But we must<br /> remember that Wilkie Collins was a story teller<br /> and not a student of character.<br /> <br /> Louis Stevenson proceeds in a different way.<br /> He builds up the characters of his people before<br /> he writes the great auctionscene. He shows how<br /> one had attempted an artistic career, for which he<br /> was absurdly unfitted, and another had tried the<br /> same line with even more insufficient genius. He<br /> shows, with very great care and patience, and a<br /> considerable display of humour, what these men<br /> were before he proceeds to the action of the<br /> piece. He then fills in the canvas with the<br /> subsidiary characters, every one of whom he<br /> makes a finished study. These studies, these<br /> <br /> portraits, these pictures made in Paris, Scotland,<br /> San Francisco, are all intended with one object, to<br /> show the two characters, Pinkerton and Loudon<br /> Dodd, as they are, livingmen. The author does<br /> not ask us to admire their virtue, their honour, or<br /> any of the qualities which go to make the con-<br /> <br /> AUTHOR. 133<br /> <br /> ventional hero: they are, in fact, neither virtuous<br /> nor honourable. Pinkerton, for instance, does<br /> not understand what morality means in business.<br /> Can it be held, therefore, that the study of such<br /> a character is unworthy of a painter—that such<br /> a portrait is unworthy of Art? Why, Pinkerton<br /> is the man of the day, he is the note of the<br /> time ; the world is full of amiable men who bring<br /> into business everything except morality; they<br /> are generous, loyal to their friends, capable of<br /> love at its best; but in business they lie, cheat,<br /> thieve, and over reach without the least com-<br /> punction. The eighth commandment no more<br /> exists for them than the seventh for some men.<br /> Pinkerton begins where Loudon Dodd ends.<br /> The latter, indeed, makes a feeble attempt to<br /> assert principles of honour, but soon collapses.<br /> The delineation of the two partners is, in fact, one<br /> of the very finest things, artistically, that Mr.<br /> Stevenson has ever done. Observe that we do<br /> not advance, tentatively, an opinion that the<br /> work seems to us to be fine. The present writer,<br /> himself a humble dabbler in the Art, boldly<br /> says that it is fine; that it is artistic; that it<br /> is noble, strong, and beautiful work. To the<br /> Atheneum reviewer it is “irrelevant detail.”<br /> <br /> It will be observed that Pinkerton, the specu-<br /> lator, when he bids higher and higher for the<br /> wrecked ship, has no idea that anything but<br /> commercial reasons have made his opponent run<br /> up the price. He is certain of it; there is no<br /> doubt in his mind about it. With this convic-<br /> tion, he bids higher and higher; with this con-<br /> viction, he sends out his partner; with this<br /> conviction he awaits his return.<br /> <br /> This brings us to the second part, which con-<br /> tains the answer to the question—the secret<br /> itself. Whatever remarks we might find to make<br /> upon the presentation of that answer may be post-<br /> poned indefinitely. It was only intended here to<br /> question and to illustrate the doctrine of the<br /> Athenzxum reviewer, that, as a hard-and-fast rule<br /> —a law absolute—a novelist must at once<br /> “plunge ” into his story.<br /> <br /> Se ae<br /> <br /> A STORY OF A MISTAKE.<br /> <br /> <br /> <br /> ERE is a remarkable instance of how a<br /> <br /> |} blunder—one of the most obvious and<br /> <br /> glaring blunders possible—may escape<br /> <br /> the notice of a whole army of correctors and<br /> editors.<br /> <br /> A. B. wrote a certain paper for an American<br /> <br /> journal. This paper went through certain succes-<br /> <br /> sive stages during the process of production. At<br /> <br /> <br /> 134<br /> <br /> each stage it received a new reading from begin-<br /> ning toend. Thus:<br /> <br /> 1, It was written in MS. Then it was read<br /> through and in great part re-written.<br /> <br /> 2. It was read through again when completed,<br /> and sent to be type written.<br /> <br /> 3. The type writer read it through before<br /> sending it back.<br /> <br /> 4. The author corrected the type-written MS.<br /> carefully and sent it to America.<br /> <br /> 5. It was then set up in type.<br /> <br /> 6. The author received a proof from America,<br /> which he read and corrected, sending it back for<br /> press.<br /> <br /> : 7, The editor or the sub-editor read it finally<br /> and passed it for the magazine.<br /> <br /> The paper thus had at least seven readings.<br /> Yet a blunder was passed, if the author made<br /> it—or committed, if he did not make it—of a<br /> most elementary description; one that leaps to<br /> the eyes; one that stands out of the page calling<br /> on everybody to spot it, correct it, put an end to<br /> it. The blunder was simply this: A certain strike<br /> of working men was spoken of as undertaken for<br /> “lower” wages—instead of “higher.” How the<br /> word “lower” got there; whether the author<br /> wrote it in the first instance, or the type writer,<br /> or the compositor, it is impossible to say.<br /> Probably it was an author’s mistake. A long<br /> succession of readings of the passage followed.<br /> Not one of the readers discovered the mistake.<br /> In a word, the critical faculty must have been for<br /> the moment asleep in every one who read the<br /> proofs, because did one ever hear of working men<br /> striking for lower wages ?<br /> <br /> oda<br /> <br /> IN THE LOWER RANKS.<br /> <br /> <br /> <br /> N this great world of literature, containing<br /> | strong and weak, great and small, compe-<br /> tent and incompetent, there is a certain<br /> class of whom we seldom hear, save when their<br /> wrongs, real or fancied, or their cruel poverty<br /> force them to complain either to the Society or<br /> elsewhere. It is a class which began to exist<br /> when magazines began to be published. It<br /> sprang into being with the Luropean Magazine,<br /> the Gentleman’s Magazine, and their successors.<br /> At the present moment, when the monthly<br /> magazines are numbered by the score, and<br /> the weekly magazines by the hundred, the<br /> class of those who live entirely by writing<br /> for these periodicals has increased enormously,<br /> and is daily increasing. The great majority of<br /> its members are humble persons who do not dream<br /> <br /> THE AUTHOR.<br /> <br /> of aspiring so high as a monthly magazine. The<br /> Cornhill, Longman’s, Temple Bar are far, very<br /> far, beyond their hopes. They live by contributing<br /> to the penny weeklies, of which there are at the<br /> present moment an extraordinary number. These<br /> journals maintain hundreds of writers ; they boil<br /> hundreds of kettles; they pay thousands of<br /> quarterly bills. It is true that the remuneration<br /> is not generally very great, but then the quality of<br /> the stuff produced is not very good. Moreover, the<br /> true connection between literary worth and coms<br /> mercial value has never yet and never will be dis-<br /> covered. The two things are incommensurable<br /> quantities. It will always be possible for a great<br /> monthly magazine to publish, for instance, a<br /> paper which, for literary merit, brightness,<br /> genius, cannot compare with another but a sixth<br /> part its length on the same subject appearing at<br /> the same time in the humble Family Teapot.<br /> Such instances are doubtless rare, because the<br /> writers to the latter valuable journal think of<br /> everything, as a rule, except style and form—but<br /> they are not impossible. It is indeed astonish-<br /> ing, in taking up the Teapot and others of its<br /> class, to remark how its writers seem to rej in<br /> bad slipshod prose. So far as can be learned of<br /> the secrets, carefully concealed, of the editor’s<br /> room, there is, in these journals, a certain rough<br /> and ready examination of all the contributions<br /> offered, and without doubt they do know how<br /> to present, whether the critic likes it the<br /> or not, the kind of paper which their readers<br /> want. Now the number of these papers is<br /> legion. Thousands upon thousands of pens are<br /> racing and tearing over thefoolscap day and night,<br /> producing copy for them. Every girl who wants<br /> to make a little money—what girl does not ?—for<br /> dress and for herself, tries a story for some penny<br /> weekly. Every ambitious and bookish young<br /> clerk dreams of lifting himself out of the ruck<br /> by writing for the penny weekly. Wives who<br /> want to help their husbands; husbands who have<br /> an hour or two to spare: widows and elderly<br /> spinsters who would fain increase their slender<br /> means: all these send up tons, waggon loads, of<br /> manuscripts to the penny weekly. Let no one<br /> suppose that the pure love of art, the noble spur<br /> of genius, the infirmity of desire for fame, or any-<br /> thing in the world but the simple necessity or<br /> longing to make money, inspires these writers.<br /> They have no higher aim than to reach the<br /> editor&#039;s standard; they hope no more than<br /> to get the “scale” pay. It is a trade? Cer-<br /> tainly it is a trade; and one far, very far, inferior<br /> to such skilled trades as watch-making, cabinet-<br /> making, engine-fitting, and the like. In saying<br /> that it is a trade no reproach is intended. Why<br /> should there not be a tradé in—not literature—<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 135<br /> <br /> but—call it—the composition, stuff, confection—<br /> that people buyin ordertoreadinthetrains? They<br /> buy buns to eat in the train; gingerbeer to drink<br /> in the train; penny magazines to read in the train.<br /> The buns and the beer are consumed and forgot-<br /> ten ; the penny weekly is read and left in the<br /> train. The two former area production of trade.<br /> Why not the latter? It is not disgraceful to<br /> make buns for a living—why should one be<br /> ashamed to turn out stories and paragraphs and<br /> essays for a living ? In fact, the writers are not<br /> at all ashamed of it; they are proud of it; they<br /> even call themselves followers (as they certainly<br /> are) of the literary craft. Many of these papers<br /> find it most convenient to engage salaried contri-<br /> butors forthe greater part of their space, which is,<br /> week after week, turned out on a uniform plan.<br /> They therefore engage a writer at so much a<br /> week, to undertake a department, such as the<br /> answers to correspondents, the children’s column,<br /> the paragraph colums, the riddles and prize de-<br /> partment, the notices of books, and the drama.<br /> <br /> - This salaried writer is responsible for his depart-<br /> <br /> ment; out of what he receives he may pay for<br /> assistance if he pleases. In some of the more<br /> successful journals the salaries are most liberal ;<br /> the work, of course, generally takes up the<br /> best part of the week, but it would be difficult<br /> to find any line of life in which so small an<br /> amount of skill may be rewarded by so much<br /> pay. Those writers are fortunate indeed who<br /> secure a sure footing on one of the successful<br /> weeklies, where the pay is generally high and<br /> gometimes even munificent. But these places<br /> are comparatively few. On the other hand, there<br /> are magazines where the pay is absolutely<br /> deplorable. One knows not whether the low<br /> pay is due to the slender circulation of the paper,<br /> or to greed and the sweating propensities of the<br /> proprietor. Insome cases, undoubtedly, the former<br /> is the cause. For whatever reason, the pay given<br /> by many of these papers, whether to their salaried<br /> writers or for occasional contributions, is most<br /> wretched. Nor is itonly that the pay is wretched.<br /> The miserable writer is continually, under one<br /> pretext or another, being cut down. He is engaged<br /> to furnish so many columns at so much ‘‘a year.”<br /> He interprets this to mean a year’s engagement<br /> or six months notice of change. After a few<br /> months he gets a letter to say that he must<br /> now, the circumstances, or the plan of the<br /> paper, or its shape, having been altered, furnish so<br /> much more a week, and that the pay is to be<br /> reduced by so much. What is he to do?. If he<br /> throws up the post in despair. there are plenty<br /> outside ready to take up the job for less—and<br /> always for less, This is the real secret of sweat-<br /> <br /> ing; the existence of plenty to do it for less.<br /> <br /> It is the same story whether of making cheap<br /> shirts or cheap magazine work; almost every-<br /> body can do it who gives his mind to it, after a<br /> fashion. Therefore it is the worst paid and most<br /> miserable work in the world.<br /> <br /> By what arguments, persuasions, reasons,<br /> examples, entreaties, can we induce people not to<br /> attempt to live by writing unless in the<br /> groove in which there is comparative safety—by<br /> journalism ? And Heaven forbid that we should<br /> help to swell the flock which is crowding into<br /> that profession !<br /> <br /> The man thus cut down has generally to endure<br /> and to go on. Presently, with another turn of<br /> the screw, he is cut down still worse. What can<br /> such aman do? Yet he would live by writing.<br /> Nothing else would suit him. He might have<br /> gone into a shop, and so have done well, or con-<br /> tinued in his clerk’s place and so have risen. But<br /> he would write. In such work, with such<br /> employers, there is no increase of pay for long<br /> and useful service; there is no pension; there is<br /> no recognition of useful service; the writers<br /> build up the magazine with long and powerful<br /> effort ; presently it succeeds; it becomes a great<br /> property ; the men who made it a property are<br /> turned off to starve. A great deal is made now-<br /> adays of the woes of the Irish peasant who<br /> makes a potato patch flourish on the barren rock<br /> and gets rack-rented—if he ever really does—for<br /> his pains. Is his case worse than that of the<br /> sweated writer ?<br /> <br /> There is another complaimt—a bitter cry—<br /> which is a new thing in the land, and means the<br /> beginning of worse trouble. It is alleged—<br /> whether truly or not—that in many of the<br /> women’s journals —the papers written for<br /> women, and supposed to be written by women<br /> —there has been of late a change of the women<br /> writers for men—at a lower rate of pay. It<br /> has come, therefore, to this: that where women<br /> have always been supposed to lower the rate of<br /> pay whatever work they undertook in these<br /> lower walks of literary work, itis now proved that<br /> men are actually found to be lowering the rate of<br /> women’s pay. And if anything were wanted to<br /> illustrate the congested state of the labour<br /> market, this might serve.<br /> <br /> What remedy for these things? Nothing.<br /> Absolutely nothing except the knowledge—which<br /> our people can spread everywhere if they will take<br /> the trouble to do so—that to attempt to live by<br /> writing, unless as a journalist properly trained<br /> and equipped, is, and always must be, to embark<br /> on a most precarious, badly-paid, hard-worked,<br /> ignoble and dependent career. No draper’s<br /> assistant behind a counter, no usher in a com-<br /> mercial academy, is so dependent on his employer<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 136 THE<br /> <br /> as this kind of writer. If this was understood<br /> there might perhaps—one does not know—be<br /> some relief of the cut-throat struggle for pay—<br /> pay—pay—any kind of pay. But perhaps even<br /> this would not be of any avail against the con-<br /> cested market. Only those who enter now with<br /> hope would enter then with despair.<br /> <br /> ect<br /> <br /> WHAT IS READ.<br /> I.<br /> A Frere Lrprary.<br /> <br /> HE third annual report of the Brentford<br /> Free Public Library, recently issued, is a<br /> short document but full of suggestion.<br /> <br /> The library is small; it contains no more than<br /> 4092 volumes in all; but it seems to be well used.<br /> What, first, do the people read? The following<br /> is a list of books most frequently issued in order<br /> of popularity :<br /> <br /> Blackmore’s Lorna Doone ... Issued 65 times.<br /> Edna Lyall’s Jn the Golden<br /> <br /> Days a 05:<br /> Bosant’s Katherine Regina we ATs<br /> Cassell’s Popular Educator So Abe,<br /> Macdonald’s Robert Falconer... 430<br /> Stanley’s In Darkest Africa ... 5, 35 4<br /> Kingsley’s Westward Ho! .. 5, 31 5<br /> Cross’s Life of George Eliot ... 5, 30 55<br /> Besant’s All Sorts and Condi-<br /> <br /> tions of Men ... - 5 25a<br /> <br /> jsop’s Fables ... yo 22<br /> <br /> Holmes’ Autocrat of ‘the Break-<br /> <br /> fase Table a ee, Wo 22S<br /> Ball’s History of the Indian<br /> <br /> Mutiny: yo 2;<br /> Gulliver’s Travels - 20;<br /> Cumming’s Lion Hunter... nA<br /> Darwin’s Descent of Man oo IS<br /> Booth’s In Darkest England ... 3 Se<br /> Longfellow’s Poems... ... ... 4 lade<br /> Ruskin’s King of the Golden<br /> <br /> AUC ee a wo Ik,<br /> Bmiless Duty... 2 no ko<br /> Swedenborg’s Heaven and Hell ,, 14 5,<br /> Thompson&#039;s Electricity nw de<br /> Farrar’s St. Paul 1a<br /> <br /> Taking individuals we find that “ A Cooper’?<br /> has read during the year the following books:<br /> Countries of the World, Darwin’s Descent of<br /> Man, Darwin’s Forms of Flowers, Du Chaillu’s<br /> Land of the Midnight Sun, Oliphant’s Literary<br /> History, Drammond’s Tropical Africa, and<br /> James’s Wanderers. ‘‘ A Railway Servant” read<br /> Balfour’s Manual of Botany, Caine’s Trip Round<br /> <br /> AUTHOR.<br /> <br /> the World, Cassell’s Technical Educator, Figuier’s<br /> Insect World, Figuier’s Reptiles and Birds,<br /> Lamb’s Warrior Kings, and Stanley’s In Darkest<br /> Africa. This is not bad as a record. Of course<br /> the great majority of readers in a free library go<br /> there simply to pass the time. They are, in the<br /> daytime, the unemployed; they call for a story<br /> book ; very often they drop off to sleep over it.<br /> Then there are the curious middle-aged men who<br /> read regularly and read hard. Who are they?<br /> What have they been? They seem too young to<br /> have retired. Perhaps they have shops which<br /> they can leave in the afternoon. A free library<br /> is an interesting place at all times of the day,<br /> but especially in the morning, when all those who<br /> have got “billets” are at work, and those who<br /> have none, and are sick of seeking, sit in the free<br /> library and rest if they cannot eat. There are<br /> 20,000 parishes in England and Wales. Before<br /> long there will be a free library, little or great,<br /> for everyone. These notes of books read by<br /> working men should show that we must not fill<br /> the shelves of the new free libraries with goody<br /> trash. It must also be observed, as an indica-<br /> tion of popular taste, that the only book of poetry<br /> taken out was Longfellow.<br /> <br /> <br /> <br /> II.<br /> Tur Prorue’s Patace.<br /> <br /> Men readers, many of whom are not so high<br /> up in the social scale as clerks or shopmen, read<br /> the following works on political and social sub-<br /> jects, I quote in order of popularity :<br /> <br /> Marx, “ Capital;” Smith, “ Wealth of<br /> Nations;” Mill, “ Liberty,” “ Logic; Howell,<br /> “Conflicts of Labour and Capital;” Kraoly,<br /> “Dilemmas of Labour and Education ;”’ Michelet,<br /> “The People” (translated); Mill, “ Political<br /> Economy ;” Fawcett, “ Political Economy ; .<br /> Lubbock, “« Representative Government ; ”<br /> Walker, “ Political Economy ;” Fawcett, “ Free<br /> Trade ;” Maine, “ Popular Government ;” Fowle,<br /> “The Poor Law;” “Jevons, “ Money ;” George,<br /> “Social Problems;” Sidgwick, ‘“ Falacies ;”<br /> Spencer, “ Sociology and Education ;” Bain,<br /> « Education; ” Smith, “False Hopes ;” Gronlund,<br /> “Co-operative Commonwealth ;”’ and almost any<br /> of the ‘“ Citizen Series.”<br /> <br /> Science.—Darwin, “ Descent of Man,” “ Origin<br /> of Species,” ‘Expression of the Emotions ;”<br /> Huxley, “Physiology;” Furneaux, “Physiology; y<br /> Jago, “Elementary and Advanced;” Roscoe,<br /> “Chemistry ;”’ Thorpe and Wilson, &amp;c.<br /> <br /> Natural History.—Fulton’s “Book of the<br /> Pigeon” (an Hast-end Pet) ; Buffon, Buckland,<br /> Wood, White, and Figuier (translated).<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE * AUTHOR.<br /> <br /> Astronomy.—Ball, “ Story of the Heavens;”<br /> Proctor; Dunkin, “The Midnight Sky;”<br /> Lockyer, Brewster, and Herschel.<br /> <br /> The International Scientific Series and Science<br /> Primers.<br /> <br /> Electricity Jenkins, Angell, Poyser, Urba-<br /> nitsky, Thompson, Munro, Fergusson.<br /> <br /> Geology.—Geikie and Lyall.<br /> <br /> Physiography.— Huxley, Thornton, and Law-<br /> son,<br /> <br /> Botany.—Masters, Hooker, Thome, Carpenter,<br /> Coffin (Thome and Bennett most popular).<br /> <br /> Geography.—Reclus, Stanford, Cornwell, and<br /> Geikie.<br /> <br /> The pet subjects here are travel, topography,<br /> geography, history, biography, poetry, technical<br /> works, botany, electricity, chemistry, physics, and<br /> so on.<br /> <br /> Of course, more fiction is read than anything<br /> else; but a good deal of study goes on in the<br /> evening.<br /> <br /> Psychology and sociology have been taken up<br /> of late, and this is only a hasty list and by no<br /> means complete; but it may sutfice to show that<br /> the masses do sometimes read something better<br /> than fiction, though perhaps not as often as could<br /> be wished.<br /> <br /> M.S. R. James<br /> (Librarian).<br /> <br /> ect<br /> <br /> AMERICAN INDEPENDENCE.<br /> <br /> <br /> <br /> R. BRANDER MATTHEWS publishes,<br /> in the Cosmopolitan for July, a paper on<br /> the literary independence of the United<br /> <br /> States. That America has broken away from<br /> British traditions, British standards, and British<br /> methods, has long been patent to all of us, yet it<br /> is useful to be reminded how this came about.<br /> In Lowell’s “ Fable for Critics,’ for instance, the<br /> writer shows how strong was then the influence of<br /> the old country.<br /> <br /> I myself know two Byrons, one Coleridge, three Shelleys,<br /> <br /> Two Raphaels, six Titians, (I think) one Apellis,<br /> <br /> Leonardos and Rubenses plenty as lichens,<br /> <br /> One (but that one is plenty) American Dickens.<br /> <br /> A whole flock of Lambs, any number of Tennysons—<br /> <br /> In short if a man has the luck to have any sons,<br /> <br /> He may feel pretty certain that one out of twain,<br /> <br /> Will be some very great person over again.<br /> <br /> No one now would think of calling Mark Twain<br /> the American Dickens ; or James the American<br /> Thackeray. They have left off comparing them-<br /> selves with English writers—all, that is, except<br /> Mr. Howells, who is continually measuring him-<br /> self beside somebody on this side the water.<br /> <br /> <br /> <br /> <br /> <br /> 137<br /> <br /> Next, Mr. Matthews states that many British<br /> authors used to believe that “ unbounded afilu-<br /> ence”’ would burst upon them when copyright was<br /> granted. Perhaps. Not those authors who take<br /> counsel with us. What he says is that inferior<br /> books are ceasing to be reprinted in America, and<br /> that the American has got his chance at last.<br /> And then he states that there has been a steady<br /> decrease in the American reprints of English<br /> books going on for thirty years. In the classifica-<br /> tion by which he proves this statement we<br /> need not follow him. Let us consent to his<br /> conclusion. It seems natural, without the<br /> trouble of consulting catalogues, that as the<br /> American nation advances in culture it should<br /> provide its own literature for itself; and as there<br /> are few who would now be so daring as to deny<br /> the best English culture to the best bred American,<br /> it is still more natural that America should<br /> endeavour to be sufficient for itself in matters of<br /> modern literature. Atthe same time, why does Mr.<br /> Brander Matthews always write in aspirit of hostile<br /> rivalry towards ourselves? ‘There is no necessity<br /> for any hostility atall. We have so much thatis<br /> common to Americans and English that a great<br /> writer will most certainly, and always, meet with<br /> an equally large clientéle on both sides the Atlantic.<br /> The same may be said of writers—dramatists,<br /> historians, poets, novelists, essayists—who are not<br /> great writers, yet possess the charm which makes<br /> them popular. There need be no fear that these<br /> authors will fail to find an audience wherever the<br /> common language is spoken. It is not, indeed, a<br /> duello between the American and the English<br /> author. The former is welcome here if he can<br /> compel a hearing. The latter will always be<br /> welcome there whether Mr. Matthews tries to<br /> silence him or not. The paper speaks of another<br /> point which is interesting and yet somewhat dis-<br /> heartening. It is of the popularity of the<br /> American magazine in this country. One sees it<br /> everywhere; it is beating a certain class of<br /> English magazine clean out of the field. But,it wi&#039;l<br /> be said, such new papers as the Strand circulate by<br /> hundreds and thousands. That is quite true.<br /> But what circulation have , and 5 and:<br /> , &amp;¢c., those most respectable old magazines ?<br /> Are they going down? It is reported that they<br /> are, and rapidly. Whatis thereason? There are<br /> many reasons. First, the matter of editing. It<br /> is understood that half-a-dozen men are wholly<br /> engaged in editing Harper. They give their<br /> whole time and all their thoughts to editing<br /> Harper. They are paid handsome salaries.<br /> What salaries are paid to the editors of , and<br /> , and , those above named most respect-<br /> able periodicals? How much time do the editors<br /> of those respectable magazines give to their work ?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 138<br /> <br /> Then there is the delicate subject of pay for<br /> contributors. Writers who talk about pay must<br /> expect to be called tradesmen. Nevertheless, the<br /> poet—A pollo himself—if he had a MS., for which<br /> one publisher offered a thousand pounds and<br /> another ten pounds, would give it to the former.<br /> This is exactly the case with the American and<br /> the English editors. Consequently, the best<br /> things are fast flowing to the former. There<br /> exists at this office a list of prices paid to con-<br /> tributors by nearly all the leading magazines<br /> and periodicals of the country. It is an instruc-<br /> tive and a surprising list. It includes such items<br /> as a cheque for two guineas — actually, two<br /> guineas !—for an excellent story filling several<br /> pages in what is generally considered to be a first-<br /> class magazine. Another so-called first-class<br /> magazine pays at the rate of ten shillings a page.<br /> Another once sent a well-known writer one guinea<br /> —it seems incredible, but it is true—one guinea!<br /> for a paper of six pages—and so on.<br /> <br /> S20<br /> <br /> THE EXPERIENCES OF A SHY WOMAN.<br /> <br /> <br /> <br /> HERE are some women who walk into an<br /> editorial office with as little concern as if<br /> <br /> they were entering the boudoir of a<br /> bosom friend. To them there is no pausing on<br /> the threshold of the outside door, no sinking of<br /> heart, no wild desire to turn and flee, and beg<br /> their bread from door to door, rather than face<br /> the quiet gentlemanly man inside. To such<br /> women life is easy, and passing through the<br /> waters thereof they use it as a well, while their<br /> less fortunate sisters flounder and sink in the<br /> torrent. I am not one of those happy women.<br /> Had I been afflicted with heart disease, I should<br /> have been long ago picked up. dead outside the<br /> glass door leading int» the sanctum of one of the<br /> editors for whom I have the pleasure of working.<br /> There may be other women beside myself who<br /> know the sickening feeling of shyness, drawing<br /> the blood from their hearts, as they turn the<br /> handle of the editorial door; leaving their hearts<br /> only to rush back as the preliminary politenesses<br /> have been made, with such force, that the editor<br /> and his crowded table, the mantelpiece and the<br /> piles of books thereon, sway and swim around<br /> them as if they were in a heavy swell off the<br /> Nore. Those who have attempted it will be able<br /> to say if this condition is favourable to con-<br /> ducting one’s own business, and whether under<br /> the circumstances the editor may not be excused<br /> for placing his eyeglass in his eye and looking as<br /> if he thought, though he is too much of a gentle.<br /> <br /> THE AUTHOR.<br /> <br /> man to say it, that fools and women are closely<br /> allied. Yet this is one of the. minor evils to be<br /> endured by the would-be journalist, and,<br /> when I have made my confession of weak-<br /> ness, let others go and do as I have done<br /> before they judge me and condemn me, and<br /> thrust me out of their society, literary or<br /> otherwise. For months I had struggled on,<br /> making desperate efforts to gain a footing on the<br /> ladder of journalism. Article after article had<br /> been sent to this paper and that paper. I was<br /> supposed to be a successful beginner, and there<br /> was much that greatly encouraged me, but the<br /> greatest achievements were embittered by the<br /> little note, which in most cases accompanied the<br /> editorial letter—‘ the editor will be glad if Miss<br /> Smith will make it convenient to call at his office<br /> at such and such a time.” Then I knew that it<br /> was all over with me. I flatter myself I can be<br /> rather imposing in a letter, but those keen eyes,<br /> so accustomed to gauge character, read me<br /> through and through in a moment, and I was as<br /> dough in their hands, and, left their offices having<br /> agreed to terms that in my saner moments I<br /> should have looked upon as suicidal. -Never for<br /> one moment let it be thought that. I mean to<br /> accuse any editor of taking an unfair advantage<br /> of my helplessness. That is far from my<br /> thoughts. We are all partly fools and partly<br /> wise, and when only the fool part is apparent, it<br /> is natural that-one~ should “be judged as a fool.<br /> That is a condition of life. “Can I get no one<br /> to do my business: for me?” I cried in my<br /> despair, and Echo answed “No one.” I was<br /> recommended to a young lawyer, whose pro-<br /> fessional career did not occupy his entire time,<br /> and who was said to have some experience in<br /> literary matters. I was delighted with the<br /> prospect, but a further investigation showed me<br /> that his experience was not so successful as to<br /> lead me to imagine, that my pocket would be more<br /> benefitted than his own had been by his business<br /> arrangements, and with a sigh I gave up that<br /> idea. Wild ideas of being a literary agent<br /> myself passed through my mind. It was<br /> impossible to be an author and an agent at<br /> the same time, and the agent might be more<br /> succcessful than the author, but I compromised<br /> the matter by setting apart so many days during<br /> the month to act as my own agent. On these<br /> days I may almost say I camped out in the Strand.<br /> When I had written several times about any<br /> article to any given office, I boldly went to that<br /> office and sent up my card. Then, trembling and<br /> shaking, I went up to the editor’s office. “Iam<br /> extremely sorry you should have had to write<br /> again about your article (to which, again, out of<br /> the many, was the allusion made?) I think I<br /> <br /> <br />  <br /> <br /> <br /> <br /> wee ee ee re ee Ne ee ey ee ee eh LAL<br /> <br /> +<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PE AUTHOR.<br /> <br /> have it here, and if you will sit down I will<br /> just look through it again. Thank you.” This<br /> latter remark being made as I occupied the<br /> leather chair placed at my disposal. Iwas grate-<br /> ful for the respite from further conversation while<br /> one pile of manuscripts after another were being<br /> skimmed through, and my composure was gained<br /> by the time that the third and fourth drawers in<br /> the editorial table were turned over. Sometimes<br /> an MS. arrested his attention, which from his look<br /> he had never imagined to have been there. Two or<br /> three were taken out and laid on his blotting pad<br /> with an air asif to say, “ well that is a surprise,”<br /> but my well-known writing came not forth. Time<br /> was going on, and the drawers were coming to an<br /> end, so I ventured to say that it might be lost, to<br /> my mind a very possible contingency. A look of<br /> extreme surprise and pain came over his face.<br /> Such a thing was not possible, and in a moment I<br /> felt what a low-minded woman I was to have<br /> thought such a thing. “My clerk shall look for<br /> it, and you shall have an answer to-morrow,”<br /> he said blandly. “I cannot think why it has<br /> been mmislaid—but without fail you shall hear<br /> to-morrow.” And so I left, having been there<br /> just an hour and a quarter, and went on my<br /> campaign. I did not hear the next day, nor<br /> on any other day, but I have not ventured<br /> to thmk, even in my own mind, that<br /> the article is lost—it is mislaid. Then on<br /> to another office to keep an appointment,<br /> and to hear that the editor has been suddenly<br /> called away, and could I come back in an hour&#039;s<br /> time? And in an hour’s time to be asked if I<br /> could wait, as, contrary to every expectation the<br /> editor had not returned, but had left his profuse<br /> apologies in case he should be late. And again I<br /> felt what a low-minded woman I was to let the<br /> thought enter into my head that he was down<br /> the river with friends, and the arrangements we<br /> were to have made respecting my articles were no<br /> more to him than the champagne corks that float,<br /> down the stream. So low one sinks, when one<br /> attempts to grapple with the arch-fiend business.<br /> And so on and so on, through tedious hours,<br /> always meeting with courtesy and kindness,<br /> always failing to make any progress in my<br /> business affairs, till my mind became so worried<br /> with such matters that all pleasure in writing<br /> departed, and with it the power of writing well.<br /> And then there was John. I have not mentioned<br /> John before, because he had nothing to do with<br /> my literary career—in fact, he was the opposition.<br /> He had long ago stated that he thought it quite<br /> wrong that a woman should toil and moil, as he<br /> called it, and bustle about with men ; let them<br /> write at home if they liked, but let them not<br /> enter into the arena of the literary world; and<br /> <br /> <br /> <br /> 139<br /> <br /> much more to that effect, and when I said that<br /> beggars must not be choosers, he only replied<br /> that some people were beggars who needn’t be<br /> beggars, and some people had to beg—and a great<br /> deal more that would be quite out of place ina<br /> literary magazine, which is intended to help people<br /> who are far above such paltry things as John was<br /> thinking about. It was after one of these field<br /> days in the Strand, when the vanquished<br /> party had beaten a retreat, via Charing<br /> Cross and Pall Mall, and was sitting worn-out<br /> and heavy hearted before the fire that John<br /> came in. It was very weak of me, I know; I told<br /> him again and again that he could not be of the<br /> smallest help to me in arranging my business<br /> matters, to which he simply said “ Bother busi-<br /> ness.” Itoldhim I would never never marry if<br /> I could get some good trustworthy agent to go to<br /> see the editors for me, and look after my concerns,<br /> but at that time I knew of none, so what was I to<br /> do? I told him years ago I would think over<br /> the matter when I was a successful journalist, and<br /> that particular evening he was brutal enough to<br /> ask me to reconsider the subject before that date.<br /> The literary world may sneer or grieve over what<br /> they have lost, but let them know it is they who<br /> have driven me to this extreme, and, had I not<br /> been a shy woman, I should not have been writing<br /> quietly at home, and producing long MSS. that<br /> only John and I admire in secret.<br /> <br /> ee<br /> <br /> WOMEN IN JOURNALISM.<br /> <br /> <br /> <br /> DO not propose to deal seriatim with the<br /> points advanced by Miss Billington. There<br /> is not a single line in my article to justify the<br /> <br /> assumption that I condemn all journalism intended<br /> for women and written by women; and I was<br /> careful to point out (bearing in mind many well-<br /> known ladies with distinct literary gifts) that<br /> some of the higher branches of journalism were<br /> in the hands of women who had, however, as a<br /> rule, achieved a literary reputation elsewhere.<br /> This, however, does not in the least affect my<br /> theory that, on the whole, the influence of women<br /> in journalism is a deteriorating one. Miss Billing-<br /> ton, in reply, whilst evading the real issue, points<br /> out that the majority of lady journalists are not<br /> journalists at all; they have not got the “ abnor-<br /> mal faculty of observation,” ‘bright human<br /> sympathy and peculiar gifts” so happily and<br /> modestly possessed by some journalists, who are<br /> “born and not made.’ Now, meeting ber upon<br /> her own ground for a moment, what I say is:—<br /> Are you talking of the great journalists, the<br /> 140<br /> <br /> Albany de Fonblanques, the Delanes, the Archi-<br /> bald Forbes, Harriet Martineaus, and so forth:<br /> or are you talking of the average descriptive<br /> reporter, who does weddings, interviews, reports,<br /> and the other matter which go to make up the<br /> greater portion of the ordinary newspaper?”<br /> In this latter case it appears to me (and<br /> I may here say that articles of mine appear<br /> in the St. James’s Gazette, Pall Mall Gazette,<br /> Strand Magazine, and other publications of<br /> equal literary merit to the Daily Graphic) that<br /> no special gift or qualification of any kind<br /> is required; and that any ordinarily intelligent<br /> woman, who has quickness, a fairish amount<br /> of observation, and some capacity for expres-<br /> sion,- could, after a little practice, adequately<br /> carry out this kind of journalism. With regard<br /> to the question whether journalism is a desirable<br /> occupation for women, it is one that purely<br /> depends on the point of view taken up; and,<br /> Miss Billington’s experiences being, as she admits,<br /> “‘ unique,” do not seem to me legitimate ground<br /> for any general deductions.<br /> <br /> A provincial journalist, whose philosophy I<br /> admire, asks, in a delightful leaderette, why on<br /> earth a journalist should care whether the wares<br /> sold by his master are good or bad? The<br /> grocer’s boy, he says, might just as reasonably<br /> weep over the adulterated sugar or marmalade<br /> his master sells. - It is simply an affair of supply<br /> and demand, and, if demand be for rubbish. the<br /> conscientious literary proletariat is bound to<br /> supply the public needs. The only qualms<br /> that trouble this genial gentleman are those<br /> which occur about rent day, when his salary has<br /> been forestalled and spent. Well, there is some-<br /> thing in this airy way of looking at affairs, and,<br /> so long as the wares be only rubbish, perhaps it<br /> doesn’t matter much; but even the grocer’s boy<br /> would not altogether like to see his master drop<br /> poison into the family marmalade.<br /> <br /> Mr. Andrew Lang seems rather to have missed<br /> my point. I never intended to imply that the<br /> young woman was a lady, quite the contrary ; nor,<br /> of course, did I suggest that the most susceptible<br /> of elderly editors would put a pretty girl on to<br /> writing leaders, or to any other important work.<br /> <br /> The writer “ F. L. 8.” whilst practically agree-<br /> ing with me, very rightly points out that women<br /> journalists are not alone to blame for the<br /> vulgarity and personalities of newspaper literature.<br /> Editors will fill their columns, and apparently<br /> there is so large a market for tittle tattle that the<br /> temptation to supply it is irresistible ; which, alas !<br /> only brings us back to the supply and demand<br /> theory. I am not quite in agreement with<br /> <br /> . “Grace Gilchrist’s”? assumption that the cleaner<br /> tone of modern newspapers is due to women<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> readers (by the way, in her last paragraph she<br /> brings a far graver indictment against her own<br /> sex than I did); I fancy it is a case of autre<br /> temps autres meurs, and that decent men would not<br /> tolerate the coarse wit of the eighteenth century<br /> to-day. On the whole, the matter is a difficult and<br /> complex one; and perhaps the best thing that<br /> each of us can do is to keep his own page as<br /> white and spotless as possible.<br /> AY. Ze<br /> <br /> spec<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.<br /> Lone Creprt.<br /> <br /> ANNOT anything be done to break down the<br /> long credit system in literature ? At present<br /> editors cram their drawers with accepted<br /> <br /> MSS. which they cannot use for years, and which<br /> they donot intend to pay for until after publication.<br /> To those authors who can afford to wait the delay<br /> may be no great hardship, but that is no reason<br /> why it should be forced upon them. Only a short<br /> time ago I was shown, at the office of a weekly<br /> newspaper, a serial story which would not be pub-<br /> lished for two years, and not one penny was to<br /> be paid for it until then. Would a doctor ora<br /> lawyer be expected to. wait for his money like<br /> this? But the real sufferers are those who must<br /> quickly turn their wares into money or starve.<br /> They are compelled to decline all offers involving<br /> the usual delay in payment—I could mention<br /> instances, if necessary—and must struggle on by<br /> means of chance openings, living from hand to<br /> mouth, until some substantial success enables<br /> them to join the fortunate few who can afford to<br /> <br /> &quot;wait, or until they go down into the deep sea,<br /> <br /> with the many. Yet it seems to me that the<br /> matter is one which authors have very much in<br /> their own hands. I am told that one leading<br /> novelist always requires immediate payment for<br /> his work. Will not others do the same? Or, at<br /> least, when asked their terms, will not they name<br /> one sum for cash, and another, very much higher,<br /> for payment after publication ? If all would do<br /> this, the custom—already started in America—of<br /> paying for every MS. upon acceptance, would<br /> soon become general here.<br /> A MEMBER.<br /> <br /> <br /> <br /> I.<br /> <br /> Dors tHE HieHEer Literature Pay?<br /> <br /> Permit me one word more with reference to<br /> this question. Our Editor appears to think that<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> PHE AUTHOR.<br /> <br /> ) if a man of scientific genius, and capable of<br /> f what I will still take leave to call the Higher<br /> i) Literature, saves himself from starvation by<br /> J. abandoning scientific work, itis of no consequence.<br /> () The only difference between us is, that I think it<br /> * of very great consequence, and of even more con-<br /> »- sequence to the commonwealth than to the<br /> “ individual; and I trust, therefore, that the<br /> ‘. Author, and the Authors’ Society, may some day<br /> =) take up the advocacy of the endowment of<br /> ert. J. S. Srvart-GuLenniz.<br /> <br /> [Mr. Stuart-Glennie returns to the question of<br /> Je starving genius. It is not quite correct to say<br /> d} that the editor of this paper regards the failure<br /> «= and abandonment of a career as of no importance.<br /> /@ Such a thing is a tragedy of the deepest impor-<br /> *) tance. But what has happened with poetry,<br /> »= scientific research, and all the various depart-<br /> ‘2 ments of science, letters, archeology, and the like,<br /> *) by which a man cannot live is, I apprehend, this:<br /> )) lt is now well known that a man cannot live by<br /> i practising certain arts, crafts and pursuits. No<br /> 19 one, therefore, tries to live by them. Where is<br /> »— your starving poet? Where is your starving<br /> if numismatist’ Where is your starving physicist ?<br /> ‘T They do not exist. Those who take up these lines<br /> »| begin by assuring for themselves the daily bread.<br /> ‘T They are civil servants, professors, teachers,<br /> »| persons of private income, some of them in<br /> ‘J business, some holding posts in museums, some<br /> i are librarians or secretaries. None are starving,<br /> »{ because none are so foolish as to try to live by<br /> 7 what is, nevertheless, their only real and serious<br /> 99 occupation.—Ep. |<br /> <br /> —— +<br /> <br /> TAT,<br /> ‘“ PRAISED BUT REFUSED.”<br /> <br /> I have before me now a reader’s report from a<br /> 7 very well-known, old-established firm, who<br /> ‘{ principally publish children’s books. The MS. is<br /> f spoken of as “rather clever,’ “ charmingly<br /> ’ “too satirical for children, but the<br /> parents would understand the satire,” ‘ very like<br /> Hans Anderson in style.”’ ‘ Rather clever,” may<br /> be “damning with faint praise,” but in my<br /> opinion there can be no higher praise than to be<br /> considered in style like Hans Christian Anderson,<br /> the prince of child storytellers. The MS. was<br /> returned with the reader’s opinion inclosed and<br /> no further comment. Before this I had taken<br /> the same story to a firm that has a world wide<br /> reputation; they “ knew my name and would ke<br /> delighted 1o publish anything” they said,<br /> because of it, I presume they meant. They<br /> returned it. ‘Very charmingly written,’ but<br /> <br /> <br /> <br /> ‘ written,’<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 141<br /> <br /> “it would cost too much to produce, coloured<br /> illustrations were so expensive.” I had left them<br /> some illustrations, but had especially said I did<br /> not care if they used them or not.<br /> <br /> I kept my stcry some years and then sent it to<br /> a magazine. It was returned with “the story is<br /> very charming and graceful, Lut the editor fears<br /> it is scarcely suited.” It seems curious how<br /> everybody should think it ‘‘ charming” and yet<br /> not care to publish it.<br /> <br /> Another MS. I sent about, and finally lost ; a<br /> few years later, I had the pleasure of seeing a<br /> story with exactly the same characters and<br /> incidents in it, published and illustrated in a<br /> popular illustrated paper. No doubt it was a<br /> ‘“mere coincidence,” but I should like to know<br /> what became of my story. I believe most<br /> authors could tell innumerable stories of this<br /> lind. As arule publishers Lave so many MSS.<br /> and so many reasons for taking or refusing an<br /> MS. that they evidently do not always abide by<br /> their reader’s opinion,<br /> <br /> J. Harn FRISwWELL.<br /> <br /> oe<br /> <br /> <br /> <br /> “AT THE AUTHOR&#039;S HEAD.”<br /> <br /> \ | R. BERTRAM MITFORD’S new novel,<br /> “?Tween Snow and Fire,’ dealing with<br /> stirring times on the Kaffrarian border,<br /> <br /> will be published immediately by Mr. Heine-<br /> <br /> mann.<br /> <br /> “Wedderburn’s Will,” a detective story, by<br /> Thomas Cobb, author of “On Trust,” ‘The<br /> Westlakes,”’ &amp;c., will be published early in<br /> October by Messrs. Ward, Lock, Bowden, and<br /> Co. “One Night’s Work ’”’: a serial story by the<br /> same writer will be shortly begun in Household<br /> Words.<br /> <br /> We understand that the committee of the<br /> Shelley Memorial Library and Museum are about<br /> to put forward a definite scheme as to the site of<br /> the proposed institution, cost of the building, and<br /> the sum required as an endowment fund. Itis<br /> thought that £3000 will suffice to give effect to<br /> the committee’s proposals. The honorary secre-<br /> taries, Mr. J. Stanley Little, Buck’s Green,<br /> Rudgwick, Sussex, and Mr. J. J. Robinson,<br /> Arundel, Sussex, appeal to men and women of<br /> letters for subscriptions. It may be mentioned<br /> that West Sussex has no library.<br /> <br /> Mr. J. Stanley Little contributes an article,<br /> entitled “To be or not to be: a Twentieth<br /> Century Problem,” to the August number of the<br /> Library Review. This article continues ‘and<br />  <br /> <br /> <br /> 142<br /> <br /> elaborates the argument which formed the basis<br /> of Mr. Little’s paper in a recent number of<br /> Greater Britain.<br /> <br /> The first victory in the United States under<br /> the new international copyright has been scored<br /> by Messrs. D. Appletonand Co. Judge Lacombe,<br /> in the United States Circuit Court, on June 30,<br /> handed down a decision ina suit brought by that<br /> firm to restrain the American News Company<br /> from publishing and selling copies of Carlyle’s<br /> novel “ Wotton Reinfred.’’ A permanent injunc-<br /> tion is granted against the company, prohibiting<br /> them from handling the work, and also ordering<br /> them to pay to Messrs. Appleton all the profits<br /> they have derived from the sale.<br /> <br /> “The Sting of the Scorpion,” is the title of<br /> Mr. J. E. Muddock’s new historical novel, which<br /> will commence simultaneous publication in a<br /> large number of newspapers in October. The<br /> Author’s Syndicate have had the placing of the<br /> story.<br /> <br /> Mr. J. E. Muddock’s “ Maid Marian and Robin<br /> Hood: A Romance of Old Sherwood Forest,”<br /> the publication of which was withheld on account<br /> of the election, will be issued this month by<br /> Chatto and Windus. It will be embellished by<br /> twelve original drawings from the pencil of<br /> Stanley L. Wood.<br /> <br /> A new volume of essays by the late James<br /> Hain Friswell, author of “The Gentle Life,”<br /> “The Better Self,’ &amp;c., will shortly be issued.<br /> The essays have been edited and revised by the<br /> author’s daughter, and will be published by<br /> Messrs. Hutchinson and Co., of Paternoster-<br /> square,<br /> <br /> Dick Donovan, the well-known writer of detec-<br /> tive stories, is attracting a large number of new<br /> readers to the ever popular Strand Magazine to<br /> which he will contribute up to the end of the<br /> year, when he will commence a new serial for Mr.<br /> Newnes’ Million. His last story which appears<br /> in the August number of the Strand under the<br /> telling title of ‘‘The Great Cat’s Hye,” is one of<br /> the most powerful things of its kind that we<br /> have ever read.<br /> <br /> A series of ten original sketches from Dick<br /> Donovan’s pen for simultaneous appearance next<br /> <br /> year will be published through the Author’s<br /> Syndicate.<br /> <br /> : Mr. Hume Nisbet’s next novel which bears the<br /> title of “The Divers: a Romance of Oceania,”<br /> is published by A. and C. Black. It is astory of<br /> savage lifeand adventure. ‘ Where Art Begins”<br /> <br /> by the same author is promised by Messrs. Chatto<br /> and Windus by September.<br /> <br /> THE AUTHOR.<br /> <br /> Mr. Walter Besant’s “ London,” which has been<br /> held over by Messrs. Chatto and Windus, will be<br /> published in September.<br /> <br /> “In Love,” astory of Scotch country life, by<br /> I. K. Ritchie, has been published by Mr. Eliott<br /> Stock.<br /> <br /> Messrs. J. Baker and Sons, of Clifton, have<br /> published “ Lyrical Studies,’ by Marcus 8. ©.<br /> Rickards.<br /> <br /> A new work by Mr. J. E. Gore, F.R.A.S.;<br /> entitled ‘‘The Visible Universe: Chapters on the<br /> Origin and Construction of the Heavens,” is in<br /> the press, and will shortly be published by Messrs;<br /> Crosby Lockwood and Son. The work deals<br /> with the Nebular Hypothesis, the Meteoritie<br /> Hypothesis, and other theories which have been<br /> advanced to account for the origin and construe-<br /> tion of the solar and sidereal systems. The<br /> volume will be illustrated with nebular and stellar ~<br /> photographs and other drawings.<br /> <br /> eS<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> James, Montaaur R. The Testamentof Abraham. With<br /> an appendix by W.E. Barnes, B.D. At the Cambridge<br /> University Press. Clay and Sons. 5s. ‘<br /> <br /> Len, J. Cameron, D.D. Life and Conduct. Edinburgh:<br /> A. and C. Black. Paper covers, 6d. net.<br /> <br /> Newman, John H. Oxford University Sermons (1826-<br /> 1843). New edition. Longmans. 3s. 6d.<br /> <br /> Newman, Jown H. Sermons Preached on various Occa-<br /> sions. New edition. Longmans. 3s. 6d.<br /> <br /> Roprnson, J. Armrrace. 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Allen.<br /> <br /> HIsTORICAL SKETCHES OF OUR PRODUCTIVE SocIETIES.<br /> Co-operative Printing Society, Manchester. Paper<br /> covers.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> Lives of the English Poets:<br /> <br /> «6 Jounson, Samuet, LL.D.<br /> Cassell’s National Library.<br /> <br /> Addison, Savage, Swift.<br /> Cloth, 6d.<br /> <br /> 4. Lecxy, W.E.H. A History of Ireland in the Eighteenth<br /> Century. New edition. Vol.I. Longmans. 6s.<br /> <br /> ‘« Lez-Ruzs, W. The Life and Times of Sir George Grey,<br /> K.C.B. Two vols. Hutchinson. 32s.<br /> <br /> ei, LircHFIELD, FREDERICK. Illustrated History of Furniture,<br /> from the Earliest to the Present Time. With Ilustra-<br /> <br /> tions. Truslove and Shirley, Oxford-street. 25s. net.<br /> ‘0. Lown, Cuarues. Prince Bismarck: an_ historical<br /> biography. A new and revised edition. William<br /> <br /> Heinemann. 6s.<br /> <br /> 4) Macxarness, Rzy. C.C. Memorials of the Episcopate of<br /> John Fielder Mackarness, D.D., Bishop of Oxford from<br /> 1870 to 1888. James Parker and Company, Oxford<br /> and London.<br /> <br /> ay New Hovuszt or Commons, July, 1892, THE, with<br /> Biographical Notices of its Members. Reprinted from<br /> the Times. Macmillan; and the Times office. Paper<br /> covers. Is.<br /> <br /> oy Nicuot, Joun, LL.D. Thomas Carlyle. ‘“ English Men<br /> of Letters” Series. Macmillan. 2s. 6d.<br /> <br /> 10° Porn, Rev. G. U., D.D. Longman’s School History of<br /> India. Longmans. 2s. 6d.<br /> <br /> 10) RoosEVELT, BuancHE. Victorien Sardou: a Personal<br /> Study. With portrait of M. Sardon, and Preface by W.<br /> Beatty-Kingston. Kegan Paul.<br /> <br /> mi Tuurston, Rev. Herbert. The Pallium. No. IV. of<br /> “Historical Papers.” Edited by the Rev. John Morris,<br /> S.J., 18, West-square, §8.E. Paper covers.<br /> <br /> 0% Worssam, W. Samvurn, C.E. The History of the Band-<br /> Saw. Emmott and Co., Manchester. Paper covers,<br /> Is. Od.<br /> <br /> General Literature.<br /> <br /> &quot;i? AuTENBURG, Winn. The Kursaal Maloja in the Upper<br /> Engadine and its Environs. With plans, illustrations,<br /> and map. Art Institut, Orell Fiissli, Zurich. rf.<br /> <br /> v2 ANNUAL Report oF THE SANITARY COMMISSIONER WITH<br /> THE GOVERNMENT OF INDIA, 1890, with appendices<br /> and returns of sickness and mortality among European<br /> troops, native troops, and prisoners in India for the<br /> year. Office of the Superintendent of Government<br /> printing, Caleutta. 5 rupees.<br /> <br /> 242 Anson, Sin Wm. R. The Law and Custom of the Consti-<br /> <br /> tution. Parti. Parliament. Second edition. Oxford,<br /> at the Clarendon Press; London, Henry Frowde,<br /> 128. 6d.<br /> <br /> af AruipaE, J.T. The Hygiene, Diseases, and Mortality of<br /> Occupations. Percival. 21s. net.<br /> <br /> vf Avetina, F. W. The Classic Birthday Book. Kegan<br /> Paul.<br /> <br /> tak Barpexrer, K. The Rhine, from Rotterdam to Constance.<br /> Handbook for travellers. Twelfth revised edition.<br /> Dulau and Co., Soho-square.<br /> <br /> Ae Barrett, C. R. B. Round Southwold. Lawrence and<br /> <br /> : Bullen. Paper covers. 6d.<br /> <br /> 6h Barton, A.C. W. The Quinquennial Proceedings of Two<br /> <br /> : Administrations, 1881 to 1891. Strand. 6d.<br /> <br /> Carnation Manvan, Tue. Edited and issued by the<br /> <br /> National Carnation and Picotee Society (Southern<br /> <br /> Section). Cassell. 3s. 6d.<br /> <br /> a CHIGNELL. RopEert. London Charities (unendowed). A<br /> series of articles contributed to the Statist by. Cassell.<br /> Paper covers, 18.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 143<br /> <br /> CHINA: ImpPERIAL MARITIME CusToms.. RETURNS OF<br /> TRADE AND TRADE ReEporTS FoR 1891. Part 2.<br /> Reports and statistics for each port. P.S. King and<br /> Co., Canada-buildings, King-street, Westminster.<br /> 5 dollars.<br /> <br /> Conpeck, J. A. Letters from Mandalay. A Series of<br /> Letters written in 1878-79 and 1885-88. Edited by<br /> G. H. Colbeck, formerly Mission Priest of Mandelay.<br /> A. W. Lowe, Knaresborough. 2s. gd. net.<br /> <br /> Darsy, JosEPpH. Day Visions and Clairvoyant Night<br /> Dreams, with facts on Somnambulism and Pre-vision.<br /> Simpkin Marshall. Paper covers, Is.<br /> <br /> Dixon, CHaruEs. The Migration of Birds ; an attempt to<br /> reduce Avian season-flight to law. Chapman and Hall.<br /> <br /> The Vosges Mountains. With illus-<br /> <br /> Art Institut Orell Fiissli, Zurich.<br /> <br /> EHRENBERG, FRITZ.<br /> trations and maps.<br /> of.<br /> <br /> Euuis, W. AsHTon. Wagner Sketches, 1849; A Vindica-<br /> <br /> tion. Kegan Paul. Paper covers.<br /> <br /> Garner, R. L. The Speech of Monkeys. William Heine-<br /> man. 7s. 6d.<br /> <br /> Griz, SiR ARCHIBALD. 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The Geographical Distribution of<br /> Disease in Great Britain. Second edition, Swan<br /> Sonnenschein.<br /> <br /> Hawkes, JosepH Henry. A Liberal’s Appeal to Liberals<br /> for the Toleration of the Christian Morality and<br /> Religion in some of the Schools of the State. Kegan<br /> Paul. Paper covers, 1s. 6d.<br /> <br /> Herpart, J. Friepricu. The Science of Education.<br /> Translated from the German, with a biographical intro-<br /> duction, by Henry M. and Emmie Felkin, and a preface<br /> by Oscar Browning, M.A. With a portrait. Swan<br /> Sonnenschein.<br /> <br /> Hiaarys, Frank C. America Abroad: An annual hand-<br /> book for the American traveller. Summer season,<br /> 1892. Forster Groom, Charing-Cross.<br /> <br /> Howarp. Lapy Constance. Everybody’s Dinner Book<br /> from one shiling to ten. Henry and Co. 3s. 6d.<br /> <br /> Houme-Witirams, W. E. The Irish Parliament from<br /> 1782 to 1800. Cassell. Paper covers, Is.<br /> <br /> Issuns, 1892.—Jan. 1—June 30. A Reprint of the Prospec-<br /> tuses of Public Companies, &amp;c., advertised in the<br /> Times. Price 10s. 6d. To be obtained at the Times<br /> City Office, Bartholomew-house, H.C.<br /> <br /> Jonus, H. Lewis; Lockwoop, C. B. Swin, Swale, and<br /> Swatchway ; or, Cruises down the Thames, the Med-<br /> way, and the Essex Rivers. Illustrated. Waterlow<br /> and Sons.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 144 THE<br /> <br /> Kempr, H.R. The Electrical Engineers’s Pocket Book of<br /> Modern Rules, Formule, Tables, and Data. Second<br /> edition, revised with additions and illustrations. Crosby<br /> Lockwood.<br /> <br /> Kurz, Louis. The Chain of Mont Blanc. ‘ Conway and<br /> Coolidge’s Climber’s Guide. Fisher Unwin. 10s.<br /> <br /> Lawson, Sir Cuaries. Where Warren Hastings rests.<br /> Being the July number of the Journal of Indian Art<br /> and Industry. Published under the patronage of<br /> the Government of India. Bernard Quaritch. Paper,<br /> 2s.<br /> <br /> Lrnpury, Percy. Holidays in North Germany and Scan-<br /> dinavia. Edited by. 30, Fleet-street. 6d.<br /> <br /> MacDaraus, Joun. Who are the Disturbers of the Peace<br /> in Europe. Swan Sonnenschein. 28.<br /> <br /> Macxrntosu, W. R. Curious Incidents from the Ancient<br /> Records of Kirkwall (taken principally from the<br /> official records of the burgh). James Anderson,<br /> Kirkwall.<br /> <br /> New Hovse or. Commons, 1892, THE. “ Mems” about<br /> <br /> _ members, with over 500 portraits, electoral maps, and<br /> particulars of the polls. Pall Mall Gazette office.<br /> Paper covers. Is.<br /> <br /> Nor, Hon. E. International Time. A scheme ‘for har-<br /> monising the hour all the world round. With a<br /> folding diagram. Edward Stanford. Paper covers.<br /> Is.<br /> <br /> O’Brien, M.D. Socialism tested by Facts. Liberty and<br /> Property Defence League. Paper covers. 2s. 6d.<br /> PALGRAVE, REGINALD. 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Is.<br /> <br /> Resuyts or A CENSUS OF THE COLONY OF THE CAPE OF<br /> Goon Hops, as on the night of Sunday, April 5, 1891.<br /> Richards and Sons, Government Printers, Castle and<br /> Berg-streets, Cape Town.<br /> <br /> RicHarpson, Raupu. Pocket Guide to Melrose, Abbots-<br /> ford, &amp;c., the Land of Scott, with maps and illustra-<br /> tions. John Bartholomew and Company, Edinburgh<br /> <br /> Geographical Institute. Paper covers. 6d.<br /> <br /> Roprinson, W. Garden Design and Architects’ Gardens.<br /> Two Reviews illustrated, to show by actual examples<br /> from British gardens that clipping and aligning<br /> trees to make them “harmonise” with architecture<br /> <br /> is barbarous, needless, and inartistic. John<br /> Murray.<br /> <br /> Ross’s ParnIAMENTARY Recorps of the Past Session.<br /> Alphabetically arranged. James Wade, Tavistock-<br /> <br /> street, Covent-garden.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ScueLuina, Ferrx E.° Ben Jonson’s Timber; or Dis- —<br /> coveries made upon Men and Matter. Edited, with<br /> introduction and notes. Ginn and Co. Boston, and<br /> Edward Arnold. 4s.<br /> <br /> Smrep, Ernest B. Statistics and Notes on the General<br /> Election, 1892. Compiled by. Sussex Evening Times,<br /> Brighton. Paper Covers.<br /> <br /> SouTHALL, JoHN E. Wales and her Languages. Hicks,<br /> Amen Corner, H.C.<br /> <br /> Stronz, J. M. Faithful unto Death, an account of the<br /> sufferings of the English Franciscans during the 16th<br /> and 17th centuries, from contemporary records. With<br /> an appendix containing a short history of the Franciscan<br /> Convent (Third Order) at Taunton, Founded by Father<br /> Gennings in 1621, and a preface by the Rev. 8. J.<br /> Morris, 8.J. Kegan Paul.<br /> <br /> Srreet, Linran. Faith which Worketh by Love, and other<br /> sketches. J. Bigg, High Street, Barnes. Paper<br /> covers, Is.<br /> <br /> SUTHERLAND, W.<br /> their management and diseases.<br /> Nephews, Berkhampstead. Is.<br /> <br /> Usuer, J. E., M.D., F.R.G.S. Alcoholism and its Treat-<br /> ment. Ballitre, Tindall, and Cox. 3s. 6d.<br /> <br /> VoyAGES IN SEARCH OF THE NorTH-WesT PassaGE.<br /> from the collection of Richard Hakluyt. Cassell’s<br /> National Library. Cloth, 6d.<br /> <br /> Warp, James. The Principles of Ornament. Edited by<br /> George Aitchison, A.R.A., Professor of Architecture<br /> at the Royal Academy of Arts. Chapman and<br /> Hall. 6s.<br /> <br /> Warner, Harpine. Potato Culture, with an improved<br /> method of cultivation ; the disease, its cause and<br /> remedy. Simpkin, Marshall. Paper cover, Is.<br /> <br /> WexsTer’s RoyAt RED Boox—Nerw HovusE or Commons.<br /> <br /> July, 1892. A. Webster and Company, Piccadilly. 6d.<br /> WHAT WILL BE THE First GREAT Move In THE NEW<br /> PARLIAMENT, 1892? Cassel. Paper covers, 3d.<br /> “WHERE To Stay.” Guide to the best Hotels in the<br /> United Kingdom and Abroad. Arranged alphabetically.<br /> Third edition. Issued by the Gordon Hotels (Limited)<br /> Printed by Veale, Chifferiel, and Company.<br /> Witpr, Henry. On the Origin of Elementary Substances<br /> and on some New Relations of their Atomic Weights.<br /> Kegan Paul. Paper covers, 4s.<br /> Year Book or THE ImprRIAL InstiTUTH, THE. 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Containing “ The Doubts of Dives” an<br /> “The Demoniac.” Chatto and Windus. gs. 6d.<br />  <br /> <br /> ote<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ByoRNSON BJORNSTJERNE. The Hermitage of the Kurts.<br /> A novel. Vol. X. of MHeinemann’s International<br /> Library. William Heinemann. Paper covers, 2s. 6d.;<br /> cloth, 3s. 6d.<br /> <br /> Buiack, Wiuu1AmM. The Maid of Killeena, and the Marriage<br /> of Moira Fergus. New and revised edition. Sampson<br /> Low. 2s. 6d.<br /> <br /> v8 BucHANAN, RoBERT. Come Live with Me and be my Love.<br /> William Heinemann. 5s.<br /> <br /> 1 Cargny, Rosa Novucuerrz. But Men Must Work.<br /> Bentley.<br /> <br /> — CaRRUTHERS, ANNIE. A Left-handed Murder. Gale and<br /> Polden. Paper covers, Is.<br /> <br /> 7) CiirForRD, Mr. W.K. Aunt Anne. Twovols. Bentley.<br /> <br /> =) Cromiz, Ropert. A Plunge into Space. Second edition,<br /> with a preface by Jules Verne. F. Warne.<br /> <br /> o@ Donovan, Dick. 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Miscellaneous Series: Report on<br /> Public Works in the Consular District of Hankow<br /> 4d.). Summary of the Evidence taken by the<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Netherlands State Commission appointed to examine —<br /> the question of Labour, Wages, &amp;c., on Dutch Rail and<br /> Tram Ways (1d.). 36th Report of the Civil Service<br /> Commissioners with appendix (jd.). 53rd annual :<br /> report of the Deputy-Keeper of the Public Records<br /> (23d.). 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Eyre and<br /> Spottiswoode.<br />  <br /> <br /> <br /> <br /> Rabe &gt; a<br /> <br /> see<br /> tet<br /> <br /> “<br /> <br /> pire<br /> <br /> HA ot Re<br /> <br /> Asha<br /> <br /> ADVERTISEMENTS.<br /> <br /> 147<br /> <br /> <br /> <br /> Che Sociefy of Authors (SBncorporafed).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> Tue Rieut Hon. toe LORD TENNYSON, D.C.L.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin ARNo.Lp, K.C.I.E., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barrie.<br /> <br /> A. W. A Becxkerr.<br /> <br /> RoBERT BATEMAN.<br /> <br /> Sim Henry Berane, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BuackMoreE.<br /> <br /> Rev. Pror. Bonney, F.B.S.<br /> Lord BRABOURNE.<br /> <br /> James Brycez, M.P.<br /> <br /> Hatt CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Couuezs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dogson.<br /> A. W. Dupoure.<br /> <br /> EpMUND GossE.<br /> <br /> THomas Harpy.<br /> <br /> J. M. Lery.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> THe Earn or DESART.<br /> <br /> J. Eric EricHsEn, F.R.S.<br /> Pror. MicHart Fostsr, F.R.S8.<br /> HERBERT GARDNER, M.P.<br /> RIcHARD GARNETT, LL.D.<br /> <br /> H. RipER Hage@arp.<br /> <br /> JEROME K. JEROME.<br /> RupYARpD KIPLING.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rey. W. J. Lorrin, F.S.A.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> GEORGE MEREDITH.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLEeTon-WAKE. F.L.S.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULuzER.<br /> <br /> J. C. PARKINSON.<br /> <br /> Tur EArt or PEMBROKE AND Monrt-<br /> GOMERY.<br /> <br /> Sir FREDERICK PoLLocK, BArt., LL.D.<br /> <br /> WALTER HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GrorGEe AuGUSTUS SALA.<br /> <br /> W. BaptistEe Scoongs.<br /> <br /> G. R. 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MODERATE RATES.<br /> WRITINGS PER Post RECEIVE EVERY ATTENTION.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue LzapennaLtL Press Lrp., B.C.)<br /> ee<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Sixpence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Twenty-fourth Issue, Super-royal 8vo., price 15s., post free.<br /> <br /> ROCKFORD’S CLERICAL DIRECTORY 1892.<br /> Being a Statistical Book of Reference for facts relating to the<br /> Clergy in England, Wales, Scotland, Ireland, and the Colonies; with<br /> a fuller Index relating to Parishes and Beneflces than any ever yet<br /> given to the public.<br /> <br /> Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> A BOOK FOR MEMBERS AND CANDIDATES.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br /> 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY<br /> <br /> OF THE<br /> <br /> BRITISH PARLIAMENT,<br /> <br /> From the EARLIEST PERIODS to the PRESENT TIME.<br /> <br /> With Notices of Eminent Parliamentary Men, and Examplos of<br /> their Oratory. Compiled from Authentic Sources by<br /> <br /> GHORGEH HENRY JENNINGS.<br /> CONTENTS :<br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions.<br /> <br /> Part Il.—Personal Anecdotes: Sir Thomas More to John Morley.<br /> <br /> Part I1L.—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br /> Strangers; Publication of Debates. 3. Parliamentary<br /> Usages, &amp;c. 4. Varieties.<br /> <br /> APPENDIX.—(A) Lists of the Parliaments of England and of the<br /> United Kingdom. (B) Speakers of the House of<br /> Commons. (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to 1892.<br /> <br /> OPINIONS OF THE PRESS OF THE PRESENT EDITION.<br /> <br /> ‘The work, which has long beemheld in high repute as a repertory<br /> of good things, is more than ever rich in both instruction and amuse-<br /> ment.’’—Scotsman.<br /> <br /> “It is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”—Globe.<br /> <br /> “Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.”—Kentish Observer.<br /> <br /> ‘* We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> <br /> ifg” Orders may now be sent to<br /> <br /> Tiorace Cox, ‘&#039; Law Times” Office, Windsor House, Bream’s-<br /> buildings, E.C.<br /> <br /> <br /> 148 ADVERTISEMENTS.<br /> <br /> <br /> <br /> It Makes Writing<br /> <br /> <br /> <br /> asy.<br /> <br /> <br /> <br /> Leave the Drudgery of the Pen—Soiled fingers, Blotted and Obscure Manuscript—to those<br /> Quick, up-to-date Writers use<br /> <br /> THE 1892 BAR-LOCK TYPE-WRITER.<br /> <br /> who prefer Darkness to Light.<br /> <br /> Gentlemen,<br /> <br /> WHY<br /> <br /> other Machine I have seen.<br /> <br /> Iam very much pleased indeed with the Bar-Lock. I greatly prefer it to an<br /> The alignment is perfect, the working easy, and the inestimabl<br /> advantage of being able all the time to see what you are writing and what you have alread<br /> <br /> . GR ANT ALLEN | written makes it, out and away, the best instrument for a literary man. Though I hay<br /> |<br /> <br /> The Nook, Dorking,<br /> May 18th, 1892.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> | | sal learnt for a week, I find I can already write quite as much in a day as I used to di<br /> with my own right hand before it was disabled by writer’s cramp.<br /> I need hardly say, after this, I am going to keep the Machine, and enclose cheque,<br /> <br /> USES IT.<br /> <br /> Full Informaticn Free.<br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, 1s. per<br /> 1000 words. Extra carbon copies half price. References<br /> kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> MIss RR. V. GILL,<br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> ee<br /> Authors’ and dramatists’ Work a Speciality. All kinds<br /> <br /> of MSS. copied with care. Extra attention given to difficult<br /> hand-writing and to papers or lectures on scientific subjects.<br /> Type-writing from dictation. Shorthand Notes taken<br /> and transcribed. :<br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> Beware of the Party offering Imitations of Macniven<br /> and Cameron’s Pens.<br /> <br /> THE FLYING “J” PEN.<br /> MAD Ba eee<br /> <br /> EE<br /> baad ha ia y<br /> <br /> Writes over 150 words with one dip. ‘Seems «ndowed w&#039;th the<br /> magician’s art.’’ Soli everywhere, 6d. and 1s. per box.<br /> ¢&gt; Sample box, with all the kinds, 1s. 1d. by Post.<br /> <br /> MAGNIVEN &amp; CAMERON, WaverLey Works, EDINBURGH,<br /> <br /> <br /> <br /> HE AUTHORS’ AGENCY. Established 1879. Proprictor, Mr. A. M. BURGHE<br /> <br /> 1, Paternoster Row. ‘The interests of Authors capably represented. Proposed agreements and estima’<br /> examined on behalf of Authors. MS. placed with Publishers. . Transfers carefully conducted. Twenty-five y:<br /> practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials :<br /> leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br /> <br /> Machines sent on Free Trial.<br /> <br /> THE TYPE-WRITER COMPANY LIMITED,<br /> <br /> 12 &amp; 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow ; 35, Charles-street, Bradford.<br /> Local Agents in all Districts.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Yours very faithfully,<br /> GRANT ALLEN,<br /> <br /> MRS. GiLeg,<br /> TYPH-WRITING OFFICE,<br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> Authors’ MSS. carefully copied from Is. pe<br /> 1000 words. Plays, &amp;c., 1s. 3d. per 1000 word<br /> Reference kindly permitted to Walter Besant, Esq<br /> <br /> Miss PATTEAEN,<br /> TYPIST,<br /> <br /> 44, Oakley Street Flats, Chelsea, S.W.<br /> <br /> AutHors’ MSS. CAREFULLY TRANSCRIBED. REFERENC!<br /> <br /> KINDLY PERMITTED TO GEORGE AUGUSTUS SALA, EsqQ.<br /> <br /> FWire-Resisting Safe for MSS.<br /> Particulars on Application,<br /> <br /> Stickphast<br /> <br /> PASTE<br /> for joining papers and sticking in scraps:<br /> Sixpence and One Shilling, with strong useful brus!<br /> <br /> TO AUTHORS.<br /> <br /> The skilled revision, the honest and competent criticis<br /> <br /> and the offering of MSS. in the American market, are<br /> <br /> specialities of the New York Bureau of Revisio<br /> <br /> Established 1880. Endorsed by George W. Curtis, J.<br /> <br /> Lowell, and many authors.—20 W., Fourteenth-sti<br /> New York.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, H.C.	https://historysoa.com/files/original/5/442/1892-09-01-The-Author-3-4.pdf	publications, The Author
443	https://historysoa.com/items/show/443	The Author, Vol. 03 Issue 05 (October 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+05+%28October+1892%29"><em>The Author</em>, Vol. 03 Issue 05 (October 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-10-01-The-Author-3-5					149–184																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-10-01">1892-10-01</a>							5			18921001	Che Mutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 5.]<br /> <br /> OCTOBER 1, 1892. [PRicE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> PAGE<br /> <br /> YW Warnings ake ae oye ee wo ase ae ae asc Lk<br /> <br /> “— Howto Usethe Society... is as oe oe a woo 152<br /> <br /> 1 The Authors’ Syndicate... cee cae ace A igs we» 152<br /> <br /> ”% Notices... ee ae oa a me can en ee eee ty<br /> <br /> oe “‘AtLast” ... sea a = ons ace as iy wee 154<br /> i) = Literary Property—<br /> <br /> 1.—Lee v. Gibbings. By Sir Frederick Pollock ... me =e 156<br /> <br /> 2.—A Publisher’s Bankruptcy... ... ne we moe we 156<br /> <br /> 3.—The Literary and Artistic Congress... Se ee ans LOT<br /> <br /> 4.—Godfrey v. Bradley ... ws ae es wee =a nee Oe,<br /> <br /> “) Our Critics—The Bookseller and the Globe Sew eee 1<br /> <br /> ‘tT The New Books we oes ae ae oe eae oe sw» 162<br /> <br /> ¥ Notes from Paris. By Robert Sherard ... ae ae eae on 168<br /> <br /> * Notes and News. By the Editor... aes a aus we we 165<br /> <br /> Feuilleton— PAGE<br /> 1.—My First Love ae eis ie é - 168<br /> 2.—‘&#039; What is the use? Said the goose ” He ste say 2109<br /> <br /> The Shelley Centenary. Address by Mr. Edmund Gosse ... wes 140)<br /> <br /> The Institute of Journalists. By James Baker ces mee sts LTD<br /> <br /> Correspondence—<br /> 1.—American Copyright os oes ose see ae aes he<br /> 2.—&#039;&#039; Cataloguing” oan oes ay cae ate one «. 173<br /> 3.—Books for Review ... 73<br /> 4.—The Shelley Memorial F ane was wa 174<br /> 5,—Literature asa Calling ... fe &lt;&lt; ae ree ux lit<br /> 6.—The Civil List = ies oe oe ae scnclts<br /> <br /> ‘At the Author’s Head” ... tte ae aS sas as wee LID<br /> <br /> From the Papers ae an 5 ess -- on oeaed<br /> <br /> New Books and New Editions... site es ee ee oe 416<br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> Be 2.<br /> <br /> S 3.<br /> <br /> 1<br /> <br /> ‘8.<br /> <br /> <br /> <br /> The Author, A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> <br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br /> <br /> the general subject of Literature and its<br /> <br /> defence, held at Willis’s Rooms, March, 1887.<br /> <br /> Literature and the Pension List. By W. Morris Couxss, Barrister-at-Law. (Henry Glaisher,<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> The History of the Societe des Gens de Lettres. By S. Squire Spricax, late Secretary to<br /> <br /> the Society. Is.<br /> <br /> The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> The Various Methods of Publication. By S.<br /> <br /> Squrre Spriear. In this work, compiled from the<br /> <br /> papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements<br /> <br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the-American Copyright Bill. By J. M. Lury. Eyre<br /> <br /> and Spottiswoode. 1s. 6d.<br /> <br /> a<br /> ;<br /> <br /> pe<br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> THE<br /> <br /> LINOTYPE GOMMPOSING MACHINE.<br /> <br /> SPECIALLY ADAPTED FOR BOOKWORK.<br /> <br /> <br /> <br /> <br /> <br /> “A MIGHTY BUT PEACEFUL REVOLUTION.”<br /> <br /> OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE.<br /> <br /> For full List of Experts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet.<br /> <br /> “Tt will do away with type, and composition, and<br /> distribution, as now practised, will be known no more.”—<br /> Manchester Courier.<br /> <br /> “ Saves 70 per cent. in cost of composing, and from three-<br /> fourths to nine-tenths in time.’’—Shefield and Rotherham<br /> Independent.<br /> <br /> “Tt bids fair to revolutionise the present system,<br /> especially of newspaper production, for which it seems<br /> peculiarly well adapted. The instrument is one of the most<br /> beautiful and ingenious pieces of mechanism ever introduced<br /> in connection with the art of printing.” —Scotsman.<br /> <br /> “The absolute saving of distribution, which is reckoned<br /> <br /> as equivalent to one quarter of the cost of composition, is<br /> an important factor in the economy of this machine.<br /> With it comes emancipation from the frequent errors arising<br /> from faulty distribution. To pye matter is impossible.<br /> Unquestionably the most remarkable machine ever invented<br /> in the art of printing.”—The Printers’ Register.<br /> <br /> “Tt stands to reason that an invention that economises as<br /> well as expedites work, without aiming a blow at those who<br /> had previously done without it, must be a success.” —Echo.<br /> <br /> “The rapidity and accuracy of the process impressed Mr.<br /> Gladstone very powerfully, or, as he expressed it himself, it<br /> ‘ staggered’ him.”—Daily Chronicle.<br /> <br /> “ One of the most remarkable machines ever invented.’’—<br /> Engineer.<br /> <br /> “A steam-driven, type-composing and casting machine<br /> which really promises to bring about a revolution in the<br /> <br /> <br /> <br /> composing-rooms of newspaper and book printing offices.”<br /> —Home and Colonial Matt.<br /> <br /> * This remarkable invention promises to revolutionise all<br /> <br /> our ideas as to type-setting by machinery. It dispenses —<br /> <br /> with movable type, and substitutes matrices in which the<br /> letters are cast in solid lines.” —Leeds Mercury.<br /> <br /> * One of the most remarkable labour-saving Machines<br /> <br /> ever devised in an age remarkable for such inventions.” —<br /> <br /> —Western Mail (Cardiff).<br /> <br /> “The work never stops, line after line is added with<br /> astonishing smoothness and regularity.” —Newcastle Daily<br /> Chronicle.<br /> <br /> “Has come into existence to create amazement, where<br /> surprise hitherto found a home.<br /> <br /> “The Linotype, to be brief, is a machine which does away<br /> with the present expensive and slow method of type-setting.<br /> It performs all the work of a compositor antomatically, with<br /> greater precision and with far more rapidity. The most<br /> important feature of the patent, however, lies in the<br /> enormous saving it effects in the cost of setting, while a no<br /> less startling fact is that the labour of ‘ distributing,’ or the<br /> putting of the type back into cases, is dispensed with.’—<br /> Admiralty and Horse Guards Gazette.<br /> <br /> “ Printing without types. A marvellous machine that<br /> makes fresh types for every line. The advance of<br /> industrial science is so rapid that this machine must, sooner<br /> or later, come into extensive use.’’—Evening News and Post<br /> (London).<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Pa<br /> <br /> <br /> <br /> THE ECONOMIC PRINTING &amp; PUBLISHING CO. LIMITED, ©.<br /> <br /> 39, BOUVERIE STREET, FLEET STREET, E.C.,<br /> <br /> Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br /> in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br /> <br /> Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br /> best makers.<br /> <br /> <br /> <br /> <br />  <br /> <br /> Che<br /> <br /> Flutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IIl.—No. 5.]<br /> <br /> OCTOBER 1, 1892.<br /> <br /> [PRicE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> \\ For the Opinions expressed in papers that are<br /> <br /> oo os<br /> <br /> [<br /> <br /> <br /> <br /> signed or initialled the Authors alone are<br /> responsible.<br /> <br /> WARNINGS.<br /> <br /> a<br /> <br /> Sprcian Warnine. — Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for three weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> ros. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> Reavers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> VOL. III,<br /> <br /> (3.) Nuver, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Nuver, when a MS. has been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away American rights. Keep<br /> them, Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men.<br /> <br /> Society’s Offices :—<br /> 4, Portuaat Srreet, Lincouy’s Inn Freups.<br /> <br /> <br /> <br /> ey<br /> <br /> <br /> <br /> mM 2<br /> <br /> <br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> virtuous, good man’s pain at being told that his<br /> <br /> accounts must be audited; (3) a virtuous indig- ~<br /> <br /> nation at being asked what his proposal gives<br /> him compared with what it gives the author;<br /> and (4) irrepressible irritation at any mention of<br /> the Society of Authors.<br /> <br /> 8. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 152 THE AUTHOR.<br /> <br /> <br /> <br /> 9. Send to the Editor of the Author notes of —<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> eee<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the —<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> <br /> position to take charge in whole or in part<br /> <br /> of the business of members of the Society, _<br /> <br /> With, when necessary, the assistance of 2<br /> <br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> <br /> the Syndicate and members are duly 4<br /> <br /> audited.<br /> 2. That the establishment expenses of the<br /> <br /> Authors’ Syndicate are defrayed entirely | ;<br /> out of the commission charged on rights<br /> <br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but the<br /> charges are reduced to the lowest —<br /> possible amount compatible with effi-<br /> ciency. Meanwhile members will please<br /> accept this intimation that they are not<br /> entitled to the services of the Syndicate<br /> gratis.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> There is an Honorary Advisory Committee<br /> <br /> whose services will be called upon in any case o<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> J} dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> -- Committee have no pecuniary interest whatever<br /> = in the Syndicate.<br /> <br /> To this it may be added, that where advice is<br /> », sought, the Secretary of the Society, and not the<br /> ‘© Syndicate, must be consulted.<br /> <br /> Pee<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> 1 HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> » cost of producing it would be a very heavy<br /> <br /> , charge on the resources of the society if a great<br /> <br /> * many members did not forward to the secretary<br /> <br /> * the modest 6s. 6d. subscription for the year.<br /> <br /> | Perhaps this reminder may be of use. With<br /> <br /> ’ 800 members, besides the outside circulation of<br /> <br /> } the paper, the Author ought to prove a source<br /> <br /> , of revenue to the society.<br /> <br /> <br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> ed<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> ———&lt; &gt;.<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 153<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> <br /> sending out a reminder.<br /> <br /> ————<br /> <br /> Those who are elected members during the<br /> last three months of the year are advised that<br /> their subscriptions cover the whole of the follow-<br /> ing year.<br /> <br /> <br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> soa ——<br /> <br /> How, we are asked almost every day, is the<br /> young writer to make a beginning ? He should<br /> first get’ an opinion from one of the Society’s<br /> readers as to the merits and chances of his book.<br /> It may be that certain points would be suggested<br /> foralteration. It may be that he will find himself<br /> recommended to put his MS. in the fire. He<br /> should, if encouraged, offer his MS. to a list<br /> of houses or of magazines recommended by the<br /> Society. There is nothing else to be done. No<br /> one, we repeat, can possibly help him. If those<br /> houses all refuse him, it is not the least use trying<br /> others, and, if he is a wise man, he will refuse to<br /> pay for the production of his own work. If, how-<br /> ever, as too often happens, he is not a wise man,<br /> but believes that he has written a great thing, and<br /> is prepared to back his opinion to the extent of<br /> paying for his book, then let him place his work<br /> in the hands of the Society, and it shall be<br /> arranged for him without greater loss than the<br /> actual cost of production. At least he will not be<br /> deluded by false hopes and promises which can<br /> end in nothing.<br /> <br /> <br />  <br /> <br /> <br /> <br /> i<br /> :<br /> H<br /> H<br /> ql<br /> <br /> 154 THE<br /> <br /> AT LAST.<br /> <br /> Se<br /> <br /> <br /> <br /> ROM our point of view the heavy sentences<br /> passed during this week by the Common<br /> Serjeant upon Sir Gilbert Campbell and<br /> <br /> Messrs. Morgan, Tomkins, Steadman, Tolmie,<br /> and Clarke, has been most righteously deserved.<br /> For years the man Morgan, generally with the<br /> assistance of Tomkins, has been preying upon<br /> literary and artistic aspirants. Now flattering<br /> their vanity, now abusing their ignorance, and<br /> now appealing to their greed—from which the<br /> literary aspirant is by no means more free than<br /> other people. The method of swindling em-<br /> loyed was always the same. Whether as the<br /> Artists’ Alliance or the Authors’ Alliance, as the<br /> Charing Cross Publishing Company or the City<br /> of London Publishing Company, as Bevington<br /> and Co., or Longman and Co., or, lastly, as the<br /> International Society of Literature, Science, and<br /> Art, the broad plan remained the same. Im-<br /> mense advantages in money or prestige were<br /> offered to painters who could not sell their pic-<br /> tures, to authors who could not find publishers,<br /> to unknown musicians, and to provincial patrons<br /> of letters, if they would join some institution<br /> existing for the purpose of breaking down the<br /> barriers existing between them and the admiring<br /> notice of the world at large.<br /> <br /> The co-operative bodies asked for an entrance<br /> fee and a subscription; the publishing firm went<br /> a little further and asked for manuscripts and<br /> cheques. In no case was anything done in re-<br /> turn forthe payments. Fellowship of the various<br /> alliances brought neither notoriety nor remunera-<br /> tion, and cheques to Bevington and Co. or Long-<br /> ‘man and Co., although cashed by those enter-<br /> prising firms, never resulted in the issue of the<br /> manuscripts. Nor were the manuscripts returned.<br /> We say “at last,” for we have known of the<br /> fraudulent character of the deeds of Morgan and<br /> his companions for years, but have been powerless<br /> to do more in opposition to them than to warn<br /> those who applied to us for advice to beware of<br /> ‘the obvious and various traps. Now and again<br /> we had détails given to us of some particular<br /> piece of swindling perpetrated by Bevington and<br /> Co., or by The City of London Publishing Com-<br /> pany, but we were always strictly enjoined by the<br /> swindled parties to preserve their names a secret.<br /> As, also, it is our experience that this sort of<br /> rogue never has any money at all that. can be<br /> recovered from him, we could hardly recommend<br /> our members to prosecute, thereby to reveal<br /> themselves as dupes at the expense of their own<br /> purses. In 1890 there was started the Inter-<br /> national Society of Authors with Sir Gilbert<br /> <br /> AUTHOR.<br /> <br /> ‘Publication and’ Perforniance dof Fellows’ ‘and Members’<br /> <br /> <br /> <br /> Campbell for chairman and William James | |<br /> Morgan as curator. The country was flooded 4% |.<br /> with the following prospectus—we omit the<br /> names of the Assistant Secretaries and the<br /> “ Councillors” :—<br /> <br /> THE INTERNATIONAL SOCIETY of LITERATURE,<br /> SCIENCE, AND ART, in connection with THE ARTISTS’<br /> ALLIANCE.—Instituted a.p. 1889, under Act of Parlia-<br /> ment 17 &amp; 18 Vict. cap. 112—-ExEcuTIve Counciz:<br /> Curator, William James Morgan, Esq.; Chairman, Sir G.<br /> Campbell, Bart.; Secretary, William Nathan Stedman,<br /> Esq.; Assistant Secretaries, .... ; CouNcILLORS: Dayid<br /> Tolmie, Esq.,....C. M. Clarke, Esq.,....; CHrer<br /> OrricEs, 20, York Buildings, Adelphi, Strand, W.C.;<br /> Gallery and West End Offices, The Marlborough Gallery,<br /> 39, Great Marlborough Street, Regent Street, W., London.<br /> <br /> The object of this Society is to promote the advancement<br /> of Art, Literature, Science, and Music, and the advantage<br /> of its Fellows and Members.<br /> <br /> <br /> <br /> <br /> <br /> The means whereby this object is attainable are :—<br /> <br /> (a) The encouragement of Students and Professors of all<br /> ages and of both sexes in all branches of Art, Literature, § @<br /> Science, or Music (i) by purchasing from or publishing for || -<br /> Fellows and Members the best results of their geniusor = =<br /> their labour; (ii) by the distribution of Prizes; and (iii) by ey<br /> <br /> <br /> <br /> <br /> <br /> affording introductions for the purpose of making a market §9)&quot;<br /> for the sale of Fellows’ and Members’ Pictures and other Art rh<br /> productions, and for the sale, printing, and publication of tog<br /> their Literary and Scientific Works and Musical Com- “ro<br /> <br /> positions.<br /> <br /> (b) The publication of a Magazine devoted to the in-<br /> terests of Art, Literature, Science, and Music, to which<br /> Fellows and Members are invited to contribute. A copy of<br /> the Magazine will be forwarded regularly to each Fellow<br /> and Member, post free.<br /> <br /> <br /> <br /> (c) The enrolment, as Fellows or as Members of the odd<br /> Society, of ladies and gentlemen (in all parts of the world) (bls<br /> who follow for pleasure or for profit the pursuits of Art, ot<br /> Literature, Science, or Music as amateurs or professionals, ale<br /> and, as Honorary Fellows or as Honorary Members, all lig 3<br /> those who sympathise generally with the objects of the ont:<br /> Society.<br /> <br /> Arrangements have been made, upon advantageous térms, Ot<br /> for :—<br /> <br /> I.—The Exhibition and Sale of Pictures and other Works At<br /> of Art executed by Fellows and Members at the Marl- ecg<br /> <br /> borough Gallery, 39, Great Marlborough Street, Regent 38%<br /> Street, W.<br /> <br /> IIl—The Reading, Editing, Purchase, Sale, Printing, and<br /> Publication of Fellows’ and Members’ manuscript contribu-<br /> tions (prose or poetry) in Magazine, and-in Volume or Book<br /> form. oes<br /> <br /> IliIl.—The correction (where necessary), Purchase, Sale,<br /> <br /> <br /> <br /> Musical Compositions. ~ : : :<br /> IV.—The bestowal of Prizes and other rewards for such Aor<br /> <br /> £<br /> Inventions, Productions, and Improvements, as tend to the gilt<br /> employment of the masses, and the increase of trade; : abs<br /> and for meritorious works in all the various departments of 30 &amp;<br /> <br /> the Fine Arts, Literature, and Science.<br /> <br /> Fellows and Members of the Society are invited to make<br /> use of the Rooms of the Society, for the purposes of re-<br /> ceiving or writing letters, making appointments, &amp;c. They<br /> are at liberty to use the offices as a London address, and, if<br /> desired, letters received there for them will be forwarded on<br /> to them by post. It is designed, as soon as is practical, to<br /> largely extend the advantages in this direction, so as<br /> <br /> <br /> |<br /> oh<br /> |<br /> <br /> d<br /> <br /> st ash<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> to afford Fellows and Members all the privileges of a first<br /> rate London Club.<br /> <br /> Each Fellow will be entitled to a Free Season Pass (trans-<br /> ferable) for himself (or herself) and four friends, admitting<br /> to all the Exhibitions or Bazaars held at the Marlborough<br /> Gallery, and each Member will be entitled to a similar Pass<br /> admitting himself (or herself) and two friends.<br /> <br /> A Register, open at all times to Art buyers, Publishers,<br /> and other employers of artistic, literary, scientific, musical,<br /> or educational labour is kept, and Fellows or Members<br /> desiring remunerative home or other occupation may have<br /> their requirements entered therein free of charge.<br /> <br /> Fellows and members are invited to contribute to the<br /> Journal of the Society, to attend the London and local<br /> conversaziones and soirées, to read papers and to join in the<br /> discussions. When mutually desired, introductions are<br /> given with the view that congenial acquaintanceships and<br /> friendships may be thus induced. Correspondents upon all<br /> subjects connected with literature, the arts, and the<br /> sciences are also introduced to each other in all parts of the<br /> world, who thus by letter interchange information peculiar<br /> to their own spheres.<br /> <br /> No entrance fee is required. The subscription dates<br /> from the time of payment. Ladies and gentlemen actively<br /> engaged in any one or more of the various branches of art,<br /> literature, science, or music are eligible for election as<br /> Fellows, and have diplomas granted to them with the right<br /> of appending the letters F.S.L. to their names. Certificates<br /> of membership (M.S.L.) are also issued.<br /> <br /> The annual subscription as an active or honorary member<br /> is one guinea. This subscription may be compounded for<br /> for a term of five years upon payment of three guineas, or<br /> for life upon payment of seven guineas. The annual sub-<br /> seription as a Fellow is two guineas. This subscription may<br /> be compounded for for a term of five years upon payment of<br /> seven guineas, or for life upon payment of fifteen guineas.<br /> Students under twenty-one years of age are admitted as<br /> Associate Members or Associate Fellows at half fees.<br /> <br /> Form or APPLICATION FOR HONORARY OR ACTIVE<br /> <br /> MEMBERSHIP OR FOR FELLOWSHIP.<br /> <br /> To the Executive Council.— Please enrol me an™<br /> of the International Society of Literature, Science, and Art,<br /> for which I enclose the sum of my + Sub-<br /> scription.<br /> * State here if Active or Honorary Member or Fellow.<br /> +State here if for yearly, for five years, or for life.<br /> <br /> Name in full*<br /> Address<br /> <br /> Ss<br /> <br /> Proposed by<br /> *If a lady, state whether Miss or Mrs.<br /> *.* Cheques and postal orders are to be made payable to<br /> the Curator, Mr. W. J. Morgan. Fellows and members,<br /> whether honorary or active, incur no pecuniary or other<br /> liability beyond the amount of their subscription.<br /> <br /> This precious document was headed by some<br /> hundred names extracted from the Peerage, the<br /> Army List, the “Clerical Directory,” and the lists<br /> of some of the obscurer learned societies, and the<br /> list was a fluctuating one. Many of the names<br /> were placed on the list of the Council of Fellows<br /> without their owners’ sanction, and when with-<br /> drawn were immediately replaced by others<br /> equally euphonious and obtained on equally easy<br /> terms. Many of these victims to their own<br /> importance haying found, from us or from the<br /> <br /> 155<br /> <br /> masterly exposure in Truth, that they were being<br /> used to bolster up a cruel system of theft,<br /> insisted that their names should be withdrawn<br /> from the various compromising documents, but<br /> in most cases they experienced great difficulty in<br /> getting their wishes attended to.<br /> <br /> We were able to warn our members against this<br /> society at once, not only because the nature of<br /> Sir Gilbert Campbell’s institution was revealed<br /> in its prospectus sufficiently to all who know,<br /> but because we were able to trace the connec-<br /> tion between the new swindle and the bye-gone<br /> games of Mr. Morgan as Bevington and Co. and<br /> others. From letters, prospectuses, and docu-<br /> ments in our possession, we knew from the first<br /> that the International Society of Literature,<br /> Science, and Art was deserving of the character<br /> that it has at last obtained, but, save warning all<br /> inquirers, and speaking plainly im the pages of<br /> the Author, we could do nothing. We could<br /> not prosecute, and could find no one willing to<br /> do so.<br /> <br /> Great publicity was, however, let in upon the<br /> character of the association by the case of<br /> Swindells v. Morgan, tried before Mr. Justice<br /> Grantham, in the Queen’s Bench Division, about<br /> a year ago. The society furnished information<br /> that proved invaluable to the plaintiff, and con-<br /> tributed towards the cost of the prosecution, and<br /> Mr. Swindells, the author, recovered five hundred<br /> pounds, which, as it appears, and as might have<br /> been expected, he never cot.<br /> <br /> At last the Public Prosecutor has interfered,<br /> and his interference, although to us it may have<br /> seemed a little unduly deferred, has been attended<br /> with signal success, and was conducted in a@<br /> manner that called for approval both from judge<br /> and public. William James Morgan, the curator,<br /> has received eight years’ penal servitude, and<br /> Tomkins has received five. Sir Gilbert Camp-<br /> bell is sentenced to eighteen months’ hard labour,<br /> and Steadman to fifteen. These people were not<br /> associated with Morgan in his earlier ventures.<br /> Tolmie will be imprisoned for six months, and<br /> Clarke for four.<br /> <br /> It only remains for us to say that our informa-<br /> tion in this important case was placed in the<br /> hands of the Treasury.<br /> <br /> — et 8<br /> <br /> <br />  <br /> <br /> <br /> <br /> 156 THE AUTHOR. -<br /> LITERARY PROPERTY. right matter. Assignors should look carefully | {jj<br /> to their agreements and receipts to see that they (+4).<br /> I do not commit themselves in haste to anything | «a:<br /> ; of this kind. Freperick Poniock, j<br /> <br /> Linn v. GrBpines. : [The statement in the article referred to, that | (a<br /> <br /> DO not agree with Mr. Justice Kekewich’s — the three publishers all abstained from disclaim. |. «<br /> opinion (which was not necessary to the ing the right to alter books as owners of the —/<br /> actual decision) that the author’s cause of copyright, was not advanced as a complaint, but | ji)<br /> <br /> action against an assignee of the copyright who<br /> publishes the work in a mutilated or garbled form<br /> must be libel or nothing. The right to reproduce<br /> a literary work is not the same thing as the right 11.<br /> <br /> as a significant fact.—Ep1ror. |<br /> <br /> <br /> <br /> <br /> <br /> to reproduce disjointed parts of it, or to mix<br /> other matter with it. Whether the omission,<br /> alteration, or addition complained of be such as<br /> substantially to disfigure the work must be a ques-<br /> tion of fact in each case. I can imagine cases<br /> in which the copyright-owner ought to have the<br /> power of alteration, though not without warning.<br /> It is common to sell the copyright of law books,<br /> reserving to the author the option of preparing<br /> new editions as required on specified terms.<br /> What if a new edition is demanded and the<br /> author is unwilling or unable to undertake it ?<br /> It may have become necessary to rewrite whole<br /> pages of the book to bring it into accordance<br /> with the existing state of the law; so that, if the<br /> copyright-owner may not touch the original text,<br /> the copyright will be worthless. I suppose that<br /> similar considerations are more or less applicable<br /> to text-books in other sciences. There is a<br /> further question, but too purely legal to discuss<br /> here, whether the cause of action allowed to be<br /> possible by Mr. Justice Kekewich is not really<br /> in the nature of slander of title rather than libel<br /> proper.<br /> <br /> The condition of literary property may be<br /> chaotic; but the fact that the point in Lee vy.<br /> Gibbings has never been raised before seems rather<br /> to be to the credit of both authors and publishers<br /> than to the discredit of the law.<br /> <br /> T cannot altogether follow the complaint made<br /> in the last number of the Author that the<br /> publishers. quoted by Mr. Lee did not express<br /> any opinion as to the right of the matter. If<br /> they had been called as witnesses, it would have<br /> been their business not to give an opinion upon<br /> the point of law before the court, but to answer<br /> questions of fact as to the practice and under-<br /> standing in the trade as known to them by<br /> experience. I do not see how they could be<br /> expected to go farther in giving voluntary<br /> opinions than they would or could have gone as<br /> witnesses in court.<br /> <br /> It may be that assignments of copyright<br /> drafted in the interest of the assignee will in<br /> future often contain words expressly giving the<br /> assignee the right to abridge or alter the copy-<br /> <br /> Tue BANKRUPTCY OF A PUBLISHER.<br /> <br /> Recent Far.ures. — Messrs. Trischler and<br /> Marsden, publishers and magazine proprietors,<br /> carrying on business at 18, New Bridge-street,<br /> E.C., against whom a receiving order was made<br /> on Aug. 22 last, have lodged with the Official<br /> Receiver a proposal for a scheme to be submitted<br /> to their creditors. They offer to pay a compo-<br /> sition of 7s. 6d. in the pound upon the unsecured<br /> debts (except one, which is deferred), by instal-<br /> ments extending over a period of fifteen months,<br /> from approval, with security, which is specified.<br /> From the observations of the Official Receiver<br /> (Mr. A. H. Wildy) it appears that the debtor<br /> Trischler has been in business since Oct. 1887, and<br /> in June 1889 he was joined by Marsden, who paid<br /> £5500 for a half-share in the business, and each<br /> partner contributed equally towards the joint capi-<br /> tal of £4422. On May 15 last a private meeting of<br /> creditors was held, at which a proposal was made<br /> to convert the business into a limited liability<br /> company under which debentures were to be<br /> issued to the creditors for the amount of their<br /> debts, but, owing to the opposition of one creditor<br /> the proposed scheme fell through. The insol-<br /> vency is attributable to inability to realise stock<br /> and manuscripts owing to the depressed state of<br /> the book trade, losses by bad debts, loss on<br /> trading caused by over-production, and loss on<br /> unprofitable publications. The liabilities, as<br /> shown by the joint statement of affairs, amount<br /> to £12,238, and the assets are estimated by the<br /> debtors at £2294, after payment of preferential<br /> claims. The Official Receiver reports that the<br /> terms of the proposal, subject to official confirma-<br /> tion of the value of the assets, and assuming that<br /> the creditors are satisfied with the guarantees<br /> offered, are calculated to benefit them. Trischler<br /> makes no proposal in respect of his separate<br /> estate, but Marsden offers tos. in the pound to<br /> his separate creditors, certain claims being with-<br /> drawn. The Official Receiver also reports in<br /> favour of the latter proposal. Times.<br /> <br /> The above is instructive as a comment on what<br /> has been argued inthe Author (see especially Mr.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Fairbairn’s paper in the September number) on<br /> the bankruptcy of a publisher. One can only<br /> urge upon our readers the necessity of a pro-<br /> tecting clause in case of bankruptcy.<br /> <br /> <br /> <br /> TET.<br /> Ture Lirprary aNnp ArTIsTIC CoNGRESS.<br /> <br /> Milan, Sept. 19.<br /> At to-day’s sitting of the Literary and Artistic<br /> Congress here it was decided that the alienation<br /> of a work of art did not carry with it the ght<br /> of reproduction. The congress further gave<br /> expression to its desire that the appending of<br /> forged signatures to works of art should be made<br /> a punishable offence, and claimed for architec-<br /> tural works the same protection as is offered to<br /> other works of art.<br /> Sept. 20.<br /> The International Literary and Artistic Con-<br /> gress to-day decided that the country in which a<br /> work is first published should be regarded as the<br /> country of origin. In the event, however, of a<br /> work being published simultaneously in more<br /> than one country, that country which grants the<br /> shortest period for the protection of the rights of<br /> authors is to be considered the country of origin.<br /> It was also resolved to accord protection to<br /> authors whose names are attached to their works.<br /> Paragraph 3 of the ninth article of the Berne<br /> Convention was annulled, and the use of per-<br /> forated cards for organettes was declared to be<br /> an act of piracy. Protection was afforded to<br /> Russian authors against the illegal translation of<br /> their works in Russia, and the right of reproduc-<br /> tion, including also that of translation, was<br /> reserved to the author for a period of ten to<br /> twenty years. It was further resolved that<br /> authors belonging to the countries of the union<br /> should enjoy the right of translation during the<br /> period of their protection in the country of origin,<br /> provided that they had exercised this right within<br /> a period of twenty years.<br /> Milan, Sept. 23.<br /> At its sitting to-day, the International Literary<br /> and Artistic Congress approved of the establish-<br /> ment at Berne of an International Statistical<br /> Bureau for the registration of the works of<br /> authors, together with the date of their publica-<br /> tion, and likewise sanctioned the arrangement<br /> arrived at for the settlement of the relations<br /> between authors and publishers.—feuter.<br /> <br /> The above paragraphs are from the Times.<br /> Have these resolutions of the Congress any other<br /> importance than an expression of opinion ?<br /> <br /> VOL. III.<br /> <br /> fides was not questioned in the least.<br /> <br /> THE AUTHOR. 157<br /> <br /> IV.<br /> GopFrrEy v. BRADLEY AND Co.<br /> rt<br /> <br /> It will be remembered that a note on this case<br /> was published in the August number of the<br /> Author. Mr. Godfrey, the plaintiff in this case,<br /> has written the letter which appears below. It<br /> will, therefore, be best to restate exactly the<br /> circumstances of the case.<br /> <br /> I was informed by our secretary, Mr. Thring,<br /> in the name of a well-known man of letters, that<br /> a case was shortly to be brought before the<br /> courts, of alleged plagiarism, and I was asked if<br /> I would read the two books in question, and, if<br /> invited, give evidence in court. This I declined to<br /> do, on the ground that I was already fully occupied.<br /> The secretary then informed me that he had been<br /> invited to do so in case of my refusal. We con-<br /> sidered the matter carefully, It appeared to me<br /> so important that a charge of plagiarism, so<br /> easily made, should be fairly considered, without<br /> <br /> bias on either side, that I thought if Mr. Thring<br /> was willing to take the trouble, it would be a very<br /> fit and proper thing for him, in his position, to<br /> undertake. Observe that there was no question<br /> of offending publisher in the matter; nothing<br /> was imputed against the publisher, whose bona<br /> It was<br /> simply a question between two novels—a question<br /> therefore affecting every novelist.<br /> <br /> Mr. Thring read both novels. He came to the<br /> conclusion that, although there were certain<br /> strong similarities of plot, the treatment was<br /> quite different. He thought that there was no<br /> plagiarism at all, but that there was probably a<br /> common origin to both novels. He was, there-<br /> upon, subpcenaed to give evidence.<br /> <br /> After he had been subpeenaed he received a<br /> letter from the plaintiff in the case, informing him<br /> that he was a member of the Society, and asking<br /> for his support. This was actually the very<br /> morning when the case came on.<br /> <br /> As regards my own action in the case, it is quite<br /> simple and would certainly be repeated, unless I<br /> knew that the plaintiff was a member. In that<br /> case I should certainly have called a committee<br /> together, and placed the responsibility of giving<br /> evidence against a member in their hands.<br /> <br /> It may be asked whether Mr. Thring exercised<br /> sufficient diligence in ascertaining if the plaintiff<br /> was a member. Now, let us consider:<br /> <br /> (1.) The plaintiff is not the writer of the book.<br /> He represents the author who is deceased. Is<br /> it reasonable to expect that the secretary should<br /> know all the works written by the relations of<br /> members ?<br /> <br /> (2.) The novel was written twenty years ago.<br /> <br /> N<br /> <br /> ft<br /> qy<br /> <br /> <br />  <br /> <br /> 158 THE AUTHOR.<br /> <br /> It does not appear to have gone into a second<br /> edition. Can we expect a man to remember any-<br /> thing about a novel which appeared twenty years<br /> ago, “and has never since been reprinted ?<br /> <br /> (3. ) But he might have observed the name of<br /> Godfrey on the list of members. What connection<br /> would that suggest? Mr. Godfrey is not a<br /> novelist. Should he have written to Mr.<br /> Godfrey to ask if he was in any way connected<br /> with the plaintiff? I think that could not<br /> reasonably be expected. If a member thinks so<br /> little of the Society as to bring an action on a<br /> point of literary property without consulting, or at<br /> least informing, the society, I think he has no<br /> reason to complain at any turn that might be<br /> taken.<br /> <br /> As regards Mr. Godfrey’s attempt to show that<br /> the society acted wilfulty against a member for<br /> an offending publisher, that, as the facts above<br /> quoted show, is quite ridiculous.<br /> <br /> Mr. Godfrey informs me by letter that he con-<br /> sulted Mr. Sprigge about the case four years ago.<br /> This has nothing to do with the point. He did<br /> not inform Mr. Thring, who could not be expected<br /> to know anything about a letter written four<br /> years ago.<br /> <br /> As regards the name of the gentleman who<br /> sent the case to Mr. Thring, that, of course, can<br /> only be published at his own request. The<br /> Secretary will not give up the names of any<br /> persons who place themselves in communication<br /> with him. Otherwise, the whole proceedings of<br /> every society or association or company in the<br /> world might be advertised in the papers.<br /> <br /> What I said about plagiarism is not what Mr.<br /> Godfrey tries to make out. I said, and I repeat,<br /> that there is no charge more easily brought than<br /> that of plagiarism, or more difficult to disprove.<br /> That has nothing to do with provedtheft. I have<br /> not yet read the two books in question, and I<br /> hope not to have to read them. Iam, therefore,<br /> notin the least concerned with the question of<br /> this particular charge of plagiarism, which mav or<br /> may not be true. Iam only concerned about the<br /> action of our secretary, the responsibility for<br /> which lies entirely upon myself. And I have<br /> only to repeat that wnder similar circumstances I<br /> should do exactly the same thing again in the<br /> interests of our members, and for the protection<br /> of those among us who are novelists. But members<br /> who may be contemplating similar actions, may<br /> be assured that if they will take the trouble to<br /> inform our secretary beforehand, I will willingly<br /> put the responsibility of the case upon the<br /> committee.<br /> <br /> Mr. Godfrey sneers at Mr. Thring’s legal<br /> knowledge. In this case, however, no legal know-<br /> ledge was required at all,<br /> <br /> I think I should add, that the abusive letter<br /> <br /> which follows would certainly not have appeared<br /> <br /> in the Author, if the person abused had been any<br /> <br /> other than myself. Water Busant.<br /> Chairman, Committee of Management.<br /> <br /> IL.<br /> Garrick Club, W.C., Aug. 22, 1892.<br /> <br /> Str,<br /> <br /> In last month’s issue of the Author you pub-<br /> lished a report of this case, with certain comments<br /> intended to explain away the extraordinary action<br /> of the Secretary of the Society of Authors, which,<br /> it now appears, was taken under your authority.<br /> When the members of the Society have read my<br /> statement of the facts I think they will agree<br /> with me that your explanation is—to use the<br /> mildest terms —an insufficient defence of a<br /> lamentable blunder.<br /> <br /> The following is a brief history of the matter.<br /> Some time ago I discovered’ that the London<br /> Journal was publishing a story which was a<br /> craftily disguised copy of a novel called ‘ Loyal,”<br /> written by my wife several years ago. I called<br /> the attention of the proprietors to this, and re-<br /> ceived in reply an off-hand refusal to discuss the<br /> matter. I then took legal action ; the case was<br /> tried, and I obtained a verdict, with damages.<br /> The judge, in commenting on the evidence, said<br /> (I quote from the newspaper reports): “ No one<br /> who found a succession of similar passages and<br /> the exact similarity of language, both in descrip-<br /> tion and in conversation, used as to corresponding<br /> characters in corresponding situations, could<br /> possibly doubt that the writer of ‘A Mad Mar-<br /> siage’ had before her the novel ‘ Loyal.’<br /> <br /> He was quite satisfied that the main plot of<br /> ‘Loyal’ had been incorporated into ‘A Mad<br /> Marriage.’ ”<br /> <br /> Now in this action, I, a member of the Society<br /> of Authors, representing a deceased author, was<br /> proceeding against a publisher who was making<br /> profits from stolen literary property. I was, in<br /> fact, doing exactly the work that the Society<br /> professes to do, and so certain did I feel of its<br /> sympathy and support that I wrote to the Secre-<br /> tary giving him notice of the trial, and sug-<br /> gesting that some representative should be<br /> present. My amazement may, therefore, be<br /> imagined when I found that the principal witness<br /> for the publisher and against me was our Secre-<br /> tary, who gave evidence which derived its sole<br /> weight from the fact that he described himself<br /> in his official capacity. What was the natural<br /> inference ? What impression was this likely to<br /> convey to the judge? That the Society, which<br /> was created to ioe authors from publishers,<br /> <br /> <br /> <br /> <br /> <br /> | reat<br /> tbe<br /> <br /> ans |<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> considered this so scandalous an attempt to<br /> blackmail a publisher, that it felt bound to unite<br /> with the common enemy to defeat a dishonest<br /> member of its own body.<br /> <br /> Fortunately the evidence of this witness went<br /> so far as to defeat its mischievous intention. It<br /> was as follows: “The Secretary of the Incorpo-<br /> rated Society of Authors said there were some<br /> incidents which were similar in the two novels,<br /> put ‘A Mad Marriage’ was not, in his opinion,<br /> an infringement of the copyright in ‘ Loyal.’<br /> He did not think the substance of the plot<br /> of ‘Loyal’ had ;been incorporated in ‘A Mad<br /> Marriage.’”’<br /> <br /> The value of this testimony can be estimated<br /> by reference to the judge’s remarks, already<br /> quoted.<br /> <br /> These are the facts. What is your explana-<br /> tion? You say you authorised the Secretary of<br /> our Society to take part in this case because<br /> every novelist of distinction (in which IT assume<br /> you rightly include yourself) is from time to<br /> time accused of plagiarism. This is equivaient<br /> to saying that it is the duty of the Public<br /> Prosecutor to defend a receiver of stolen goods<br /> because unfounded charges of theft are occasion-<br /> ally made. I invite careful consideration of this<br /> argument. It at least proves that novelists of<br /> distinction may sometimes write amazing non-<br /> sense. Possibly your logic may be intended as a<br /> pleasantry. I cannot say. My sense of humour<br /> is, 1 fear, defective, since I failed to appreciate<br /> another comic utterance, contained in a letter<br /> you wrote to me, that “Thring’s own sym-<br /> pathies seem to have been with you, but as a<br /> lawyer he was against you.” From this I<br /> appear to have escaped two dangers, for Mr.<br /> Thring’s “sympathies”? seem to be as eccentric<br /> as his legal knowledge. But, as you add,<br /> “ Happily the judge ruled otherwise.” Happily<br /> indeed ; but is it not monstrous that the impar-<br /> tiality of a judge should be requisite to save<br /> me from the hostile vagaries of our paid Secre-<br /> tary ?<br /> <br /> Your main argument of justification I have<br /> already dealt with. Others you urge, but they<br /> are of so little weight that I will dispose of them<br /> ina group. You say that neither you nor Mr.<br /> Thring knew who were the parties to the action,<br /> that you did not know I was a member of the<br /> Society, and that Mr. Thring was compelled to<br /> give evidence on a subpena. To all of this I<br /> answer that before our Secretary mixed himself up<br /> in a literary action it was his duty to ascertain<br /> who were the parties to it, that a simple reference<br /> to the list of members would have given the other<br /> information, and that the omission of such pre-<br /> cautions was inexcusable. I will go further and<br /> <br /> VOL. III.<br /> <br /> AUTHOR.<br /> <br /> 199<br /> <br /> say that these points are of no importance, and<br /> that the Society exists to protect the literary pro-<br /> perty of authors under any and all circumstances<br /> where justice is on their side, whether they be<br /> living or dead, members or non-members, and<br /> that the action of the Society as represented by<br /> you and the Secretary in ranging itself on the side<br /> of a publisher in opposing such a claim was a<br /> serious mistake, calculated to lessen confidence in<br /> the administration ; for it is clear that members<br /> who imagine they are supporting an associa-<br /> tion for the defence of their literary rights may at<br /> any moment find they are maintaining an engine<br /> for their own destruction.<br /> <br /> Whether such a danger is or is not to continue<br /> is now the question. Had you frankly admitted<br /> that the action authorised by you was a regret-<br /> table mistake, and given me an assurance that<br /> care would be taken to prevent its repetition, di<br /> should have been satisfied ; but you add discour-<br /> tesy to injury in the tone of your comments, not<br /> the least offensive of which is the concluding one :<br /> “ Mr. Thring’s action was wholly prompted by a<br /> laudable desire to forward the interests of the<br /> Society and its members.” What does this mean ?<br /> How could it have been to the interests of the<br /> Society that its Secretary should oppose me unless<br /> mine was a dishonourable and improper action ?<br /> T ask you, if this action had been brought by you,<br /> against a publisher who was selling a piracy. of<br /> one of your novels, would you have authorised the<br /> Secretary to appear in his official capacity against<br /> you ‘in the interests of the Society?’ If not,<br /> in the name of reason, why not? IJ am as inca-<br /> pable of dishonest action in such a matter as you<br /> or any member of Society, and the discourtesy of<br /> your suggestion to the contrary (for your words<br /> bear no other meaning) compels me to persist in<br /> the course I have taken on the advice of several<br /> prominent members of the Council, to lay the<br /> whole matter before the members at the next<br /> general meeting, and leave them to express an<br /> opinion upon it.<br /> <br /> Grorare W. GODFREY.<br /> <br /> P.S.—One point I find I have overlooked. You<br /> say that the Secretary’s interference in this<br /> matter was authorised by you at the request of<br /> “4, well-known novelist, not concerned in the<br /> case.” Ihave already asked by letter to be fur-<br /> nished with the name of this gentleman, but with-<br /> out success. Tagain ask for this information,<br /> and invite the well-known novelist, who I believe<br /> to be a member of the Society, to explain his<br /> action in enlisting the services of a paid official<br /> of the Society against a brother member, and on<br /> behalf of a publisher (who is not amember), in an<br /> action “in which he was not concerned.”<br /> <br /> n 2<br /> <br /> <br />  <br /> <br /> i<br /> <br /> <br /> <br /> 160<br /> <br /> III,<br /> <br /> The following is an account of the part I took<br /> with regard to giving evidence in the case of<br /> Godfrey and Bradley.<br /> <br /> Mr. Bradley called here one afternoon with a<br /> letter of introduction from a well-known literary<br /> man to the chairman of the Society. In his<br /> absence I interviewed Mr. Bradley, and he stated<br /> that he wanted the chairman to read certain<br /> books involved in a case of infringement of<br /> copyright, and to give evidence as a technical<br /> witness. This, I said, I thought he would not do,<br /> and, after some further conversation, he asked<br /> me whether I would do so. To this I again<br /> demurred, but stated that, with the leave of the<br /> managing committee or of the chairman, I would<br /> ‘read the books and form the opinion. He there-<br /> upon told me the following story, so that I might<br /> put the facts before the managing committee or<br /> the chairman.<br /> <br /> In 1872 a novel was published; by Tinsley<br /> Brothers called “Loyal.” In 1874 a story was<br /> run through the London Journal entitled “A<br /> Mad Marriage,’ subsequently published by<br /> Tinsleys, which the then proprietor of the London<br /> Journal had bought from the authoress, an<br /> American. Since 1874 he had become proprietor<br /> vf the London Journal, and in 1889 ran “A<br /> Mad Marriage” again through his paper. He<br /> was now being sued by the executors of the<br /> authoress of ‘‘ Loyal” for infringement of copy-<br /> right.<br /> <br /> He then told me that the matter was of impor-<br /> tance as the case might come on any day, and he<br /> would be glad of my answer as soon as possibie.<br /> As it was impossible to call a committee meeting<br /> in the time, I put the facts as stated by Mr.<br /> Bradley before the chairman, and he told me that<br /> he thought it would be a fit and proper thing for<br /> me to accept the invitation to read the novels<br /> through, and if required give evidence on either<br /> side. Upon Mr. Bradley calling the next day<br /> I stated that it had been impossible to call a<br /> committee meeting, and that Mr. Besant had<br /> authorised me, in the absence of the com-<br /> mittee, to read the novels through and give<br /> evidence if necessary. Mr. Bradley thereupon<br /> brought me copies of the two books and I read<br /> them through carefully, and came to the con-<br /> clusion that “A Mad Marriage” was not such<br /> a substantial copy of ‘ Loyal” as to amount to an<br /> infringement of copyright, and that, although<br /> many of the scenes resembled each other, yet<br /> it was quite probable that they had been drawn<br /> from a common source. I have seen no reason<br /> since to alter that opinion. I was thereupon<br /> subpeenaed by Mr. Bradley as a witness in the<br /> <br /> THE AUTHOR.<br /> <br /> case. About a week later, on the morning of<br /> the day on which the case was heard, I received<br /> a letter from Mr. Godfrey, asking me whether I<br /> could not render his counsel some assistance with<br /> regard to the question of copyright in the action,<br /> as he was a member of the Society. This was<br /> the first notice I had received that the plaintiff<br /> was a member of the Suciety. I had only been<br /> told previously that the plaintiff was the exe-<br /> cutor of the deceased writer. It was impossible<br /> for me at this period not to attend as a witness,<br /> as that would have rendered me liable for con-<br /> tempt of court, a serious charge.<br /> <br /> I thereupon went down to the courts to try<br /> and see the plaintiff’s solicitor and counsel, to<br /> tell them what conclusion I had arrived at, and<br /> also to inform them of the fact that I had been<br /> subpeenaed as a witness for the other side. I<br /> was, however, unable to find them. Later on in the<br /> day I was called from my office to give evidence,<br /> which I accordingly did, stating my case as I<br /> have stated it above. I may further state that<br /> the question is not one of law, as Mr. Godfrey<br /> seems to think, but absolutely a question of<br /> fact, each case being decided on its own merits.<br /> I would add that had my opinion been on the<br /> side of the plaintiff I should have been equally<br /> willing to give evidence to that effect.<br /> <br /> Mr. Godfrey wrote to me subsequently very<br /> angrily on the matter, asking at the same time<br /> the name of the gentleman who had introduced<br /> Mr. Bradley to the office. To this request I did<br /> not accede, as it is impossible for me to give the<br /> names of any person corresponding with me,<br /> whether he is a member of the Society or other-<br /> wise. G. Herpert Turine.<br /> <br /> <br /> <br /> Bee.<br /> <br /> OUR CRITICS,<br /> <br /> <br /> <br /> GAIN the Society and its journal have<br /> received the wholesome administration<br /> of plain truth and candid criticism. This<br /> <br /> time from several quarters, of which the first is<br /> our friend the Bookseller: The -faithful critic<br /> has addressed himself to the “Notices’’ which<br /> are repeated every month. He is so determined<br /> to be faithful that he brings himself perilously<br /> near that Division of the High Court of Justice<br /> which takes the libel cases. For instance, if by<br /> calling the editor a “‘ very sharp man of business<br /> indeed,” he implies, as he seems to do, that the<br /> editor has any pecuniary interest in the success of<br /> the Society or its organ, he has only to repeat the<br /> suggestion in order to have an opportunity of<br /> proving his statement in that court.<br /> <br /> <br /> <br /> <br /> <br /> esi cee<br /> eee<br /> &gt; Fe ob<br /> <br /> <br /> <br /> ee eee<br /> <br /> Set<br /> ee oe ey<br /> <br /> =o<br /> ia<br /> <br /> Pe a gee<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “Tn paragraph II.” of the notices, says the<br /> writer in the Bookseller, “ authors are solicited to<br /> contribute gratuitously to the ‘organ.’ The<br /> following is paragraph IT.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write.<br /> <br /> Not a word about gratuitous contributions, you<br /> see, Whether the Author is written for nothing,<br /> and edited for nothing, by our own members, for<br /> ourselves, is a question that concerns ourselves<br /> alone.<br /> <br /> “Paragraph III,” says the writer in the<br /> Bookseller, “is a request for the sort of informa-<br /> tion which is sometimes called Literary Garbage.”<br /> Here is paragraph III. :<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of this Society or not, are invited to communicate<br /> to the Editor any points connected with their work<br /> which it would be advisable in the general interest to<br /> publish.<br /> <br /> If contributions by writers ov their own sub-<br /> jects are called “ Literary Garbage,” then the<br /> Bookseller regards literature from a new point of<br /> view. Perhaps the writer of the paper, by the<br /> word Garbage, means something not always<br /> saleable.<br /> <br /> However this may be, the tone of the communi-<br /> <br /> cation and the design of the writer are unqis-<br /> takeable. He means to misrepresent and to<br /> falsify the work of the society.<br /> . Bhe writer then copies out the advice given<br /> in our Notices to beginners, which he professes<br /> not to understand. It is, of course, perfectly<br /> simple and means exactly what it says. He then<br /> goes on to say that the members of the Council of<br /> the Society do not follow the advice of the Society.<br /> Quite so. The members of the Council are not<br /> beginners, and the advice is not given to them,<br /> but to beginners. Nor is the society a publishing<br /> firm.<br /> <br /> It is a melancholy thing to see such a paper as<br /> the Bookseller publishmg 80 spiteful and<br /> venomous a paper. The assumption, by the writer,<br /> is the stale device, renewed whenever the persons<br /> interested in misrepresenting the society can get<br /> the chance of implying or stating—either will do<br /> —that the society is conducted in hostility to<br /> publishers. Nothing, of course, can be farther<br /> from the truth. It is hostile, and will continue<br /> hostile, to those fraudulent persons who disgrace<br /> an honourable calling. ‘There is never a number<br /> of the Author in which it is not expressly stated<br /> that certain warnings are intended to guard<br /> authors—not against publishers— but against<br /> <br /> 161<br /> <br /> certain fraudulent publishers—those who cheat<br /> in one or other of the various ways we have<br /> detected and exposed.<br /> <br /> The position is as follows: The Society exists<br /> for the defence and maintenance of literary pro-<br /> erty. No one will probably object. to the aims<br /> of the Society. In the course of its work the<br /> Society has discovered the existence of certain<br /> frauds. The methods of these frauds it has<br /> proceeded, in the interests of those who hold or<br /> produce literary property, to expose. It exposes<br /> them regularly once a month in the pages of the<br /> Author. Can the Bookseller suggest any better<br /> way of exposing these frauds? For they must be<br /> exposed. And cannot the Bookseller understand<br /> that the best interests of those honourable men<br /> who follow the calling of which it is the organ<br /> are most truly served by making things uncom-<br /> fortable and difficult for the unworthy and the<br /> dishonest? As for the “ warnings,” there is not<br /> one which an honourable publisher can for a single<br /> moment consider as directed against himself. :<br /> <br /> The Globe, again, has a paragraph in which it<br /> enlarges and repeats the charges—if they can<br /> be called charges—of this indignant person.<br /> The writer of the paragraph, pretending to quote<br /> from the Bookseller, says: «Among his points,<br /> some of the most effective are that writers taught<br /> to fancy themselves sweated all round are never-<br /> theless invited to work for nothing in the Author ;<br /> that by asking for personalia about men of letters,<br /> and inserting leaderettes about fourth or fifth-rate<br /> authors, the journal encourages the collection of<br /> literary garbage; that there are men on the<br /> council of the Society who publish their own<br /> works in defiance of the very advice they are<br /> responsible for. Mr. Besant, therefore, will know<br /> that some of his blows have gone home to his foes,<br /> the publishers.”<br /> <br /> The words “ writers taught to fancy themselves<br /> sweated all round are nevertheless invited to<br /> work for nothing inthe 4 uthor,” refer to nothing<br /> at all in the Bookseller except the words “ authors<br /> are solicited to contribute gratuitously to the<br /> organ ”—already considered. The little enlarge-<br /> ment about the sweating is simply invented by the<br /> writer of the paragraph. The words “asking for<br /> personalia about men of letters and inserting<br /> leaderettes about fourth or fifth-rate authors”<br /> are also invented by the author of the paragraph.<br /> Nothing whatever 1s said in the Bookseller about<br /> “ Jeaderettes,’ and, im fact, there have been no<br /> “Jeaderettes” in the Author on fourth or fifth-<br /> rate authors. Nor, to repeat, has the Author<br /> ever asked for “ personalia ” about men of letters.<br /> What it asks for, month after month, may be<br /> seen by looking at the “Notices ’—i.e., it asks<br /> for “ communications on all subjects connected<br /> <br /> <br /> 162<br /> <br /> with literature,” and for “any points connected<br /> with their work which it would be advisable in<br /> the general interest to publish.” Lastly, the<br /> assertion about the Council has already been met.<br /> It is so stupid that one wonders how even the<br /> most hostile writer should repeat it. The last<br /> words about the “foes” show the spirit of the<br /> paragraph. It is, as has been stated above, the<br /> commonest way of attacking the Society to repre-<br /> sent it as hostile to all publishers. Everybody<br /> sees the stupid folly of such hostility, and declares<br /> against the stupid folly of the Society. That is<br /> to say, since the only foes of the Society are the<br /> dishonest persons spoken of above, the Globe<br /> charges the whole body of publishers with dis-<br /> honesty. It is the accusation of the Globe, not of<br /> the Society, or of the Author, or of the editor.<br /> Let it be remembered that whoever accuses the<br /> Society, or the editor of this paper, with hostility<br /> to publishers generally, charges the body of<br /> publishers generally with dishonesty. We do<br /> not quake, we never have made such a charge,<br /> and we never shall.<br /> <br /> —_— ree<br /> <br /> THE NEW BOOKS.<br /> <br /> HE Lists for the Publishing Season are not<br /> yet complete. Taking, however, the lists<br /> issued in the Atheneum of Sept. 17 and 24<br /> <br /> we find the following notes on the number of<br /> books announced as about to appear. The order<br /> is that in which the lists were published.<br /> <br /> The Clarendon Press _ ... will produce 51 works.<br /> <br /> Messrs. Macmillan and<br /> <br /> (Ol ee . 62. |.<br /> Mr. William Heinemann 3 300g<br /> Messrs. Hodder and<br /> <br /> Stoughton 1.0... =. 5 32<br /> Messrs. Williams and<br /> <br /> Norgate... . 6.)<br /> Messrs. Methuen = os 27<br /> Messrs. Warne and Co. ... 3 1S) 4s<br /> <br /> Messrs. Virtue and Co. ... 3<br /> <br /> Messrs. Skeffington and<br /> <br /> Son ne ‘5 1352;<br /> Messrs, James Clark and<br /> <br /> GOe. Ao = 145,<br /> Messrs. Sampson Low<br /> <br /> and Co.... eee Vado wee ” 52 »<br /> Mr. Fisher Unwin ... ... s 45<br /> The Cambridge University ‘<br /> <br /> PPORS i is 356s<br /> Mr. David Nutt 3 10,<br /> <br /> Messrs. Hutchinson and<br /> Co. ose oue aes wee oe) 25 ?<br /> <br /> THE AUTHOR.<br /> <br /> The 8.P.C.K. ... will produce 17 works,<br /> Messrs. Chambers ... 18<br /> <br /> Messrs. J. and T. Clark a 5a<br /> <br /> These lists do not contain the new books of<br /> Blackwood, Bentley, Black, Blackie, Chatto and<br /> Windus, Longman, Smithand Elder, Percival, the<br /> Religious Tract Society, and many others. But<br /> as eighteen publishers between them are going to<br /> produce next month 475 books of sufficient im-<br /> portance to be announced, and since there are at<br /> least five and twenty others not represented in<br /> the lists of these two weeks, it may be fairly<br /> estimated that the autumn output of fairly im-<br /> portant books amounts to more than a thousand.<br /> <br /> Next as to the authors of these books. Our<br /> President will produce a new volume of poems;<br /> George Meredith, another new volume of poems;<br /> J. Addington Symons, a Life of Michelangelo<br /> Buonarotti; Austin Dobson, a critical biography<br /> of Hogarth, illustrated; Mr. Charles Leland, a<br /> “ Book of the Hundred Riddles of the Fairy<br /> Bellavia;’’ Professor Seeley, the ‘ Growth of<br /> British Policy ;”” Mr. Lewis Morris, the “ Vision<br /> of Saints ;”’ Mr. George Saintsbury, a new edition<br /> of Florio’s Montaigne; Mrs. Thackeray Ritchie,<br /> “Records of Tennyson, Ruskin, and Browning ;””<br /> William Watson “The Dream of Man;” Stop-<br /> ford Brooke, a ‘‘ History of Early English Litera-<br /> ture;” Richard Garnett, a ‘“ Life of Heinrich<br /> Heine.” Among others novelists are represented<br /> by a smaller list than usual. Among them are<br /> Grant Allen, Mrs. Alexander, J. M. Barrie, Amelia<br /> Barr, William Black, Walter Besant, Frank<br /> Barrett, May Crommelin, Everett Hale, Sarah<br /> Doudney, Mrs. Clifford, H. C. Davidson, George<br /> Macdonald, Christie Murray, L. T. Meade,<br /> Mrs. Molesworth, Mrs. Oliphant, Mrs. Spender,<br /> and Frank Stockton.<br /> <br /> The list is not complete. We will return<br /> to the subject next month. We may note, how-<br /> ever, that the production of tooo books in a<br /> single month, though this is by far the most<br /> fruitful month in the year, proves what we are<br /> always proclaiming—the magnitude, the solidity,<br /> of literary property. Another point will not<br /> escape our readers: the rapid advance made by<br /> certain quite young firms. = ;<br /> <br /> <br /> <br /> <br /> <br /> as<br /> <br /> le<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NOTES FROM PARIS.<br /> <br /> Se<br /> <br /> Paris, Sept. 23, 1892.<br /> NEWSPAPER guerilla war, which, if<br /> limited as to the number of the combatants<br /> on either side, is bitter in the extreme, is<br /> <br /> A<br /> <br /> being waged at present in Paris apropos of the<br /> recent formation ofa committee for the erection of<br /> <br /> a memorial statue to Baudelaire. Rodin, one of<br /> ¢he most remarkable of contemporary sculptors has<br /> been commissioned to execute the statue, which is<br /> to be placed above the poet’s grave. Leconte de<br /> Lisle is president of the committee, which includes<br /> amongst its members most of the best known<br /> poets and littérateurs of France. Our poet Swin-<br /> burne, by the way, is also amember. Now, there<br /> are a certain number of people in the world of<br /> letters in Paris who abhor Baudelaire and all his<br /> works, and one of these, that distinguished critic<br /> Ferdinand Brunetitre, made the formation of the<br /> Baudelaire Committee the occasion for publishing<br /> a short but most bitter attack on the great poet<br /> inthe Revue des Deux Mondes. The article was<br /> remarkable for little but the venom of the attack,<br /> nothing fresh in the way of criticism was put for-<br /> ward, only the old cowplaints of Saint-Beuve,<br /> Scherer, and the rest. Baudelaire’s friends and<br /> admirers were not slow to reply to this attack on<br /> the dead master, and most of the literary papers<br /> contained replies to the Rerue des Deux Mondes<br /> article. The quarrel has now settled down into<br /> an exchange of personalities between M. Brune-<br /> tigre and Albert Delpit the novelist. Up to date<br /> of writing it is the latter who has the last word,<br /> and amongst other pleasant things that he<br /> has had to say about Brunetiére is that he is<br /> made up of equal proportions of spite and envy,<br /> that his lips curl up showing his canines, which<br /> is the true sign of the envious man, that Delpit<br /> was his friend for ten years, but can be so no<br /> longer at any price, that Brunetitre never took a<br /> degree at the University, and that he, Delpit,<br /> hopes that he may forget the friend as readily<br /> as he has already forgotten the man.<br /> <br /> I really consider that Brunetiére’s attack was<br /> uncalled for. If those of us who admire<br /> Baudelaire like to subscribe moneys to place a<br /> statue of him on his tomb, which is entirely a<br /> private affair, I do not see why this should be<br /> made the subject of unfavourable comment in the<br /> press. It is not as if the statue was to be put in<br /> a public place, which might be interpreted to<br /> mean that we wished to force the public to<br /> recognise as we recognise it the genius of the<br /> dead poet. And in any case it is always regret-<br /> <br /> 16<br /> <br /> able when the life and the work of a man who is<br /> dead are bitterly attacked. Baudelaire has, and<br /> always will have, a large number of admirers, just<br /> as he has, and will always have a number<br /> of readers who will turn with disgust from his<br /> pages. It is a mere question of what the reader<br /> understands by the word “ art.” Nobody denies<br /> his perfect mastery of the technique of his art<br /> nor his power of music. What Baudelaire’s<br /> detractors attack in his work is the unhealthy<br /> tone of his thoughts. In contradistinction to that<br /> coster with whom the great Chevalier has made<br /> us familiar, it’s “the things. he says’ and not<br /> “the nasty way he says it” that Baudelaire’s<br /> critics object to,<br /> <br /> ——— +&gt;<br /> <br /> <br /> <br /> Baudelaire’s private life has also been dragged<br /> into the discussion as if that had anything to do<br /> with his merits or demerits as a poet. We have<br /> been told for the thousandth time that Baudelaire<br /> was an immoral man. This may possibly be the<br /> case, although I have always heard from those<br /> who had the privilege of his acquaintance that he<br /> lived most soberly in his modest furnished<br /> lodgings in the Rue d’Amsterdam, and that the<br /> only thing that he indulged himself in was<br /> charcuterie in various forms. There was doubt-<br /> less much more talk than action in Baudelaire’s<br /> immorality. He may have wanted to horrify<br /> people, much like Byron, about himself, for his<br /> great joy, as he once told the Prefet de Police,<br /> was to ‘ ¢tonner les sots.”<br /> <br /> <br /> <br /> Amongst the many excellent things to be found<br /> in “ The Wrecker” the description of Bohemian<br /> life in the Latin Quarter in Paris is particularly<br /> well done. The days of “ La Vie de Bohéme ” are,<br /> by no means, as has been said over and over<br /> again, past, and Doppelgangers of every one of<br /> famous character in Murger’s book, not excepting<br /> Mimi Pinson, could be found to-day over and<br /> over again in the hotels meublés of that quarter.<br /> They dress a little less raggedly perhaps, and on<br /> the whole have more luxurious tastes, for Bohemia<br /> has marched with the times also, but there they<br /> are just the same. Here, for instance, 1s a scene<br /> which I witnessed a few days ago, and which<br /> might have come st raight out of the pages of<br /> “Vie de Bohéme.”’ I was walking down the<br /> Boulevard St. Michel with a young Breton<br /> gentleman, who has recently given up the study<br /> of medicine for the practice of literature. It was<br /> not to be wondered at that his clothes should not<br /> be of the best. At the corner of the Rue de<br /> Cluny we came upon another man of letters, who<br /> though rather shabby as to his hat and boots,<br /> <br /> <br /> 164.<br /> <br /> wore a magnificent cloth overcoat. I recognised<br /> the man as a very well-known poet and writer,<br /> who contributes occasionally some most brilliant<br /> essays to the press, and who at one time was<br /> considered to be the coming man of Paris. As<br /> soon as my friend saw him he left my side and<br /> crossed over to him and an animated dialogue<br /> ensued between the two. I did not hear what<br /> they said, but they seemed to be both much<br /> excited. In the end, in answer to a particularly<br /> vehement speech on the part of the young Breton,<br /> the other was seen to unbutton his overcoat, dis-<br /> closing therewith that he had nothing on between<br /> it and his shirt. My Breton friend presently<br /> joined me, and I asked him what the trouble was.<br /> “Oh! ce cochon,’’ he said, “he’s got my overcoat<br /> on. We lived together a few weeks ago, for we<br /> were collaborating. Just before we separated<br /> menage X. told me that as he had some business<br /> visits to pay, and, as his clothes were too shabby,<br /> he would be much obliged to me if I would lend<br /> him my overcoat to put on over them so as to<br /> hide their tattered condition. I did so, and<br /> haven’t seen him since until to-day. I wanted<br /> my coat back first, because I, too, am getting<br /> very rusty; and, secondly, because here’s the<br /> winter coming when it will be needed. Well,<br /> he opens it and shows me that he’s telling the<br /> truth when he says that he has nothing else to<br /> wear. He has sold his coat and waistcoat and<br /> couldn’t go out in his shirt-sleeves.”’<br /> <br /> <br /> <br /> I do not know how Bohemians of this class<br /> would ever be able to live at all were it not for<br /> the large amount of credit which is given by the<br /> hotel-keepers. and restaurateurs in the Latin<br /> Quarter. The credit system was created for the<br /> benefit of the students, but is useful to a<br /> number of men of letters, artists, and so forth.<br /> Many of these have little else to live upon than<br /> the credulity, or rather the faith, of the gargotte-<br /> keepers in themselves. They mean to pay as soon<br /> as the great picture or the great book, which is<br /> to make them famous and rich, shall have been<br /> painted or written. Sometimes the book is never<br /> written nor the picture painted, and then the<br /> creditors get left. I could mention several well-<br /> known names of writers here who have about as<br /> much order in their affairs as had Dick Swiveller.<br /> One very well-known man, whose entire belong-<br /> ings consist in his bed and its furniture—which<br /> are unseizable under distress warrant in France—<br /> got a sound thrashing the other day from a<br /> marchand de vins, who met him in Montmartre,<br /> and to whom he owed many weeks of board and<br /> lodging. If all his creditors were to go for him<br /> similarly, I am afraid France would lose a’ poet<br /> <br /> THE AUTHOR.<br /> <br /> whom many thousands of admirers consider to<br /> be the first poet in France, ;<br /> <br /> <br /> <br /> A certain journal has been pitching into me<br /> for defending Oscar Wilde against certain<br /> abominable attacks which were recently made<br /> against him, remarking that Oscar Wilde,<br /> least of all men, needs a sandwich man to<br /> puff him. If the many writers who cannot<br /> stomach the success which this remarkable<br /> poet has achieved would leave him alone, his<br /> friends and admirers would have no occasion<br /> to take up the cudgels on his behalf. “Que<br /> Messieurs les—what shall we say ?—commen-<br /> cent.”<br /> <br /> <br /> <br /> The vegetarians ought to get an interview with<br /> Mr. Xavier Marmier, who is the doyen d’age of<br /> the French Academy, and who believes and hopes<br /> to prolong his life—he is already eighty-eight<br /> years old—by a strict course of vegetarianism.<br /> For many months past he has not touched meat,<br /> and describes himself as having benefited wonder-<br /> fully by this régime. He suffers a good deal<br /> from rheumatism, but expects to be rid of this<br /> also by continuing to avoid meat, and says that<br /> his sufferings have notably diminished cf late.<br /> Marmier is a splendid old fellow, one of the most<br /> sympathetic of the Academicians. He is, how-<br /> ever, a decided literary antagonist of Emile Zola,<br /> whom he told never to hope for his vote for the<br /> Academy. “Zola tried to convince me,” he said,<br /> “that it is the novelist’s duty to describe life as<br /> he finds it, whether beautiful or ugly, but for all<br /> that there are passages in‘ Germinal,’ ‘]’Assom-<br /> moir’ and ‘ La Terre,’ which I shall never be able<br /> to admit. Altogether, I am afraid that Zola will<br /> have to wait for the disappearance of quite a<br /> number of the ‘old gang” amongst the<br /> Academicians, before the coveted laurel-leaf<br /> embroidery shall deck his coat.<br /> <br /> <br /> <br /> Iam very sorry to see, from a Scotch paper,<br /> that my poor friend, John E. Barlas, the poet,<br /> has at last been and gone and done it for himself,<br /> and having been “ remitted ”’ by the Crieff autho-<br /> rities, consequent on an insane assault he com-<br /> mitted in that town, to the sheriff of Perth, has<br /> now been remitted to a lunatic asylum. Poor<br /> Barlas was a most brilliant scholar, and in the<br /> thirteen volumes of poetry which he published,<br /> under the pseudonym of Evelyn Douglas, there<br /> was much work of really the highest order. He<br /> created several new metres, many of most musical<br /> effect. I never met an English poet yet who took<br /> his vocation so entirely au sérieuw. The late<br /> <br /> <br /> <br /> <br /> <br /> ors<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 165<br /> <br /> Doctor Hueffer, who read some articles of his<br /> about the Paris Salon, sad that they were the<br /> best pieces of art criticism which he had read for<br /> many years, but Barlas would stick to poetry in<br /> spite of my advice. Recently, however, he had<br /> taken to prose-writing for the reason that drives<br /> most of us unpractical poets to that, and was<br /> also trying his hand at fiction. I consider his<br /> unhappy end a decided loss to English letters.<br /> There was plenty of good stuff in John Evelyn<br /> Barlas.<br /> <br /> <br /> <br /> Se<br /> <br /> _ I met Dr. Blanche on the boulevards the other<br /> day, and asked him how De Maupassant went.<br /> The doctor threw his hands into the air in an un-<br /> equivocal gesture of despair. IT would have tried<br /> for more detail, only quailed under the eye of that<br /> mental juge d’instruction, the greatest mad<br /> doctor in Europe. I felt quite relieved when I<br /> had got round the corner of the Rue Scribe, and<br /> had not been asked by Blanche “to come along<br /> o’ me.” Itis pretty well known that De Maupas-<br /> sant is totally lost, and that the setting im of<br /> paralysis in its worst form is only a question of<br /> time.<br /> <br /> <br /> <br /> De Maupassant was the most truthful writer of<br /> the age. He was a thorough pessimist, and,<br /> come frankly, can one study human nature and.<br /> be otherwise ? It was grand training to read him,<br /> because the moral inoculation of pessimism is as<br /> necessary to a man as it is for him to be vacci-<br /> nated. If were a despot I should insist on<br /> having Schopenhauer, Hartmann, Leopardi, and<br /> De Maupassant included in the curriculum of<br /> my youthful studies. The man who has been so<br /> inoculated is prepared for all the filthy sorrows of<br /> life. Now JI, for instance, have, during the<br /> last months, been the victim of such treachery,<br /> cowardice, and vileness, that, but for my schooling,<br /> T should certainly have gone under, heart-broken.<br /> Well, nothing of the sort ; I was prepared for all<br /> these abominations, and to-day can enjoy my<br /> cigarette and my pernod aw sucre just as much as<br /> before. Your practical pessimist, taught to<br /> expect nothing but vileness from human nature,<br /> has more joy at one little act of kindness or of<br /> loyalty than a hundred optimists.<br /> <br /> <br /> <br /> I should like to commend to the notice of my<br /> readers a newspaper index which Mr. Edward<br /> Curtice, of Romeike and Curtice, proposes to<br /> publish daily, commencing on the new year. It is<br /> to be a large sheet, published at one penny, and<br /> will give the contents of all the publications of the<br /> day. This index will be invaluable to those who<br /> are interested in questions, and who want to know<br /> <br /> VOL. III.<br /> <br /> where to look in the periodical press for the<br /> latest utterances on the same.<br /> Rosert H. SHERARD.<br /> <br /> aes<br /> <br /> NOTES AND NEWS.<br /> <br /> Ss<br /> <br /> N looking at the September number of the<br /> Idler, I came across a paper by Grant Allen,<br /> to which I naturally turned. Presently, to<br /> <br /> my amazement, T found my own name mentioned<br /> in connection with one or two statements, which<br /> made me “‘sit-up.” In the first he speaks of the<br /> cost of production “so obnoxious to Mr. Walter<br /> Besant.” Why is the “cost of production ”<br /> obnoxious tome? The Society, through its officers,<br /> has, it is true, by dint of great trouble ascertained<br /> something like the real cost of producing the ordi-<br /> nary book. It has also published the results of<br /> this investigation ; and a very valuable work it is<br /> for the information and the protection of the<br /> author. Further, the Society has discovered that<br /> in many cases the author has been grossly over-<br /> charged as to the “cost of production.” But<br /> why is the cost of production obnoxious to me?<br /> <br /> The writer says, further, that he once paid a sum<br /> of money to get a book produced, and does not<br /> grumble—well! but how does that affect me—or<br /> anybody? Why, I ask again, is the cost of pro-<br /> duction obnoxious to me?<br /> <br /> —————<br /> <br /> Next, Grant Allen says, “Mr. W. B. will have<br /> it that there is no such thing as generosity in<br /> publishers.” Where have I said anything so<br /> silly? Next, I suppose, one will be accused of<br /> saying that publishers have no natural affections,<br /> no pity, no fear, no anything. He then goes on<br /> to say that he has been treated with great<br /> generosity by Messrs. Chatto and Windus, who<br /> brought out his first book. What I have said<br /> over and over again, and probably shall repeat it<br /> over and over again, is that it is just as degrading<br /> for a man of letters to ask—or to accept—“ geue-<br /> rosity,” from a publisher, as it would be for a<br /> barrister to ask “ generosity ” of a solicitor. It is<br /> not generosity that we want, but justice. The<br /> administration, and the acquisition, and the sale<br /> of literary property may be governed, and must<br /> be governed, as soon as people understand the<br /> subject, by the same principles as govern other<br /> forms of property. Those who desire the indepen-<br /> dence of literature will jom the men and women<br /> who are working their hardest to place literary<br /> property on a footing equitable both to the<br /> author and the publisher. But to stand, hat in<br /> hand, blessing the generosity of the man with<br /> <br /> oO<br /> <br /> <br /> 166<br /> <br /> the bag—when shall we agree that the spectacle<br /> is humiliating, and the attitude degrading ¥<br /> What, again, is generosity? A publisher knows<br /> certainly, that a minimum of so much will be<br /> realized by any book that he undertakes. In<br /> the case of a new author even, he can, in the<br /> case of a novel, pretty certainly arrive at such<br /> a minimum. If he is a just and an honour-<br /> able man, he will, if he buys the book, give<br /> for it a sum calculated, as he considers, justly.<br /> The book is then his own. If he afterwards<br /> chooses to give the author more in the case of<br /> a success, that is due to his sense of justice<br /> over and above the letter of the law. But<br /> the author has no ground of complaint in any ease.<br /> But what of generosity? Where is that? It<br /> will be agreed that there is such a thing as a fair<br /> division of profits, I suppose. If he gives the<br /> author more, he robs himself and degrades the<br /> author ; if less, he robs the author and degrades<br /> himself.<br /> <br /> <br /> <br /> Now, let us look at the case quoted by Grant<br /> Allen. Ido not read it a case of “ generosity”<br /> at all, but as a case of great clearness of judgment.<br /> I can speak of this firm with greater freedom,<br /> because no one has as yet ventured to charge me<br /> with hostility to Chatto and Windus, who have<br /> published books by me for fifteen years, and I<br /> hope will continue to do so to the end of the<br /> chapter. My reading of the case is this: Mr.<br /> Chatto, discovering in Grant Allen a highly<br /> promising writer, encouraged him to write a<br /> novel; he then read the novel, and saw that<br /> it would go; he then bought the novel at what<br /> he considered a just price. By so doig he<br /> rendered the author the greatest possible ser-<br /> vice, a service of which Grant Allen shows<br /> himself honourably sensible. -But that a pub-<br /> lisher should have the literary acumen to find<br /> out a good man and to launch him; and that he<br /> should in his business arrangements display a<br /> spirit of equity—this reading seems to me far<br /> more creditable, as well as the more likely to be<br /> true, than the old dream of “ generosity,” which<br /> can only mean giving the author more than is his<br /> just and rightful due. Not “ generosity,’ my<br /> friend Grant Allen. Let us ask for anything but<br /> that. Not generosity. The man with the bag<br /> loves the word; he loves to be thought the<br /> Patron of Literature; he calls himself, whenever<br /> he can, the Patron of Literature; well, let him<br /> be “generous” to those who love the bended<br /> knee and the arching back. We will go rather<br /> to the man who stands upright and face to face<br /> with us; before whom we stand upright; who<br /> agrees with us according to the right and the<br /> Justice of the case.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Two great Americans have passed away, George<br /> William Curtis and the poet Whittier. Of the<br /> former, there has appeared in the New York<br /> Nation, a biographical paper which makes the<br /> English readers of that paper understand for the<br /> first time how great was the position occupied by<br /> this writer, and how extended was his influence. In<br /> this country, no man of letters would be allowed<br /> to occupy such a position, nor, I think, does any<br /> living man of letters aspire to such a position,<br /> That is to say, more than one leader in British<br /> politics is a man of letters; but he is a states-<br /> man first and a man of letters next. Mr. Glad-<br /> stone and Mr. Arthur Balfour are men of letters,<br /> but they are statesmen first. George William<br /> Curtis, like Lowell, was a man of letters first,<br /> and always, a man of letters before everything<br /> else. He lived by literature: at first he lectured<br /> until he was able to live by writing. He was<br /> also an orator: a finished and powerful speaker.<br /> He spoke on the anti-slavery side; he delivered<br /> eulogies upon Lowell and Bryant. He held<br /> numerous public offices. He was chairman in<br /> 1871 of the first Civil Service Commission ; he<br /> founded the Civil Service Reform Association—<br /> which has rescued 36,000 national offices from<br /> the old “spoil”? system ; he headed the Indepen-<br /> dent party, which refused to have Blaine for<br /> President; he was chairman of the Committee on<br /> Education—in this capacity he advocated the<br /> enlargement of women’s educational advantages ;<br /> he was Chancellor of the University of New<br /> York; he was President of the Metropolitan<br /> Museum; he was President of the National<br /> Conference of Unitarian Churches. The follow-<br /> ing is the conclusion of the Nation’s paper :<br /> <br /> In every personal relation he was a good man to know,<br /> a better man to love, as relative or friend. He was full of<br /> pleasant talk and golden memories of persons and events,<br /> nowhere more interesting and engaging than in some<br /> friendly circle ; everywhere, and especially in his own home,<br /> the least formidable of men, putting the most awkward at<br /> their ease. His most remarkable endowment was not any<br /> intellectual distinction, any imaginative force or originality<br /> of mind, but a character which united in itself the rarest<br /> gentleness and the sternest sense of duty and resolve to<br /> have it done. He was our Puritan cavalier. His gracious<br /> manners masked an iron will. He added nothing to our<br /> literature which did not make for kindness, charity, and<br /> peace; nothing to our politics which does not shame its<br /> ordinary levels and beckon it to higher things.<br /> <br /> These are very noble words. We who did not<br /> know Curtis personally may assume that they are<br /> well deserved. Are there many other American<br /> men of letters of whom such things could be<br /> written ? If so, then, indeed, that country should<br /> be proud of its authors. Let us ask, however,<br /> what such a man would be in our own country.<br /> Probably he would become an anonymous writer<br /> of leading articles. In his own circle of intimate<br /> <br /> <br /> <br /> E<br /> E<br /> f<br /> 5<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> friends he would be known as a man of singular<br /> gifts, exercising a great and unknown amount of<br /> influence; outside his own circle he would be<br /> utterly unknown. And our own countryman<br /> would voluntarily live in the shade. He would<br /> not be able to speak ; he would be a shy man; he<br /> would avoid an active part in the work of the<br /> day. It is not well done of the modern English<br /> littérateur. He should come out of his retreat<br /> and take his share in the speaking and the<br /> fighting.<br /> <br /> SS<br /> <br /> The following lines are quoted by the New<br /> York Critic. They are from Lowell’s £ ‘pistle to<br /> George Curtis:<br /> <br /> 1874.<br /> Curtis, whose Wit, with Fancy arm in arm,<br /> Masks half its muscle in its skill to charm,<br /> And who so gently can the Wrong expose<br /> As sometimes to make converts, never foes,<br /> Or only such as good men must expect,<br /> Knaves sore with conscience of their own defect,<br /> I come with mild remonstrance. Ere I start,<br /> A kindlier errand interrupts my heart,<br /> And‘ must utter, though it vex your ears,<br /> The love, the honour felt so many years.<br /> <br /> Curtis, skilled equally with voice and pen<br /> <br /> To stir the hearts or mould the minds of men,—<br /> That voice whose music, for I’ve heard you sing<br /> Sweet as Casella, can with passion ring,<br /> <br /> That pen whose rapid ease ne’er trips with haste,<br /> Nor scrapes nor sputters, pointed with good taste,<br /> First Steele’s, then Goldsmith’s, next it came to you,<br /> Whom Thackeray rated best of all our crew,—<br /> Had letters kept you, every wreath were yours ;<br /> Had the World tempted, all its chariest doors<br /> Had swung on flattened hinges to admit<br /> <br /> Such high-bred manners, such good-natured wit ;<br /> At courts, in senates, who so fit to serve ?<br /> <br /> And both invited, but you would not swerve,<br /> <br /> All meaner prizes waiving, that you might<br /> <br /> In civic duty spend your heat and light,<br /> <br /> Unpaid, untrammelled, with a sweet disdain<br /> Refusing posts men grovel to attain.<br /> <br /> Good Man all own you; what is left me, then,<br /> <br /> To heighten praise with but Good Citizen ?<br /> <br /> But why this praise to make you blush and stare,<br /> And give a backache to your Easy-Chair ?<br /> * * * * *<br /> PostTscRIPT, 1887.<br /> Curtis, so wrote I thirteen years ago,<br /> Tost it unfinished by, and left it so ;<br /> Found lately, I have pieced it out, or tried,<br /> Since time for callid juncture was denied.<br /> Some of the verses pleased me, it is true,<br /> And still were pertinent,—those honouring you.<br /> These now I offer: take them if you will,<br /> Like the old hand-grasp, when at Shady Hill<br /> We met, or Staten Island, in the days<br /> When life was its own spur, nor needed praise.<br /> x % * * *<br /> <br /> 167<br /> <br /> The death of Whittier removes one of the last<br /> surviving American writers of the old school.<br /> He, like Longfellow, Bryant, Lowell, Holmes,<br /> and a few others, was lmneally descended from<br /> Dryden, Pope, and Gold-mith. We must defer<br /> certain remarks on this poet for a month.<br /> <br /> <br /> <br /> The following is a list of “ favourite’ books<br /> drawn up by Benjamin Franklin in the year<br /> 1722, published in the New York Courant. It is<br /> reprinted in the New York Critic of August 20.<br /> “How many private libraries of the present<br /> day,” asks the Critic, “ have these books?” = =<br /> have, or have had, myself those marked with a<br /> star — rather more than half — and imine is a<br /> “ragged” library indeed.<br /> <br /> History of the Affairs of<br /> <br /> Europe,<br /> * The Tale of a Tub,<br /> Josephus Ant,<br /> History of France,<br /> Her. Moll’s Geography,<br /> British Apollo,<br /> Heylin’s Cosmography,<br /> Sandy’s Travels,<br /> * Du Bartas,<br /> <br /> Theory of the Earth,<br /> <br /> * Pliny’s Natural History,<br /> * Aristotle’s Politicks,<br /> * Roman History,<br /> * Athenian Oracle,<br /> Sum of Christian Theo-<br /> logy,<br /> Cotton Mather’s History of<br /> New England,<br /> Oldmixon’s History of<br /> American Colonies,<br /> Burnet’s History of the<br /> <br /> Reformation, * Hudibras,<br /> * Virgil, * The Spectator,<br /> * Milton, * The Turkish Spy,<br /> * The Guardian, Art of Speaking,<br /> Art of Thinking, The Lover,<br /> <br /> Bs<br /> <br /> Oldham’s Works,<br /> <br /> The Ladies’ Calling,<br /> <br /> Pacquett * Shakespeare’s Works,<br /> * St. Augustine’s Works.<br /> <br /> The Reader,<br /> <br /> Cowley’s Works,<br /> <br /> The Ladies’<br /> Broken Open,<br /> <br /> *<br /> <br /> ae<br /> <br /> <br /> <br /> Those who love their Rabelais must make a<br /> note that the new translation by Mr. WF.<br /> Smith, one of the Lecturers and Fellows of St.<br /> John’s College, Cambridge, is on the point of<br /> appearing. It will be in two volumes royal 8vo.,<br /> and will contain, as well as the Gargantua and<br /> Pantagruel, the minor writings, letters, &amp;e.<br /> There are also notes, appendices, &amp;c. Mr. W. F.<br /> Smith has long been known as a student of<br /> Rabelais. The edition is limited to 750, and is<br /> subscribed by Mr. A. P. Watt, 2, Paternoster-<br /> square, at 258. a Copy ; put, after a certain number<br /> are subscribed the price will be raised, so that<br /> those who wish to secure the work should make<br /> haste.<br /> <br /> <br /> <br /> Ladies of literary pursuits may like to know<br /> that the report of the Society for the Em-<br /> ployment of Women announces a new—and<br /> at present—remunerative field of industry for<br /> educated women. It is that of lecturing on<br /> domestic science. In many parts of the country<br /> <br /> <br /> 168 THE<br /> <br /> these lectures have been started, and at the<br /> present moment the demand is greater than the<br /> supply. The subjects of the lectures are samita-<br /> tion, personal and domestic hygiene, nursing,<br /> first aid to the injured, and artisan cookery with<br /> demonstrations. Instructions in these subjects<br /> can be obtained in London and other large centres.<br /> The qualities wanted, next to a knowledge of the<br /> subject, are especially the power of interesting an<br /> audience and of speaking. Perhaps it might<br /> prove more satisfa: tory in the long run to take up<br /> with lecturing than to crowd the ranks of candi-<br /> dates for the post of successful novelist.<br /> <br /> <br /> <br /> What has become of the guides to London?<br /> Has the scheme collapsed? We were to have<br /> had a service of lady guides, with a central<br /> office in communication with the great hotels, so<br /> that a guide could be obtained and one sent off at<br /> short notice. I fear the preliminary studies,<br /> without which it is impossible to become a trust-<br /> worthy guide, have proved tcoo much It seemed<br /> at one time a promising opening. Certainly,<br /> speaking as an amateur and occasional guide to<br /> London, it is very easy to interest a party. If<br /> this note should meet the eye of anyone who<br /> helped to start the Lady Guides Association, it<br /> would be taken as a kindness if he would send<br /> some particulars of the society and its history to<br /> the writer.<br /> <br /> Water Bzsanvt.<br /> <br /> ec<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> i,<br /> My First Love.<br /> <br /> PYNHE children slept. A solitary evening loomed<br /> before me. Not the first by many a score<br /> and hundred. They had been laboriously<br /> <br /> filled in. Alisonand Macaulay aided and abetted<br /> <br /> me. Scott, Bulwer-Lytton, Charlotte Bronté<br /> helped ne with all their might. But to night<br /> reading palled. I looked around me wondering<br /> how I should get through the evening. Thus,<br /> with a sudden inspiration, I seized a pen, dashed<br /> into a story, and the world was transformed.<br /> <br /> The bursting of day in the tropics is not more<br /> <br /> gloom-dispelling. No longer were lonely even-<br /> <br /> ee a period of dread ; they were ardently longed<br /> or.<br /> Like secret conspirators my faithful quill and<br /> <br /> I plotted and wrote till midnight. Time dragged<br /> <br /> no longer. It flew. A year passed.<br /> <br /> oe is coming to-night to play chess,”<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> remarked a pleasant, clear-toned, voice at break.<br /> fast time. Its owner claims proprietorship over<br /> the house, goods and chattels, including myself.<br /> That cabalistic ceremony at St. George&#039;s,<br /> Hanover-square, has much to answer for. “ He<br /> has developed into a full-blown editor.”<br /> <br /> “B editor! Of what, the Meld or Sport-<br /> ing Chronicle?”<br /> <br /> “ Oh, no,” laughed the voice, muffled in toast.<br /> « A new weekly that H is starting, It is to<br /> outshine everything, and sell at sixpence.”’<br /> <br /> He came, elated to the skies and brimming<br /> over with talk of the new project. His beloved<br /> chess failed to quash it. Even current rumour<br /> on the subject of the famous tournament fell<br /> flat.<br /> <br /> “We have one story by ———”’ (he named a<br /> leading author of the day, on the council of the<br /> society). ‘‘ But we are at our wits end where to<br /> find another. H talks of advertising.”’<br /> <br /> My silly little heart gave a bound. In the<br /> supremest matter-of-fact tone I said ‘“‘I have one<br /> I could finish in a week or two, if you thought it<br /> would do.”<br /> <br /> “You! &lt;A story, a novel!” I don’t know<br /> which was the more astonished, B or my<br /> husband. Five-and-twenty years ago, the crowd<br /> of women writers was infinitely less dense than<br /> now.<br /> <br /> Half exultant, half reluctant, I drew the MS.<br /> from its hiding-place. After turning a few<br /> pages, ‘ By Jove, it will do,’ exclaimed B :<br /> clapping his hands gleefully. ‘I must show it<br /> H ; but Iam confident he will have it.” I<br /> don’t think terms were ever mentioned or thought<br /> of.<br /> <br /> It was a significant coincidence that on the<br /> day of publication I happened to be in the<br /> Strand. I looked in at the office, and purchased<br /> a couple of numbers. Next day B arrived,<br /> to bring me a copy and report progress.<br /> <br /> Progress! it was stagnation: failure the most<br /> pronounced.<br /> <br /> “Up to five o’clock we had only sold four<br /> copies. Then a lady came and bought two.<br /> That is the sum total so far.’ But H .<br /> persists in being hopeful. ‘These things take<br /> time,” he says, ‘“‘and that lady ——”<br /> <br /> What could my eyes have said? J spoke never<br /> a word.<br /> <br /> “Oh, don’t, don’t,” he broke out in a voice of<br /> absolute anguish. ‘‘ Don’t say you were the lady.<br /> ‘A lady with a white veil,’ the boy said. You<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> never wear a white veil, now, do you? Oh! it<br /> was balm of Gilead, her coming. H. sent<br /> for a bottle of fizz to drink it to her. ‘The lady<br /> <br /> in the white veil!’ Ah, don’t be so cruel as to<br /> say it was you. I daren’t tell H——,” followed<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> by a long-drawn sigh ; mournful as midnight<br /> breeze on dark Helvellyn.<br /> <br /> It had been arranged, after H saw it,<br /> that I should retain the MS. in my possession.<br /> I was anxious to revise it, and they would send<br /> for the instalments week by week. Each number<br /> was to have one full-page coloured illustration.<br /> I was honoured with it, the first number.<br /> wretched thing! The third week arrived, but lo<br /> and behold! no messenger from the office. Natu-<br /> rally I concluded the whole thing had collapsed.<br /> But no! In course of time the number appeared,<br /> and, located at its usual post, my story ! Had the<br /> MS., in desperation, sprouted wings and flown to<br /> the office? If so, like a homing pigeon it had<br /> returned, for there it lay, still in its brown paper<br /> wrapper.<br /> <br /> In horror I gazed at the heading of the<br /> chapter: ‘ My hounds are of the true Spartan<br /> breed.” And a lurid light burst upon my<br /> bewildered faculties. Dominated by his strong<br /> sporting proclivities, B had interpolated a<br /> chapter after his own fancy. Greyhounds and<br /> “saplings’”’—whatever that may be? I thought<br /> they were young trees—the Ridgway Club;<br /> Waterloo Cup; Ashdown Park coursing meeting ;<br /> poachers and an ancestral ghost swarmed in the<br /> foreground of my quiet Warwickshire scene.<br /> <br /> Explanation and apology followed in due<br /> course. Irregularities in the office. “ No one to<br /> <br /> <br /> <br /> <br /> <br /> send.’ “Knew I shouldn&#039;t mind;”? and so<br /> forth.”<br /> Not mind! How to scatter sharp to the four<br /> <br /> winds of heaven all this wretched rabble of<br /> hounds, ghosts, pups, and poachers, I don’t<br /> see. But it must be done. It will utterly ruin<br /> the next chapter, beside giving me an infinity of<br /> trouble.<br /> <br /> A popular writer—Mr. Percy B. St. John—<br /> on an urgent occasion, summoned his victims to<br /> the river side, enticed them into a boat, and<br /> immediately swamped it. I could not do that,<br /> although I had a river handy. Mine would not<br /> in “the loomp,’ I imagine, be amenable to<br /> reason.<br /> <br /> Well: H showed considerable mettle, and<br /> dropped it. He ran the magazine to some-<br /> thing like a dozen numbers before he Jost heart,<br /> and succumbed to circumstances. Both tales, as<br /> far as I remember, were, by editorial request,<br /> expeditiously wound-up. I was paid so much per<br /> column. The cheque for the whole was for £15.<br /> <br /> Many a story, both long and short, has been<br /> published since then. But my first love, wooed in<br /> secret, while the children were asleep, remains<br /> in statu quo to this day; a ghastly memory—<br /> dog-encumbered.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 169<br /> <br /> 1,<br /> «* What&#039;s the use ?’<br /> Said the goose.”<br /> <br /> The Goose was old, and grey, and tough,<br /> when, by repeated disappointments, she was<br /> driven to make the above remark.<br /> <br /> Michaelmas after Michaelmas had passed over<br /> her head, and she ought to have been very<br /> thankful that she still possessed a head for<br /> another Michaelmas to pass over. It was more<br /> than many of her contemporaries could boast.<br /> <br /> She was a literary goose, be it known ; which,<br /> as everybody will admit, is the worst kind of<br /> goose possible. The most indigestible and giddy,<br /> if not dry and tough. She was born that way,<br /> poor thing, so let us not judge her too harshly.<br /> <br /> The great mistake of her life was, that she would<br /> lay nothing but literary eggs. It was foolish<br /> and obstinate of her to do. so; for all her best<br /> friends had told her, at least once a week, that the<br /> market was overstocked already, and the sooner<br /> she left off the better. Only a few, dear, foolish<br /> Ducks and Goslings of her acquaintance loved<br /> and admired them. This encouraged the old goose<br /> in her absurd practices, for the small circle of<br /> her relations and friends was all the world to her.<br /> <br /> One unlucky day (she had dreamed about<br /> stuffing and green apple-sauce the night before),<br /> she was introduced to a gander. Nota literary<br /> gander, though such he pretended to be, and he<br /> was wise, but he was wicked. Now he flattered<br /> this foolish goose, and told her her eggs were<br /> worth a lot of money. He could sell thousands<br /> of them, if she would only trust him ; and swore<br /> upon his honour (of which he had no more than<br /> Touchstone’s knight) as a gander and a gentle-<br /> man, that he would negotiate the matter success-<br /> fully, if she would give him enough green peas<br /> to provide him with dinners fora month. The<br /> goose, who was always afraid that the eggs would<br /> become stale, if not quickly sold, closed with the<br /> proposal at once, and, not without considerable<br /> difficulty, supplied him with the number of peas<br /> he required. The unprincipled gander, however,<br /> having eaten all the peas, dropped the basket of<br /> eggs and flew away, cackling hideously.<br /> <br /> Then our goose went home again, her vanity<br /> sorely wounded, for geese can be as vain as any<br /> other birds, great or small, of the feminine<br /> gender. But all her dear ducks and goslings<br /> came quacking and cackling round her, and<br /> loved and believed in her as fondly as ever. So<br /> she laid some more literary eggs (you see she<br /> was no fool, for experience did not make her<br /> wise); and then, as she gazed at them sadly,<br /> she asked the immortal question which rhymes<br /> so nicely with the name of her species.<br /> <br /> Can anyone answer her question ?<br /> <br /> <br /> THE<br /> THE SHELLEY CENTENARY.<br /> <br /> N R. EDMUND GOSSE, at the meeting of<br /> <br /> 170<br /> <br /> the Shelley Centenary, delivered the<br /> following address :<br /> <br /> “We meet to-day to celebrate the fact that,<br /> exactly one hundred years ago, there was born,<br /> in an old house in this parish, one of the greatest<br /> of the English poets, one of the most individual<br /> and remarkable of the poets of the world. This<br /> beautiful county of Sussex, with its blowing<br /> woodlands andits shining downs, was even then<br /> not unaccust:med to poetic honours. One<br /> hundred and thirty years before it had given<br /> birth to Otway, seventy years before, to Collins.<br /> But charming as these pathetic figures were and<br /> are, not Collis and not Otway can compare for<br /> a moment with that writer who is the main<br /> intellectual glory of Sussex, the ever-beloved and<br /> ethereally illustrious Percy Bysshe Shelley. It<br /> has appeared to me that you might, as a Sussex<br /> audience gathered in a Sussex town, like to be<br /> reminded, before we go any further, of the exact<br /> connection of our poet with the county—of the<br /> stake, as it is called, which his family held in<br /> Sussex—and of the period of his own residence<br /> in it. You willsee that, although his native<br /> province lost him early, she had a strong claim<br /> upon his interests and associations.<br /> <br /> “Into the particulars of this strange life I need<br /> not pass. You know them well. No life so<br /> brief as Shelley’s has occupied so much curiosity,<br /> and for my patt I think that even too minute<br /> inquiry has been made concerning some of its<br /> details. The Harriet problem leaves its trail<br /> across one petal of this rose; minuter insects, not<br /> quite so slimy, Jurk where there should be<br /> nothing but colour and odour. We may well, I<br /> think, be content to-day to take the large<br /> romance of Shelley’s life, and leave any sordid<br /> details to oblivion. He died before he was quite<br /> thirty years of age, and the busy piety of<br /> biographers has peeped into the record of almost<br /> every day of the last ten of those years. What<br /> seems to me most wonderful is that a creature so<br /> nervous, so passionate, sill-disciplined as Shelley<br /> was, should be-able to come out of such an<br /> unprecedented ordeal with his shining garments<br /> so little specked with mire. Let us, at all<br /> events, to-day, think of the man only as “the<br /> peregrine falcon” that his best and oldest friends<br /> describe him.<br /> <br /> “We may, at all events, while a grateful Iing-<br /> land is cherishing Shelley’s memory, and con-<br /> gratulating herself on his majestic legacy of song<br /> to her, reflect almost with amusement on the very<br /> different attitude of public opinion seventy and<br /> even fifty years ago. That he should have been<br /> <br /> AUTHOR.<br /> <br /> pursued by calumny and’ prejudice through his<br /> brief, misrepresented life, and even beyond the<br /> tomb, can surprise no thinking spirit. It was<br /> not the poet who was attacked, it was the reyo-<br /> lutionist, the enemy of kings and priests, the<br /> extravagant and paradoxical humanitarian. It ig<br /> not needful, in order to defend Shelley’s genius<br /> aright, to inveigh against those who, taught in<br /> the prim school of eighteenth century poetics, and<br /> repelled by political and social peculiarities which<br /> they but dimly understood, poured out their<br /> reprobation of his verses. Hven his reviewers,<br /> <br /> ‘perhaps, were not all of them ‘ beaten hounds’<br /> <br /> and ‘carrion kites;’ some, perhaps, were very<br /> respectable and rather narrow-minded English<br /> gentlemen, devoted to the poetry of Shenstone.<br /> The newer a thing is, in the true sense, the slower<br /> people are to accept it, avd the abuse of the<br /> Quarterly Review, rightly taken, was but a token<br /> of Shelley’s opulent originality.<br /> <br /> “To this unintelligent aversion there succeeded<br /> in the course of years an equally blind, although<br /> more amiable, admiration. Among a certain class<br /> of minds the reaction set in with absolute violence,<br /> and once more the centre of attention was not the<br /> poet and his poetry, but the faddist and his fads.<br /> Shelley was idealised, etherialised, and canonised.<br /> Expressions were used about his conduct and his<br /> opinions which would have been extravagant it<br /> employed to describe those of a virgin-martyr or<br /> of the founder of a religion. Vegetarians<br /> clustered around the eater of buns and raisins,<br /> revolutionists around the enemy of kings, social<br /> anarchists around the husband of Godwin’s<br /> daughter. Worse than all, those to whom the<br /> restraints of religion were hateful, marshalled<br /> themselves under the banner of the youth who<br /> had rashly styled himself an atheist, forgetful of<br /> the fact that all his best writings attest that,<br /> whatever name he might give himself, he, more<br /> than any other poet of the age, saw God in every-<br /> thing. This also was a phase, and passed away.<br /> The career of Shelley is no longer a battle-field<br /> for fanatics of one sort or the other; if they still<br /> skirmish a little in its obscurer corners, the main<br /> tract of itis not darkened with the smoke from<br /> their artillery. It lies, a fair open country of<br /> pure poetry, a province which comes as near to<br /> being fairy-land as any that literature provides<br /> for us.<br /> <br /> “ We cannot, however, think of this poet as of<br /> a writer of verses in the void. He is anything<br /> but the ‘idle singer of an empty day.’ Shelley<br /> was born amid extraordinary circumstances into<br /> an extraordinary age. On the very day, 100<br /> years ago, when the champagne was being drunk<br /> in the hall of Field-place in honour of the birth<br /> of a son and heir to Mr. Timothy Shelley, the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> thundercloud of revolution was breaking over<br /> Europe. Never before had there been felt within<br /> so short a space of time so general a crash of the<br /> political order of things. Here, in England, we<br /> were spectators of the wild and sundering stress,<br /> in which the other kingdoms of Europe were dis-<br /> tracted actors. The faces of Burke and of his<br /> friends wore ‘the expression of men who are<br /> going to defend themselves from murderers,’ and<br /> those murderers are called, during the infancy of<br /> Shelley, by many names, Mamelukes and Suliots,<br /> Poles and Swedes, besides the all-dreaded one of<br /> sans culottes. In the midst of this turmoil Shelley<br /> was born, and the air of revolution filled his veins<br /> with life.<br /> <br /> It is not for grey philosophers, or hermits wear-<br /> ing out the evening of life, to pass a definitive<br /> verdict on the poetry of Shelley. It is easy for<br /> critics of this temper to point out weak places in<br /> the radiant panoply, to say that this is incohe-<br /> rent, and that hysterical, and the other an ethe-<br /> real fallacy. Sympathy is needful, a recognition<br /> of the point of view, before we can begin to judge<br /> Shelley aright. We must throw ourselves back<br /> to what we were at twenty, and recollect how<br /> dazzling, how fresh, how full of colour, and<br /> melody, and odour, this poetry seemed to us—<br /> how like a May-day morning in a rich Italian<br /> garden, with a fountain, and with nightingales in<br /> the blossoming boughs of the orange trees, with<br /> the vision of a frosty Appennine beyond the belt<br /> of laurels, and clear auroral sky everywhere above<br /> our heads. We took him for what he seemed,<br /> ‘a pard-like spirit beautiful and swift, and we<br /> thought to criticise him as little as we thought<br /> to judge the murmur of the forest or the reflec-<br /> tions of the moonlight on the lake. He was<br /> exquisite, emancipated, young like ourselves, and<br /> yet as wise as a divinity. We followed him un-<br /> questioning, walking in step with his panthers,<br /> as the Bacchantes followed Dionysus out of<br /> India, intoxicated with enthusiasm.<br /> <br /> “Tf our sentiment is no longer so rhapsodical,<br /> shall we blame the poet? Hardly, I think. He<br /> has not grown older, it is we who are passing<br /> further and further from that happy eastern<br /> morning where the light is fresh, and the shadows<br /> plain and clearly defined. Over all our lives,<br /> over the lives of those of us who may be seeking<br /> to be least trammelled by the common-place, there<br /> creeps ever onward the stealthy tinge of conven-<br /> tionality, the admixture of the earthly. We<br /> cannot honestly wish it to be otherwise. It is<br /> the natural development, which turns kittens into<br /> cats, and blithe-hearted lads into earnest members<br /> of Parliament. If we try to resist this inevitable<br /> <br /> tendency, we merely become eccentric, a mockery<br /> to others, and a trouble to ourselves.<br /> <br /> Let us<br /> <br /> <br /> <br /> THE AUTHOR. 171<br /> <br /> accept our respectability with becoming airs of<br /> gravity ; it is another thing to deny that youth<br /> was sweet.- When I see an elderly professor<br /> proving that the genius of Shelley has been over-<br /> rated, I cannot restrain a melancholy smile.<br /> What would he, what would I, give for that<br /> exquisite ardour, by the light of which all other<br /> poetry than Shelley’s seemed dim ? You recol-<br /> lect our poet’s curious phrase that to go to him<br /> for common-sense was like going to a gin-palace<br /> for mutton chops. The speech was a rash one,<br /> and has done him harm. But it is true enough<br /> that those who are conscious of the grossness of<br /> life, and are over-materialised, must go to him<br /> for the elixir and ether which emancipate the<br /> senses.<br /> <br /> “Tf Lam right in thinking that you will all<br /> be with me in considering this beautiful passion<br /> of youth, this recapturing of the illusions, as the<br /> most notable of the gifts of Shelley’s poetry to<br /> us, you will also, 1 think, agree with me in<br /> placing only second to it the witchery which<br /> enables this writer, more than any other, to seize<br /> the most tumultuous and agitat ing of the<br /> emotions, and present them to us coloured by the<br /> analogy of natural beauty. Whether it be the<br /> petulance of a solitary human being, to whom<br /> the little downy owl is a friend, or the sorrows<br /> and desires of Prometheus, on whom the primal<br /> elements attend as slaves, Shelley is able to mould<br /> his verse to the expression of feeling, and to<br /> harmonise natural phenomena to the magnitude<br /> or the delicacy of his theme. No other poet has<br /> so wide a grasp as he in this respect, no one<br /> sweeps so broadly the full diapason of man in<br /> nature. Laying hold of the general life of the<br /> universe with a boldness that is unparalleled, he<br /> is equal to the most sensitive of the naturalists in .<br /> his exact observation of tender and humble<br /> forms.<br /> <br /> “And to the ardour of fiery youth and the<br /> imaginative sympathy of pantheism, he adds<br /> what we might hardly expect from so rapt and<br /> tempestuous a singer, the artist’s self-restraint.<br /> Shelley is none of those of whom we are some-<br /> times told in these days, whose mission is too<br /> serious to he transmitted with the-arts of<br /> language, who are too much occupied with the<br /> substance to care about the form. All that is<br /> best in his exquisite collection of verse cries out<br /> against this wretched heresy. With all his<br /> modernity, his revolutionary instinct, his disdain<br /> of the unessential, his poetry is of the highest<br /> and most classic technical perfection. No one,<br /> among the moderns, has gone further than he in<br /> the just attention to poetic form, and there is so<br /> severe a precision in his most vibrating choruses<br /> that we are taken by them into the company, not<br /> <br /> <br />  <br /> <br /> 172<br /> <br /> of the Ossians and the Walt Whitmans, not of<br /> those who feel, yet cannot control their feelings,<br /> but of those impeccable masters of style,<br /> <br /> who dwelt by the azure sea<br /> <br /> Of serene and golden Italy,<br /> Of Greece the mother of the free.<br /> <br /> « And now, most inadequately and tamely, yet<br /> I trust, with some sense of the greatness of my<br /> theme, I have endeavoured to recall to your<br /> minds certain of the cardinal qualities which<br /> animated the divine poet whom we celebrate<br /> to-day. I have no taste for those arrangements<br /> of our great writers which assign to them rank<br /> like schoolboys in a class, and I cannot venture<br /> to. suggest that Shelley stands above or below<br /> this or that brother immortal. But of this I am<br /> quite sure, that when the slender roll is called of<br /> those singers who make the poetry of England<br /> second only to that of Greece (if even of Greece),<br /> however few are named, Shelley must be among<br /> them. To-day, under the auspices of the greatest<br /> poet our language has produced since Shelley died,<br /> encouraged by universal public opimion and by<br /> dignitaries of all the professions, yes, even by<br /> prelates of our national Church, we are gathered<br /> here as a sign that the period of prejudice is over,<br /> that England is in sympathy at last with her<br /> beautiful wayward child, understands his great<br /> language, and is reconciled to his harmonious<br /> ministry. A century has gone by, and once more<br /> we acknowledge the truth of his own words:<br /> <br /> “The splendours of the firmament of time<br /> May be eclipsed, but are extinguished not ;<br /> Like stars to their appointed height they climb.”<br /> <br /> ee<br /> <br /> THE INSTITUTE OF JOURNALISTS.<br /> <br /> <br /> <br /> HE conference of the Institute of Journalists<br /> (which now numbers 3118 members) at<br /> Edinburgh this year proved to be a most<br /> <br /> interesting and enjoyable gathering. The impor-<br /> tant business of the meeting was the discussion<br /> and arrangement of the orphan fund scheme,<br /> the question of lineage, or the “usage” of news<br /> correspondence, which touches most closely the<br /> reporter, and the all important matter of estab-<br /> lishing an educational test to be applied to all<br /> wishing to enter the Institute, either as associates<br /> or members. This important step to prevent<br /> illiterate and incompetent men posing as<br /> journalists, created much discussion, and, incon-<br /> gruously enough, as the sitting was in the hall of<br /> their own university, the Edinburgh district<br /> moved that the time was not yet come for an<br /> <br /> THE AUTHOR.<br /> <br /> educational test to be imposed on those wishing to<br /> enter the Institute. Their principal reason for<br /> this motion appeared to be that in Scotland many<br /> men raised themselves from printers to journal-<br /> ists; but this was not considered by the con-<br /> ference to be a reason why such men should not<br /> also educate themselves, and a Mr. Duncan, of<br /> Aberdeen, stated that he had stepped from the<br /> composing room to the reporter’s desk, but he<br /> felt he would have been the better if some such<br /> examination had been forced upon him. A very<br /> large majority of the Conference were in favour<br /> of such a test, and, after a discussion as to<br /> whether it should not be more technical than<br /> the scheme submitted by the examination com-<br /> mittee, and as to the relative merits of Latin,<br /> French, and German, it was passed that in future<br /> all candidates must pass an examination, or pro-<br /> duce a recognised certificate, such as the Oxford<br /> or Cambridge examinations, before he would be<br /> elected a member of the Institute; Mr. Gilzcan<br /> Reid remarking that he hoped some day to see a<br /> school for journalists established. &#039;The members<br /> of the Conference were most interestingly enter-<br /> tained by the Lord Provost and Council of Edin-<br /> burgh, and at the annual dinner Lord Rosebery<br /> proposed the toast of the evening, ‘‘ The Institute<br /> of Journalists,” in what may be termed a most<br /> dramatic and humorous speech. Especially<br /> happy was he in comparing the work of a foreign<br /> secretary with that of a journalist. Both inter-<br /> viewed great personages, both received telegrams ;<br /> but the journalist received telegrams which in<br /> some way or other miscarried ere they reached<br /> the foreign secretary, as in the case of that<br /> telegram announcing the evacuation of Egypt.<br /> He likened the drawing together of all the<br /> journalists of the Empire to Imperial Federation,<br /> and he welcomed the fact that political speeches<br /> were being curtailed, and home and _ colonial<br /> topics more fully discussed. If Lord Rosebery<br /> held the audience intent, so also did Professor<br /> Masson, ina most earnest and powerful speech<br /> upon the power and danger of this huge and<br /> grand profession of journalism. With incisive<br /> phrases and energetic accents he urged journa-<br /> lists to intense accuracy and honourable fairness ;<br /> and he asserted that the Universities that were<br /> established to acquire knowledge must recognise<br /> the pro’ession of journalism, that disseminated<br /> knowledge. With apt literary allusion and quota-<br /> tion he emphasised his words, and charmed his<br /> audience, mostly members of that “‘ dangerous ”’<br /> profession. As a Glasgow editor was elected<br /> president of the institute for the coming year, it<br /> was a very fitting ending to the Conference that<br /> the members went to Glasgow, and were most<br /> hospitably entertained by the Lord Provost of<br /> <br /> <br /> <br /> <br /> dy<br /> <br /> vfs<br /> <br /> ple<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> «) that city, the whole proceedings ending with a<br /> | day’s run amidst the hills and firths of the Clyde<br /> <br /> upon the famous steamer “ Columba,” which was<br /> placed at the disposal of the institute by Mr.<br /> David McBrayne. This last day proved remark-<br /> ably fine, and the Kyles of Bute and Arran Hills<br /> stood out beneath the blue cloud-flecked sky in<br /> all their loveliness as the steamer, with its<br /> journalistic freight, steamed amidst them. On<br /> the following day those who write newspapers<br /> that Sir George Trevelyan, at the Glasgow dinner,<br /> asserted all men must read—dispersed to all<br /> parts of the empire, for some were present from<br /> Europe, the Cape and India, and from Treland<br /> and Scotland and England.<br /> James BakER.<br /> <br /> <br /> <br /> AS<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> &lt;&lt; S<br /> <br /> lie<br /> American COPYRIGHT.<br /> <br /> RIOR to the passing of the American Copy-<br /> right Bill I sent a short story to one of the<br /> London magazines. The editor accepted it,<br /> <br /> and forwarded me a cheque in payment, at the same<br /> time intimating that the copyright would remain<br /> my property. A few days after the appearance<br /> of the story in the magazine in question I re-<br /> ceived a second cheque from the editor for<br /> “American rights”—the only notice given me<br /> that my work had been used in the States. I<br /> was, naturally, very much edified to find that the<br /> story had seen the light both here and there, and<br /> the second cheque—which I had not anticipated<br /> receiving—was especially comforting.<br /> <br /> The 4th of July passed, and I sent the same<br /> magazine another paper, which was published<br /> in due course, and again a cheque for “ American<br /> rights”’ reached me. But the feeling of satis-<br /> faction with which the second cheque had filled<br /> me on the former occasion is now tempered by<br /> doubts as to the right of the editor to dispose of<br /> and republish my work in America without my<br /> permission. Whether in so doing he secured for<br /> me American copyright I do not quite know, but I<br /> observe that the date of the New York journal<br /> in which the story appeared—it was sent me by<br /> a friend who happened to see it—is four days<br /> ahead of the London magazine; the former being<br /> published on the 27th of the month, the latter on<br /> the 1st of the following month.<br /> <br /> The above details, it seems to me, bear on a<br /> point of the copyright question not hitherto dis-<br /> cussed in the Author. I would ask (1) whether<br /> an editor is privileged to republish in America<br /> <br /> <br /> <br /> #73<br /> <br /> a work the copyright of which is the property of<br /> the author; and (2) whether, under the circum-<br /> <br /> stances given, the dual publication secures<br /> American copyright. A. B:<br /> I:<br /> CATALOGUING.<br /> <br /> In my “green salad” days—before unfor-<br /> tunately the Society of Authors was at hand to<br /> give advice to the unsophisticated—I signed an<br /> agreement with a firm of some repute for several of<br /> my books on half share terms. Thinking at that<br /> time that the publishers were good kind peopl&gt;<br /> to bring out my lucubrations at all, nothing was<br /> inserted in the agreement about advertising.<br /> The books have had a steady sale ever since.<br /> When my first half-yearly account came in, my<br /> admiration for these good kind gentlemen was<br /> considerably damped when I found that, in addi-<br /> tion to charging 15 per cent. for publishing, each<br /> book was loaded with a charge of one guinea and<br /> a half for cataloguing. This went on for some<br /> time, until I became somewhat wiser in my gene-<br /> ration, and proceeded to kick at these impositions.<br /> Eventually I succeeded in getting half a guinea<br /> off each book; but I am sti&#039;l charged two guineas<br /> per annum on each for cataloguing. My object<br /> in writing is to ask if this charge can be legally<br /> sustained? Of necessity most tradesmen must<br /> have a list of the wares they have for sale, and<br /> why not books? I could, of course, object to<br /> their insertion, but should in this case greatly<br /> damage their sale. I need hardly say since these<br /> days my arrangements as to publishing have<br /> become very different, and, thanks to the Society<br /> and its mouthpiece the Author, anyone trying to<br /> “have me on toast” in a similar way will find<br /> they are “ barking up the wrong tree’”’ as our<br /> American friends very expressively put it.<br /> <br /> Tyomas CwMRAG JONES.<br /> <br /> ———&lt;—&lt;—<br /> <br /> TT.<br /> Booxs For REvIEW.<br /> <br /> “Frequently books are sent to papers for<br /> review, and no review ever appears. When this<br /> is the case, should not editors return the books?<br /> Perhaps no review is better than a bad one; but<br /> this is questionable. —<br /> <br /> Many persons are not influenced by a review,<br /> but would rather judge of a book for themselves,<br /> and, unless the name of the book, author, and<br /> publisher be brought to their notice in a review<br /> or advertisement, how can they possibly judge of<br /> the merits of a book ?<br /> <br /> But when several books are sent to publishers<br /> <br /> <br /> 174<br /> <br /> who neither acknowledge nor return them, it is a<br /> serious addition to the expenses of launching a<br /> book into the world.”<br /> <br /> [The question seems to resolve itself into this.<br /> Do we in sending a@ Lok for review rely on a<br /> tacit understanding that it will be reviewed—or<br /> do we send it on the chance that the editcr will<br /> see fit to give it a review ? |<br /> <br /> SS<br /> <br /> IV.<br /> Tur SHetLEY MErMoriAt.<br /> <br /> In the number of the Author for August there<br /> is a curiously worded sentence recommending, as<br /> a memorial to Shelley, ‘an institute something<br /> like the Shakespeare’s house at Stratford.” Which<br /> does the writer mean? Shakespeare’s house, his<br /> birthplace, or the small remains of the house he<br /> built, or the beautiful Memorial Theatre and<br /> Library, with the gardens by the side of the<br /> Avon, erected in the poet’s honour mainly by one<br /> of his fellow-townsmen, with the sympathy and<br /> collaboration of admirers throughout the English-<br /> speaking world. The cost of each of these three<br /> monuments would be easily ascertained, and I<br /> should be glad, if the last-named building be the one<br /> referred to, to furnish notes on what one man has<br /> done for the recovery of England’s greatest poet<br /> which might suggest in what manner another poct<br /> might be honoured. I may just add that during<br /> the thirteen years the Memorial Theatre has been<br /> opened twenty-four plays of Shakespeare’s have<br /> been produced in strict accordance with the<br /> original text; that the library contains an un-<br /> exampled collection of Shakespeare literature,<br /> including the precious folios and quartos; and<br /> that Mr. C. E. Flower has edited a most useful<br /> edition of Shakespeare’s plays, either for the stage<br /> or for reading aloud. HK. N. P.<br /> <br /> ——<br /> <br /> V.<br /> LirERATURE AS A CALLING.<br /> <br /> Mr. James Payn is displeased with Mr. Grant<br /> Allen’s pessimistic view of literature as a trade,<br /> and persists in recommending it as an agreeable<br /> and sufficiently lucrative calling. Mr. Payn*<br /> admits that upon the start he found much help<br /> and kindness, and, of course, his own talents did<br /> the rest. So genial a writer naturally remembers<br /> the kindness and the pleasures of success, and<br /> forgets the early pangs. But perhaps there are<br /> no black periods in his career to remember.<br /> <br /> Writing as a woman of some literary expe-<br /> riences, I am inclined to believe that no view of<br /> <br /> <br /> <br /> * Notes of the Week, Illustrated London News, Sept. 17.<br /> <br /> THE AUTHOR.<br /> <br /> literature as a pursuit can be too sombre and dis-<br /> couraging. It ought to be regarded solely as an<br /> affair for people of independent means, though<br /> those among my acquaintances rail as bitterly<br /> against editors and publishers as we poor<br /> wretches who live and eat, say, bread and roots<br /> by their good pleasure.<br /> <br /> I have published half a dozen books, of which<br /> one at least has reached a third edition (without<br /> lending any extra weight to my purse, alas!). I<br /> have had stories in good magazines and articles<br /> in good papers, and been permitted at odd times<br /> to try my hand upon every kind of journalism,<br /> from leading articles, provincial letters, and<br /> reviewing, to descriptive reporting and para-<br /> graphs. A wealthy newspaper proprietor en-<br /> gaged me to write about half of his newspaper,<br /> a leaderette, two columns of notes of the week,<br /> and usually a couple of miscellaneous articles, as<br /> well as the selection of several lots of cuttings. I<br /> received the magnificent pay of £1 a week. One<br /> year onlydid I make the colossal sum of of £130;<br /> every other I am thankful to get as far as<br /> £80. Will Mr. Payn contend that these results<br /> are satisfactory? ‘True, unlike Mr. Payn, I have<br /> never found help or any kindness from my literary<br /> superiors—rather the reverse. True also, I am of<br /> vagabond tastes, like foreign wanderings and a<br /> novel on a sofa rather than the desk. These may<br /> <br /> be impediments to success, but I have fully tested |<br /> <br /> the disadvantages of the choice of rash youth, the<br /> one thing to which I have shown a misguided<br /> <br /> fidelity. x<br /> <br /> VI.<br /> <br /> Tue Crvin List.<br /> <br /> On receiving my copy of the Author for<br /> September, I was much struck by an article headed<br /> “The Civil List,’ from which it appears to me<br /> <br /> that the writer has not studied his subject with<br /> <br /> sufficient impartiality. I am not myself aware<br /> for what precise class of individuals the benefits<br /> of the Civil List Pensions were originally designed,<br /> but if, as your correspondent infers, they were<br /> for those who have advanced the causes of litera-<br /> ture, science, and art, why, in the name of wonder,<br /> should consuls and their widows be excluded ?<br /> <br /> Why should a man be neither literary, scien-<br /> tific, nor artistic because he is a consul ?<br /> <br /> Further on in the same article we are told, with<br /> some bitterness, that ‘‘to be the widow of a<br /> consul is to be assessed at a pension of £120 a<br /> year, while to be the widow of the greatest<br /> historian of the day only entitles one to a pension<br /> of £100.” Then we hear of “a malign influ-<br /> ence ” at work to produce this dire result. Iam<br /> <br /> far from denying that there may be frequent<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ani iy<br /> 10S<br /> <br /> fou<br /> <br /> eu<br /> <br /> eo<br /> <br /> <br />  <br /> <br /> <br /> <br /> Lah AUTHOR.<br /> <br /> mistakes in the granting of the pensions dis-<br /> cussed, or even that ‘a job” is never known in<br /> connection therewith; but surely the bestowers<br /> take some account of the pecuniary circumstances<br /> of the recipients? If “the greatest historian of<br /> the day” has left his widow £20 a year more<br /> than the unfortunate consul could leave to his,<br /> why should not the difference be adjusted in their<br /> respective grants ?<br /> <br /> But the sentence with which I quarrel the<br /> most is the following, evidently written satiri-<br /> cally :<br /> <br /> “Let the pension, which should have been hers<br /> (referring to a contemporary novelist), be given<br /> to the widows and daughters of men in the Civil<br /> Service who have nothing whatever to do with<br /> literature, science, or art.”<br /> <br /> Presumably, this scathing statement applies to<br /> consuls, yet without great searchings of memory<br /> it appears to me that the Consular Corps has<br /> other claims than its civil ones. What about<br /> Sir Richard Burton, or Mr. Palgrave, or Mr.<br /> Oswald Crauford as far as literature goes ? or say,<br /> Consul O&#039;Neill, long at Mozambique, a gold<br /> medallist of the Geographical Society, or Sir<br /> John Kirk, once one of Livingstone’s party ?<br /> Have not these done something for science ?<br /> <br /> My husband and J, ina very small way, have<br /> done something for natural history. That<br /> department of the South Kensington Museum<br /> has been at various times glad to accept various<br /> objects, osteological and otherwise, collected and<br /> prepared by us. It has algo shown its apprecia-<br /> tion of our efforts by asking us to continue them<br /> by collecting some specimens required. Once<br /> even, I wrote a story; it was not a pecuniary<br /> success; but, as the comforting Author has often<br /> assured us, that is no criterion of merit. Yet<br /> if I were unfortunately left a needy widow—<br /> consuls are not highly paid, their lives are expen-<br /> sive, and the contingency is not impossible—I<br /> should, according to your correspondent, have no<br /> claim on the pension fund because the Consular<br /> Corps has nothing to do with either literature,<br /> science, or art. A Consuu’s Wire.<br /> <br /> [Nobody, surely, objects to a pension being<br /> bestowed upon a consul’s wife or widow if the<br /> consul has literary, scientific, or artistic claims,<br /> If he has none, he has no claim to a fund which<br /> is granted for literature, science, and art,—<br /> Eprror. |<br /> <br /> ee es SIE<br /> <br /> <br /> <br /> eh<br /> “AT THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> M* EDMUND GOSSE joins the company<br /> / of novelists. His first work of fiction<br /> <br /> will be published immediately by Heine-<br /> mann. Let us hope that it will be the first of<br /> many.<br /> <br /> A new and cheaper edition of Mr. J. E. Gore’s<br /> “ Scenery of the Heavens” will be published<br /> immediately by Messrs. R. A. Sutton and Co.,<br /> 11, Ludgate-hill.<br /> <br /> Vols. IV. and V. of “The Poets and Poetry of<br /> the Century ”’ are the next to appear. The editor,<br /> Mr. Alfred H. Miles, is himself responsible for<br /> many of the articles, and among the other con-<br /> tributors are Dr. Garnett, Dr. Furnivall, Mr.<br /> Austin Dobson, Mr. A. H. Bullen, Mr. Joseph<br /> Knight, Dr. Japp, Mr. Ashcroft Noble, and Mr.<br /> Mackenzie Bell.<br /> <br /> Mr. Andrew W. Tuer, of the Leadenhall Press,<br /> is engaged on a little work on Horn-Books, and<br /> desires it to be known that he will be grateful<br /> for references to material and examples.<br /> <br /> The June, July, and August numbers of the<br /> Eastern and Western Review contain respec-<br /> tively a story, ‘The Painter’s Daughter,” a paper<br /> on quaint customs in rural Greece, and a tale<br /> translated from the Greek of Karkabitsas. By<br /> Mrs. E. M. Edmonds. Mrs. Edmonds has also<br /> in the press an original story called “The History<br /> of a Church Mouse.” Publishers, Messrs. Law-<br /> rence and Bullen.<br /> <br /> Here is a useful little book; not a literary little<br /> book: a useful book. It is called “The Best<br /> Thing to Do.” It is written by Mr. ©. J. L.<br /> Thompson, and it is published at the Record<br /> Press, 374, Strand, for one shilling, Those who<br /> read this book will have a great deal of practical<br /> evidence about common ailments, clothing, sea<br /> sickness, accidents, &amp;c. The Record Press is new<br /> to us. Its list contains works chiefly on Nursing,<br /> Hospital Work, &amp;c.<br /> <br /> A new edition of “ Steam Pumps and Pumping :<br /> a Handbook for Pump Users,’ by Mr. Powis<br /> Bale, A.M.L.C.S., has just been issued by Messrs.<br /> Crosby, Lockwood, and Son, Stationers’ Hall-<br /> court, E.C.<br /> <br /> The record of the Shelley Centenary Celebra-<br /> tion at Horsham is to be preserved in a permanent<br /> form. A pamphlet containing Mr. Edmund<br /> <br /> Gosse’s address, the speeches of Professor J.<br /> Nichol and Mr. Frederic Harrison, together with<br /> press and personal notices, has been compiled and<br /> edited by the Hon. Secs., Messrs. J. Stanley<br /> Little and J. J. Robinson, and will be issued<br /> shortly.<br /> 176<br /> <br /> “ An Order to View,” by “ Lohta Talsduan”<br /> (Simpkin, Marshall, Hamilton, Kent, and Co.),<br /> is described by the author as a “ record of pain-<br /> ful, personal experiences connected with the dis-<br /> posal of a country house.” Thatis his way of<br /> putting it. The volume is, in fact, a gossiping,<br /> pleasant, rambling talk about a great many<br /> things.<br /> <br /> Mr. Henry Neville’s new collection of stories<br /> “Tn the Tilt Yard of Life,’ is published by<br /> Ward and Downey. It consists of “ Barbara’s<br /> Confession,” ‘ Elizabeth’s Confession,” ‘The<br /> Best Friend,” ‘Golden Gates,’ ‘Silas Single-<br /> ton,” “A Jew in Moscow,” “ Gritty’s Glove,” &amp;e.<br /> The author does not tell us if the stories have<br /> already appeared elsewhere. If the reader is not<br /> familiar with them, he will do well to get the<br /> volume and read the book.<br /> <br /> Certain remarks were quoted in the August<br /> number of the Author as from the Salisbury and<br /> Winchester Times. It should have been from the<br /> Salisbury and Winchester Journal.<br /> <br /> A correspondent says: “I not only write my<br /> own books, but I print, illustrate, and bind them.<br /> I select the material and the type; I design the<br /> cover, and I give the book, on commission, to a<br /> firm which publishes many books in that way.”<br /> His last book is before me. Paper, printing, and<br /> binding are all good; the binding especially is<br /> excellent. By this plan, the author may pay a<br /> little more than a publisher would for production,<br /> but then, if the publisher sends in a false return,<br /> as is too often done, the author is no better for the<br /> saving. He pays a commission-fee, of course,<br /> but would a publisher let him off so easily in any<br /> other system? The weak point is the advertising.<br /> If any reader of these lines wishes to follow this<br /> example, the Society would be ready to advise him<br /> on this head.<br /> <br /> A correspondent writes @ propos of the verses,<br /> “The Lame Boy,” which appeared in the Author<br /> of September. I have just returned from Shet-<br /> land, where I met a rising young author, Mr.<br /> J. H. B. This young man has so far lost the<br /> use of his eyesight that he can no longer read,<br /> and can hardly see a few yards. He teaches<br /> navigation and other subjects in Lerwick ; is the<br /> author of two books, one in prose and one in<br /> verse, and is now writing a novel. His poems<br /> have gone into a second edition. He is in excel-<br /> lent spirits, and the loss of his eyesight does not<br /> seem to have had any effect upon him.”<br /> <br /> The third edition of Mr. J. B. Crozier’s book,<br /> “ Civilisation and Progress” will be ready on<br /> Noy. 1. Price 14s. Publishers, Messrs. Long-<br /> mans and Co.<br /> <br /> THE AUTHOR.<br /> <br /> In another column will be found a letter on the<br /> subject of books for review. A prospectus of a new<br /> paper to be called Pleasure, is lying on the table.<br /> In this, the editor promises to return press copies<br /> which are sent to him, and do not, for some<br /> reason or other, receive a review.<br /> <br /> Mr. Edmund Clarence Stedman has received<br /> from Columbia College, the degree of Doctor of<br /> Letters. The college deserves our warmest con-<br /> gratulations. It is said that Dr. Stedman’s<br /> lecture on the “ Nature and Elements of Poetry,”<br /> given at the Johns Hopkins, Philadelphia, and<br /> Chicago Universities was the last addition to his<br /> work and reputation which determined Columbia<br /> College. The lecture is to be issued in book<br /> form immediately by Messrs. Houghton, Miffiin,<br /> and Co. I hope there will be an English<br /> edition.<br /> <br /> Mr. Douglas Sladen has been correcting the<br /> proofs for his new book on Japan, which will<br /> appear very shortly.<br /> <br /> Mr. J. Stanley Little continues his articles on<br /> “ Aspects and Tendencies of Current Fiction ”<br /> in the Library Review, to the September number<br /> of which he also contributes a paper entitled<br /> “ Why Honour Shelley ?”’<br /> <br /> The Independent Theatre Society will give<br /> their next performance on Friday evening,<br /> Oct. 21, when a new stage version of Webster&#039;s<br /> tragedy, ‘The Duchess of Malfi,” will be pro-<br /> duced with a specially selected caste under the<br /> direction of Mr. William Poel, member of<br /> council New Shakespeare Society, and Mr. H. de<br /> Lange.<br /> <br /> Dr. G. C. Williamson, of the Mount, Guildford,<br /> has in preparation a monograph on John<br /> Russell, R.A., the famous crayon artist of the<br /> early part of this century. The Queen has<br /> granted him permission to photograph five<br /> pictures by Russell in her possession. The<br /> diploma picture by Russell in the Royal Academy<br /> will also be reproduced in the volume. Dr.<br /> Williamson invites owners of Russell’s pictures to<br /> communicate with him.<br /> <br /> Mr. Edward Stanford will shortly publish a<br /> second edition (considerably rewritten and much<br /> enlarged) of Mr. Reynold Ball’s ‘‘ Mediterranean<br /> Winter Resorts.” The new edition will contain<br /> special articles on the principal invalid stations<br /> by eminent medical authorities practising on the<br /> Continent.<br /> <br /> Mrs. Edith E. Cuthell’s yachting story, “ The<br /> Wee Widow’s Cruise in quiet Waters,” which has<br /> just finished running in the Lady’s Pictorial, is<br /> to be published immediately in New York by the<br /> Cassell Publishing Company.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> H.R.H. The Duchess of Connaught has been<br /> pleased to accept the dedication of Mrs. Edith E.<br /> Cuthell’s new children’s story “ Only a Guard-<br /> room Dog,’ to be published next month by<br /> Messrs. Methuen, illustrated by W. Parkinson.<br /> <br /> Messrs. Chatto and Windus will publish<br /> shortly a novel entitled “A Family Likeness,” by<br /> Mrs. B. M. Croker.<br /> <br /> ee<br /> <br /> FROM THE PAPERS.<br /> <br /> <br /> <br /> ? R. LAUDER BRUNTON has made a<br /> D discovery which ought to entitle him<br /> to the gratitude of all who live by<br /> intellectual labour. It is nothing less than<br /> the secret of how to have ideas at will. One<br /> night, after a long day’s work, this eminent<br /> physician was called upon to write an article<br /> immediately. He sat down with pen, ink, and<br /> paper before him, but not a single idea came into<br /> his head, not a single word could he write. Lying<br /> back, he then soliloquised, ‘‘ The brain is the<br /> same as it was yesterday, and it worked then;<br /> why will it not work to-day.” Then it occurred<br /> to him that the day before he was not so<br /> tired, and that probably the circulation was a<br /> little brisker than to-day. He next considered<br /> the various experiments on the connection<br /> between cerebral circulation and mental activity,<br /> and concluded that if the blood would not come<br /> to the brain the best thing would be to bring the<br /> brain down to the blood. It was at this moment<br /> that he was seized with the happy thought of<br /> laying his head “flat upon the table. At once<br /> his ideas began to flow and his pen to run across<br /> the paper.’ By and by Dr. Brunton{thought “I<br /> am getting on so well I may sit up now. But it<br /> would not do. “The moment,” he continues,<br /> “that I raised my head, my mind became an<br /> utter blank, so I put my head down again flat<br /> upon the table, and finished my article in that<br /> position.””—Leeds Mercury, July 30, 1892.<br /> <br /> <br /> <br /> It is a great satisfaction to feel that among the<br /> many young makers of verse in England there<br /> are a few real poets. Among these, and one of the<br /> youngest of them, is Mr. William Watson, who<br /> recently acquired an enviable prominence as a<br /> poet through a slender volume of excellent verse,<br /> entitled “‘ Wordsworth’s Grave, and other Poems.”<br /> The contents of that volume, with the addition of<br /> twenty or more new pieces, now reappear as<br /> “Poems by William Watson,” and they are fine<br /> enough to convince one that this poet is the fore-<br /> <br /> 7<br /> <br /> most among his contemporaries. He has imagina-<br /> tion; he is thoughtful; he has a gift of expression<br /> and a freshness of phrase which give a delightful<br /> charm to his work; he has style and, above all,<br /> a poet’s high regard for the rules governing<br /> his art.— New York Critic.<br /> <br /> ————+<br /> <br /> From an address to Oliver Wendell Holmes on<br /> his 83rd birthday :<br /> Last of a line, behold the veteran stand,<br /> The lance of wit still trembling in his hand,<br /> With locks all whitened now, but holding still<br /> A cheerful courage, an enduring will;<br /> Last of a race of bards,—too proud to climb<br /> Into the saddle of new-fashioned rhyme,<br /> Too wise to value art o’er lucid sense,<br /> Too brave to draw the curb on eloquence,<br /> Not always deep, perhaps, in flow of song,<br /> But full-voiced, limpid, tuneful, fluent, strong.<br /> A voice, gay, genial, grave,—still true to guide<br /> From erring ways kot youth’s impatient stride ;<br /> A humour keen, yet with no rankling smart,<br /> Its champagne sparkles bubbling from the heart ;<br /> A wit perennial and a fancy free,<br /> The bloom of spring on life’s long-wintered tree ;<br /> A heart as tender as a lover’s thought<br /> A falcon spirit, fearless, firmly wrought,<br /> Quick to detect, yet tardy to condemn,<br /> Well armed with pungent, pointed apothegm ;<br /> Shrewd Yankee mind with graft of learning’s fruit ;<br /> An ear fine-tuned as Blondel’s joyous lute ;<br /> As sly and quaint as Shandy in his style<br /> With something of the Frenchman in his smile.<br /> At four-score still a bright-eyed, kindly man,<br /> Part courtier-cavalier, part Puritan ;<br /> Reverend where’er the rose of culture grows,<br /> From austral summer to Alaskan snows ;<br /> A school-boy’s eye beneath his doctor’s hat,<br /> Our love-crowned poet, laureled Autocrat.<br /> CRAVEN LANGSTROTH BETTS.<br /> <br /> New York Critic.<br /> <br /> <br /> <br /> What Mr. Stedman did for Austin Dobson ten<br /> years ago is done for William Sharpe now by<br /> Thomas A. Janvier, whose introduction to<br /> “Flower o’ the Vine” is prose with the grace of<br /> poetry, happily conceived and felicitously appro-<br /> priate. ‘Flower o’ the Vine” contains the sub-<br /> stance of two recent volumes of Mr. Sharpe’s<br /> verse—“ Romantic Ballads and Poems of Phan-<br /> tasy” (London) and “ Sospiri di Roma ” (Rome)<br /> Poems of the North and of the South—the first<br /> exhibiting a fine power of imagination, the second<br /> rich in fancy and exquisite bits of description.<br /> Of each of these collections we have already had<br /> something to say. Let us now take a word from<br /> the genial host who speaks thus of his guest&#039;s<br /> credentials: “Here, joined, but not blended, is<br /> the poetry of the South and of the North. It is<br /> an inversion of that curious process by which the<br /> waters of the White and Blue rivers, whereof the<br /> <br /> <br /> 178<br /> <br /> Nile is made, flowing out from separate sources,<br /> journey on together in the same channel for a<br /> long while without mingling. In this case, the<br /> two streams of verse come from the same source<br /> —yet instantly are so distinct and separate that<br /> the most acutely critical of observers would not<br /> be likely to refer them to a common origin :<br /> His ballads are not mere masses of rhymes<br /> dexterously fitted together; they are poems with<br /> living souls I do hold to be remarkable<br /> this merging of two distinct patents of poetic<br /> nobility in a single fortunate heir.” “ Flower of<br /> the Vine”’ ought. to come into the hands of every<br /> lover of fine poetry.— New York Critic.<br /> <br /> &lt;S——<br /> <br /> A check has been put, by the decision of an<br /> American judge, upon the attempt to strain the<br /> interpretation of a clause in the McKinley Tariff<br /> Act in such a way as to prevent the importation<br /> duty free into the United States of old books that<br /> have been partially rebound within twenty years.<br /> The question is one of considerable importance.<br /> As book collectors know to their cost, there has<br /> long been a considerable demand for old books in<br /> this country to be exported to America. As it<br /> would be absurd to regard a copy of an old<br /> English book—say a first folio of Shakespeare, or<br /> the precious little volume contaiming Keats’s<br /> “ Tamia,’ and ‘‘ Hyperion”—as competing with<br /> any American industry. Congress wisely deter-<br /> mined that old books should be exempt, and it<br /> fixed the limit at twenty years. But, owing toa<br /> construction, which seems to turn partly on the<br /> absence of a comma, it was contended that the<br /> mere repair of the binding—and most old books<br /> in the original binding have been ‘backed ”’ or<br /> otherwise repaired — within that time would<br /> entail forfeiture of the privilege. Judge Putnam,<br /> however, of the Circuit Court of the United<br /> States for the district of Massachusetts, has<br /> decided that books that have been bound for<br /> twenty years are entitled to free entry in spite of<br /> -subsequent repairs. His words are: ‘‘ I would<br /> -regard them as so entitled, even though it also<br /> appeared. that, in consequenee of accident or<br /> ordinary use, they had needed and received<br /> ‘repairs in all respects equal in extent to new and<br /> -original binding.”’— Daily News.<br /> <br /> THE AUTHOR.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> Theology.<br /> <br /> “A MessaGe To Earru.” Published in conjunction with<br /> the writings recognised by the Esoteric Christian<br /> Union as appertaining to the “ New Gospel of Inter-<br /> pretation. Lamley and Co. Paper covers, 1s.<br /> <br /> Bernarp, T. D., M.A. The Central Teaching of Jesus<br /> Christ. A study and exposition of the five chapters of<br /> the Gospel according to St. John, xiii. to xvii. inclusive.<br /> Macmillan. 7s. 6d.<br /> <br /> Devine, Rev. ArtHur. The Creed Explained; or, an<br /> an Exposition of Catholic Doctrine according to the<br /> Creeds of Faith and the Constitutions and Definitious<br /> of the Church. R. Washbourne.<br /> <br /> Kennion, R. W. Unity and Order; the Handmaids of<br /> Truth. An inquiry into God’s will and our duty con-<br /> cerning the Unity and Order of the Visible Church,<br /> with special reference to the Church of England and<br /> those who dissent from it. Second edition, revised.<br /> Seeley and Co.<br /> <br /> Lieutroot, J. B., D.D., D.C.L. Dissertations on the<br /> Apostolic Age. Reprinted from editions of St. Paul’s<br /> Epistles. Published by the Trustees of the Lightfoot<br /> Fund. Macmillan. 14s.<br /> <br /> LirTLeEHALES, Henry. The Prymer; or, Prayer-book of<br /> the Lay People in the Middle Ages. In English,<br /> dating about 1400 A.p. Edited, with introduction and<br /> notes from the manuscript (G24) in St. John’s<br /> College, Cambridge. Part II., Collation of MSS. 5s.<br /> <br /> Smytu, Newman, D.D. Christian Ethics. Volume of the<br /> International Theological Library. T.and T. Clarke,<br /> Edinburgh, tos. 6d.<br /> <br /> History and Biography.<br /> <br /> ANDREWS, WILLIAM. Bygone England; Social Studies in<br /> <br /> its Historic Byways and Highways.<br /> Co. 6s.<br /> <br /> Armstrone, E. The French Wars of Religion; Their<br /> Political Aspects. An expansion of three lectures<br /> delivered before the Oxford University Extension<br /> Summer Meeting of August, 1892. Percival and Co.<br /> 4s. 6d.<br /> <br /> Bourke, Hon. ALGERNON. The History of White’s, with<br /> the Betting Book from 1743 to 1878, and a List of<br /> Members from 1736 to 1892. Edition de Luxe. In<br /> two vols. 39a, St. James’s-street, S.W.<br /> <br /> CARLYLE, THOMAS. Oliver Cromwell’s Letters and<br /> Speeches : with Elucidations. Three vols. complete in<br /> one. Reprinted from the author’s second revised<br /> edition. Ward, Lock, and Co. 2s.<br /> <br /> Conway, Moncurn, D. The Life of Thomas Paine. With<br /> a History of His Literary, Political, and Religious<br /> Career in America, France, and England. To which<br /> is added a sketch of Paine by William Cobbett, hitherto<br /> unpublished. In two vols. G. P. Putnam’s Sons.<br /> <br /> The Right Hon. William Ewart<br /> Lord Shaftesbury and General<br /> Is. each.<br /> <br /> GARNIER, Russett M. History of the English Landed<br /> Interest: Its Customs, Laws, and Agriculture. Swan<br /> Sonnenschein and Co.<br /> <br /> Hutchinson and<br /> <br /> Evuis, Rev. Jamus J.<br /> Gladstone, 2s. 6d.<br /> Viscount Wolseley.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Mewnstavux, MarirE DE.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Gasquet, Francis A., D.D. Henry, VIII. and the English<br /> Monasteries: an attempt to illustrate the history of<br /> their suppression, with an appendix and maps showing<br /> the situation of the Religious Houses at the time of<br /> their dissolution. New Edition. . With illustrations.<br /> Parts IV.and V. John Hodges. Paper covers, 2s.<br /> <br /> Gossips oF THE CENTURY: Personal and Traditional<br /> Memoirs—Social, Literary, Artistic, &amp;c. By the author<br /> of “ Flemish Interiors,” “‘ De Omnibus Rebus,” &amp;c. In<br /> two vols. Ward and Downey. 42s.<br /> <br /> Hitz, Joun,M.A. Memoirs of Baron Ompteda, Colonel in<br /> the King’s German Legion, 26th Noy. 1765, to 18th<br /> <br /> June, 1815. Translated by. With portrait. H. Grevel<br /> and Co.<br /> Jones, Mrs. Hersert. The Worthies of Norwich.<br /> <br /> Norwich, Jarrold and Sons.<br /> A History of Watches and other<br /> <br /> Paper covers.<br /> KENDAL, J. FRANCIS.<br /> <br /> Timekeepers. Illustrated. Crosby Lockwood and<br /> Son. Card covers. ts. 6d.<br /> <br /> Kinestey, Cuaruus. Alton Locke, Tailor and Poet.<br /> With an introduction by Coulson Kernahan. The<br /> <br /> Minerva Library of Famous Books. Ward, Lock, and<br /> Co. 28.<br /> <br /> LANnE-Pooiz, STANLEY. The History of the Moghul<br /> Emperors of Hindustan, Illustrated by their Coins.<br /> <br /> With a map. Archibald Constable and Co.<br /> <br /> Leexy, W. E.H. A History of Ireland in the Eighteenth<br /> Century. New edition. Vol. II. Longmans. 6s.<br /> Magen, W.C.,D.D. Speeches and Addresses. Edited by<br /> Charles 8. Magee, Barrister-at-Law. Isbister and Co.<br /> <br /> 7s. 6d.<br /> <br /> Trebelli: A Biographical Sketch<br /> Illustrated. Second<br /> Paper covers. Is.<br /> <br /> and Reminiscences of her Life.<br /> edition. Henry Potter and Co.<br /> <br /> Penuey, Betvitte S. The Bath Stage: a History of<br /> Dramatic Representations in Bath. Illustrated. Bath<br /> Herald office, Fleet-street.<br /> <br /> Smitu, GrorcE, LL.D. Henry Martyn, Saint and Scholar<br /> First Modern Missionary to the Mahomedans. 1781<br /> to 1812. Religious Tract Society. 10s: 6d.<br /> <br /> Sprrpy, Tom. Craigmillar and its Environs, with notices<br /> of the Topography, Natural History, and Antiquities of<br /> the District. Illustrated. George Lewis and Son,<br /> Selkirk. 3<br /> <br /> Spzigut, H. (Johnnie Gray). The Craven and North-<br /> West Yorkshire Highlands. Being a complete account<br /> of the History, Scenery, and Antiquities of that<br /> romantic district. Illustrated. . Elliot Stock:<br /> <br /> Woopwarp, Matruzew. The Past and Present of the<br /> Parish Church of Folkestoné, together. with an account<br /> of the reliquary. of. St. Eanswythe, discovered in 1885.<br /> Skeffington and Son. ae<br /> <br /> Wevpy-Parry, Eruen. 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REFERENCE<br /> KINDLY PERMITTED TO GEORGE AuausTus Sana, Esq.<br /> Hire-Resisting Safe for MSS.<br /> Particulars on Application.<br /> <br /> Stickphast<br /> <br /> PASTE<br /> for joining papers and sticking in scraps:<br /> Sixpence and One Shilling, with strong useful brush.<br /> <br /> AUTHORS.<br /> <br /> The skilled revision, the honest and competent criticism,<br /> and the offering of MSS. in the American market, are the<br /> specialities of the New York Burean of Revision.<br /> Established 1880. Endorsed by George W. Curtis, J. R.<br /> <br /> Lowell, and many authors.—20 W., Fourteenth-street,<br /> New York.<br /> <br /> Proprietor, Mr. A. M. BURGHES,<br /> <br /> The interests of Authors capably represented. Proposed agreements and estimates<br /> - MS. placed with Publishers.<br /> practical experience in all kinds of publishing and book producing. Consultation free.<br /> leading Authors on application to Mr. A. M. 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444	https://historysoa.com/items/show/444	The Author, Vol. 03 Issue 06 (November 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+06+%28November+1892%29"><em>The Author</em>, Vol. 03 Issue 06 (November 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-11-01-The-Author-3-6					185–224																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-11-01">1892-11-01</a>							6			18921101	The Hutbhor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. III.—No. 6.] NOVEMBER 1, 1892. [PRICE SIXPENCE.<br /> CONTENTS.<br /> Warnings aa s ere ee We ae ee w. page 187 { Feuilleton—<br /> How to Use the Society... ene oe ue see ee w. 188 1.—The Porter of Bagdad a os + page 203<br /> The Authors’ Syndicate’... mee mee ce oe ee Se 188} 2,—Cacoethes Scribendi: An Apology... as tee soe 205<br /> Notices... on ae ce seh Sc ee os aE ... 189 | The Moss Land. By Hume Nisbet. ... a a ae Jo 308<br /> Literary Property— The Preservation of Autographs ... We ae ae si ae 206<br /> 1.—Magazines and Copyright oo aes sce se &lt;-- 190 The Irritability of Authors we oe sis wee ae «.- 208<br /> 2.—The Bookseller on Fraud ... oe sas Ros ses 252 190 Correspondence—<br /> 3.—A Proposed Agreement ... i nen oe ee we 19l | 1.—Author and Editor... oe ee ae oe aS see 20<br /> 4.—Answering an Advertisement ... ae a a ae LOL 5 2.—Defamatory Criticism... oe ae Se ste eee 210<br /> 5.—An Editor’s Rights... Ree ae aoe aes ace eo» 192 3.—American Copyright en as oo ae ce S506 210<br /> Fraudulent Authors ... ees e ae oe ae Lee er kao | 4,—Literary Criticism ... ma ae oe aes a se SAL<br /> The Ranks of Fiction eee ace ows tee =e eee 19h 5.—The Proposed Shelley Library ... ae eas oe see bl.<br /> Notesfrom Paris... se Hs = we wee ae wo» 196 | 6.—A Perplexed Pen ... ose wae aS a ves ee Oe<br /> John Greenleaf Whittier, By Clive Holland ... ae wer ean | 7.—Titles ... aoe wok Bae sis ae vey nae ees ae<br /> Our Late President ... Aan ee uae es tas ae «ve 199 8,—Editors’ Rights aes es wee = ion tue eo2ie<br /> Notes and News ce ies Wo mic ue an les w- 199 “At the Author’s Head” ... ae ves vee ies es ase 218<br /> In Memoriam: a Hymn. By Rey. H. D. Rawnsley ... rue ... 203 | New Books and New Editions... ies aes A ee cee Lb<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> 1. The Annual Report, That for January 1892 can be had on application to the Secretary.<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4. Literature and the Pension List. By W. Morris Cours, Barrister-at-Law. (Henry Glaisher<br /> 95, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By 8. Squire Spriaez, late Secretary to<br /> the Society. Is.<br /> <br /> 6. The Cost of Production. | In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, WC, 25:6.<br /> <br /> 7. The Various Methods of Publication. By S. Squire Spricaz. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 3s. :<br /> <br /> o<br /> <br /> . Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre<br /> and Spottiswoode. 1s, 6d, :<br /> <br /> <br /> 186<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> THE<br /> <br /> LINOTYPE GOMIPOSING MACHINE.<br /> <br /> SPECIALLY ADAPTED FOR BOOKWORK.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “A MIGHTY BUT PEACEFUL REVOLUTION.”<br /> <br /> OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE.<br /> <br /> For full List of Experts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet.<br /> <br /> “Tt will do away with type, and composition, and<br /> distribution, as now practised, will be known no more.”—<br /> Manchester Courier.<br /> <br /> ** Saves 70 per cent. in cost of composing, and from three-<br /> fourths to nine-tenths in time.”—Shefield and Rotherham<br /> Independent.<br /> <br /> “Tt bids fair to revolutionise the present system,<br /> especially of newspaper production, for which it seems<br /> peculiarly well adapted. The instrument is one of the most<br /> beautiful and ingenious pieces of mechanism ever introduced<br /> in connection with the art of printing.” —Scotsman.<br /> <br /> “The absolute saving of distribution, which is reckoned<br /> <br /> as equivalent to one quarter of the cost of composition, is<br /> an important factor in the economy of this machine.<br /> With it comes emancipation from the frequent errors arising<br /> from faulty distribution. To pye matter is impossible.<br /> Unquestionably the most remarkable machine ever invented<br /> in the art of printing.” —The Printers’ Register.<br /> <br /> “Tt stands to reason that an invention that economises as<br /> well as expedites work, without aiming a blow at those who<br /> had previously done without it, must be a success.” —Echo.<br /> <br /> “The rapidity and accuracy of the process impressed Mr.<br /> Gladstone very powerfully, or, as he expressed it himself, it<br /> ‘staggered’ him.”—Daily Chronicle.<br /> <br /> “ One of the most remarkable machines ever invented.” —<br /> Engineer.<br /> <br /> “A steam-driven, type-composing and casting machine<br /> which really promises to bring about a revolution in the<br /> <br /> <br /> <br /> <br /> <br /> composing-rooms of newspaper and book printing offices,” Eng<br /> —Home and Colonial Mail.<br /> <br /> <br /> <br /> “This remarkable invention promises to revolutionise all<br /> our ideas as to type-setting by machinery. It dispenses<br /> with movable type, and substitutes matrices in which the<br /> letters are cast in solid lines.”—Leeds Mercury.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “One of the most remarkable labour-saving Machines<br /> ever devised in an age remarkable for such inventions.”<br /> —Western Mail (Cardiff).<br /> <br /> “The work never stops, line after line is added with<br /> astonishing smoothness and regularity.” —Newcastle Daily<br /> Chronicle.<br /> <br /> “Has come into existence to create amazement, where<br /> surprise hitherto found a home.<br /> <br /> “ The Linotype, to be brief, is a machine which does away<br /> with the present expensive and slow method of type-setting.<br /> It performs all the work of a compositor automatically, with<br /> greater precision and with far more rapidity. The most<br /> important feature of the patent, however, lies in the<br /> enormous saving it effects in the cost of setting, while a no<br /> less startling fact is that the labour of ‘ distributing,’ or the<br /> putting of the type back into cases, is dispensed with.”—<br /> Admiralty and Horse Guards Gazette.<br /> <br /> “ Printing without types. A marvellous machine that<br /> makes fresh types for every line. The advance of<br /> industrial science is so rapid that this machine must, sooner<br /> or later, come into extensive use.”—Evening News and Post<br /> (London).<br /> <br /> <br /> <br /> <br /> <br /> THE ECONOMIC PRINTING &amp; PUBLISHING CO. LIMITED,<br /> <br /> 39, BOUVERIE STREET, FLEET STREET, E.C.,<br /> <br /> Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br /> in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br /> Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br /> <br /> best makers,<br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors, Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III. —No. 6.]<br /> <br /> NOVEMBER 1, 1802.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or tnitialled the Authors alone are<br /> responsible.<br /> <br /> <br /> <br /> ERRATUM.<br /> <br /> We were made to talk nonsense in our last<br /> number. We wrote “ we do not make—we never<br /> have made”—such and such a statement. This<br /> appeared “we do not guake—we never have<br /> made—” &amp;e.<br /> <br /> <br /> <br /> mee<br /> <br /> WARNINGS.<br /> <br /> &gt;<br /> <br /> <br /> <br /> Sprcran Warninc. — Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. Tf this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution, The stamp duty varies from 6d. up to<br /> Ios. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures,<br /> <br /> VOL, III,<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. has been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away American rights. Keep<br /> them by special clause. Refuse to sign<br /> any agreement containing a clause which<br /> reserves them for the publisher. If the<br /> publisher insists, take away the MS. and<br /> offer it to another.<br /> <br /> (8.) NevER sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Nuver forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men, Be yourself a<br /> business man.<br /> <br /> Society’s Offices :—<br /> <br /> 4, PoRTUGAL STREET, Lincoun’s Inn Fiexps,<br /> Pp 2<br /> 188<br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> <br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> nation at being asked what his proposal gives<br /> him compared with what it gives the author;<br /> and (4) irrepressible irritation at any mention of<br /> the Society of Authors.<br /> <br /> 8. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer,<br /> <br /> THE AUTHOR.<br /> <br /> g. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> noes<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but the<br /> charges are reduced to the lowest<br /> possible amount compatible with effi-<br /> ciency. Meanwhile members will please<br /> accept this intimation that they are not<br /> entitled to the services of the Syndicate<br /> gratis.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> ;<br /> .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted.<br /> <br /> ee<br /> <br /> NOTICES.<br /> <br /> FYNHE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> <br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> <br /> Perhaps this reminder may be of use.. With<br /> <br /> 800 members, besides the outside circulation of<br /> <br /> the paper, the Author ought to prove a source<br /> <br /> of revenue to the society.<br /> <br /> <br /> <br /> (a<br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> ——<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> ed<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> 189<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> SS<br /> <br /> Those who are elected members during the<br /> last three months of the year are advised that<br /> their subscriptions cover the whole of the follow-<br /> ing year.<br /> <br /> eel<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> <br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of “doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> Some remarks have been made upon the amount<br /> charged in our book for advertising. Of course, we<br /> have not included any sums, which may be charged<br /> at any period, for inserting advertisements in the<br /> publisher’s own magazines, or in other magazines<br /> by exchange. As agreements too often go, there<br /> is nothing to prevent the publisher from sweeping<br /> the whole profits of a book into his own pocket, by<br /> inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some<br /> there are who call this a form of fraud: it is not<br /> known what those who practise this method of<br /> swelling their own profits call it.<br /> <br /> Pe<br /> THE<br /> LITERARY PROPERTY.<br /> <br /> i<br /> MacGazines AND CoPYRIGHT.<br /> <br /> N the Globe of the 8th Oct. 1892, the<br /> following question was asked : “ Whether a<br /> magazine editor, after paying for a con-<br /> <br /> tribution, has the copyright of it for ever?”<br /> The Globe suggests that the question should be<br /> answered in the Author. It has been answered<br /> in the Author, some year or so ago. The answer<br /> is contained in the 18th section of 5 &amp; 6 Vict. ec. 45,<br /> which runs as follows :—<br /> <br /> XVIII. And be it enacted, that when any publisher or<br /> other person shall, before, or at the time of the passing of<br /> this Act, have projected, conducted, or carried on, or shall<br /> hereafter project, conduct, or carry on, or be the proprietor<br /> of any encyclopedia, review, magazine, periodical work, or<br /> work published in a series of books or parts, or any book,<br /> whatsoever, and shall have employed, or shall employ, any<br /> persons to compose the same, or any volumes, parts, essays,<br /> articles, or portions thereof, for publication in or as part of<br /> the same, and such work, volumes, parts, essays, articles, or<br /> portions shall have been, or shall hereafter be composed<br /> under such employment, on the terms that the copyright<br /> therein shall belong to such proprietor, projector, publisher,<br /> or conductor, and paid for by such proprietor, projector,<br /> publisher, or conductor, the copyright in every such encyclo-<br /> peedia, review, magazine, periodical work, and work pub-<br /> lished in a series of books or parts, and in every volume,<br /> part, essay, article, and portion, so composed and paid for,<br /> shall be the property of such proprietor, projector, publisher<br /> or other conductor, who shall enjoy the same rights as if<br /> he were the actual author thereof, and shall have such term<br /> of copyright therein as is given to the authors of books by<br /> this Act; except only that in the case of essays, articles, or<br /> portions forming part of, and first published in reviews,<br /> magazines, or other periodical works of a like nature, after<br /> the term of twenty-eight years from the first publication<br /> thereof respectively, the right of publishing the same ina<br /> separate form shall revert to the author for the remainder<br /> of the term given by this Act. Provided always, that during<br /> the term of twenty-eight years the said proprietor, projector,<br /> publisher, or conductor, shall not publish any such essay,<br /> article, or portion separately or singly, without the consent<br /> previously obtained of the author thereof, or his assigns:<br /> Provided, also, that nothing herein contained shall alter or<br /> affect the right of any person who shall have been, or who<br /> shall be so employed as aforesaid to publish any such his<br /> composition in a separate form who by any contract, express<br /> or implied, may have reserved or may hereafter reserve to<br /> himself such right: but every author reserving, retaining,<br /> or having such right shall be entitled to the copyright in<br /> such composition when published in a separate form accord-<br /> to this Act, without prejudice to the right of such proprietor,<br /> projector, publisher, or conductor as aforesaid.<br /> <br /> In simple language outside legal phraseology<br /> this means that if the proprietor has paid for the<br /> the article, and unless the author by express or<br /> implied contract, reserves to himself the copy-<br /> right, then the copyright for a period of twenty-<br /> eight years resides with the proprietor, but he is<br /> unable to republish the article without the con-<br /> <br /> AUTHOR.<br /> <br /> sent of the author. After that period the e»py-<br /> right for the remainder of the time reverts back<br /> to the author. It is not infrequently the custom<br /> therefore, for the proprietor of a magazine to<br /> allow an author to republish his atticles, as he,<br /> the proprietor has already received all that he<br /> he intends to make out of them. It is no doubt<br /> useful to reproduce from time to time these<br /> questions of law, as the public generally seem very<br /> ignorant on the subject.<br /> <br /> &lt;1<br /> <br /> II.<br /> Tuer Bookseller on Fravp.<br /> <br /> The Bookseller of Oct. 1oth makes a few<br /> remarks upon our note of the last number on<br /> itself. We regret to say that it expresses no<br /> sorrow at having permitted the appearance of a<br /> letter which falsely charged the Author with<br /> inviting “literary garbage” from its contributors.<br /> It now says,<br /> <br /> We honestly do think that the Society is conducted<br /> in a spirit of hostility towards publishers, not perhaps with<br /> the deliberate intention of being hostile, but, nevertheless,<br /> hostile in effect. The Society declares that its hostility is<br /> only directed against “certain fraudulent publishers.”<br /> Does not the existence of the Society imply that fraudulent<br /> dealing is so common among publishers that nothing short<br /> of a wholesale combination of authors will suffice to check<br /> the evil? We are asked to suggest a better way of<br /> exposing the frauds whereby authors are victimised, than<br /> by explaining the methods of those frauds month by month<br /> in the pages of the Author. We think if the Author would<br /> from time to time expose the perpetrators of fraud it would<br /> be afar better method. We should like to know who are our<br /> black sheep. But if the Author adopted that method we<br /> have an idea that a somewhat less formidable word than<br /> “fraud’’ would generally have to be employed in describing<br /> the alleged malpractices of publishers, lest they too invoked<br /> the intervention of “that Division of the High Court of<br /> Justice which takes the libel cases.” The driving of hard<br /> bargains with authors, or debiting their accounts with<br /> excessive charges are, no doubt, matters of which there are<br /> occasional reasons to complain; but such practices are a<br /> long way short of fraudulent, although we fully admit they<br /> are not what is expected from members of an honourable<br /> calling.<br /> <br /> Two points are noticeable here—(1) That the<br /> Bookseller believes that the frauds pointed out<br /> by us in our “ Methods of Publication ’’ were not<br /> common. They were common. They were very<br /> common, They were deplorably common. It<br /> was, indeed, high time that we should venture<br /> to expose, and if possible prevent, them. They<br /> are no longer so common, but they would again<br /> flourish with their old fertility if this Society<br /> were to relax its efforts. (2) The next thing is<br /> that the Bookseller cannot admit that ‘“ debiting<br /> accounts with excessive charges’’—the italics are<br /> ours—is a fraud. ‘Such practices,’ he says,<br /> “are along way short of fraudulent.’ Are we<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> to believe our eyes? Does the writer know the<br /> meaning of words? Why, what does a common<br /> pickpocket or shoplifter do—when he steals any-<br /> thing he can lay his hands on—worse than a<br /> publisher who pays £60 for printing a book, and<br /> sends in an account stating that he has paid £80?<br /> Not a fraud? Then is stealing not a fraud; and<br /> lying is truth ; and vice is virtue. If the Book-<br /> seller really means what it says—which one cannot<br /> and will not believe—here would be proof indeed,<br /> and proof enough, of the necessity of our Society.<br /> <br /> Et.<br /> A ProposepD AGREEMENT.<br /> “ DEAR SIR,<br /> <br /> “JT have made a calculation respecting your<br /> MS., and shall be willing to publish it on the<br /> following arrangement, in two volumes.<br /> <br /> “J will take the entire responsibility of its pro-<br /> duction and the working expenses upon myself,<br /> including advertisements, if you will arrange to<br /> be responsible for 250 copies at the trade price,<br /> 12s. 6d., or whatever number of copies is needed<br /> to bring the sale up to the quantity if it has<br /> not been reached six months after the date of<br /> publication; the published price being 21s.<br /> Thus, if we are unfortunate enough to sell only<br /> 150 copies, I should ask you to take 100 at the<br /> price named. If we reach the 250 you would<br /> not be troubled any further concerning payment.<br /> The plan is one that I have frequently worked<br /> upon, and is an equitable one, as the author is not<br /> responsible for the initial expenses of production,<br /> advertising, reviewing, &amp;c., and all sales during<br /> the time specified go to the reduction of his<br /> liability, and if the work is fairly successful it is<br /> published without expense to the author.<br /> <br /> “Tf this proposal meet with your approval,<br /> kindly let me hear from you.<br /> <br /> “Yours faithfully, x”<br /> <br /> The preceding is a letter from a publisher to<br /> an author. It is not a letter written specially<br /> for one case, but is a formula. Others almost<br /> exactly the same have been before the Society.<br /> In one week the Secretary was asked to advise<br /> upon three such letters.<br /> <br /> The author is invited to guarantee 250 copies<br /> of the book at 12s. 6d. each. That is to say, the<br /> author guarantees a sale amounting to £156 5s.,<br /> so that the publisher, on these figures, is certain<br /> of asnug little profit. This is not bad business. If<br /> the book proves worthless—it will be observed that<br /> nothing is said about the merits of the case—it is<br /> certain not to reach the sale of 250. But suppose<br /> the book turns out to be good, and to have a sale<br /> <br /> AUTHOR.<br /> <br /> 1gI<br /> <br /> of a thousand—two thousand—anything. What,<br /> then, becomes of the profits? -It does not appear<br /> from the letter that the author is to have any<br /> share atallin them. But perhaps there was to<br /> be a subsequent letter providing for the division<br /> of profits. As far as the letter goes, if the sale<br /> reaches or exceeds 250 copies, the author neither<br /> makes nor loses any money. If it falls short, he<br /> pays the difference. Beautiful, indeed!<br /> <br /> <br /> <br /> SS<br /> <br /> Ty.<br /> ANSWERING AN ADVERTISEMENT.<br /> <br /> “ About the middle of last week I saw an adver-<br /> tisement in a paper asking any lady or gentleman<br /> wishing to become a trained writer to apply to<br /> the advertiser, who had a vacancy.<br /> <br /> “‘T answered this. There camea letter in reply<br /> to this effect : There would be required a premium<br /> of £50; there would be no salary for the first<br /> month; then £1 a week for the following five<br /> months. At the end of this period, if mutually<br /> satisfied, the writer said ‘I will place you on my<br /> permanent staff at £100 a year.’ The letter was<br /> dated from the office of a certain magazine, and was<br /> signed ‘Editor.’ I then made an appointment.<br /> <br /> “JT was kept waiting a few minutes in a small<br /> dingy little office, where a youth was writing and<br /> a small boy lounged and whistled in an under<br /> tone. The editor appeared in a few minutes, and<br /> I went into his room. : He began by<br /> saying that at the end of six months he thought<br /> anyone ought to be of some use on a paper—to<br /> read through the other papers, to arrange notes,<br /> or to write a paragraph. He said he thought<br /> that if they were no use at the end of six months<br /> they never would be of any use. He said that I<br /> must not mind drudgery, or being kept over office<br /> hours sometimes. He said, also, that he had had<br /> over 300 answers, that he had thinned them out<br /> as best he could, that I came fifth upon his list,<br /> and that the first four had proved utter failures !<br /> Here he looked at me to see if I felt very elate.<br /> He continued, that the reason these four had<br /> proved unfit was that they were all anxious to do<br /> the nice parts of journalism, and were unwilling<br /> todo any of the drudgery. He said that if at the<br /> end of the first month he found me hopeless he<br /> would give me up, and return the premium in<br /> full. But this has only been said; he did not<br /> write it in the letter.<br /> <br /> “Ags I was going he said, ‘Then when shall I<br /> hear from you?’ I said in two or three days.<br /> ‘T should like it settled as soon as possible,’ he<br /> replied ; ‘in fact, this week.’ ”<br /> <br /> Such is our correspondent’s story. There is<br /> nothing to show that there was anything but bona<br /> <br /> <br /> 192 THE<br /> fides in the advertisement. It may very fairly<br /> be argued that it is worth paying £50 for six<br /> months’ tuition in practical journalism, together<br /> with a salary of a pound a week for five months.<br /> The paper may have a permanent staff en-<br /> gaged, each at £100 ayear. At the same time,<br /> the case, as put by our correspondent, pre-<br /> sents certain doubtful points. When the premium<br /> is advanced what security is there for tuition and<br /> for salaried work ? Suppose that after six months,<br /> or after two months, the pupil is pronounced<br /> incompetent, will the premium be returned? If,<br /> which we do not for a moment doubt, the adver-<br /> tiser means to act righteously, he will set these<br /> little matters right at once. We should ask the<br /> following questions :<br /> <br /> (1) Reference to anyone who hag already paid<br /> the premium and received instruction.<br /> <br /> (2) Reference to anyone on the “ permanent<br /> staff” at £100 a year.<br /> <br /> (3) Reference to respectable solicitors or<br /> bankers as to the financial standing of the paper.<br /> <br /> (4) Reference to the proprietor.<br /> <br /> (5) An agreement for the return of part of the<br /> £50 if, after a month’s trial, either party is dis-<br /> satisfied with the result so far.<br /> <br /> On the assumption of the bona fides of the<br /> advertiser, who will observe that there is nothing<br /> beyond ordinary precautions in these require-<br /> ments, we refrain from publishing the name of<br /> the journal.<br /> <br /> So<br /> <br /> Ve<br /> An Eprror’s Rieut.<br /> <br /> In the last issue of this journal two questions<br /> were asked by “ A. B.” as follows :—<br /> <br /> 1. Whether an editor is privileged to repub-<br /> lish in America a work, the copyright in which<br /> is the property of the author.<br /> <br /> 2. Whether, under the circumstances given, the<br /> dual publication secures American copyright.<br /> <br /> 1. The transaction appears to have been limited<br /> to an offer of the MS., made by the author, and<br /> an acceptance of it by the editor, with no other<br /> expressed terms to define the contract, beyond an<br /> understanding that the copyright would remain<br /> in the author. As the editor’s right to authorise<br /> an American reproduction would depend only on<br /> contract (since the copyright was reserved by the<br /> author), and there was no express grant to him of<br /> that right, it must depend on what would reason-<br /> ably be implied from the circumstances, or upon<br /> a custom. Primd facie it would appear impro-<br /> bable that any author, expressly selling a magazine<br /> right with a reservation of copyright, could intend<br /> the magazine right to include republication in<br /> America. There does not seem ground for sup-<br /> <br /> AUTHOR.<br /> <br /> posing that the offer of MS. for publication in<br /> the particular magazine’ over which the editor to<br /> whom it was handed had control, was intended to<br /> be anything more than it was in fact, namely, an<br /> offer to publish it in his particular magazine.<br /> Any person who, upon such a contract, should<br /> take the responsibility of selling foreign rights of<br /> any kind must run considerable risk of being<br /> called upon to show upon what authority he go<br /> acted; or to show why he should not pay<br /> damages to the owner of the copyright for having<br /> done so. In the case in point, however, the<br /> author became a party to the sale by accepting<br /> the cheque in payment for the American rights,<br /> and moreover his approval of the sa!e so expressed<br /> would be a reasonable precedent upon which the<br /> editor might be justified in acting similarly in sub-<br /> sequent transactions, unless an express prohibi-<br /> tion accompanied the future offers of MS.<br /> <br /> 2. The answer to this question must be given<br /> reservedly, in the absence of a fuller knowledge<br /> of the circumstances. The probability is that<br /> American copyright was secured, but quite as<br /> important, if not more so, is the question, has<br /> copyright not been lost in the United Kingdom ?<br /> Does prior publication abroad disentitle an<br /> author to his copyright here? Mr. Scrutton<br /> answers in the affirmative (Law of Copyright,<br /> 2nd edit., p. 114). ‘It is difficult,” he says, “to<br /> see what answer could be made to a defendans<br /> sued for infringement of copyright and pleading<br /> ‘I have not copied the book you registered, but<br /> have gone to the same non-copyright source as<br /> yourselves, namely, the prior publication in<br /> America.’” And he contends that it was, in<br /> fact, settled by our courts in a great case that<br /> first publication must take place in the United<br /> Kingdom to secure to the author the benefits of<br /> copyright. The late Lord Justice Cotton, how-<br /> ever, the weight of whose authority no one can<br /> doubt, though not definitely deciding the point,<br /> leaned to the opinion that prior publication in<br /> a foreign country would not cause a loss of copy-<br /> right in a British subject ; and that to foreigners<br /> alone can this rule be said to have been applied<br /> by the decisions in British courts of law. But,<br /> at any rate, the prior publication abroad, to affect<br /> the position of the author or proprietor of copy-<br /> right, must have been by his authority. So that,<br /> as far as the case in point is concerned, the ques-<br /> tions arise: (1.) Did the author, by his accept-<br /> ance of payment for American rights of publica-<br /> tion thereby become a party to their sale?<br /> Answer: Probably yes. (2.) Does he lose his<br /> British copyright by the fact of such prior publi-<br /> cation abroad P Answer: Perhaps not in theory,<br /> but probably in practice. - For, accepting Lord<br /> Justice Cotton’s suggestion, and admitting that<br /> <br /> <br />  <br /> <br /> oe ee re<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> copyright might rest on subsequent publication<br /> here, that copyright, though capable of prevent-<br /> ing infringements from the book actually regis-<br /> tered, would appear helpless as against a repro-<br /> duction proved to have been made entirely from<br /> the foreign publication.<br /> <br /> Such a position, though probably unimportant<br /> with reference to the magazine story in question,<br /> is not a desirable one for the proprietor of a copy-<br /> right to be in. Asa general rule, it may be laid<br /> down that sales of a copyright or any right of<br /> reproduction should never be attempted without<br /> the clearest authority from the person in whom<br /> the copyright is or ought to be vested.<br /> <br /> ec<br /> <br /> FRAUDULENT AUTHORS.<br /> <br /> ———<br /> <br /> <br /> <br /> II. By a LATE SECRETARY.<br /> <br /> N the note, published in the September Author,<br /> upon the Bookseller’s reference to the exist-<br /> ence of fraudulent authors, upon which<br /> <br /> correspondence was invited from the late secre-<br /> taries of the society, allusion was made to almost<br /> all the forms of trickery practised by authors that<br /> came under my notice during my secretaryship.<br /> In giving one or two examples of each method, I<br /> have to say that in but one case was the dis-<br /> honesty practised by a member of our society,<br /> and in that case—quoted by the article—volun-<br /> tary resignation followed immediately upon the<br /> demand by my committee for an explanation.<br /> <br /> 1. Plagiarism. It is undoubted that among<br /> a certain sort of thief the practice prevails of<br /> copying out old stories and re-selling them as<br /> new and original. There was a story published<br /> some year or twoago in a society journal—con-<br /> cerning which I will not particularise more than<br /> to say that its chief interest arose out of the<br /> heroine’s wooden leg—which was immediately<br /> recognised as an old friend. Some newspaper<br /> notoriety being given to the case, it was found<br /> that not only were these two appearances not the<br /> sole bows that this popular yarn had made to an<br /> English public, for it had appeared in certainly<br /> three other popular English journals, but that it<br /> was a German or Swiss story, aud had been<br /> published in French. Who first wrote it, and<br /> who first stole it, and whether the conveyance<br /> from language to language was made in the<br /> absence of or in the defiance of international<br /> convention, I do not know—and I do not think<br /> the matter was ever gone into—but I remember<br /> that the last author defended himself with, it<br /> seemed to me, great probability. He said that<br /> he had met a man in the train who had told him<br /> <br /> VOL, III.<br /> <br /> AUTHOR.<br /> <br /> 103<br /> <br /> the story, and that, thinking it droll, he afterwards<br /> wrote it down. Be that as it may, and the wide<br /> popularity of the story makes it very credible,<br /> this was a case where a perfectly undoubted sale of<br /> old lamps as new had taken place on more tban<br /> one occasion in more than one country.<br /> <br /> Recently there was a case before the Society<br /> of Authors where no such valid excuse could be<br /> given for the reproduction of the story. The<br /> feuilleton in question was originally issued in the<br /> Christmas number of the Illustrated Sporting<br /> and Dramatic News, for 1888, and entitled “ A<br /> Good Thing.” It bore the author’s well-known<br /> <br /> name, about which it will be sufficient<br /> to say that it did not begin with A.<br /> In 1892 this story appeared under the<br /> <br /> title of “ Diamond cut Diamond” as one of a<br /> collection of turf tales by a “ Captain” Somebody.<br /> The story m its new form was re-paragraphed<br /> very badly, and altered sufficiently to betray the<br /> thief’s consciousness of guilt, but, as the following<br /> examples will show, not much ingenuity was<br /> employed in the alterations. _Homfray was<br /> substituted for Frey, the —th Hussars for the<br /> Noughty-ninth Lancers, the Louth Wold Hunt<br /> for the South Downshire Hunt, and Mr. Rooke<br /> for Mr. Hawke; wu few omissions were made, and<br /> the distance of the match was reduced from<br /> “three miles over the steeple-chase course”’ to<br /> two miles and a half, the other conditions<br /> remaining as in the original. The Society of<br /> Authors pointed out to the publisher of the<br /> collected tales that the story was stolen. He<br /> admitted the fact—which allowed of no denial—<br /> showed proof that he had been himself cheated,<br /> as he had paid for the story and held the fraudu-<br /> lent author’s receipt, recompensed the original<br /> author, and undertook to expunge “ Diamond cut<br /> Diamond” from all future issues. Here was a<br /> case in which a fraudulent author clearly<br /> swindled an honourable publisher. Still, I should<br /> like to make two notes upon this case—the only<br /> one of actual sale of stolen goods that ever came<br /> directly under my notice, although I feel that<br /> such cases are of common occurrence. First, the<br /> man who conveyed the story had no real title to<br /> the name of author, at least none that he could<br /> have justified on the merits of his editorial<br /> alterations. He had stolen a story, but it was<br /> not his position as an author that gave him the<br /> opportunity of doing it. In this case he took a<br /> story, but he would just as soon have taken a<br /> leg of mutton. Hither larceny would have<br /> <br /> required equal literary skill. Second, the publisher<br /> <br /> was paying a very small sum for the stories, and<br /> <br /> by buying in such a cheap market wilfully in-<br /> <br /> curred a risk of purchasing damaged goods. This<br /> <br /> is not said with any intent to detract from the<br /> Q<br /> <br /> <br />  <br /> <br /> 194<br /> <br /> honourable nature of his conduct towards his<br /> fellow-sufferer, but ifa publisher lets it be known<br /> that he will print and pay for a lot of short<br /> stories, if he makes no enquiry into the character<br /> of the person who supplies him, and has no<br /> reason to know that the man possesses the ability<br /> to execute the work himself, and if he pays only<br /> alow price for the work, it is abundantly clear<br /> that somebody will cheat that publisher, and<br /> place him in a very uncomfortable position.<br /> There were some two dozen stories in the volume<br /> of “Turf Tales”? that contained “ Diamond cut<br /> Diamond,” and we should not be surprised to<br /> learn that more than one of them had been<br /> similarly conveyed, and not manufactured with a<br /> view to production under the pseudonym of<br /> the “ Captain ’”’ Somebody.<br /> <br /> 2. An author may involve the publisher in an<br /> action for libel, or for publication of offensive<br /> matter. The publisher can, and very generally<br /> does, guard himself against such mishap by a<br /> clause in his agreement. Against the publication<br /> of offensive matter, he has another safeguard—<br /> his reader. If the author&#039;s book contains<br /> blasphemous or obscene passages, and the<br /> reading at the publisher’s offices has been so<br /> carelessly conducted that the passages have<br /> escaped notice, I do not see why the publisher<br /> should not be fined for the carelessness, though<br /> the author should also pay for his unwholesome<br /> vagaries.<br /> <br /> But against certain forms of libel, the pub-<br /> lisher cannot be protected, save by special<br /> agreement, as the libel may be an innocent<br /> enough statement to his eyes, ignorant of its<br /> private meaning. A case came before the law-<br /> courts recently, and will be remembered by all<br /> interested in these matters, in which this occurred,<br /> and it was generally felt that the publishers were<br /> deserving of sympathy.<br /> <br /> There was a curious case before the Society of<br /> Authors some years ago, in which the question<br /> of libel and possible damages arose, but from<br /> the documents in our possession and from the<br /> author’s story, it did not seem that the publishers<br /> suffered much. The book dealt with the private<br /> life of a lady connected as wife and mother with<br /> two extremely prominent citizens, and was<br /> written from one point of view, not the point<br /> likely to be pleasant either to her husband or her<br /> son. An injunction was obtained against its<br /> publication, but the book was afterwards issued<br /> in a modified form. On this occasion, however,<br /> the publishers took thorough precautions against<br /> the recurrence of any difficulty arising out of the<br /> law of libel. They paid a barrister the extra-<br /> ordinary sum of one hundred pounds to obtain<br /> his opinion and assistance, and, not satisfied with<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> this, they reinforced their position by feeing<br /> another counsel to a considerable amount. The<br /> charge of a hundred pounds was a sore burden<br /> on the book, which was published upon a system<br /> whereby the author was only to receive a pro-<br /> portion of the profits, but as the barrister,<br /> whose words were considered to be worth go<br /> much gold, though his opinion required bol-<br /> stering up extraneously, afterwards left the Bar,<br /> and became a member of the firm that produced<br /> the book, it will be seen that the burden fell<br /> heavier upon the writer than upon the pub-<br /> lisher.<br /> <br /> There was once an attempt made by an author<br /> to create a sale for his works, which, if it had met<br /> with success, would have constituted a fraud, but<br /> upon the booksellers rather than upon the publisher,<br /> This author went round to various booksellers<br /> and ordered copies of his own book, saying he<br /> would call the next day for them. In this way<br /> he argued—and quite rightly—that his work<br /> would be much more quickly and largely distri-<br /> buted than it would be if it lay upon the pub-<br /> lisher’s shelves till such a time as a cold public<br /> inquired for it through the usual channels. But<br /> the booksellers found out the little plant, and<br /> sent the books back to the publisher, who may<br /> be trusted to have made things unpleasant for<br /> the man of genius.<br /> <br /> This exhausts my experience of fraudulent<br /> authors, and it will be seen that it is very small.<br /> The author who may chance to land a publisher<br /> in a prosecution for libel may be an extremely<br /> indiscreet person, but he can in no way be pro-<br /> perly described as fraudulent. The person who<br /> steals a story, and, altering one of the names in<br /> it from Rooke to Hawke, sells it as an original<br /> contribution, is as fraudulent as mortal man well<br /> can be; but he is hardly entitled to call himself<br /> an author. In the paper in the Society’s journal<br /> for September other ways are mentioned in which<br /> an author might damage a publisher pecuniarily,<br /> but none of these things—for example, the pro-<br /> duction of seamped work, or the sale of work for<br /> a higher price than it is worth—constitute fraud<br /> in any way.<br /> <br /> I should like to draw a little parallel. The<br /> fraudulent person who can justify any claim to<br /> the name of author is a very rare bird, and, with<br /> the deepest respect for all authors, I think this may<br /> be partly due to the fact that it is very difficult for<br /> authors to be otherwise than honourable. Their<br /> craft allows of no tortuous methods. An author<br /> <br /> cannot assert that he has delivered a novel of, say, —<br /> <br /> 180,000 words, and demand payment at his three-<br /> volume price, when, in truth, his work would barely<br /> fill one volume. He cannot because he would be<br /> certainly found out. But in times not very far<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> distant certain publishers did most distinctly<br /> <br /> debit the author’s book, under the head-of adver-<br /> <br /> |<br /> <br /> be oe<br /> <br /> be<br /> <br /> ise a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> | tisement charges, with three or four times the<br /> <br /> liability really incurred, and in those times the<br /> fraud was not found out, and, had it been sus-<br /> pected, the wording of most of the agreements in<br /> the possession of the Society of Authors is such<br /> that redress could only have been obtained<br /> through the law. Again, an author cannot with-<br /> hold money from a publisher, or render to the<br /> publisher an undue share of profits, and support<br /> his position by an imaginary statement of<br /> accounts—which is fraud—because it happens<br /> that the publisher collects the money. Now, in<br /> times not very far distant, these things have been<br /> done by certain publishers, and the methods of<br /> publishing then in vogue made them easy to do.<br /> I hope that these comparisons will not be con-<br /> sidered offensive, for they are not meant to be so.<br /> The evil customs referred to have greatly died out,<br /> and when they were prevalent the Society of<br /> Authors possessed information enabling them to<br /> discriminate very exactly between just and unjust,<br /> between friend and foe. It will be seen, also, that<br /> the honesty of the publisher, being spontaneous,<br /> was then, and, in a lesser degree, is now, a finer<br /> article than that of the author, for the author’s<br /> honesty is forced upon him by circumstances.<br /> <br /> ee<br /> <br /> THE RANKS OF FICTION.<br /> <br /> <br /> <br /> <br /> <br /> T is exceedingly difficult to arrive at statistics<br /> of the persons engaged in any branch of<br /> literature. The number of living poets, as<br /> <br /> we all know, has been ascertained with app! oximate<br /> certainty—but liable to additions every day. We<br /> have here made an attempt at a rough estimate<br /> of living British novelists. This has been done<br /> by taking the catalogue of W. H. Smith and<br /> Son of the books offered by them for sale. It<br /> contains a collection of novels which is probably<br /> the fullest that can be found in any sale list. It<br /> covers, so far as can be seen, a period of about<br /> six years, and it contains all the popular names,<br /> together with every name that has, during that<br /> time, appeared upon the title page of any novel<br /> good enough to have created any demand. This<br /> limitation is useful, because it is understood that<br /> Smith and Son only take books that are asked<br /> for. What becomes, then, of those not in demand ?<br /> Ask of the unhappy authors who have paid for<br /> the publication of the works; ask how much<br /> those misguided persons have received back of<br /> the money they were persuaded to pay up.<br /> <br /> The list contains the names of about 1600<br /> <br /> VOL, III.<br /> <br /> AUTHOR.<br /> <br /> 195<br /> <br /> novels, which, spread over a period of six years,<br /> means nearly 270 novels a year, or five a week<br /> —namely, novels good enough for some one to<br /> ask for them. The customary statistics for every<br /> year, showing something like a thousand new<br /> novels, may be resolved into these 270 novels,<br /> which attract some attention, more or less;<br /> probably about 500 stories for children, prize<br /> books, religious story books, and so forth; and<br /> the rest a mass of rubbish, paid for by the<br /> authors, dead as soon as they appear.<br /> <br /> These 1600 novels are written by 792 authors<br /> who sign their names, and 130 who do not. Of<br /> the anonymous writers, however, one or two are<br /> well known, as “ Rita,” “ Ouida,” and others. We<br /> have therefore 922 writers of tolerably respectable<br /> novels in this country during the last six years.<br /> Proceeding to subdivision, we ascertain that, out of<br /> this great number about 240—the number is not,<br /> perhaps, quite accurate—have written more than<br /> one novel. This means a certain amount of<br /> success, for, supposing a novelist to have paid for<br /> his first adventure—a most reprehensible, but<br /> common practice—he would not pay a second time.<br /> For if the book failed, he would have enough of<br /> paying for production; and if it succeeded he<br /> would find no difficulty in getting a publisher for<br /> the second work. Roughly speaking, therefore,<br /> the number of artists in fiction who sell their<br /> pictures may be set down as 240. These may be<br /> divided into those who are really popular; those<br /> who command a certain amount of attention,<br /> enough to bring some of them into cheap editions ;<br /> and those who are able to make 4 little name or<br /> a small sum of money by each novel—a sum<br /> which varies from £25 to £150—and there an<br /> end of books and demand and everything. A<br /> further consideration of the names reveals the<br /> fact that there are about fifty names—English<br /> and American—which stand well in the front so far<br /> as popularity goes; and about seventy or eighty<br /> names follow of those whose popularity is assured<br /> to a certain extent, who yet stand far below the<br /> first fifty. How far popularity increases in direct<br /> proportion to literary worth is a matter that<br /> cannot be discussed in this place. Nor are we<br /> concerned about ranking the novelist in order of<br /> literary and artistic excellence or otherwise.<br /> <br /> The broad facts are these: (1) There are at this<br /> present momeut fifty writers at least, who, by<br /> their literary labours, and especially by their<br /> novels, are commanding great popularity, and<br /> an income which, even in the profession of the<br /> law would be called considerable. (2) That there<br /> is a body of seventy writers at least, who enjoy<br /> such an amount of popularityas make their books<br /> “go off” in large numbers ; and (3) there are<br /> at least a hundred and twenty more, oo<br /> <br /> Q<br /> <br /> <br />  <br /> <br /> 196<br /> <br /> achieved such a measure of success that they are<br /> encouraged to persevere. It has also appeared,<br /> during the last six years, that there are nearly<br /> 700 writers who have succeeded in getting their<br /> works published—partly, no doubt, at their own<br /> expense—but have not been encouraged to pro-<br /> ceed. Supposing that there were 500 of these<br /> luckless ones in the six years preceding, and 400<br /> in the six years before that, there must have<br /> been, somewhere in these realms, about 1600<br /> writers, some of whom are now dead, who<br /> attempted the Art of Fiction with at least that<br /> small measure of success which is indicated by<br /> being on this list. If we add a thousand only<br /> —a number far below the reality—for those who<br /> utterly failed, for whom there was no demand,<br /> we have a total of 2600 persons who have failed,<br /> or have not succeeded much, in fiction in the last<br /> eighteen years to about eighty who have succeeded<br /> well, and, say, a hundred and twenty who have<br /> succeeded tolerably. These figures—which are<br /> only advanced as approximate—should be studied<br /> and pondered over by those who now send out<br /> their works to the great gallery of pictures which<br /> is always open all the year round, and wonder<br /> why nobody wants to look at their productions.<br /> <br /> eS<br /> NOTES FROM PARIS.<br /> <br /> Paris, October 24th.<br /> ()* my return from wandering vaguely about<br /> <br /> <br /> <br /> Holland, I find the following letter await-<br /> ing me at home :—<br /> <br /> “ My dear Sherard,<br /> <br /> “You will be sorry to hear that I am at the<br /> Perthshire Charenton, or one of them. I got into a broil in<br /> Crieff, and, refusing to recognise the law, was transferred to<br /> Perth and thence hither. Write to me, like a good fellow,<br /> and cheer me up. I am studying away here as well as I<br /> ean. They supply me with books, and I have started the<br /> study of chemistry with an excellent text-book but without<br /> apparatus. I confess that that looks at first. sight like a<br /> justification of my present position, but it is really quite<br /> possible fora man with reasoning faculties to grasp the<br /> principles of a science thus, and to see the experiments men-<br /> tally with the help of clear descriptions and a few diagrams.<br /> Of course I shall have to do it all over again with appa-<br /> ratus, but that will be quick work, as I shall know the<br /> atomic weights, chief formule, and the principles. You see<br /> I am obliged to work at something, and I have no relish for<br /> literature amid such surroundings. You will say it is the<br /> right place to learn some psychology. Well, that, of course,<br /> I can’t help learning, but I require something else.”<br /> <br /> My reason in reproducing this letter is simply<br /> to ask my readers what they think as to the sanity<br /> of the man who could write it. This letter is<br /> dated from the Murray Asylum in Perth, and is<br /> written by John H. Barlas, who is confined there<br /> under circumstances to which I referred Jast<br /> <br /> THE AUTHOR.<br /> <br /> month. Now, though I think that the enforced<br /> disc pline and the absolute rest that are imposed<br /> upon Barlas make his present position rather<br /> enviable than otherwise, I cannot help considering<br /> by the light of this letter that the time has come<br /> for the reconsideration of the position Barlas is<br /> a brilliant scholar and an admirable man of letters,<br /> and it is an abominable shame that he should be<br /> kept locked up a moment longer than necessary,<br /> if it is necessary. Candidly, does the above letter<br /> look like the work of an insane man?<br /> <br /> <br /> <br /> Great changes have taken place in Paris since<br /> I last wrote. Poor genial Renan has gone to hig<br /> last account, as has also Xavier Marmier. The<br /> latter, doubtless, hastened his end by imposing<br /> on himself a total change of diet, for, as I re-<br /> corded last month, for some time past the doyen<br /> of the Academicians had become an absolute<br /> vegetarian, and at the age of eighty-three it ig<br /> dangerous for men to play pranks with them.<br /> selves. Renan’s death, on the other hand, came<br /> as a painful surprise to all but his nearest friends,<br /> who, it appears, had been uneasy for some time<br /> past. 1 shall always esteem it a great piece of good<br /> fortune, that, only a very short time before his<br /> death, I had a long conversation with him on the<br /> future life in general, and on Hell in particular.<br /> He knows the truth now, but, whatever it may<br /> be, so kindly, so charitable, so large-hearted a<br /> man as Ernest Renan cannot but be well. He<br /> leaves a quantity of manuscripts, for the early<br /> publication of which arrangements are already<br /> being made.<br /> <br /> wa ee<br /> <br /> Renan was the soul of courtesy and of con-<br /> sideration. Precious as was his time, he was<br /> always ready to receive even the most importu-<br /> nate of strangers, and to talk to them as though<br /> he had nothing else in the day to do but to<br /> satisfy the curiosities of the public. I remember<br /> that, when I interviewed him on Hell, he was<br /> troubled with a very nasty cough, which evi-<br /> <br /> dently made speaking a task to him, and, more-<br /> <br /> over, from the papers on his writing-table, I<br /> could see that I had interrupted him in the midst<br /> of an urgent piece of work. Yet, though I re-<br /> peatedly made show of departing, he was good<br /> enough to retain me until he had said all that it<br /> seemed useful to him to say. He was a lovely<br /> old man, and to me, for one, the world is different<br /> without him.<br /> <br /> —<br /> <br /> Marmier’s legacy of forty pounds to the book-<br /> hawkers on the quays has been a good deal<br /> written about as an example of the deceased<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> gentleman’s generosity. As Marmier, by his own<br /> account, on one occasion purchased for a mere<br /> song, from just one of these bouquinistes, some<br /> volumes which were valued at many thousand<br /> francs, the legacy may be considered rather as an<br /> act of justice—a kind of posthumous conscience-<br /> money—than as anything else. Apropos of such<br /> bargains, it is still quite possible to pick up very<br /> good things at very low prices on the quays, but<br /> the opportunities require watching and patience.<br /> You may walk daily for a year from the Pont-<br /> Royal to the Pont St. Michel and examine every<br /> box of books on the way, without coming across<br /> anything worth purchasing. Again, when you<br /> least expect a find, you may come across one. E<br /> remember one afternoon after dining at the Café<br /> @ Orsay, turning over a pile of old books ata stall<br /> just opposite that café and coming upon a volume<br /> for which the dealer asked me one franc. I<br /> purchased it at that price, but a few minutes later<br /> repented of my bargain, because I felt it “real<br /> mean” to profit by the ignorance of a very shabby<br /> and hungry-looking retailer, returned and offered<br /> to take back my franc in exchange for the volume.<br /> My motive was, however, totally misunderstood,<br /> and the shabby and hungry-looking dealer abso-<br /> lutely refused to annul the bargain. “What is<br /> sold is sold,” he said, “that is all 1 know,” and<br /> scoffed at my pretensions. The book was a first<br /> edition of Stendhal’s “ L’Amour,” and very rare.<br /> I was offered 120 franes for it the same afternoon<br /> by a bookseller in the Rue de Castiglione. I have<br /> since occasionally had “ trouvailles” of the same<br /> sort, but on the whole it is hardly zemunerative<br /> to go hunting for bargains on the Paris quays.<br /> The bouquinistes are terribly sharp.<br /> <br /> —<br /> <br /> Zola’s chances of a seat in the Academy seem to<br /> be very good, but prognostication in the affairs of<br /> the Academy is always a foolish business, and I<br /> attach but very little importance to the various<br /> published statements as to the relative chances of<br /> the numerous candidates who are in the lists.<br /> But with the disappearance of Marmier and of<br /> Renan, who were amongst Zola’s bitterest literary<br /> antagonists in the Academy, the prospects of the<br /> chief of the Naturalist school of obtaining the<br /> coveted seat in the institute should be much better<br /> than they were formerly.<br /> <br /> — -<br /> <br /> Pierre Louys, one of the most charming of the<br /> young poets of France, communicates to me the<br /> news of a literary discovery of some interest,<br /> which he has just made at one of the public<br /> libraries here. At this library he came across a<br /> <br /> copy of Ronsard’s “ Hymnes,” which he says he<br /> <br /> 197<br /> <br /> has every reason to believe is the identical copy<br /> which consoled poor Mary Stuart in her -aptivity.<br /> It may be remembered that when the luckless<br /> Queen of Scots was asked whether she wished<br /> for a Bible to read in prison, she replied that her<br /> volume of Ronsard sufficed her. The volume in<br /> question, which according to the catalogue of the<br /> library, was purchased in England, bears on the<br /> fly-leaf, in female penmanship, the inscription<br /> “Per far’ il mio cattivo tempo piu suave.’ There<br /> is also other contributory evidence as to the origin<br /> of this book.<br /> Ropert H. SHERARD.<br /> <br /> ea<br /> <br /> <br /> <br /> <br /> <br /> JOHN GREENLEAF WHITTIER.<br /> <br /> So<br /> <br /> HE death of John Greenleaf Whittier, “ the<br /> good, gray poet,” as he has been affection-<br /> ately called, has removed another link from<br /> <br /> the chain which connects all that is best in the<br /> old New England life with that of the present<br /> day. His end was peace, and his eyes closed upon<br /> the scenes dearest to him on earth, and his last<br /> breath was drawn in the loved quiet of his home<br /> at Hampton Falls, New Hampshire. Born on<br /> Dec. 17, 1807, he had long passed the span of<br /> three score years and ten; and yet, till quite<br /> recently, his peaceful life was full of gentle<br /> activity. his pen was not altogether idle, and his<br /> heart was full of the same sympathy for human<br /> suffering and noble thought which has served to<br /> make his poetry “heart music ” to so many who<br /> were, and are, diametrically opposite to him in<br /> tendencies and creed. His common ancestor—<br /> Thomas Whittier—fleeing from the persecutions<br /> of 1638, sailed, with other Nonconformists, in the<br /> Confidence, of London, and landed to settle in<br /> New England. Whittier lived and died a Quaker,<br /> retaining their simplicity of attire and their mode<br /> of address. Much that made the Pilgrim Fathers,<br /> his ancestors, what they were, made him what he<br /> was. What his early life was at the farmhouse at<br /> Haverhill we can gather from his tender and<br /> soberly graphic word pictures in ‘ Snow Bound.”<br /> <br /> His life work, “to sing the fetters off the<br /> slaves,” was begun when he sent his first verses<br /> to the office of the Newburyport Free Press,<br /> which was then edited by William Lloyd<br /> Garrison, the great Abolitionist. The visit which<br /> Garrison, struck by the power of the verses, soon<br /> paid to his unknown contributor, was the<br /> beginning of a friendship of many years, which<br /> was to have an almost immeasurable influence<br /> over the future of the farmer’s son. At first<br /> Whittier’s father had little sympathy with him,<br /> <br /> <br /> <br /> <br />  <br /> <br /> 198<br /> <br /> Indeed his boyish poems have very little save<br /> biographical interest. In 1828 he left Haverhill<br /> for Boston, and once there he rapidly drifted into<br /> journalism. Strange to say, he was at first<br /> engaged on a Protectionist paper, the Boston<br /> Manufacturer. :<br /> <br /> The starting of the Liberator, in s a Boston<br /> attic near the sky,’ aroused in Whittier a desire<br /> for nobler and higher poetical flights, and led him<br /> to embrace the Abolitionist cause with fiery<br /> enthusiasm. He himself has told of his ‘soul’s<br /> awakening” thus:<br /> <br /> God said, Break thou these yokes ; undo<br /> These heavy burdens. I ordain<br /> <br /> A work to last thy whole life through,<br /> A ministry of strife and pain.<br /> <br /> In those early days, too, to be a prominent<br /> member of the Anti-Slavery party (which the<br /> poet speedily became) meant often the carrying<br /> of one’s life in one’s hand. Several times the<br /> Quaker poet and journalist escaped the fury of<br /> his opponents with difficulty. Indeed, so strong<br /> was this antagonism, that for years his articles<br /> and poems were refused by magazines and<br /> papers, which by their insertion would have<br /> courted a literary death.<br /> <br /> After the destruction and burning of the offices<br /> of the Pennsylvania Freeman, Whittier returned<br /> to his old home at Haverhill; eventually selling<br /> the farm, &amp;c., in 1840, removing with his mother<br /> to Amesbury. His stirring war songs offended<br /> many of his less enthusiastic co-religionists, and<br /> earned him the nick-name of the “Martial<br /> Quaker.”<br /> <br /> For his later years was reserved the full know-<br /> ledge of what his inspired pen had wrought.<br /> Life’s aftermath was for him full of touching<br /> incidents and delicate tokens of the love and<br /> esteem in which he was held, not only by his own<br /> countrymen and contemporaries, but also by<br /> thousands in the land of his forefathers across<br /> the sea, Of his own writings he had said :<br /> <br /> And thou, my song, I send thee forth<br /> Where harsher songs of mine have flown;<br /> Go, find a place at home and hearth<br /> Where’er thy singer’s name is known;<br /> Revive for him the kindly thought<br /> Of friends; and they who love him not,<br /> Touched by some strain of thine, perchance may take<br /> The hand he proffers all, and thank him for my sake.<br /> <br /> And in the evening of his life assuredly this<br /> wish came true.<br /> <br /> That he was not a great poet in the truest and<br /> widest sense of the word must be allowed. His<br /> knowledge of life was too restricted; his sym-<br /> pathies were, in fact, wide only in one direction,<br /> they were not in the least cosmopolitan, and in<br /> creative ability his verse is admittedly lacking,<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> But he possessed, to a marked degree, a fiery,<br /> virile vigour of expression, a power to hold men,<br /> in his anti-slavery songs; and in his other poems<br /> often runs a vein of the truest tenderness, which<br /> touches the heart where more “ finished ” yerge<br /> and less old-fashioned metres would fail to awake<br /> a quivering, responsive chord. He has been<br /> called a “monotone poet,” perhaps rightly go,<br /> There is a grey, cool quietness about much of<br /> his verse which lends accuracy to this definition,<br /> the outcome of a life which was peaceful and<br /> retiring, broken in upon but little by the pulsa-<br /> tions and passion of the world, of which, indeed,<br /> he saw scarcely anything, except in the Boston<br /> days.<br /> <br /> it was in 1835 that Whittier published “ Mogg<br /> Megone”; ‘ Ballads” followed in 1838; “Lays<br /> of my Home” in 1843. Next year, another<br /> volume, and the same year the first English<br /> edition of his poems, with an introduction by<br /> Eliezer Wright. In 1849 Whittier collected his<br /> Abolitionist poems, which he called ‘“ Voices of<br /> Freedom”; previous to this issuing two prose<br /> works: ‘The Stranger in Lowell” (1845), and<br /> ‘“Supernaturalism in New England’ (1847),<br /> During the periods immediately preceding and<br /> following the Civil War, his works were issued in<br /> rapid succession. In 1853, “The Chapel of the<br /> Hermits, and other Poems,” and “A Sabbath<br /> Scene” appeared; to be followed in 1854 by<br /> “Literary Recreations and Miscellanies.” Amongst<br /> his later works may be mentioned “ Snow Bound”<br /> (1862), certainly one of his finest works; “In<br /> War Time, and other Poems” (1863); then<br /> “ National Lyrics,” ‘‘ Among the Hills, and other<br /> Poems” in 1868. ‘ Hazel Blossoms ” was pub-<br /> lished in 1874, and “ Mabel Martin” in the year<br /> following. In 1878 came “ The Vision of Echard,<br /> and other Poems,” the ‘“‘ Bay of Seven Islands,<br /> and other Poems” in 1883, and “ St. Gregory’s<br /> Guest, and Recent Poems” in 1885. An edition<br /> (revised by the poet himself) of Whittier’s poems<br /> was issued, in seven voluines, in 1888-9.<br /> <br /> The latest and best English edition, is that<br /> published by Messrs. Warne and Co. It was<br /> first issued in 1891, and contains a_ brief<br /> biography, notes, and an index.<br /> <br /> Curve HoLuanp.<br /> <br /> pees.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. £00<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> OUR LATE PRESIDENT.<br /> <br /> <br /> <br /> PP\HERE is no need for any words of ours<br /> to swell the chorus of appreciation<br /> and veneration and sorrow which has<br /> <br /> risen up spontaneously from a whole nation.<br /> Such words would appear too late. Suffice it<br /> for us to acknowledge our deep debt of<br /> gratitude to the late Laureate for accepting<br /> the post of President to our infant Society.<br /> The service which he rendered to us and, we<br /> believe, through us, to literary men and<br /> women of every branch—by giving us his<br /> countenance and his protection at the outset<br /> when we were a small Society, doubtful<br /> whether we should survive the early storms<br /> of derision, and doubt, and disbelief against<br /> which we had to steer our little bark, was<br /> simply enormous. Let it be remembered,<br /> now that we are nearly a thousand strong ;<br /> let it be remembered when, in days not far<br /> distant, our membership will be five times as<br /> great, and our action will be unanimous, and<br /> we shall have learned at last that our inde-<br /> pendence can only be secured by association of<br /> a far closer kind than any yet attempted—that<br /> Lord Tennyson made this possible. Those of<br /> us who think that the material interests of<br /> literature must be placed on an equitable<br /> basis, and must be protected for the author<br /> —not by the author—and that to effect this<br /> reform is to render the greatest possible<br /> service to the independence and the self-<br /> respect of literature, which must needs be<br /> degraded by servility and dependence in her<br /> followers, will agree with us in thinking that<br /> the world at large owes its deepest gratitude<br /> to Tennyson for assisting to make the reform<br /> possible. We are under no illusions: we<br /> sball not effect this reform to-day, or to-<br /> morrow; but our education advances.<br /> Already a more dignified attitude is assumed<br /> by authors; -already the young men are<br /> seeing the necessity of association ; already<br /> even the older men, brought up in the old<br /> school, are recognising the convenience of the<br /> Society for advice and assistance. For all<br /> that has been done, we owe recognition of<br /> the Presidency of Tennyson which made it<br /> possible. For all that will be done we owe<br /> recognition of his Presidency when the<br /> foundations were laid.<br /> <br /> <br /> <br /> peat<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE list of those who were invited to join in<br /> the procession of Tennyson’s funeral has<br /> been published in the Times. It includes<br /> <br /> a great many names unknown to the world, but<br /> probably there were private reasons good and suffi-<br /> cient for including them. Tennyson’s own church<br /> was represented by six bishops and many clergy-<br /> men; other churches were represented by the<br /> Archbishop of Westminster, Dr. James Martineau,<br /> the Rev. Hugh Price Hughes, the Rev. Dy;<br /> Joseph Parker, the Rev. Dr. Guinness Rogers,<br /> and the Chief Rabbi, Dr. Adler. The universities<br /> and schools were represented by the Vice-Chan-<br /> cellors of Oxford and Cambridge, Principal<br /> Caird, Professor Salmon, the Masters of Trinity,<br /> Balliol, and Magdalen, and the Head Masters of<br /> Eton, Marlborough, and Harrow. About a dozen<br /> peers attended. Law was well represented by the<br /> Lord Chancellor, Lord Selborne, the Master of the<br /> Temple, Lord Justice Bowen, Sir R. Webster, Sir<br /> Frederick Pollock, and Judge Hughes. The Army<br /> and Navy had, among other representatives, Lord<br /> Wolseley, Admiral de Horsey, General Sir E. A.<br /> Hamley, General Maurice, and Colonel Crozier.<br /> For the arts there were invited, for poetry:<br /> Alfred Austin, Austin Dobson, Andrew Lang,<br /> George Meredith, Lewis Morris, William Morris,<br /> Roden Noel, Coventry Patmore, Swinburne,<br /> Aubrey de Vere, William Watson, and Theodore<br /> Watts. For fiction: Hamilton Aidé, J. M.<br /> Barrie, Walter Besant, William Black, Conan<br /> Doyle, Baring Gould, Thomas Hardy, Henry<br /> James, George Meredith, James Payn, W. Clark<br /> Russell, J. H. Shorthouse, and Julian Sturgis.<br /> For painting: Herkomer, Holman Hunt, Burne<br /> Jones, Leighton, Millais, Val Prinsep, and<br /> Briton Riviére. Henry Irving alone represented<br /> the art of acting. For music: Sir George Grove,<br /> Sir Arthur Sullivan, Dr. Charles Stanford. Science<br /> was admirably represented by Sir Robert Ball,<br /> George Darwin, Boyd Dawkins, Sir John Evans,<br /> Sir Joseph Fayrer, Michael Foster, Sir Archibald<br /> Geikie, Huxley, Lord Kelvin, Norman Lockyer,<br /> Sir Alfred Lyall, Pritchard, Sir Henry Thompson,<br /> and A. Russell Wallace. General literature,<br /> history, and scholarship were well represented by<br /> Lord Acton, Canon Ainger, James Bryce, Pro-<br /> fessor J. Butcher, Rev. A. F. Church, Sidney<br /> Colvin, Froude, Dr. Ginsburg, Auberon Herbert,<br /> Frederick Harrison, Shadworth Hodgson, R. H.<br /> Hutton, Walter Leaf, Professor Jebb; A. H.<br /> Lecky, Sir John Lubbock, Professor Masson,<br /> Sir William Muir, F. W. Myers, Dr.<br /> <br /> Martineau, Clement Markham, F. T. Palgrave,<br /> Professor Seeley, Leslie Stephen, Professor Skeat,<br /> THE<br /> <br /> Henry Sidgwick, Aldis Wright. With such a<br /> list before one, a list prepared as carefully,<br /> perhaps, as the shortness of time allowed, it would<br /> seem out of place to pick faults and to point to<br /> omissions. Oertain unfortunate omissions will,<br /> however, occur to everyone who reads the list.<br /> <br /> 200<br /> <br /> <br /> <br /> Concerning the immediate future of poetry in our<br /> language it is most difficult to make any forecast.<br /> It is quite true that there are not among us, as far<br /> as we can see, more than a very few young poets<br /> of distinct promise under the age of forty. On<br /> the other hand there are, among the sixty or<br /> seventy younger poets, some who have begun with<br /> a command of metre, rhythm, music, and rhyme<br /> which will compare favourably with many of<br /> their elders. The modern poetry—that of the<br /> last twenty years—whatever else it may be, has<br /> been, and is, a great school of versification.<br /> Swinburne led the way, but others have followed.<br /> The instrument has been made to yield new<br /> harmonies: it has received quite new music for<br /> the new songs. The young poets have learned<br /> this music: they began therefore where their<br /> elders left off. So that in considering promise<br /> we must not be led astray by dexterity. For<br /> instance, here is a little book by a new poet—the<br /> book is by Mr. Richard Le Gallienne. When one<br /> turns over the pages one asks “ Is this promise<br /> of the highest? or is it an echo of modern<br /> verse?”? I would rather think that it is promise<br /> of the highest framed and set in metres of the<br /> newest. Here, for instance—if one may quote—<br /> are lines which seem to me as good as could be<br /> written by any living poet. They are called<br /> “ Sunset in City.”<br /> <br /> Above the town a monstrous wheel is turning,<br /> With glowing spokes of red,<br /> <br /> Low in the west its fiery axle burning ;<br /> And lost amid the spaces overhead,<br /> <br /> A vague white moth, the moon, is fluttering.<br /> <br /> Above the town an azure sea is flowing<br /> *Mid long peninsula of shining sand ;<br /> <br /> From opal unto pearl the moon is growing,<br /> Dropped like a shell upon the changing strand.<br /> <br /> Within the town the streets grow strange and haunted,<br /> And, dark against the western lakes of green,<br /> <br /> The buildings change to temples, and unwonted<br /> Shadows and sounds creep in where sun has been.<br /> <br /> Within the town the lamps of sin are flaring,—<br /> Poor foolish men that know not what ye are!<br /> <br /> Tired traffic still upon his feet is faring,—<br /> Two lovers meet and kiss and watch a star.<br /> <br /> AUTHOR.<br /> <br /> I have often thought that the writing of<br /> English verse should be taught in our schools<br /> to all—girls as well as boys—who show any apti-<br /> tude at all for that work. In order to acquire<br /> the art, even moderately, think of the poetry<br /> that must be learned and studied. It is not onl<br /> the metre, the rhyme, the rhythm, the iilt of the<br /> verse, that must be learned and practised ; it ig<br /> the mode of expression; the way of narration;<br /> the choice of words; the acquisition of style;<br /> the perception of what is false, low, vulgar, or<br /> the reverse. In the time of Queen Elizabeth<br /> there were 240 poets in London alone; it is ag<br /> much as we can do to muster sixty or seventy<br /> poets of any mark among all the hundred millions<br /> of our people. One need not expect again such<br /> a splendid outburst of song; but there is no<br /> reason why the writing of verse should not be<br /> practised as much as the playing of an instru-<br /> ment. Should we try to manufacture poets ?<br /> That is impossible; but we might train every<br /> person with taste, a musical ear, and some power<br /> of expression into a writer of pleasant verse,<br /> disciplined and refined by the study of the best<br /> poetry in the world—our own. It would be<br /> invidious to mention names, but anyone with a<br /> moment’s thought can poimt to many of our<br /> sixty minor poets who are nothing at all but men<br /> or women who have acquired by study and piac-<br /> tice the art of writing pleasing verses. It has<br /> been a study of the greatest benefit to them-<br /> selves; it has not only filled their minds with<br /> noble thoughts, but it has taught them to attempt<br /> lofty thought for themselves. If they have not<br /> greatly succeeded they have at least raised them-<br /> selves out of their former level.<br /> <br /> <br /> <br /> Thomas Hardy in the cheap edition of “ Tess,”<br /> reviews his reviewers. This raises the question<br /> whether an author should ever answer a review.<br /> To begin with, in sending a book for review one<br /> invites an opinion, and must not grumble if the<br /> opinion is unfavourable. But then, when the<br /> opinion, good or bad, is pronounced without<br /> reading the book at all? or when the book has<br /> been imperfectly read ? or when the book is mis-<br /> represented ? or when, in the case of a novel ora<br /> poem, the opinion is given without the least<br /> understanding of art? or when it is simply a<br /> malignant opinion? or when it is the work of the<br /> professional bludgeon wielder? or when it is the<br /> opinion of a school girl or a novice hand put on<br /> to do the reviews? or when it is a line and<br /> a half in a batch of twenty books? In most<br /> of these cases, the best thing to do, I believe,<br /> is to say nothing, but to take very good care<br /> that no copies of future works shall go to that<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> review. But then there is nothing to prevent any<br /> review, or any reviewer, from “slating”’ the book<br /> without a presentation copy. Is there ? Is that<br /> so? Ifaman falsely say of a baker that he makes<br /> poisonous bread ; or of a chemist that his pills are<br /> pure flour and water; or of a physician that he<br /> is a quack; or of a solicitor that his advice is not to<br /> be trusted—these practitioners have their remedy<br /> in a court of law. And so, I believe, has the<br /> author upon whose work the reviewer uninvited<br /> makes an onslaught. He may bring an action as<br /> one who has suffered material injury by the<br /> uninvited reviewer. If such an action were ever<br /> brought we should hear very little more of the<br /> gratuitous and meddlesome uninvited slating and<br /> sneering, which is now passed over. In the case<br /> of “Tess,” Mr. Hardy perhaps felt that he had<br /> more to complain of than any recent writer.<br /> The book in certain papers was reviewed by critics<br /> absolutely ignorant of what is meant by Art in<br /> Fiction. To such as these a story is always<br /> pleasant or it is unpleasant—one or the other.<br /> That is their sole and simple canon of criticism.<br /> The new preface is a protest against such<br /> criticism. The whole protest is summed up in the<br /> words of Schiller, quoted by Mr. Hardy in that<br /> preface: ‘“ As soon as I observe that anyone, when<br /> judging of poetical representations, considers<br /> anything more important than the inner necessity<br /> and truth, I have done with him.” These lines<br /> should be printed at the head of every review<br /> which considers any branch of Art whatever.<br /> And when one who does not know these words<br /> and their meaning is admitted on any paper to<br /> be a judge of Art, it is time to forbid any further<br /> invitation to that paper for any opinions at all.<br /> <br /> <br /> <br /> The following letter has been most appro-<br /> priately addressed to a young lady, a novelist :—<br /> <br /> New York, Sept. 26, 1892.<br /> <br /> Dear Madame,—I wish to obtain your aid in making<br /> Science more of an international journal than has been<br /> possible in the past. The paper was established in 1883 as<br /> a means of weekly discussion among American scientific<br /> men. Now, in the tenth year of its existence, there are<br /> nearly 1000 Americans, and Europeans as well, who have<br /> become contributing subscribers, in accordance with the<br /> attached blank. We cannot offer any cash honorarium for<br /> contributions, but the paper shall be sent to those who will<br /> use it, and 100 copies of the issue containing his contribu-<br /> tion shall be sent any contributor, on request in advance.<br /> Kindly notice how small is the contribution asked, not<br /> enough to fill a third of a page once a year.<br /> <br /> The number of contributing subscribers in Europe is<br /> increasing so rapidly that the publication of a London sheet<br /> to Science is contemplated, to insure more prompt publica-<br /> tion of European contributions. This would necessitate an<br /> increase in the size of the paper and an increase in the price<br /> to 6:00 dols. (£1 58.) in all countries. We would begin the<br /> publication of the London sheet if we could secure 1000<br /> <br /> VOL. III.<br /> <br /> 201<br /> <br /> cash subscriptions in Europe. One-half of the enlarged<br /> Science would be printed and published in London, and the<br /> other half in New York.—Yours truly, N. D. C. Hopaus.<br /> <br /> N. D. C. Hopa@Es :—<br /> You may enter me as a subscriber to Science, for<br /> one year from ,and I agree, in return, to send<br /> contributions for publication in the paper to the amount of<br /> at least 500 words before the termination of the year, or, in<br /> default of such contributions, to pay you 4°50 dols., the<br /> <br /> foreign subscription price.<br /> NGUHO: ee ee<br /> <br /> Address<br /> <br /> <br /> <br /> <br /> <br /> [We do not ask for a remittance now, unless you wish to<br /> become a subscriber immediately. }<br /> N. D. C. Hopazs :—<br /> <br /> You may enter me as a subscriber to Science, and<br /> Tagree to remit £1 5s. (6:00 dols.) as soon as the paper is<br /> <br /> enlarged by the publication weekly of the London sheet.<br /> Name __<br /> <br /> Address __<br /> <br /> Let us see how this works out. At present if<br /> any one has any contribution to make to science<br /> in any branch at all, any scientific journal in this<br /> country is ready and anxious to publish it. More-<br /> over it is reasonable to suppose that any scientific<br /> paper which is not the organ of some special<br /> branch would be equally willing to pay for such a<br /> contribution provided it was really an addition,<br /> even the smallest, to real science. This American<br /> editor, however, invites contributors to send him<br /> papers of at least 500 words each, in return for<br /> which they are to have the paper free. This is not<br /> made very clear, but it seems to be implied.<br /> Who is to decide whether the papers are real con-<br /> tributions to Science or not? Clearly, the editor ;<br /> who else? Then how is any one to know whether<br /> the editor will prefer his sovereign or his contri-<br /> bution? The idea is a neat and happy one, but<br /> in the interests of our countrymen we advise them<br /> to try the British scientific papers first and last,<br /> because if these papers do not accept their articles,<br /> they may rest assured that they are not scientific,<br /> and so will keep this 4°50 dols., which is nearly<br /> one pound sterling, in their pockets.<br /> <br /> <br /> <br /> <br /> <br /> On the subject of the slow unfolding of the<br /> opening portions of a novel Mons. Octave Feuillet<br /> makes several interesting remarks in a preface (in<br /> the form of a letter) which he wrote to Mons.<br /> Henry de Péne’s novel, “ Trop Belle.” (Paris:<br /> Ollendorf. 1887. 12°.) Mons. Feuillet insists<br /> that it is necessary,<br /> <br /> “Faire préalablement, au lecteur, une connai-<br /> sance intime, profonde, avec les personnages aux-<br /> quels on a la prétention de Vinteresser. On ne<br /> gintéresse sérieusement, en effet, qu’aux gens<br /> qu’on connait.<br /> <br /> On lit tous les jours, dans les faits divers, mille<br /> accidents arrivés &amp; des inconnus, et on continue<br /> <br /> R<br /> 202<br /> <br /> tranquillement de déjeuner. Mais si l’accident est<br /> arrivé &amp; une personne de votre connaisance, et<br /> surtout de votre intimité on s’emeut, on s’ecrie, on<br /> se passionne, on est saisi! De méme, pour que le<br /> lecteur prenne un vif intérét aux faits et gestes<br /> des personages que vous lui presentez, pour qu’il<br /> soit sincérement touché de leurs souffrances et de<br /> leurs joies, de leur vie et de leur mort, il faut<br /> qu’il soit intime avec eux. On ne doit pas done<br /> craindre d’etablir solidement les characteres, et de<br /> rewonter aux origines.—C’est ce que le profane<br /> vulgaire appelle des longueurs.—Bref, pour en<br /> venir &amp; interesser fortement le lecteur, il faut<br /> quelquefois avoir le courage de commencer par<br /> Vernuyer un peu.”<br /> <br /> <br /> <br /> The paper below, called the “ Porter of Bagdad,”<br /> is sent to me by a Canadian, who protests against<br /> certain allegations as to the literary silence of<br /> Canada. ‘The little sketch originally appeared in<br /> a Canadian college magazine some eight years ago.<br /> <br /> <br /> <br /> Of English book plates there are more collectors<br /> than the world wots of. One might certainly<br /> collect things much less interesting. Some time<br /> ago Mr. Franks, who has a collection of 80,000,<br /> was so good as to include my own book plate<br /> —which was designed, I believe, by Mr.<br /> Thomas Crane, among four specially selected<br /> for commendation in a paper read before the<br /> Midland Institute on the subject. I then had<br /> letters sent to me by sheaves and waggon loads—<br /> at least there is a memory as of waggons—all asking<br /> for copies of that book plate, and this it was<br /> which taught me what a large number of persons<br /> collect book plates. Among them is Mr. Egerton<br /> Castle, who has made a very pretty collection, at<br /> those intervals when his more serious pursuits<br /> with foil and rapier have left him time. And<br /> he has indited a fine volume all about them,<br /> with a hundred examples and more. It is a<br /> handbook on the subject, and the edition will<br /> consist of no more than a thousand copies. But<br /> perhaps there are not more than a thousand<br /> collectors of book plates after all. The publishers<br /> are George Bell and Sons.<br /> <br /> <br /> <br /> The report of the London Booksellers’ Society,<br /> recently read at their annual dinner, brought out<br /> two rather unexpected points. This is the first.<br /> Most of us have been accustomed to consider<br /> that the upspringing everywhere of free libraries<br /> would be of the greatest benefit to our friends<br /> the booksellers. This, it appears, is very far from<br /> being the case. &lt;A practice has arisen of tendering<br /> the supply of books to the cheapest offer, so that<br /> the bookseller who has to supply the library fre-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> quently does so at a price which hardly pays for<br /> the paper and string to wrap the parcels. Consider.<br /> ing that many of the managers of the free<br /> libraries are themselves business men, it is won.<br /> derful that they do not protest against such a a<br /> system. The price of books is practically fixed ||<br /> at 25 per cent. off the advertised or “face” | ©<br /> price. To require a further reduction seems to ©<br /> ignore the first principles of work and pay, that ve<br /> the latter should be adequate to the former, og<br /> The booksellers hope that the publishers will | 7)<br /> stand by them in this matter. If they do not, os<br /> <br /> it will be disheartening to the trade, but one ~?<br /> hopes that they will. Action should, however, yf<br /> be taken in every town where a free library ye<br /> <br /> exists, to keep the supply of books in the town,<br /> and in the hands of the local bookseller, at<br /> the proper recognised price. In our municipal pa<br /> institutions, at least, let us endeavour after justice. oo<br /> Many of our members may be willing todo what |<br /> in them lies in order to get this very real AS<br /> grievance remedied.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> This is the second point. We have always |<br /> been accustomed to think that the discount of ¥<br /> 25, per cent. off the published price was a foolish | #<br /> and an unnecessary thing, productive of an unreal hi<br /> <br /> <br /> <br /> price, and conferring no benefit upon buyer or | *<br /> seller. I now learn that in the eyes of the trade = &amp;<br /> this is a fait accompli, and must be recognised, a<br /> and will continue. Well, one is sorry. :<br /> The London booksellers have started examina- a<br /> tions for their assistants. They award certificates ¥<br /> and prizes. The questions asked in the last e<br /> examination, apart from the technicalities of trade, =<br /> were on well-known authors and their publishers ¥<br /> and their editions—a very difficult subject,consider- =<br /> <br /> ing that authors change their publishers so often. a<br /> Who of us could offhand give a list of the different 5<br /> publishers, at different times, of Andrew Lang, 4<br /> Thomas Hardy, or William Black? Another very — i :<br /> useful question was the best books on certain :<br /> chosen subjects. Nothing but good can come of<br /> keeping the book trade out of illiterate hands.<br /> Perhaps some way might be devised of bringing our<br /> own society into closer touch with the Booksellers’<br /> Society.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> One of the speakers at the dinner dwelt with<br /> great force on a return to the old system when<br /> publishers were booksellers. In those days, thatis,<br /> all through the last century, and far down in this,<br /> publishers were general booksellers as well. One<br /> result was that the publishers of the last century<br /> play a very much more conspicuous part in lite-<br /> rary history than they do now. At the present<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR. 203<br /> <br /> day the publisher sees the author—or the author’s<br /> agent—in a_ secluded office. Formerly, his<br /> shop was the resort of all the men of<br /> letters. Consider the figure of Robert Dodsley,<br /> who started the great Dictionary and the Annual<br /> Register—who projected Johnson’s “ Poets” —all<br /> these things were done in his shop among the<br /> authors who frequented it to talk with him and<br /> with each other. The country clergyman wrote<br /> to the Bible and Crown—Rivington’s—with their<br /> sermons and for their books. Tom Davies—<br /> known to readers of Boswell—was described by<br /> Johnson as learned enough for a clergyman. He<br /> was famous for the tea-parties at which he enter-<br /> tained authors. Jacob Tonson was the founder<br /> of the Kitcat Club, and satin the company of all<br /> the wits of the day. Edward Cave was editor as<br /> well as founder of the Gentlemen’s Magazine.<br /> Perhaps it is impossible to restore the old condi-<br /> tions. But it is as well, from time to time, to<br /> think of them,<br /> <br /> A correspondent writes to say that he wished<br /> to engage the services of a literary agent for the<br /> placing of an article in a magazine, and was<br /> informed that a fee of three guineas must be<br /> paid before anything was done. “Imagine,”<br /> says my correspondent, “paying a three-guinea<br /> fee for atwo-guineaarticle!” Itis rather absurd,<br /> though much more absurd things are constantly<br /> done in the mad rage to get into print. The<br /> agent, however, is perfectly within his right<br /> in demanding any fee he chooses before doing<br /> any work. A solicitor does much the same,<br /> that is, he does nu work, not the least service,<br /> without sending in a bill. The questions raised<br /> are these: (1.) Is the fee reasonable? (2.) Is<br /> the service rendered of sufficient importance to<br /> the author? (3.) Is the agent able to do what<br /> the author cannotdo? The first two questions<br /> may be left to be decided for each case as it<br /> <br /> arises. The third, however, we may consider<br /> here. And, briefly, it is not likely that an agent<br /> <br /> can persuade an editor of a magazine to accept<br /> the work of an untried and unknown author on<br /> his own recommendation. The editor would not<br /> be worthy of his post if he did not decide upon<br /> any MS. on his own judgment. No agent, in<br /> fact, can advance an unknown author with the<br /> editors of magazines. He may, perhaps—it has<br /> been done—assist an unknown author with pub-<br /> lishers, but hardly with editors. The beginner must<br /> follow the road that has been travelled by all who<br /> have succeeded or have failed. He must submit his<br /> MS. to the editor. There is nothing else for him<br /> todo. Many grievous disappointments would be<br /> avoided if young authors would only remember this<br /> most obvious fact. Water Brsanrt.<br /> <br /> IN MEMORIAM.<br /> <br /> <br /> <br /> Hymn For THE LAUREATE’S FUNERAL.<br /> <br /> (Hymns Anct. &amp; Mod. 24—“ Abends,” or to any<br /> L. M. Tane.)<br /> <br /> ‘Every perfect gift is from above, and cometh down from the<br /> Father of Lights.—James i., 17.<br /> <br /> Father in Heaven! Whose bounty gives<br /> All music on this earth to be<br /> <br /> A means whereby man’s spirit lives,<br /> We give Thy singer back to Thee.<br /> <br /> The fountain’s fall, the thunder’s roll,<br /> The winds that whisper thro’ the land :<br /> These are but echoes of Thy soul<br /> To tune the harp in mortal’s hand.<br /> <br /> And this Thy servant heard the chime ;<br /> He smote a chord of wisdom deep ;<br /> <br /> So serving Thee, he served his time,<br /> And, singing, entered into sleep.<br /> <br /> We tread the solemn Abbey nave<br /> To add our treasure to the store<br /> Of jewels in the silent grave ;<br /> But, in the hush, we feel him more.<br /> <br /> For all his thought, and all his song,<br /> In this dim world, was pure and right :<br /> God give him grace and power among<br /> The Angel-singers of the light!<br /> AMEN.<br /> H. D. Rawnstey.<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> iL<br /> Tue Porter or BaapaD.<br /> <br /> E was always sure to be seen at the same<br /> H place day after day, near the eastern<br /> entrance of the great Bazaar, waiting<br /> <br /> for custom or marching quickly away with his<br /> bundle on his head. There was always the same<br /> look on bis face; and it was im no wise more<br /> significant than that of a flag im the pavement or<br /> a stone in the wall. His garments too, were<br /> common and never changed to the slightest rag.<br /> He was so constant and serviceable, that every-<br /> one in the Bazaar used him, though thinking no<br /> more of him than of the stones they trod on in<br /> the street. Not one of those who employed him<br /> daily could have said with certainty that he was<br /> young or old, tall or little of stature, dark in the<br /> face or ruddy. And so he was busy the whole<br /> day long, bearing the goods of the shopkeepers<br /> to and fro in the city. Sometimes the merchants<br /> browbeat him, and the slave who took his burden<br /> from him at the door cursed him roughly for very<br /> hardness. Sometimes he did his errand amiss,<br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> 204<br /> <br /> and must retrace his way through many long<br /> and weary streets before his error could be righted.<br /> Often when his load was heavy, and the sun hot,<br /> he was jostled in the narrow streets by the trains<br /> of camels, laden, too, like himself, with great<br /> packs of silks and strange woods and spices<br /> brought from India to please the Commander of<br /> the Faithful. He was a good Mussulman, often<br /> in the mosque, and praying at every call of the<br /> muezzin. At sunset his work was always over,<br /> and, after he had bathed and prayed, he was soon<br /> lost to sight in the crowds streaming over the<br /> bridges of the Tigris to the poor quarter in the<br /> south of the city.<br /> <br /> There he lived alone in a large house of many<br /> tenants. He had neither slave, nor wife, nor<br /> child, nor any friend in the whole quarter. Indeed<br /> few knew he lived there, so silent was his life.<br /> His room was always dark when he reached it,<br /> and outwardly was like other rooms, but as soon<br /> as the porter crossed the threshold all was<br /> changed. The room was dark, but it was soon<br /> light. For by his divan stood a hateful Djinn<br /> enchanted and motionless. It stood there just as<br /> the great Chinese magician had fixed it by his<br /> power. It was dwarfish and hump-backed, with<br /> an evil face: its body bent, its hands clasped<br /> behind, and its long thin legs, brown and shriv-<br /> elled like a crane’s, had grown together in one. As<br /> soon as the porter touched the Djinn’s single eye<br /> the whole room was one flood of mellow light,<br /> like the Caliph’s spice-garden when the thousand<br /> silver lamps are lighted at once. Then you could<br /> see how large the room was and how near it lay<br /> to the good Haroun’s palace. The roof was so<br /> high and the walls so wide, that one would think<br /> it wasan audience-chamber. For there was room<br /> for busy slaves, setting out a banquet in a wide<br /> portico that looked upon a garden of palms. They<br /> ever poured red wine from crystal goblets so thin<br /> it was a marvel their delicate sides held in the<br /> precious liquor. There were trains and troops of<br /> dancing.girls, brown-skinned and white, with<br /> little tinkling bells at ankle and wrist, and seated<br /> choirs of women singers with sweet voices, that<br /> sang continually. Foreign princesses, in beauty<br /> like the full-blown lotus flower, knelt before<br /> the Porter’s divan of silk tissue. But the great<br /> room seemed to have no walls, for the Porter could<br /> see from the divan he lay on far away where the<br /> great black and yellow cats played in their lair<br /> beneath the forest leaves, and further—where the<br /> ocean gleamed blue beyond the utmost land. As<br /> in a theatre, the heroes of old in glancing mail<br /> passed before him, and in shining robes great<br /> priests that taught the people. As ata play, he<br /> saw the daring deeds that spring up amidst the<br /> clash of meeting armies, and heard the words of<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> <br /> mighty captains and the shoutings of the men of<br /> war. Hesaw a thousand perils men pass through<br /> from love or from strength alone. The many<br /> lovers of song and story who were faithful unto<br /> death passed before him; he saw them in their<br /> delights and in their despairs, and heard their<br /> softest whispered word. The Porter was a part<br /> of it all: he taught with the priest, warred with<br /> the hero, worshipped with the lover. And all<br /> this flowed to and fro before him endlessly ; one<br /> brightness and beauty melting into another;<br /> each in turn changing, passing, and replaced.<br /> The girls danced, the women sang, and the<br /> Porter with the bright-eyed Djinn at his side<br /> saw it all from his divan.<br /> <br /> And up and down through and among it all<br /> floated and hovered a single roseleaf from the<br /> gardens of Gul, soft, white, and creamy, steeping<br /> the air with an enchanted perfume of its own.<br /> It seemed blown by the longing music or moved<br /> to will and impulse of the sweet sounds among<br /> the slender waving arms of the dancing girls,<br /> sometimes almost falling to their bare, soft feet ;<br /> then, rising as a bird rises, it might poise against<br /> the dark robes of an Indian princess or the<br /> painted hide of a beast of prey. But it never<br /> quite settled; it might rest a moment on the<br /> shining hair of a queen or the helmet of a<br /> warrior, but only as a white butterfly alights.<br /> The impulse of the music or the wind of the<br /> swaying robes came upon it and it was away. It<br /> advanced and receded. Sometimes it broadened<br /> to a banner of white silk fluttering in desert<br /> winds at the head of a black steel-clad army ;<br /> sometimes it was the sail of a king’s galley on a<br /> distant sea, and again the rounded gleaming<br /> snow-crest of the highest Hymalaya. And ever<br /> among the beauties of women, the strength of<br /> heroes, the deeds that live, the words that burn,<br /> the gorgeous colours of beasts of prey, mountain<br /> wastes, ivory cities, and lonely forests floated and<br /> swayed that rare white rose-leaf, while its scent<br /> lay heavy on the air.<br /> <br /> Last of all, the fairest of the women slaves<br /> came to him on the wide divan. She took his<br /> head upon her lap and shut his eyes to sleeping<br /> with her white soft hands, so gently that the<br /> Porter could not know it was the magic white<br /> rose-leaf settling at last and falling there in<br /> coolness, perfume, and unending rest. And<br /> darkness was over all.<br /> <br /> At early morning he was at the eastern<br /> entrance of the Bazaar, waiting till some mer-<br /> chant should give him work todo. But none of<br /> those who hired him knew what things he had<br /> seen and lived through since the day before.<br /> <br /> ARCHIBALD MAcMECHAN,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> tL<br /> CacornTHES SCRIBENDI: AN APOLOGY.<br /> <br /> “Do you still try to write,” asked Marcia,<br /> brutally.<br /> <br /> “J still write,’ answered Helen, with some<br /> dignity.<br /> <br /> Marcia went on, unabashed :<br /> your things accepted ?”<br /> <br /> Helen shuddered, but, after a moment’s pause,<br /> she said firmly: “ Not often.”<br /> <br /> “How often?”<br /> <br /> “About once a year I find an—appreciative<br /> editor.’ The bitterness that Helen carefully<br /> kept out of her voice betray ed itself in her smile.<br /> “Bach time I imagine it to be the beginning of<br /> better days ; but it never ise<br /> <br /> “Do you think these matters are governed by<br /> merit—or private interest—or what F Are they<br /> fair to the young aspirant, these editors ?”<br /> <br /> Helen smiled; this time without bitterness.<br /> <br /> “Yes,” she said, in a tone of conviction. ‘I<br /> believe in them. It stands to reason that they<br /> are governed by the merits of the manuscripts<br /> submitted to them. Their object is the success<br /> of their magazines. Why should they accept<br /> inferior work? Believe me, abuse of the much-<br /> enduring editorial race is the last resource of<br /> incapacity. J do not represent Incapacity, but<br /> Mediocrity ; therefore I still believe in editors.<br /> Of course, like every other class, they have their<br /> bad habits. They are apt to forget that the<br /> sensitive writer of manuscript is suffering from<br /> daily palpitations on the arrival of the post-bag.<br /> But they are improving. I heard a friend of<br /> mine say the other day: ‘ Oh, the editor of the<br /> Frisoler is so kid! He always returns one’s<br /> manuscripts at once !”<br /> <br /> Marcia laughed. “It appears to be a cheerful<br /> kind of life,” she said, drily. “May one ask,<br /> without seeming impertinent, why you go on?<br /> Do you think it is merely a matter of perse-<br /> verance? Have you confidence in your own<br /> powers’ Do you believe your enthusiasm to be a<br /> guarantee of ultimate suscess ro<br /> <br /> “JT can answer ‘No’ to all those questions,’<br /> said Helen. “1 think perseverance goes a long<br /> way, but it is not everything. Something more<br /> than perseverance is needed—something that I<br /> have not got, and shall never have in this life.<br /> As for my own powers, I have no confidence in<br /> them at all. I have no consciousness of latent<br /> genius waiting for its opportunity, Give me the<br /> genius, and you may trust me to make the oppor-<br /> tunity. Enthusiasm, again, is a good thing, but<br /> it guarantees nothing. Have you never noticed<br /> <br /> « And do you get<br /> <br /> that the accomplishments, and not only the vir-<br /> tues, on which a man particularly prides himself,<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 205<br /> <br /> are the very ones in which he does not sbine?<br /> No, I have no faith in my productive powers, but<br /> in my perceptive powers I have much. I know<br /> good work when I see it, and I know my own<br /> work is not good.”<br /> <br /> Marcia looked half amused, and wholly puzzled.<br /> <br /> “That seems a great pity, my dear,” she said.<br /> “ But that being the case, I can only repeat—Why<br /> do you go on?”<br /> <br /> Helen&#039;s face flushed, and, throwing off ber<br /> manner of forced quietness, she began to speak<br /> quickly and earnestly.<br /> <br /> “T go on, my good girl, because there is no help<br /> for it! It isa disease, and I was born with ib,<br /> When I was a child I wrote hymns im my<br /> mother’s butcher’s book. Before I was tbirteen I<br /> had written at least two-volumes-worth of a novel.<br /> It never had an end, and,as far as I can re-<br /> member, there was no guarantee that it ever<br /> would end, though the sudden shipwreck of all<br /> the characters gave hope. Before [I was seven-<br /> teen I had filled three books with verses, which I<br /> called ‘ poetry’ then. I was as pessimistic and<br /> <br /> Jin-de-siecle as any minor poet of them all! Since<br /> then [have spent the greater part of my time in<br /> producing manuscripts that no one will ever read<br /> beyond the first page. I cast my bread upon the<br /> waters with the pleasing certainty that it will re-<br /> turn to me after many days. And I don’t care a<br /> bit! (‘Why so excited?” interpolated Marcia,<br /> mischievously.) “I don’t care, I tell you! What<br /> does it matter? Whatis this life but one among<br /> many—one rung of a ladder—one link of a<br /> chain? It is because I believe that with my<br /> whole heart and soul that I go on! It is because<br /> I believe that my efforts and failures here will go<br /> towards making me a karma of success in some<br /> other life that I go on! Perhaps in my last<br /> existence I did not try to produce at all, but, by<br /> earnestly cultivating my powers of receptivity, I<br /> prepared the way for my present craving to<br /> create. The impotence of that craving is probably<br /> due to some former want of perseverance, some<br /> weakness of purpose. Or perhaps, again, I did<br /> try my utmost in that past life,for it may be that<br /> the advance from the passive to the active state 1s<br /> the most that can be done in one step. Do you<br /> think that a George Eliot can be manufactured 1<br /> one pitiful little lifetime ? Ridiculous ! It must<br /> take lives upon lives and ages upon ages to de-<br /> velop genius like hers. The more I think of it<br /> the more unlikely it appears to me that our<br /> powers are arbitrarily doled out to us. It is far<br /> more probable that they are the accumulated<br /> result of our efforts in past lives, and the embryo<br /> of our successes in future lives. Don’t you see,<br /> then, that I must work—work—work ;_ that<br /> I must keep myself up to the farthest tension<br />  <br /> <br /> 206 THE<br /> of effort; that I must never falter for failure or<br /> discouragement? Perhaps in my next hfe, or the<br /> next, or the next after that, I shall be able to<br /> write—I shall succeed.”<br /> <br /> Helen emphasised the last word with a stamp<br /> of anticipatory triumph, and paused to take<br /> breath. After a few moments she went on more<br /> calmly.<br /> <br /> “Meantime, I am obliged to be constantly sub-<br /> mitting my attempts to the editors of magazines,<br /> that being my best means of judging of my<br /> progress.”<br /> <br /> “And meantime,’ added Marcia, with a glint<br /> of humour in her eye, “isn’t it a little hard on<br /> the editors?”<br /> <br /> Cravis.<br /> <br /> ee as<br /> <br /> THE MOSS LAND.<br /> <br /> By Hume NIsser.<br /> <br /> <br /> <br /> I cannot reach the stars,<br /> But I can find a shade<br /> Beneath this moss-tree glade,<br /> Away from human jars.<br /> <br /> I emulate the mites ;<br /> And with them sympathise,<br /> And borrow their sharp eyes<br /> To climb their giddy heights.<br /> <br /> Our world, this crack is all.<br /> Each speck of earth has grown<br /> A most stupendous stone.<br /> <br /> Eternity the wall.<br /> <br /> The thing that cannot fly,<br /> May surely learn to crawl;<br /> Grow like its neighbours small,<br /> Or rule a lesser fry.<br /> <br /> Here do I wear the crown,<br /> My kingdom half an ell.<br /> My subjects ne’er rebel<br /> <br /> For I could knock them down.<br /> <br /> We are a cultured band,<br /> We fight, snd steal, and slay,<br /> And justice pawn away ,<br /> <br /> As in the bigger land.<br /> <br /> We love, and fear, and hate,<br /> And cheat, and lie as neat,<br /> As if we were six feet,<br /> <br /> And lived in court and state.<br /> <br /> The Alps are mere ant-hills<br /> To angel-eyes I mean.<br /> Each inch of moss so green<br /> A forest densely fills.<br /> <br /> There is no form, or size;<br /> There is no test of hue;<br /> The truth to me, to you<br /> <br /> Is but a peck of lies.<br /> <br /> Time is an idle tale,<br /> The stone-cased frog is young,<br /> The midge, his hour once sung,<br /> Grows old, and stiff, and frail.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> THE PRESERVATION OF AUTOGRAPHS,<br /> <br /> <br /> <br /> J \HE proposal to form a society, to be called<br /> | “The Society of Archivists and Autograph<br /> <br /> Collectors,” is one that deserves the atten-<br /> tion of authors. Perhaps, by the time these lines<br /> meet the eye of the reader, the new society may<br /> have been already happily inaugurated, and, if go,<br /> literature will be provided with one more hand-<br /> maid very usefully devoted to her service. It is<br /> true that a great number of learned, antiquarian,<br /> and literary societies already exist, so many,<br /> indeed, that there is occasion to fear that they<br /> may sometimes rather divide than concentrate the<br /> energies of their supporters. None, however, has<br /> exactly the same aims as those which the new<br /> society proposes to itself, and those aims are most<br /> undeniably useful. Commencing from the banding<br /> together “for mutual benefit” of collectors of<br /> autographs, whether those who are very seriously<br /> engaged in that valuable pursuit, or those who<br /> have taken it up more lightly, as a tasteful hobby<br /> or occasional pastime, the Society of Archivists<br /> proposes also to attempt something towards<br /> educating the public into regarding “ old papers”<br /> with more of the reverence due to them, to<br /> <br /> exchange views as to the collection and preserva-_<br /> <br /> tion of manuscripts, and to compile a reference<br /> catalogue, as complete as possible, of the many<br /> valuable MSS. scattered about the country in<br /> private and other collections. The last mentioned<br /> undertaking would be gigantic, but the society’s<br /> programme is certainly an admirable one, and<br /> one that should command the sympathies of all<br /> authors and literary men.<br /> <br /> For the whole world of letters has no greater or<br /> more terrible foe than this ignorance of the<br /> respect due to “old papers,’ which the new<br /> society arms itself to fight. This ignorance, public<br /> and private, has robbed us of what wecan neither<br /> replace nor afford to lose, and is robbing us still.<br /> Ever since man first discovered a device for<br /> scratching a record of his thoughts on a stone, to<br /> the present hour, parallel with all the labours of the<br /> student, the scholar, the historian, and the poet,<br /> of everyone who has ever written anything, has<br /> marched unspeakable ignorance, more ready than<br /> wanton malice to destroy anything set forth in<br /> letters, from the grandest flights of poetic genius<br /> to the humblest “ Hic jacet”” that records the shed-<br /> ding of a tear.<br /> <br /> Indeed, it would hardly be an exaggeration to<br /> say that ignorance has had things all its own<br /> way. If aught has survived of the labours of<br /> authors for thousands of years, that has been due<br /> rather to blessed chance than to any momentary<br /> abstention on the part of ignorance from its<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> niko,<br /> <br /> . geal Y<br /> <br /> <br /> <br /> <br />  <br /> <br /> THe AUTHOR.<br /> <br /> destroy. Neglect has sometimes<br /> <br /> passion to<br /> proved more safe than care, and idle time, a<br /> faithful custodian of treasures, man had cast<br /> aside.<br /> <br /> A long array of cases in point might be easily<br /> adduced. But it is superfluous here to repeat<br /> <br /> what any man may read in that sad chapter on<br /> the “ Destruction of Books” in Disraeli’s “ Curio-<br /> sities of Literature,” a work which certainly ought<br /> to be on the shelves of every English author.<br /> Unfortunately, such things as are there narrated<br /> are going on still, both in small ways and in large ;<br /> and if no one is now engaged in burning the<br /> poems of Sappho, or in burying a whole Slavonic<br /> library,* that is only because neither enterprise is,<br /> unhappily, any longer possible. To compensate<br /> itself ignorance is still busy, burying, burning,<br /> and tearing up all that it can, and the only way<br /> to stop the mischief is by putting an end to the<br /> ignorance, or, in fact, by trying to impress<br /> humanity, as the Society of Archivists hopes to<br /> do, with some notion of the value of “ old papers.”<br /> <br /> Meanwhile, as these pages come under the<br /> eyes of a good many authors, it is a painful duty<br /> to remark that there have been few greater sinners<br /> in the matter of neglecting to provide for the<br /> proper preservation of autographs than authors.<br /> Considering how great is the labour which authors<br /> often bestow upon their works, and how great<br /> the affection with which they invariably re-<br /> gard them, their cavelessness about their fates<br /> may seem incredible. Nevertheless, this careless-<br /> ness is a familiar phenomenon. Doctor Johnson<br /> dwelt upon it (Idler, No. 65, July 14, 1759). and<br /> what he wrote will be read with the interest that<br /> attaches to all the utterances of so great aman.<br /> <br /> “ He who sees himself surrounded by admirers<br /> . is easily persuaded that his influence will<br /> be extended beyond his life with hopes<br /> like these, to the executors of Swift was com-<br /> mitted the history of the last years of Queen Ann,<br /> and to those of Pope the works that remained<br /> unprinted in his closet. The performances of<br /> Pope were burnt by those whom he had perhaps<br /> selected from all mankind as most likely to pub-<br /> lish them ; and the history had likewise perished<br /> had not a straggling transcript fallen into busy<br /> hands.<br /> <br /> “The papers left in the closet of Peirese sup-<br /> <br /> <br /> <br /> * This wholesale destruction of documents, of a peculiarly<br /> valuable sort, took place in 1823. Jakim, metropolitan of<br /> Sophia, having learned that a number of old Bulgarian<br /> manuscripts existed in the village of Cerovene, near Berko-<br /> vica, informed the peasants that, unless they either burned<br /> or buried the books, he would not enter the village. The<br /> <br /> books were buried, all but three hidden by a rope. In 1864<br /> search for the buried volumes brought to light nothing but<br /> Inmps of rotted parchment,<br /> <br /> 207<br /> <br /> plied his heirs with a whole winter&#039;s fuel; and<br /> many of the labours of the learned Bishop Lloyd<br /> were consumed in the kitchen of his descendants.<br /> <br /> “Some works, indeed, have escaped total de-<br /> struction, but yet lave had reason to lament<br /> the fate of orphans exposed to the frauds of un-<br /> faithful guardians, How Hale would have borne<br /> the mutilations which his Pleas of the Crown<br /> have suffered from the editor, they who know his<br /> character will easily conceive.<br /> <br /> “The original copy of Burnett’s history, though<br /> promised to some public library, has been never<br /> given ; and who then can prove the fidelity of the<br /> publication when the authenticity of Clarendon’s<br /> history, though printed with the sanction of one<br /> of the first universities of the world, had not an<br /> unexpected manuscript been happily discovered,<br /> would, with the help of factious credulity, have<br /> been brought into question by the two lowest of<br /> all human beings, a scribbler for a party, and a<br /> commissioner of excise.<br /> <br /> “ Vanity is often no less mischievous than-neg-<br /> ligence or dishonesty. He that possesses a valu-<br /> able manuscript hopes to raise its esteem by con-<br /> cealment, and delights in the distinction which he<br /> imagines himself to obtain by keeping the key of<br /> a treasure which he neither uses nor imparts.<br /> From him it falls to some other owner, less vain<br /> but more negligent, who considers it as useless<br /> lumber, and rids himself of the incumbrance.”<br /> <br /> This is very serious admonition, and most<br /> seriously true. And it suggestsa question, which<br /> should be answered for himself by every author<br /> who sets any value on his autographs: “ What<br /> provision am I making for the preservation of my<br /> manuscripts in such sort as I should wish ?”’<br /> <br /> There is. of course, no place in this world<br /> where anything is absolutely and for ever secure<br /> from destruction. But the safest place for<br /> manuscripts, notwithstanding the historic fate of<br /> the Alexandrine Library, is a public library; in<br /> fact there is no other place that is “ safe” at all.<br /> <br /> Had not Pepys’ Diary been in the library of<br /> Magdalen College, Cambridge, what would have<br /> become of this work in cypher, which, as it was,<br /> lay neglected and undeciphered for so many<br /> <br /> ears?<br /> <br /> Of how inadequate any place of custody, saving<br /> a public library, is, a most terrible example exists<br /> connected with a name no less than that of Aris-<br /> totle. Aristotle left his library and his auto-<br /> graphs to his successor, Theophrastus. These<br /> and Theophrastus’s own library were inherited by<br /> Theophrastus’s relation and disciple, Neleus, of<br /> Scepsis. Neleus sold both libraries to Ptolemy<br /> Philadelphus. But he retained, as an heirloom,<br /> Aristotle’s autographs. It is easy to imagine the<br /> sentiments which prompted him to do this; but<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 208 THE AUTHOR.<br /> <br /> <br /> <br /> how great a mistake he made the future was to<br /> show. The descendents of Neleus hid the manu-<br /> scripts in some sort of vault (kara yfjs ev duapvyé tere)<br /> that the Attali (who wished to rival the Ptole-<br /> mies in the formation of a great library) might<br /> not find them. For a couple of centuries the<br /> autographs lay exposed to the ravages of damp<br /> and worms, until, less than a hundred years<br /> before Christ, the wealthy Athenian book col-<br /> lector, Appellicon, of Teos, traced the valuable<br /> relics, and bought them from the ignorant pos-<br /> sessors. Apellicon, unfortunately, was far from<br /> possessing the knowledge necessary to restore<br /> correctly the damaged portions of the great<br /> philosopher’s autograph, and his edition of them<br /> was in many respects highly unsatisfactory.<br /> <br /> And all this was the result of a single mistake,<br /> of a not unnatural mistake made by a man who<br /> meant well, and was led by an “ amor habendi’”’<br /> with which it is easy to sympathise! What con-<br /> sequences have ensued from less pardonable<br /> errors? Everyone can answer; for history<br /> teems with the destruction of books; whilst,<br /> probably, there is not a literary man living who<br /> cannot relate from his own personal experience<br /> some deplorable history of blundering or wanton<br /> barbarism.<br /> <br /> But authors cannot throw the first stone. The<br /> vast majority are as careless about their manu-<br /> scripts as Timon the Sillographer, who “ was<br /> bothered by the dogs and the maidservants ’’—<br /> the life of authors has always been the same!<br /> Timon’s manuscripts lay about half eaten by the<br /> rats ; and, on one occasion, when reading a work<br /> of his own to Zopyrus the orator, he suddenly<br /> discovered, when half-way through the book,<br /> some pages of the earlier portions which he had<br /> not missed. That the works of Timon have<br /> perished—cela va sans dire. Only a few lines<br /> remain to prove that the loss is exceedingly to be<br /> regretted, and to show that it is not the most<br /> worthless authors who are the most careless. How<br /> many authors in London at present have their manu-<br /> scripts so arranged that they can on the spot lay<br /> their hands on anything that they want? It is<br /> with the writer himself that recklessness about<br /> autographs begins, and the new Society might<br /> not do amiss could it commence by persuading<br /> authors to be a little more careful about manu-<br /> scripts. ‘<br /> <br /> The institution of some depository like the<br /> Weimar Archive, which, from being a depository<br /> of Goethe and Schiller autographs, is now to<br /> become a storehouse of manuscript for all the<br /> great authors of Germany, might perhaps some<br /> day add a wider development to the careful pre-<br /> servation of manuscripts, too few of which at<br /> present find their way into the public libraries.<br /> <br /> <br /> <br /> <br /> <br /> That, however, lies in the distance, and it is to be<br /> hoped that the work of the “ Soc‘ety of Archivists<br /> and Autograph Collectors’? may soon be a present<br /> power amongst us. Their aim is a noble one, and<br /> has been ere now compared to what is perhaps<br /> the most humane and most touching of all enter.<br /> prises—the care of orphans. In a quaint dedica-<br /> tion to the collected works of Firenzuola, the<br /> editor, Lorenzo Scala, writes,<br /> <br /> “As it is the office of a kindly and compas-<br /> sionate mind, to take charge and care of those<br /> children of others, who, by the loss of theic dear<br /> parents, r-main orphaned and deprived of the<br /> most faithful and most winning sort of protection,<br /> how much more laudable and more generous an<br /> act should theirs be esteemed, who, with every<br /> kind of affection and love, devote themselves to<br /> the offspring of the intellect of another, when<br /> that offspring is left despoiled of the care of the<br /> affectionate author of its being. And, in truth,<br /> if he merits praise who undertakes to protect the<br /> fruit of the body, how much more worthy of<br /> honour and of commendation, is he who engages<br /> himself in the defence of the creatures of the<br /> mind? The former, though frail and perishing,<br /> are wont to be beloved and welcome, but the<br /> latter, pledges and fruits of what is divine in<br /> us, and therefore of much longer endurance,<br /> are our most continual and most honoured<br /> charge.” Henry CRESSWELL.<br /> <br /> pect<br /> <br /> THE IRRITABILITY OF AUTHORS.<br /> <br /> <br /> <br /> HE irritability of authors is proverbial.<br /> What is proverbial may be, in a rough<br /> way, assumed to be not very far from the<br /> <br /> truth. Why the author should be a peculiarly<br /> touchy and snappish animal does not so clearly<br /> appear. The phenomenon can hardly be ex-<br /> plained in the latest fashionable way of<br /> accounting for everything by the single word<br /> “heredity.” Perhaps, however, in the secrets of<br /> nature’s workshop there is some trick of warp and<br /> woof that, of necessity, occasions the peculiar com-<br /> plexion which constitutes irritability of nature to<br /> be a part of the composition of an author’s brain,<br /> just as it has been said that all nervous people<br /> are monarchists, and all melancholy people<br /> democrats ; which, after all, may not be true. Or,<br /> a more likely explanation may be sought in the<br /> fact that the exercise of an author’s profession,<br /> one which induces a nervous sensibility of a<br /> peculiarly complicated kind, possibly tends to<br /> <br /> ‘nervous tension that causes the fibre of an<br /> <br /> author’s brain to jar under circumstances incap-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> able of producing, in more slackly-strung natures<br /> any vibration at all. Be all that as it may, this is<br /> indisputable, that only too many people, who<br /> have had a good deal to do with authors, are<br /> more than ready to bear witness to their being a<br /> yery captious and touchy species, anything but<br /> delightful to their personal friends, and often<br /> trying in the extreme to the patience of those<br /> whom they ought to treat with forbearance and<br /> regard.<br /> <br /> ‘Allthis is sufficiently unfortunate. Yet, perhaps,<br /> after all, no one is so bitterly punished by the<br /> author’s proclivity to snappishness as the author<br /> himself. For the only happy aspect of this sad<br /> failing of literary people is, that the culprit is<br /> not ignorant of his own excessive irritability.<br /> <br /> Only, seeing that literary people are fully<br /> conscious of this weakness, why are not penmen<br /> of all classes constantly on their guard against<br /> it? Why do they not frequently ask themselves,<br /> in all seriousness, “‘ What is the use of l-sing<br /> one’s temper ?”<br /> <br /> It might have been supposed that a man, when<br /> meditating turning author, would recollect,<br /> amongst other things, that one of the results of<br /> his enterprise, whether successful or unsuccessful,<br /> must inevitably be a vast increase of what-<br /> ever share of natural irritability nature had put<br /> into him. But it is a well-known fact that men<br /> mostly become authors either without knowing<br /> it, or, at the best, without thinking at all<br /> definitely about what they are doing. And one<br /> of the consequences of this is, that when the<br /> hardships and difficulties of literary enterprises<br /> begin to appear, authors are enormously<br /> astonished, and not a little out of humour and<br /> out of heart. How people can suppose that any<br /> human enterprise can exist not beset with diffi-<br /> culties and disillusions is really inexplicable.<br /> Yet it is certain that no one thinks much before-<br /> hand of difficulties in authorship. The soldier<br /> and the sailor must run risks and encounter<br /> trials. The lives of solicitors, of medical men,<br /> of merchants, all imply many restrictions and<br /> much self-denial. Every calling in life has its<br /> drawbacks and its dangers. No one is ignorant<br /> of the fact. In making choice of a profession<br /> men reflect upon its hardships, and prepare them-<br /> selves to face them. Seldom, however, in the<br /> case of literature.<br /> <br /> Qui nihil scripsit nullum putat esse laborem.<br /> Almost every man is persuaded that he could<br /> <br /> write a book well enough if he chose to take the<br /> trouble. After he has been writing the diffi-<br /> <br /> culties appear, and then ensue the phenomena of<br /> the author’s peculiar irritability and proclivity to<br /> lose his temper.<br /> <br /> AUTHOR.<br /> <br /> 209<br /> <br /> The first person with whom the author gets<br /> into a rage is himself. Little harm enough in<br /> that, it will be said—a just retribution ! Only it<br /> is no jesting matter to the man conscious of<br /> possessing all the abilities and powers requisite<br /> for success—saving the knack of keeping _ his<br /> <br /> <br /> <br /> temper. The story will not shape itself. The<br /> characters will not come out well defined. The<br /> <br /> The pen will not obey the<br /> behests of imagination. So the author gets into<br /> a passion with them all. He smashes the pen,<br /> curses his dramatis persone, and pitches his<br /> manuscripts into the fire. And then, what is<br /> his work the forwarder for that? No difficulties<br /> are surmounted by getting into a rage with them,<br /> but by taking time and pains patiently to effect<br /> what has to be done.<br /> <br /> The persons with whom the author next gets<br /> into a passion are invariably editors and pub-<br /> lishers. After many holocausts, some manuscript<br /> is at last completed, often more by good luck<br /> than by good management. The editor or pub-<br /> lisher, to whom it is offered, then refuses it. In<br /> nineteen cases out of twenty the author is abso-<br /> lutely ignorant why it is refused—whether because<br /> it has been sent to the wrong place, or because it<br /> is really worthless, or because the publisher has<br /> just accepted a similar work, or for which of fifty<br /> other reasons. That does not prevent his form-<br /> ing hypotheses. ‘There is a clique.” “The<br /> publisher’s readers never look at manuscripts,<br /> unless they are written by their own friends.”<br /> “ Nothing but bosh is ever accepted now.” And<br /> so forth. The author himself scarcely believes<br /> all those things that he says. But—suppose they<br /> were true. Then they would be facts about<br /> literary work with which he must reckon; just as<br /> the market gardener must reckon with the fact<br /> that a single frost may ruin his peach crop for<br /> the year. Getting to rages will not alter the<br /> case. Why not think of the difficulties with<br /> which men contend in other professions ? Why<br /> not have patience, learn wisdom from failure, and<br /> try to offer saleable work in the markets where it<br /> is wanted ?<br /> <br /> Later on the author is in a rage with the<br /> critics. Why? Because they tell him disagree-<br /> able truths? If they do, he is a lucky man.<br /> And seeing how difficult a thing it is, under any<br /> circumstances, to accept adverse criticism wisely,<br /> of what use is it for the author to complicate<br /> matters by losing his temper ?<br /> <br /> But the critics tell him nothing. They are<br /> asses! Be itso. And is not a man himself an<br /> ass who loses his temper with asses ?<br /> <br /> Still there remains the public—who have no<br /> discrimination ; and “ that great beast the general<br /> reader’’—-whose Philistine tastes are ruining<br /> <br /> scenario is a tangle.<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> 210<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> literature; and “the young person” whose<br /> mamma is the occasion of mawkishness marching<br /> triumphant through the land; and the “ idiots”<br /> —who persist in preferring some other man’s<br /> books; and the general *‘ cussedness”’ of every-<br /> thing. With all these the author is unceasingly<br /> getting into passions of different kinds.<br /> <br /> And of what use to him are his rages ?<br /> they alter anything ?<br /> <br /> He says that he cannot help getting into a<br /> rage. But he ought to learn to be able to help<br /> it. And this is certain, if he would learn, he<br /> would have an enormous advantage over the<br /> other authors who will not.<br /> <br /> Henry CresswE.t.<br /> <br /> Do<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> ie<br /> AvuTHOR’ AND Eprror.<br /> <br /> T is now considerably more thana year ago,<br /> shortly after the publication of Mr. Edmund<br /> Gosse’s Biography of his father, that I<br /> <br /> wrote a sketch founded on the book for a certain<br /> paper published in London and a country town.<br /> The sketch was accepted. Six months afterwards,<br /> however, it was still unpublished. I accordingly<br /> wrote, pointing out that, if not published before<br /> the book ceased to be talked of, it would lose its<br /> interest. No notice was taken of my letter, and<br /> seven or eight more months passed. Seeing that<br /> it now had little chance of being published at all,<br /> I wrote, pointing out that it had been kept till<br /> it was of no use to me, and demanding payment.<br /> In reply the article was returned without a word<br /> of explanations. D<br /> <br /> [This case is one of real hardship; if an article<br /> is accepted the writer cannot offer it anywhere else ;<br /> if it is not paid for, the writer loses the money on<br /> which he had a right to rely after the accept-<br /> ance. It would be satisfactory if a claim of this<br /> kind could be tried in a court of law, and a prece-<br /> dent established. Of course, editors are deluged<br /> with MSS. ; of course, also, if a paper is crowded<br /> out until the time for its appearance has quite<br /> gone by, the editor is not to blame. In this case<br /> it is clear that the editor, in accepting the MS.,<br /> intended to use it if he could. Would it not be<br /> well to insert the words “if possible” or in some<br /> other way to indicate the fact that an article,<br /> although accepted, may not perhaps be published ?<br /> The writer could then please himself, either to<br /> take his chance or to try elsewhere.—Ep. |<br /> <br /> <br /> <br /> II.<br /> DrraMatTory Oriricism.<br /> <br /> I have read with much interest Mr. Cresswell’s<br /> article on “The Criticism of Novels,” which<br /> appears in the current number of the Author,<br /> In connection with the question may I say a few<br /> words on a subject which is of vital importance<br /> to those who belong to the humbler ranks of<br /> Authorship? TI allude to what may be termed<br /> defamatory criticism. Literature is a recognised<br /> profession, and every member of it is, in common<br /> with the members of other professions, entitled<br /> to redress, should his reputation be unwarrantably<br /> assailed. If in the exercise of his calling a<br /> doctor or a lawyer|is unjustifiably attacked by the<br /> Press, he has his remedy in an action of libel.<br /> But from this resource the unfortunate author is<br /> practically precluded. The difficulty of estab-<br /> lishing his case against a “critical” traducer is<br /> necessarily so great, that for an author to obtain<br /> legal reparation would be well-nigh impossible,<br /> Thanks to this immunity, there exists an ever-<br /> increasing class of so-called ‘“ eritics,” who are<br /> little better than literary cut-throats. The obscure<br /> author, or rather, the author just emerging from<br /> obscurity, is peculiarly their prey. Armed with<br /> insolent superficiality, and adepts in the art of<br /> denigration, they use their powers to mar, and,<br /> if possible, to unmake, reputations which, though<br /> modest enough, it has taken years of patient<br /> labour to acquire. It is idle for the victim to<br /> protest. Sentence has been passed ; there is no<br /> appeal. All that remains for him to do is to “ live<br /> it down,” a process which, however heroic, is<br /> scarcely conducive to fresh literary enterprise.<br /> <br /> It is surely high time that the newspaper editor<br /> sets his “reviewing,” department in order. Let<br /> him either dispense with the class of critics I have<br /> described, or add to his office staff a supervisor<br /> of reviews, whose duty it shou&#039;d be to satisfy him-<br /> self that criticisms were, at all events, bond fide<br /> before they went to press. No reasonably author<br /> asks for favour: he will be perfectly contented<br /> with justice, and that in nine cases out of ten he<br /> fails to obtain.<br /> <br /> Rank AnD FIs.<br /> <br /> <br /> <br /> It.<br /> AMERICAN CoPYRIGHT.<br /> <br /> An authoritative opinion on the following ques-<br /> tion would be of some interest to your readers.<br /> A scientific writer produced a yery valuable work<br /> twenty years ago, which was at once seized and<br /> appropriated by the people of the United States<br /> without any payment to the worker. Now, if the<br /> author were to write another important chamter<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Bk<br />  <br /> <br /> Je, “ae. wade<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> bringing the book up to date, and adding some<br /> valuable observations, and were to publish this<br /> chapter in an American journal so as to secure<br /> copyright for it, and then were to publish a new<br /> edition of the original work with the copyright<br /> addition, could the pirates produce the complete<br /> edition? Would there be a chance of the pre-<br /> servation of such a new edition from the piratical<br /> competition ?<br /> CURIOSITY.<br /> <br /> <br /> <br /> TV.<br /> Literary CRITICISM.<br /> <br /> You invite members to send you communi-<br /> cations on all subjects connected with literature.<br /> May I, therefore, make a few remarks on a<br /> curious piece of criticism which has just appeared.<br /> on a book of mine ?<br /> <br /> The book I refer to is, ‘‘ Gleanings from a<br /> Tour in Palestine and the East,” a second edition<br /> of which was published as far back as 1889. The<br /> critique alluded to only appeared this month,<br /> Oct. 1892. The reviewer says, in not very com-<br /> plimentary terms, “It is quite an old-fashioned<br /> book, with its unpretending woodcuts, and scraps<br /> of well-known hymns; but it is up to date, never-<br /> theless.” How it can be at the same time “ old-<br /> fashioned,” and yet “ up to date,’ Lam ata loss<br /> to apprehend. And would you believe, it, Sir,<br /> there is not in the book “one scrap of well-<br /> known hymns.” There are, indeed, in the volume<br /> some original poems, of which the Morning Post<br /> said, in a review which appeared at the time,<br /> “The verses written in contemplation of these<br /> sacred spots are marked by great beauty and<br /> devotion. They read like some of the Church’s<br /> glorious hymns of tbe Passion set anew, in fresh<br /> strains and varied metre.” These are what the<br /> critic in this paper calls ‘scraps of well-known<br /> hymns.”” It makes one ask if reviewers read the<br /> books they pronounce judgment upon in this<br /> summary fashion ?<br /> <br /> It certainly does not tend to give an exalted<br /> opinion of the fairness and justice of the critic’s<br /> craft. But there are critics and critics.<br /> <br /> Cuares D. Bett, D.D.<br /> <br /> <br /> <br /> Ae<br /> Tur Proposep SHELLEY LIBRARY.<br /> <br /> T have your kind permission to plead, in these<br /> pages, for the above project. I shall not trouble<br /> your readers with a statement of the reasons for<br /> founding the library and museum. The scheme<br /> has been discussed in many hundreds of journals<br /> throughout the world, and in almost every<br /> <br /> AUTHOR.<br /> <br /> 211<br /> <br /> instance it has been heartily commended. It<br /> will be to the purpose, however, to endeavour to<br /> point out why we should look to men and<br /> women of letters for support. The reason is a<br /> paramount one, in that if they do not help us no<br /> one will. Shelley’s attack upon everything the<br /> ordinary “Britisher” holds dear, has alienated<br /> from him the sympathies of almost every class<br /> of well-to-do Englishmen. Rank, wealth, and<br /> fashion are against him. Nowhere is this seen<br /> more clearly than at Horsham. There is not<br /> much rank there; but there is some weath, and<br /> any amount of would-be-fashion. The men and<br /> women engaged in an amiable conspiracy, having<br /> for its object the creation of a fine old crusted<br /> landed aristocracy, belong, for the most part, to<br /> families which in Shelley’s time were anywhere<br /> or nowhere, but certainly had nothing to do with<br /> Sussex. Perhaps this is why the poet is regarded<br /> as an intruder; in any case he is looked upon as<br /> an impossible person, whose admission to such<br /> good company, even in a ghostly form, is not to<br /> permitted fer a moment. Horsham itself, so far<br /> as the townfolk are concerned, is not without<br /> sympathy with Shelley as a teacher. But these<br /> good people are afraid to support us, not for dear<br /> respectability’s sake, but because they have their<br /> livings to get. Party feeling runs very high.<br /> The rich squatters in and aboit Horsham have<br /> possession of the lands once farmed by the<br /> Sussex yeomen, to whom the shopkeeping cla s<br /> then looked for support. Horsham tradesmen<br /> have, therefore, to consider the prejudices of these<br /> persons, who, as things now are, are their pr n-<br /> cipal customers. I have been asked why the<br /> movement is not better received in Horsham<br /> itself. I am glad of an opportunity of stating<br /> the reason publicly. Those who would help<br /> either cannot or dare not: while those who could<br /> accomplish the matter with the greatest possible<br /> ease, hate and detest the very name of Shelley,<br /> and are, besides, absolutely opposed t» anything<br /> which tends in the direction of the real enlighten-<br /> ment of the people. On the top of this, I need<br /> scarcely add that a library at Horsham would be<br /> a very great boon to the town, indeed to the<br /> county, which, if we exclude one or two of the<br /> coast towns, can boast of no library worthy the<br /> name.<br /> <br /> There are, of course, a great number of per-<br /> sons who honour Shelley as a preacher rather than<br /> asasinger. But of these, few are in a position<br /> to render this project, whereby the poet will be<br /> permanently commemorated, pecuniary aid.<br /> <br /> It is clear, then, that we must look to the men<br /> and women who, in the nature of things, are<br /> best able to value Shelley for that which was<br /> greatest in him, and I make this appeal to my<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> 212<br /> <br /> <br /> <br /> co-workers in the confident belief that it will<br /> meet with a generous response. Subscriptions<br /> may be sent to Mr. J. J. Robinson, West Sussea<br /> Gazette, Arundel, Sussex, or to me as below.<br /> <br /> Jas. STANLEY LittTue.<br /> <br /> Buck’s Green, Rudgwick, Sussex.<br /> Sept. 20, 1892.<br /> <br /> <br /> <br /> VI.<br /> A PERPLEXED PEN.<br /> <br /> Tam a lover of the pen. The very look at one<br /> stirs a wild longing, the holding of one sends a<br /> feverish thrill through my frame. The moment I<br /> touch paper with one thoughts come like a spring<br /> of water (as to the quality I am no judge).<br /> Having made this discovery, and lured by this<br /> magic in the pen, I became a literary aspirant,<br /> and, as author of a few short stories and a<br /> novelette, a member of the Society of Authors.<br /> I suppose I have fair success—my first story<br /> nobody will have, my second brings me seven<br /> guineas, my third three guineas, and so on. My<br /> first article having been twice refused, now is in a<br /> drawer—forgotten. My first novel—for this a<br /> publishing firm made an offer—the Society of<br /> Authors advised me to try some other publishers.<br /> I tried two. The MS. is refused. I try no more<br /> publishers. I turn my back on the pen; I will<br /> play no more with it, and yet it calls—it calls and<br /> the old feverish desire to scribble seizes me.<br /> Also, I want occupation, and a paying one. There<br /> is other work open to me: but the pen—I cannot<br /> turn from it.<br /> <br /> I start again ; this time I seek out a literary<br /> coach. I want to know my flaws and feeblenesses.<br /> Oh, how he abuses me! crushes under his foot<br /> my “higher form ;” sneers at my ideas of life!<br /> Then, when I grow faint and weary, administers<br /> this dose—* Honestly, and from no other motive<br /> than your good, I say that you have talent<br /> enough to write very readable novels. Your gift<br /> is as yet immature. I advise you to pluck up<br /> courage and go on.”<br /> <br /> Reaching this point, I now accept the fact that<br /> I ought to work and earn money by my pen.<br /> How? As a novelist or a journalist? Halting<br /> here, I take up the Author and read “ Women in<br /> Journalism.” Foolish, flighty, frothy work! Is<br /> this what journalistic work means for a woman ?<br /> My pen to be a demoralising influence! Again,<br /> to be a successful journalist, a woman must be<br /> neither old nor ugly. Surely, it cannot mean that<br /> in this work women must trade on their good<br /> looks and attractive manners? If these things<br /> are, I must turn to my book or story writing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> Having decided, a feeling of relief arises, for<br /> halting between two opinions, as you know, is far<br /> from the most comfortable condition. Then I<br /> light on your correspondence, and once more am<br /> flung into the abyss of despair as I read :<br /> <br /> Literature and Independence. Books — to<br /> pay—must be empty of brain work, full of<br /> sensational nonsense, I understand from it. The<br /> higher work finds no market for the Un-known,<br /> <br /> What am Ito do? Three things are for my<br /> choice: to try to be a novelist, or a journalist, or<br /> say to this eager, fretting, anxious pen, “ be<br /> still.”<br /> <br /> I shrink from the last. The first I fear, for I<br /> have no confidence that I can push through the<br /> struggling throng. And to be a journalist of the<br /> higher type, I understand I must pay high fees<br /> and give a year or more time before I am<br /> equipped. Is this so, is there no other way of<br /> getting into journalistic work ?<br /> <br /> Will anyone relieve my perplexed pen, and<br /> steer it into the right direction ? M.<br /> <br /> <br /> <br /> VII.<br /> TITLES.<br /> <br /> Amongst our perpetually recurring real diffi-<br /> culties, there is one great one, which a little<br /> patience and labour might, surely, entirely re-<br /> move. That is the difficulty of knowing what<br /> titles are copyright property. Titles continue to<br /> be literary property but for a limited period, like<br /> all other literary property—to the disgrace of the<br /> Legislature. Could not a complete index of all<br /> copyright titles within this limited period be<br /> made? If such an index existed at the offices of<br /> the “ Incorporated Society of Authors,” and a<br /> small fee was charged for consulting it, would<br /> not those fees before long prove a nice little<br /> source of income? From the careful lists of<br /> new books now published, it would not be diffi-<br /> cult to keep the index up to date; now, would it<br /> seem unreasonable to think that Stationers’ Hall<br /> might lend its countenance to the formation of<br /> an index so valuable to all literary men. Will<br /> not someone take the matter up?<br /> <br /> In 1884 I published a novel entitled “ Incog-<br /> nita.” I think that the book had been actually<br /> published, and, at any rate, it had been, for some<br /> little time, advertised, when someone called upon<br /> my publisher, and proved copyright in the title.<br /> A cheque settled the difficulty. Subsequently I<br /> discovered that a novel entitled “ Incognita,” was<br /> published by William Congreve, under the<br /> pseudonym of Cleophil, in 1692. Had the<br /> publisher or I known that (and perhaps I ought<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ie petal Se NAR<br /> <br /> <br /> <br /> 4<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> to have known it), could we have pleaded that<br /> the title “ Incognita” is no one’s property, its<br /> copyright having expired so long ago? Or,<br /> when a copyright im a title expires, does the<br /> copyright of title (unlike that of a book) renew<br /> its youth like a pheenix, and become capable of<br /> being registered afresh by someone else? Some<br /> tell me that is the case. Now, however, a play<br /> has been produced with this same title. I do not<br /> know whether another cheque has passed; but,<br /> when the copyright, which I unwittingly in-<br /> fringed, ceases to exist, can the owner of the<br /> copyright of the play restrain the sale of my<br /> book upon the plea that the man who allowed me<br /> to use his title, could not allow the use of his<br /> title for longer than his right lasted ?<br /> Henry CRESSWELL.<br /> <br /> I should much like a reply to this question.<br /> Have instances ever occurred when the general<br /> voice of the critics (of course they would never<br /> be all agreed) has correctly predicted the success<br /> of a really very successful novel by an author<br /> previously unknown or little known? It would<br /> be invidious to name this novel or that, but many<br /> occur at once to the mind ; and, personally, I am<br /> unable to remember a case of the critics having<br /> prognosticated en masse a big success.<br /> <br /> <br /> <br /> VIII.<br /> Eprrors’ RiautTs.<br /> <br /> Last March I offered a couple of stories to the<br /> editor of a well-known London magazine to choose<br /> from, and he liked them well enough to keep<br /> both, In the summer number of the magazine<br /> one of the stories duly appeared, though no<br /> cheque followed its publication. I waited till<br /> September before reminding the editor that I had<br /> not been paid for my work, but my letter<br /> remained unanswered. A month later I had the<br /> unpleasant task of again writing to ask for what<br /> was due to me, and by the middle of October I<br /> received a cheque for a sum so small that, if the<br /> editor was not ashamed to offer it for the work<br /> done, I was ashamed to receive it. He did not<br /> apologise for keeping me waiting more than three<br /> months. I returned the cheque together with the<br /> the receipt I was asked to sign acknowledging the<br /> absurd sum as payment, not only for the story,<br /> but for the sale of the entire copyright as well. I<br /> wrote that I would rather not be paid at all than<br /> receive such inadequate payment, and asking the<br /> editor to return me my other MS., which he did<br /> at once, although it had gone to the printer. I<br /> <br /> can best show you the deplorable pay offered by<br /> stating that for a story of the same length in one<br /> <br /> a¥8<br /> <br /> of the September magazines I received on its<br /> publication, the actual time of payment, exactly<br /> six and a half times the amount I declined to<br /> accept from the editor of the other magazine ;<br /> not to mention a cheque that folluwed for the<br /> right of republication in a new York paper, which<br /> was in itself more than the sum I would not take<br /> from the other magazine both for story and copy-<br /> right. The editor of the meagre-paying magazine<br /> accepted the present I made him, writing in reply<br /> “that my story was paid for at the usual scale of<br /> payment for stories published in the so-and-so<br /> magazine, and from that scale there can be no<br /> departure.” Which means that the magazine in<br /> question pays on such a miserable scale, that, if<br /> all were equally bad, no one could live by his pen.<br /> I was able to show what I thought of such pay,<br /> since I was assured it could not be raised, by<br /> refusing to touch it, but, supposing this had been<br /> impossible, that this wretched sum withheld for<br /> more than three months after it was due was<br /> needed to buy my daily bread, how then? Why<br /> cannot an editor, when MSS. are submitted to<br /> him, plainly state what remuneration he is<br /> prepared to offer 2 Some do this, as I_ know by<br /> experience, and it is fair to both editor and<br /> author. Then, when such pay is offered as cannot<br /> be accepted, one can place one’s work elsewhere<br /> and be properly paid for it. L. B.<br /> <br /> <br /> <br /> Specs<br /> <br /> <br /> <br /> “AM THE AUTHOR&#039;S HEAD.”<br /> <br /> MONG the noticeable books of the month<br /> A the daintiest is perhaps Mr. Douglas<br /> Sladen’s ‘ The Japs at Home.” Beautifully<br /> printed, beautifully bound, beautifully illustrated,<br /> and delightfully written. It is published by<br /> Hutchinson and Co.<br /> <br /> “Olga’s Dream: a Nineteenth Century Fairy<br /> Tale.” By Norbey Chester. It is perhaps no dis-<br /> respect to this book that it is clearly suggested by<br /> an old friend, “Alice in Wonderland.” Olga has<br /> been in for an examination, which she wants to<br /> know whether she has passed or not. She falls<br /> asleep, and has an illustrated dream—a very<br /> funny and remarkable dream. Mr. Harry Furniss<br /> and Mr. Irving Montagu seem to have had the<br /> same dream at the same time. They made<br /> sketches of what they saw. This coincidence is<br /> not uncommon.<br /> <br /> Mr. Henry Charles Moore brings out a paper<br /> in the November number of the Fortnightly on<br /> “Burmese Traits,” including the literature of<br /> Burma.<br />  <br /> <br /> 214<br /> <br /> <br /> <br /> “ King Zub,” By Walter Herries Pollock. The<br /> latest contribution to the Whitefriars Library of<br /> Witand Humour. Some of these delightful tales<br /> have already appeared in magazines. In their<br /> collected form they revive pleasant memories of<br /> past good reading.<br /> <br /> “Hypocrites ” is the new novel by Hugh Col-<br /> man Davidson, author of ‘Green Hills by the<br /> Sea.” It is published by Sampson Low and Co.,<br /> with Illustrations by René. The book will more<br /> than sustain the author’s reputation.<br /> <br /> “Tdyls of Womanhood” is a little dainty<br /> volume by C. Amy Dawson, author of “ Sappho.”<br /> There ought to be a place for Amy Dawson<br /> among the lesser singers of the time. Her taste<br /> is never out of tune; her touch is never false ;<br /> her song is always pure and sweet, if it is some-<br /> times neither original nor strong. Her danger<br /> seem to lie in her facility. Most of the Idyls are<br /> in blank verse, and it is so very very easy to<br /> write blank verse—of a kind. For one thing the<br /> reader of this book is grateful. Amy Dawson<br /> has rescued and put into verse the story of<br /> Sybelle and Guy de Lusignan. The book is<br /> published by Heinemann.<br /> <br /> “* Poems” is the simple title of a little book—<br /> a very pretty little pamphlet kind of book—by<br /> Mary Cross (Oliphant, Anderson, and Fernie).<br /> They are sweet and tender verses, hardly strong<br /> enough to be published, but pleasant and delight-<br /> ful to write.<br /> <br /> “The Holy Vision, and other Poems.” This is<br /> the title of a first volume of verse by Mr. Herbert<br /> Sleigh. Among many lines which are immature,<br /> and some which are echoes, there is as much<br /> promise in this little volume as one remembers<br /> to have seen in any early work in verse. If it is<br /> the case, as some think, that there is to be a<br /> speedy revival in the national loss and demand<br /> for poetry, Mr. Herbert Sleigh may have a great<br /> future before him. Meantime there seems to be<br /> the true ring about his early verse. Let him<br /> write ; let him think and meditate; let him<br /> nourish a lofty ideal and be disinterested.<br /> <br /> Amember of the Society, under the nom de<br /> plume of Arthur Milton, is inserting Indian<br /> stories in Messrs. Cassell’s Family Magazine.<br /> Three short stories appeared in the May number,<br /> and one, entitled “An Indian Story,” appeared<br /> in the present number.<br /> <br /> Mr. Bertram Mitford’s book entitled “’Tween<br /> Snow and Fire,” is one of Mr. R. Heinemann’s<br /> autumn publications.<br /> <br /> The selling price of “The Grievances of<br /> Authors,” published at the Leadenhall Press,<br /> has been reduced to a shilling.<br /> <br /> THE AUTHOR.<br /> <br /> Mr. Arthur A. Sykes has translated Nikolai Y,<br /> Gogol’s play of the “ Revizér ” (The Inspector.<br /> General). The play is most amusing: it turns on<br /> a very old incident, the mistaking of an ordinary<br /> and quite common-place individual for a great<br /> Government personage. The humour, however,<br /> is distinctly Russian throughout. The transla-<br /> tion is full of spirit, and, one hopes—not being a<br /> Russian scholar—faithful. The publisher is Mr,<br /> Walter Scott.<br /> <br /> The Rev. Edmund Fowle, late Head Master of<br /> Amesbury House School, Bickley, has sent us a<br /> work, called the “ Schoolboy’s Little Book.” Tt<br /> is a religious book, and is intended to be placed<br /> in the hands of a boy just entering school. It is<br /> also a practical work, likely to be of great use to<br /> boys in the direction desired by the author.<br /> Those who wish their boys to remain and to grow<br /> up under the influence of religion cannot do<br /> better than give them this book.<br /> <br /> In “Tom Paulding” Mr. Brander Matthews<br /> has essayed a new field. “Tom Paulding” is a<br /> book for boys, a story of a search for buried<br /> treasure. Tom, the hero, is a New York boy, who<br /> finds, among some family papers, a clue to a theft<br /> committed during the Revolution, by which his<br /> great-crandfather lost two thousand guineas. He<br /> sets out to recover the money, and, with the<br /> assistance of his uncle and two school friends,<br /> succeeds in doing so, only to find that the coins he<br /> has searched so faithfully for are worthless<br /> counterfeits. The story does not end here, for<br /> Tom finds that his search has not been wholly<br /> profitless, and that the reward of diligence often<br /> comes in unexpected ways. The book is published<br /> by the Century Company, New York.<br /> <br /> We are not a religious society. But we belong,<br /> so to speak, to every religion which produces<br /> literature, and here is a little story about a<br /> religious book. It is written by a busy professional<br /> man, and was intended at first for his own boys.<br /> He spent eight years over the book, giving his<br /> evenings to the work. As each chapter was<br /> finished he read it aloud to his boys, noting the<br /> effect it produced. Children are, in fact, the best<br /> critics in the world; they know how a story<br /> should be told; if it is told rightly they show it<br /> in their faces; if not, they leave off listening.<br /> When the book was finished the author, who<br /> believed in it, had it simultaneously published in<br /> London and New York. They are reading it at<br /> children’s services, and in Sunday schools, and<br /> even in churches. The title of the book explains<br /> its contents. It is called ‘“ Jesus, the Carpenter<br /> <br /> of Nazareth,” and it is an attempt to tell the<br /> history of the Gospel in simple language for the<br /> <br /> young.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> «4<br /> <br /> {<br /> <br /> <br /> <br /> TH AUTHOR.<br /> <br /> The next number of the Pseudonym Library<br /> will be “A Splendid Cousin,” by Mrs. Andrew<br /> Dean, author of “ Isaac Eller’s Money.”<br /> <br /> Mr. Henry A. Harper, author of “ The Bible<br /> and Modern Discoveries,’ has written a book<br /> called “From Abraham to David ”—the Story of<br /> their Country and Times. He has embodied in<br /> this book all the recent discoveries. His work on<br /> the Holy Land, generally illustrated with his own<br /> pencil, was the outcome of much travel in the<br /> East. The publishers of this little book are<br /> Percival and Co.<br /> <br /> Australia is yielding up its romance. It is<br /> thirty-three years certainly since Henry Kingsley<br /> produced his “ Geoffry Hamlyn,” but Australia<br /> has not contributed her share to modern fiction.<br /> Mr. E. R. Kennedy, author of “ Blacks and<br /> Bushrangers,”’ has brought out a romance of<br /> Australian life called “‘ Out of the Groove.” It<br /> is published by Sampson Low and Co.<br /> <br /> “The Runaway Browns” is the title of H. C.<br /> Bunner’s new book published in “ Park’s Mul-<br /> berry Series” (Brentano, Agar-street, Strand). It<br /> is a very funny book—not so funny as a book by<br /> Frederick Anstey or Burnand, but in the present<br /> dearth of writers who can make us laugh, most<br /> acceptable.<br /> <br /> “ Paddles and Politics,” by Poultney Bigelow,<br /> is the record of a journey down the Danube in a<br /> canoe, illustrated by the author, and published by<br /> Cassell. New scenery, new society, and a delight-<br /> ful companion recalls this voyage down the<br /> Danube, in an armchair a most pleasant evening’s<br /> journey.<br /> <br /> It was not Mr. Henry Neville, but Mr. Henry<br /> Newill, whose book “In the Tilt Yard of Life”<br /> was announced last month, and two of the titles<br /> of his stories were given incorrectly. One was<br /> “The Best Friend,” instead of “Her Best<br /> Friend,” and it is not “Gritty’s Glove,” but<br /> “Gritty’s Ghost.” For these errors we hope the<br /> author of the book will accept this amendment as<br /> an apology.<br /> <br /> “The Ruined Cities of Mashonaland,” by Mr.<br /> J. Theodore Bent (Longmans) will be one of the<br /> books of the season. These cities, which have<br /> only recently been discovered. are as mysterious<br /> as the cities of Central America. Their buildings<br /> and their decorations are said to suggest<br /> Pheenician influence rather than to be actually<br /> Phenician. They are undoubtedly relics of the<br /> time when traders from Southern Arabia pene-<br /> trated in all directions round the shores of the<br /> Indian Ocean. The book is illustrated with<br /> maps and drawings. It is divided into three<br /> <br /> sections, (1) the journey and its incidents, (2)<br /> <br /> 215<br /> <br /> the archeology and excavations, and (3) an<br /> account of further journeys in Mashonaland in<br /> search of other ruins.<br /> <br /> Mrs. Clifford, since her first success in “ Mrs.<br /> Keith’s Crime,” has been steadily advancing in<br /> reputation. Her last book, made up of short<br /> stories, and called “The Last Touches” (A. and<br /> C. Black) will sustain her latest advance. The<br /> story which gives the title to the volume is<br /> charming; if it were wanted, this story gives<br /> the lie direct to those who maintain that we can-<br /> not write short stories. Everything that a short<br /> story should have is here; a complete story in<br /> itself; the suggestion of a past; the atmosphere<br /> of a thousand stories.<br /> <br /> “is Official Wife” (Routledge) is a tale<br /> which no one can put down unfinished when it<br /> has once been begun. It is the most “ exciting u<br /> story that has appeared for a long time. Let<br /> everybody try it. This is the easier because it<br /> costs only two shillings.<br /> <br /> Mr. Arthur Waugh’s “Life of Tennyson,”<br /> appearing so soon after the Laureate’s death, was<br /> at a certain disadvantage. It seemed as if it<br /> must be a hasty, catchpenny thing, got up ina<br /> hurry, This is not the case. The biographer has<br /> been engaged upon the work for years. That it<br /> was almost concluded just before the death of<br /> Tennyson was an accident. Mr. Arthur Waugh<br /> is well known in certain literary circles as the<br /> successor of Mr. Wolcott Balastier.<br /> <br /> <br /> <br /> ee<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Birks, CANON. Hore Evangelice: The internal evidence<br /> of the Gospel history. Edited by the Rev. H. A. Birks,<br /> M.A. George Bell. tos. 6d.<br /> <br /> Boox or Common PraveER, THE, from the original manu-<br /> script attached to the Act of Uniformity of 1662, and<br /> now preserved in the House of Lords. Eyre and<br /> Spottiswoode.<br /> <br /> Carrns, John, D.D., LL.D. Christ the Morning Star and<br /> other Sermons. Edited by his brothers. Hodder and<br /> Stoughton. 6s.<br /> <br /> Coruesronge, R. S., D.D. Buddhism,<br /> present, in Magadha and in Ceylon. Longmans. 16s.<br /> <br /> Dyxzs, J. OSWALD. Plain Words on Great Themes.<br /> Volumes of “‘ Preachers of the Age”’ series, with por-<br /> traits. Sampson Low. 3s. 6d.<br /> <br /> primitive and<br /> <br /> Hrvetiny, Rev. C.A. 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Published for the Holbein Society by<br /> A. Brothers, St. Ann’s Square, Manchester.<br /> <br /> Movutz, H.C G. Christ is All. Sermons from New Testa-<br /> ment works on various aspects of the glory and work of<br /> Christ, with some others. Sampson Low. 3s. 6d.<br /> <br /> Peyton, W. W. The Memorabilia of Jesus, commonly<br /> called the Gospel of St. John. A. and C. Black.<br /> <br /> Ryze, H. E. The Early Narratives of Genesis. A brief<br /> introduction to the study of Genesis i.-xl. Macmillan.<br /> 38. net.<br /> <br /> SANDFORD, Rignt Rey. C. W. Words of Counsel to<br /> English Churchmen Abroad: Sermons. Macmillan.<br /> 6s.<br /> <br /> SapHeR, Rey. A. The Divine Unity of Scripture. Hodder<br /> and Stoughton. 6s.<br /> <br /> SmytH, J. Paterson. How God Inspired the Bible:<br /> Thoughts for the present disquiet. Simpkin, Marshall.<br /> <br /> Snow, Rieut Rey. A. St. Gregory the Great: his Work<br /> and his Spirit. John Hodges, Agar Street. Charing<br /> Cross. Cloth, 3s. 6d. net; paper covers, 2s. 6d. net.<br /> <br /> TROBRIDGE, GEORGE. The Letter and the Spirit. Studies<br /> in the spiritual sense of Scripture. Spiers, Bloomsbury<br /> Street.<br /> <br /> History and Biography.<br /> <br /> A Copy or Pontius Pinarr’s Letrer To TiBERIUS<br /> Camsar. An ancient document found in the Vatican,<br /> which purports to be the original report of Pilate,<br /> Roman Governor of Judea, to the Emperor Tiberius<br /> Cesar, explaining the causes which led to the tumult<br /> in Jerusalem, in connection with the death of Jesus<br /> of Nazareth. John Kensit, Paternoster Row. Paper<br /> covers, 2d.<br /> <br /> Buorr, Wattrer. A Chronicle of Blemundsbury. A<br /> record of St. Giles-in-the-Fields and Bloomsbury, with<br /> maps, drawings, and deeds. Published by the author<br /> at Manningdale, South Norwood.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Bourke, Hon. Au@gERNon. 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Chapman and Hall.<br /> <br /> AUTHOR.<br /> <br /> 217<br /> <br /> Rospert BROwNING’S PRosE Lire OF STRAFFORD, with an<br /> introduction by C. H. Firth, M.A., and “ Forewords,”<br /> by F. J. Furnivall, M.A. Published for the Browning<br /> Society by Kegan Paul. 5s.<br /> <br /> Suuuivan, Joun L. Life and Reminiscences of a Nine-<br /> teenth-Century Gladiator. Routledge.<br /> <br /> Tuorpe, W. G., F.S.A. The Still Life of the Middle<br /> Temple, with some of its Table Talk, preceded by fifty<br /> years’ reminiscences. Bentley.<br /> <br /> TWENTY-FIVE YEARS oF St. ANDREWS, September, 1865,<br /> to September, 1890. By the author of “The Recrea-<br /> <br /> tions of a Country Parson.’ Vol. II. Longmans. 15s.<br /> <br /> Alfred Lord Tennyson. A study of his<br /> <br /> Heinemann. 10s. 6d.<br /> <br /> Wuistier, Rev. R. F. The History of Ailington, Aylton,<br /> or Elton. Mitchell and Hughes, Wardour-street.<br /> WILLEBY, CHARLES.<br /> <br /> Low.<br /> <br /> WauauH. 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A Becxerr.<br /> <br /> Ropert BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. Buackmore.<br /> <br /> Rey. Pror. Bonney, F.R.S.<br /> Lord BRaBourRnE.<br /> <br /> James Bryce, M.P.<br /> <br /> Hau Carne.<br /> <br /> P. W. CLaYpEn.<br /> <br /> EDWARD Copp.<br /> <br /> W. Morris Couuzs.<br /> <br /> Hon. Jonn Courier.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion Crawrorp.<br /> <br /> AvusTIN Dosson.<br /> <br /> EpMuND Gosse.<br /> <br /> THomAs Harpy.<br /> <br /> J. M. Lety.<br /> <br /> <br /> <br /> OswaLD CRAWFURD, C.M.G.<br /> THE Earu or DEsart.<br /> <br /> A. W. Duzsoura.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> Pror. Micuarn Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHAaRD GARNETT, LL.D.<br /> <br /> H. Riper Haae@arp.<br /> <br /> JrERomE K. JERomE.<br /> Rupyarp Kipuina.<br /> Pror. E. Ray Lanxester, F.B.S.<br /> <br /> Rev. W. J. Lorrin, F.S.A.<br /> Pror. J. M. D. MrIKLEJOHN.<br /> GEORGE MEREDITH.<br /> Herman C. Merivare.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max Miuuer.<br /> <br /> J. C. PARKINSON.<br /> <br /> THE EARL oF PEMBROKE AND Monv-<br /> GOMERY.<br /> <br /> Str FREDERICK Pouuock, Bart., LL.D,<br /> <br /> WALTER HERRIES PoLuock.<br /> <br /> A. G. Ross.<br /> <br /> GEorRGE Auaustus SALA.<br /> <br /> W. Baptiste Scoonss.<br /> <br /> G. R. Sus.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy Tuomas.<br /> <br /> AD. TRAinn, D.C.<br /> <br /> Baron HENRY DE Worms,<br /> E.RB.S.<br /> <br /> EpmunpD YATEs.<br /> <br /> MP.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWwN, Q.C.<br /> Solicitors—Messrs FrE.p, Roscoxr, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HurBert Turina, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portuaat Srreet, Linconn’s INN FIELDs, W.C.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> (THe LeapEnHALt Press rp, H.C.)<br /> aoc<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Sixpence each: §s. per dozen, ruled or plain.<br /> <br /> AUTHORS.<br /> <br /> The skilled revision, the honest and competent criticism,<br /> and the offering of MSS. in the American market, are the<br /> Specialities of the New York Bureau of Revision.<br /> Established 1880. Endorsed by George W. Curtis, J. R.<br /> Lowell, and many authors—20 W., Fourteenth-street,<br /> New York.<br /> <br /> NOW READY, SUPER-ROYAL 8vo., PRICE 15s., POST FREE.<br /> <br /> CROCKFORD’S<br /> CLERICAL DIRECTORY 1892.<br /> <br /> EING<br /> <br /> STATISTICAL BOOK OF REFERENCE<br /> For facts relating to the Clergy in England, Wales, Scotland, Ireland<br /> and the Colonies ; With a fuller Index relating to Parishes and<br /> Benefices than any ever yet given to the public.<br /> Onockrorp’s CLERICAL DIrEcTORY i3 more than a Directory ; it con-<br /> tains concise Biographical details of all the ministers and dignitaries of<br /> the Church of England, Wales, Scotland, Ireland, and the Colonies,<br /> <br /> TWENTY - FOURTH ISSUE.<br /> <br /> Horacn Cox, ‘Law Times” Office, Windsor House, Bream’s-<br /> buildings, E.0,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> A BOOK FOR MEMBERS AND CANDIDATES.<br /> Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br /> 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY<br /> <br /> OF THE<br /> <br /> BRITISH PARLIAMENT,<br /> <br /> From the EARLIEST PERIODS to the PRESENT TIME.<br /> With Notices of Eminent Parliamentary Men, and Exampl3s of<br /> their Oratory. Compiled from Authentic Sources by<br /> <br /> GHORGE HENRY JHNNINGS.<br /> CONTENTS :<br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions.<br /> <br /> Part IL—Personal Anecdotes: Sir Thomas More to John Morley.<br /> <br /> Part II.—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br /> Strangers; Publication of Debates. 3. Parliamentary<br /> Usages, &amp;. 4. Varieties.<br /> <br /> APPENDIX.—(A) Lists of the Parliaments of England and of the<br /> United Kingdom. (B) Speakers of the House of<br /> Commons. (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to 1892.<br /> <br /> OPINIONS OF THE PRESS OF THE PRESENT EDITION.<br /> <br /> ‘‘ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in both instruction and amuse-<br /> ment.” — Scotsman.<br /> <br /> “Tt is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”—Globe.<br /> <br /> “Tt is a work that possesses both a practical and an historica<br /> value, and is altogether unique in character.”—Kentish Observer.<br /> <br /> ‘* We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—wNorthern Echo.<br /> <br /> ifs” Orders may now be sent to<br /> <br /> Horace Cox, ‘‘ Law Times” Office, Windsor House, Bream’s-<br /> buildings, E.0,<br /> <br /> Rev. C. H. MippLeton-Waker F.L.S.<br />  <br /> <br /> <br /> <br /> 224<br /> <br /> <br /> <br /> <br /> <br /> AD VER TISEMENTS.<br /> <br /> <br /> <br /> IT MAKES WRITING EASY..<br /> <br /> <br /> <br /> <br /> <br /> <br /> VISIBLE WRITING<br /> <br /> Kk<br /> <br /> SENT ON FREE TRIAL,<br /> <br /> RANKS FIRST<br /> <br /> IN<br /> <br /> EVERY WAY<br /> <br /> FOR<br /> <br /> LITERARY MEN.<br /> <br /> See Testimonials,<br /> <br /> <br /> <br /> APPLY TO<br /> <br /> THE TYPEWRITER COMPANY LIMITED,<br /> <br /> 15 &amp; 44.<br /> <br /> QUBBN VICTORIA STREET, LONDON. BC:<br /> <br /> LOCAL AGENTS IN ALL DISTRICTS.<br /> <br /> By Special Warrant Makers to H.M. the Queen,<br /> <br /> Contractors to H.M. Government.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> <br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extracarbon copies half price. 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445	https://historysoa.com/items/show/445	The Author, Vol. 03 Issue 07 (December 1892)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+07+%28December+1892%29"><em>The Author</em>, Vol. 03 Issue 07 (December 1892)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1892-12-01-The-Author-3-7					225–264																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-12-01">1892-12-01</a>							7			18921201	Che #uthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. III —No. 7.]<br /> <br /> DECEMBER 1, 1892.<br /> <br /> CONTENTS,<br /> <br /> [Price SIxPEncr.<br /> <br /> <br /> <br /> <br /> <br /> PAGE<br /> <br /> Warnings eee = es Feuilleton—<br /> <br /> How to Use the Society 5 | 1.—Collaborators. By M. E. Francis 244<br /> <br /> The Authors’ Syndicate | 2.—Fenton Fane, By G. B. Burgin... 248<br /> a |<br /> <br /> Notices... oes<br /> The Authors’ Club i aes<br /> Resignation of the Chairman<br /> Literary Property—<br /> 1.—Criticism of Books: Counsel&#039;s Opinion<br /> 2.—The Review of Reviewers ee<br /> 3.—Magazines and Copyright<br /> American Copyright<br /> Author and Editor ...<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Authors’ Rights to Titles...<br /> A Copyright Bill .. eae<br /> A Case in Court<br /> 10.—An Anticipated Charge<br /> 11.—Ownership ... eae *s tae<br /> Notes from Paris. By Robert Sherard ...<br /> “Glamour.” By Eleanor Sweetman<br /> Notes and News. By Walter Besant<br /> <br /> <br /> <br /> Serial Rights: a Warning. By W. Morris Colles...<br /> <br /> Correspondence—<br /> 1.—A Little Sum<br /> 2.—No Answer aoe<br /> <br /> | 3.—Letters not Received<br /> <br /> 4.—A Suggested Memorial<br /> <br /> | 5.—A Question<br /> <br /> | 6.—For Nothing ... ae oe<br /> <br /> | ‘.—A Brilliant Scale of Pay ...<br /> <br /> 8.—A Lawyer&#039;s Letter ...<br /> 9.—Defamatory Criticism<br /> 10.—Society of Archivists<br /> 11.—A Puzzle :<br /> 12.—TIllustrations ... a<br /> 13.—Liberal Remuneration o te es<br /> 14.—A Suggestion—and Something More ...<br /> At the Sign of the Author’s Head...<br /> New Books and New Editions<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> l. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 15, The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4, Literature and the Pension List. By W. Morris Couuus, Barrister-at-Law. (Henry Glaisher<br /> 95, Strand, W.C.) 3s.<br /> <br /> 9. The History of the Société des Gens de Lettres. By S. Squrrm Sprraax, late Secretary to<br /> the Society. ts.<br /> <br /> 6. The Cost of Production, In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Seurrz Striaer. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined. and their meaning carefully explained, with an account of the various<br /> kinds of frand which have been made possible by the different clauses in their agreements.<br /> <br /> Henry Glaisher, 95, Strand, W.C, 36.<br /> <br /> } i 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ] ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> H<br /> a<br /> d<br /> <br /> <br /> <br /> <br />  <br /> <br /> 226 ADVERTISEMENTS.<br /> <br /> <br /> <br /> Now Ready, Price ONE SHILLING, Postage One Halfpenny.<br /> <br /> THE CHRISTMAS NUMBER OF =<br /> <br /> + TME QUEEN +<br /> <br /> WILL CONTAIN<br /> <br /> THREE BEAUTIFUL PRESENTATION PICTURES IN COLOURS:<br /> “WHAT SHALL I SAY?” “SCHOOL DAYS.”<br /> <br /> From a Painting by C. HaraH Woop. From a Painting by Davipson KNOWLES.<br /> <br /> “THE SQUIRE’S DAUGHTER”<br /> <br /> From a Painting by G. L. S—yMouR.<br /> <br /> PORTRAITS OF THE QUEEN&#039;S GRANDCHILDREN, J<br /> <br /> REPRODUCED FROM THE<br /> <br /> ORIGINAL MINIATURES BY THE GRACIOUS PERMISSION OF HER MAJESTY,<br /> And under the Supervision of THE MARCHIONESS OF GRANBY.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PAPERS ON WOMEN’S WORK AND WOMEN’S INTERESTS, €&amp;<br /> <br /> By the DUCHESS OF RUTLAND, the MARCHIONESS OF DUFFERIN AND AVA,<br /> SUSAN LADY MALMESBURY, LADY JEUNE, and other distinguished writers.<br /> <br /> <br /> <br /> AUTOBIOGRAPHICAL REMINISCENCES: HOW THEY MADE THEIR FIRST SUCCESS, | ba:<br /> <br /> By MISS CHARLOTTE M. YONGE, MRS. LYNN LINTON, and others.<br /> <br /> <br /> <br /> STORIES by Mrs. KENNARD, R. M. BURNAND, FRANCIS GRIBBLE, and other distinguished Authors.<br /> <br /> NUMEROUS WOODCUT ILLUSTRATIONS.<br /> ILLUSTRATIONS OF FASHIONS AND ART AND FANCY WORK<br /> <br /> <br /> <br /> <br /> <br /> “QUEEN” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, E.C.<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> <br /> <br /> MR. HORACE COX begs to announce that MR. AMES PAYN’S New Novel, §<br /> “4 STUMBLE ON THE THRESHOLD,” is now ready at all Libraries,<br /> <br /> Booksellers, and Bookstalls, in Two Volumes, crown Svo., cloth, price 21s.<br /> <br /> <br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, EC.<br /> <br /> <br /> <br /> <br /> Che #Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 7.]<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible,<br /> <br /> <br /> <br /> HE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post, and requests that all mémbers not<br /> <br /> receiving an answer to important communications<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has been proved to have<br /> been committed, it is reasonab&#039;e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only,<br /> <br /> <br /> <br /> <br /> <br /> ea.<br /> <br /> WARNINGS.<br /> <br /> &gt;<br /> <br /> <br /> <br /> Specian) Warntna. — Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> TOs, or more, according to the form of agreement,<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> <br /> at no expense to themselves except the cost of the<br /> stamp,<br /> <br /> <br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> VOL. III.<br /> <br /> <br /> <br /> DECEMBER 1, 18o2.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> possible. They are based on the experience of<br /> seven years’ work upon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have ascertained what. the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights, Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser,<br /> <br /> s 2<br /> <br /> f<br /> fi<br /> P<br /> <br /> <br /> <br /> <br /> 228<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> -connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Porrucan Street, Lincouin’s Inn Frewps.<br /> <br /> pecs ———<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every nember has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an 0,inion from the<br /> Society’s solicitors. If the :as+ is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. The outward and visible signs of the<br /> fraudulent publisher are—(1) a virtuous and<br /> benevolent wish to have the unquestioned conduct<br /> of your business left entirely in his hands; (2) a<br /> <br /> THE AUTHOR.<br /> <br /> virtuous, good man’s pain at being told that his<br /> accounts must be audited; (3) a virtuous indig-<br /> nation at being asked what his proposed agree-<br /> ment gives him compared with what it gives the<br /> author; and (4) irrepressible irritation at any<br /> mention of the Society of Authors.<br /> <br /> 8. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> g. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> pecs<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> R. Colles desires to inform readers of the<br /> Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2, That the establishment expenses of the<br /> Authors’ Syndicate are def.ayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but the<br /> charges are reduced to the lowest possible<br /> amount compatible with efficiency. Mean-<br /> while members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis, and<br /> when desirous of seeing Mr. Colles, they<br /> must write for an appoint ment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> <br /> must have it entirely in his own hands; —<br /> <br /> <br /> <br /> <br /> <br /> 10<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted.<br /> <br /> NOTICES.<br /> <br /> —&lt;—___<br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be of use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> <br /> <br /> <br /> <br /> The Editor is always glad to receive short<br /> papers and comimunications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to wid<br /> m this work send their names and the special<br /> subjects on which they are willing to write ¥<br /> <br /> oo —&lt;—S+<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of eath month.<br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> <br /> AUTHOR. 200<br /> <br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received, It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> ———<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, .St. James’s<br /> Street. Address the Secretary for information,<br /> <br /> rules of admission, &amp;c.<br /> <br /> Sa<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> Se<br /> <br /> Those who are elected members during the<br /> last three months of the year are advised that<br /> their subscriptions cover the whole of the follow-<br /> ing year.<br /> <br /> So<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or tive<br /> years ?<br /> <br /> SEEenetooeeeeed<br /> <br /> Those who possess the ‘Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of “doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> <br /> 230<br /> <br /> Some 1emarks have been made upon the am: unt<br /> charged in the ‘Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchang-. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> sec<br /> <br /> THE AUTHORS’ CLUB.<br /> <br /> Se<br /> <br /> \YHE Authors’ Club, which has been carried<br /> cn in temporary premises at St. James’s<br /> Place, is endeavouring to obtain a more<br /> <br /> permanent holding. Its chairman, Mr. Oswald<br /> Craufurd, is now negotiating for a set of rooms<br /> in the most central and convenient position of all<br /> London. Should he be so fortunate as to secure<br /> them, the club will make a new start with a<br /> most excellent set of rooms, thoroughly con-<br /> venient for everything, with a membership of 200<br /> to begin with, and with a cheaper subscription,<br /> for a high-class club, than any other club in<br /> London. It has begun already its monthly—<br /> soon to become fortnightly—dinners, at which<br /> the institution of “Uncut Leaves”? has been<br /> founded. That is, unpublished verses, tales, &amp;c.,<br /> are recited and read to the members after dinner.<br /> In Noveu. ber, Mr. Richard le Gallienne read a<br /> poem, Mr. Eden Philpotts read a tale, and Mr.<br /> Jerome gave a recitation—all of things as yet<br /> unpublished.<br /> <br /> re<br /> <br /> RESIGNATION OF THE CHAIRMAN.<br /> <br /> <br /> <br /> T a meeting of the Execut:ve Committee,<br /> on Monday, Nov. 21, 1892, specially con-<br /> vened, the following statement was read<br /> <br /> by the chairman, Mr. Walter Besant :<br /> <br /> “T have for some time perceived that the<br /> habit of speaking of the Society as my society—<br /> of putting forward my name as standing for the<br /> society — has been becoming more and more<br /> prevalent in the Press and elsewhere. At the<br /> present stage of our corporate existeuce, a real<br /> danger attends this practice—the danger, namely,<br /> that the world, which has no time for investi-<br /> gating things, may easily be led to believe<br /> <br /> THE AUTHOR.<br /> <br /> that the Society is nothing but my own project—<br /> <br /> a thng run by myself on my own lines, and<br /> perhaps (who knows’) for my own personal<br /> <br /> profit The importance and authority of the<br /> Society, therefore, is in danger of being exactly<br /> measured by my own importance and authority<br /> —a small thing indeed as representing so great a<br /> body as our own. At the early stages of an<br /> association, the principal part of the work must<br /> necessarily be done by one man; but as time<br /> goes on, if that one man, and he alone, continues<br /> apparent to the world as the sole spring or brain<br /> ot the machine, that association will be supposed<br /> to have failed in getting support from those who<br /> should support it. In our own case I know for<br /> a fact that persons interested in the depreciation<br /> of the Society speak of it openly as my society,<br /> implying, even stating, that men and women of<br /> letters stand aloof. It is no use tou answer—<br /> because the people who hear the slunder may not<br /> read the answer—that we have 850 members,<br /> including, with very, very few exceptions, all the<br /> leading men and women of letters. It is no use<br /> to point out—because we cannot get to those<br /> persons—that, so far from the Society having been<br /> run by myself alone, Iam the third chairman of<br /> its eight years’ existence, my predecessors having<br /> been Mr. James Cotter Morrison and the late Sir<br /> Frederick Po lock. It is no use, for the same<br /> reason, to point cut the list of our ¢ uncil, or to<br /> the fact that everything is done by a committee<br /> regularly chosen from that council and regularly<br /> meeting. If, however, I resign the post of chairman,<br /> it will become impossible to speak of the Society<br /> in this way. Everybody will then have to recog-<br /> nise that it is governed by the council and a<br /> chairman and a committee like every other society,<br /> and we shall much more readily thau before receive<br /> the recognition due to our numbers and our name.<br /> Ido not say that we shall effectually silence the<br /> voice of the slanderer, but we shall make him<br /> invent another kind of slander—a thing which he<br /> does not like. I beg, therefore, for these reasons,<br /> to tender my resignation. In so doing I do not<br /> wish to leave you, or the good work, and I propose,<br /> with your permission, to remain on the executive<br /> committee. No change will therefore be made,<br /> except that the reins will pass into stronger<br /> hands; and I desire to place on record my most<br /> sincere thanks for the assistance you have<br /> rendered me at all times during the last four years.<br /> ** T have only to add that all the assistance that<br /> I can give to the Society, which attempts the<br /> greatest thing ever designed for the sacred cause<br /> of literature—namely, the independence of the<br /> literary calling—will at all times be freely and<br /> willingly and loyally rendered to my successor.”<br /> The committee, on receiving this statement,<br /> <br /> <br /> <br /> 9<br /> By<br /> a<br /> %<br /> =<br /> +<br /> 6!<br /> .<br /> 2<br /> a<br /> &lt;<br /> v<br /> <br /> Cs<br /> <br /> SE RYU EN TI<br /> <br /> oe<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Pontes<br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> passed the following resolution: “ The committee,<br /> being informed by Mr. Walter Besant of his<br /> spontaneous decision to resign the chairmanship of<br /> the committee of management, hereby offer their<br /> best thanks to the outgoing chairman for his long,<br /> zealous, and efficient services in that capacity,<br /> and, while expressing their sincere regret that<br /> he has found this course necessary, likewise<br /> express their satisfaction that they will still have<br /> the benefit of his assistance as a member of the<br /> committee, and instruct the secretary to cause<br /> this resolution to be published.”<br /> <br /> The committee then proceeded to elect a chair-<br /> man in succession to Mr. Walter Besant. Sir<br /> <br /> <br /> <br /> Frederick Pollock, Bart., was unanimously<br /> elected.<br /> LITERARY PROPERTY.<br /> i<br /> Tue Pusuic Criticism oF Books.<br /> I.<br /> <br /> 1. Has a newspaper any right at law to criticise<br /> books not submitted for review ?<br /> <br /> 2. If a newspaper reviews a book uufavourably<br /> which has not been submitted for review, is there<br /> such a presumption of malice as would rebut a<br /> plea of privilege ?<br /> <br /> Counsel’s Opinion.<br /> <br /> 1. Every newspaper, and indeed everyone, has<br /> a right to criticise any book printed for general<br /> circulation amongst the public, whether the author<br /> expressly submits the book for review or not.<br /> <br /> This 1s not strictly a privilege at all: (Merivale<br /> and Wife v. Carson (C. A. 20 Q. B. Div. 275.)<br /> It is a general right posse-sed by every citizen,<br /> and does not depend upon any request made<br /> by the author. Such a book becomes public<br /> property as soon as it is published. “A man<br /> who publishes a book challenges criticism; he<br /> rejoices in it if it tends to his praise, and if it is<br /> likely to increase the circulation of his work; and<br /> theref re he must submit to it if it is adverse, so<br /> long as it is not prompted by malice, or charac-<br /> terised by such reckless disregard of fairness as<br /> indicates malice towards the author:” (Per<br /> Cockburn, C.J. in Strauss v. Francis, 4 F. &amp; F.<br /> at p. 1114.)<br /> <br /> 2. The mere fact that the book was not sub-<br /> mitted for review would, in my opinion, not give<br /> rise to any presumption of malice. If there were<br /> other circumstances suggesting malice, this fact<br /> might also be taken into consideration. But by<br /> <br /> itself it is, in my opinion, no evidence of malice.<br /> Surely many papers review the latest volume of<br /> Tennyson or Browning, although no copy is sent<br /> <br /> AUTHOR. 231<br /> <br /> them by tte author. When all the world is<br /> talking about a book, such, for instance, as<br /> “Robert Elsmere,” the editor of any paperis,in my<br /> opinion, entitled to send out and buy a copy, and<br /> then state in his columns his honest opinion of<br /> that book, however unfavourable his opinion<br /> might be. It might be otherwise when a work<br /> appears from the pen of some unknown author.<br /> It an enemy of his seized on the opportunity to<br /> gratify his spite against the author by publishing<br /> a review undeservedly severe; in that case the<br /> unusual circumstances of the critic’s going out of<br /> his way to buy the book in order to review it,<br /> would no doubt be some evidence that he was<br /> actuated by a malicious motive; and the judge<br /> would in that case leave the issue of malice to<br /> the jury. W. BuaKke OpGERS.<br /> <br /> 4, Elm Court, Temple, E.C., Nov. 15.<br /> <br /> II.<br /> <br /> 1. As to “D.’s” complaint in the November<br /> number of the Author, I apprehend that un-<br /> qualified acceptance of a contribution by the<br /> editor of a journa&#039; which usually pays its con-<br /> tributors after the lapse of a reasonable time,<br /> amounts to a contract to pay for it on the<br /> usual terms, and that the promise can be<br /> enforced b, an action if necessary, whether the<br /> article is published or not. Really inevitable<br /> accident, such as total destruction of the pub-<br /> lishing office, or of MSS. at the printer’s office, by<br /> fire or tempest, would probably be an excu-e, but<br /> not mere “crowd ng out.’ I do not think the<br /> editor is bound, without request, to tell the con-<br /> tributor beforehand what the rate of payment is.<br /> A prudent contributor will, of course, require<br /> that information, unless he has already obtained<br /> it otherwise.<br /> <br /> 2. As to defamatory criticism, the law is plain<br /> enough. Publication or public performance or<br /> exhibition is in itself an invitation of criticism,<br /> and the right to criticise published work is<br /> exactly the same whether the critic has teen<br /> specially invited or not, Fair criticism of pub-<br /> lished work is no libel, even if there has been no<br /> special invitatiou, and special invitation will not<br /> prevent unfair criticism from being libellous.<br /> When “ Rank and File’? complains that it is<br /> “ well nigh impossible” to prove that any criticism<br /> is unfair, I do not knuw what hemeans. I never<br /> heard that juries had any bias in favour of<br /> newspapers, and if there are few actions against<br /> newspapers for literary criticism, and fewer<br /> successful ones, I can only infer that criticism,<br /> though it may not be always wise, is generally<br /> fair. Since writing this note, I have seen Mr.<br /> Blake Odgers’ opinion, with which I entirely<br /> agree BP. P.<br /> <br /> na<br /> <br /> i<br /> <br /> <br /> <br /> <br /> THE<br /> <br /> <br /> <br /> II.<br /> Tae Review or REVIEWERS.<br /> <br /> The question which you raise, whether an author<br /> should ever answer a review, is not very difficult to<br /> answer. If an author is pretty sure of his ground,<br /> beyond all doubt he ought not to put up with<br /> ill-considered criticism. “The English Bards and<br /> Scotch Reviewers” of Byron, and the “ Master<br /> Christopher” of Tennyson, are good instances of<br /> successful reviewing of reviews, and in nine cases<br /> out of ten the author knows twenty times as much<br /> of his subject as the reviewer. But there is, of<br /> course, a great danger lest excessive sensitiveness<br /> should provoke an ill-considered and really foolish<br /> answer from an author, and in the generality of<br /> cases it is highly desirable for the author to show<br /> his answer to a friend before publishing it to<br /> the world.<br /> <br /> I greatly doubt whether the distinction you try<br /> to draw between the review of a work “sent for<br /> review”? and the review of a work not so sent<br /> islegallya sound one. In either case the reviewer<br /> or his publisher is answerable for a really malicious<br /> review. But of course the fact that the reviewer<br /> went out of his way to review unfavourably would<br /> be strong evidence that he reviewed maliciously.<br /> <br /> I need hardly point out that in many cases it<br /> is far better for an author to be reviewed un-<br /> favourably than not to be noticed at all,<br /> <br /> J. M. Lety,<br /> <br /> <br /> <br /> IT.<br /> MaGaziInes AND CopyriGcHt,<br /> E<br /> <br /> Your article on page 190 may possibly answer<br /> the question it refers to, but I venture to ask<br /> some further explanation. During past years I<br /> have sent, I should think, a hundred articles to<br /> first-class periodicals, the names of some of which<br /> I inclose privately. They have been duly inserted<br /> and paid for, but nothing has been said about<br /> copyright by either party. Whose copyright are<br /> they P<br /> <br /> You say: “If the proprietor has paid for the<br /> article, and unless the author, by express or<br /> implied contract, reserves to himself the copy-<br /> right, then the copyright resides with<br /> the proprietor.”<br /> <br /> According to this, therefore, the copyright of<br /> my articles belongs to the proprietors of the<br /> periodicals.<br /> <br /> But the Act says, section 18: “When any<br /> publisher shall employ any person to<br /> compose articles, on the terms<br /> <br /> that the copyright therein shall belong to such<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> proprietor the copyright shall be the<br /> property of such proprietor.”<br /> <br /> And as (except in any few cases) I was not<br /> “employed” to compose the articles, and as no<br /> <br /> ‘such “ terms” were ever agreed to by me, or even<br /> <br /> named to me—then it would seem that section 18<br /> <br /> does not apply, and that under sections 2 and 3<br /> <br /> of the Act the copyright will belong to me.<br /> Plea-e state your view of the case. Pp<br /> <br /> it.<br /> <br /> Perhaps you will pardon me when I very<br /> respectfully question, whether your construction<br /> “in simple language,” of the 18th section of<br /> 5 &amp; 6 Vict. c. 45 is in every respect entirely<br /> warranted.<br /> <br /> You state, “that if the proprietor has paid for<br /> the article, and unless the author, by express or<br /> implied contract, reserves to himself the copy-<br /> right, then the copyright for twenty-eight years<br /> resides with the proprietor,” {c.<br /> <br /> You thus throw on the author the onus of pro-<br /> tecting himself by “express or implied contract.<br /> But, does the wording of this section justify this<br /> construction? It is true that it vests the copy-<br /> right in the proprietor when he shall have<br /> employed the author on the specific terms that<br /> “the copyright” of the latter’s work “ shall<br /> belong to such proprietor.’”’ But, when no such<br /> terms have been specified by the proprietor,<br /> although he shall have paid for the work done by<br /> the author for the specific purposes set forth in<br /> the section, is there anything in its terms which<br /> justifies your construction, that “if the proprietor<br /> has paid for the article, and unle-s the author, by<br /> express or implied contract, reserves to himself<br /> the copyright, then the copyright . . resides<br /> with the proprietor”? — In the absence of the<br /> stipulation by the proprietor that the copyright<br /> shall belong to him, unless he has employed the<br /> author “on the terms” to that effect, is it not the<br /> sense of the words used, that, notwithstanding<br /> the payment for the work done for the proprietor’s<br /> specific purposes, the generic copyright shall not<br /> reside in him, but shall remain with the producer,<br /> the author.<br /> <br /> Thus, I contribute an artic’e to the Chimerical<br /> Review. The editor thereof, acting for the pro-<br /> prietor, accepts the article simpliciter, without any<br /> stipulation for “the terms” that the copyright<br /> shall belong to his principal. In the absense of<br /> such stipulation, does not tue copyright of the<br /> article, in default of any expressions in the section<br /> to the contrary, ipso facto vest inme when the<br /> article shall have fulfilled the specific météer for<br /> which the editor has accepted it and the pro-<br /> prietor has paid for it ?<br /> <br /> Of course, if I had been employed “on the<br /> <br /> <br /> <br /> | dor<br /> pon<br /> wg&quot;<br /> <br /> goo<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ~—<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR: 233<br /> <br /> terms that the copyright ”’ of the article “ shall<br /> <br /> belong to the proprietor,’ I should have to wait<br /> <br /> twenty-eight years before coming into the right<br /> <br /> to republish. c<br /> III.<br /> <br /> The letter of “ P.”’ which we print above, is a<br /> very important one. There are probably some<br /> hundreds of authors in his position, and some<br /> thousands of articles as to the copyright, in which<br /> the question “ P.” raises might be asked.<br /> <br /> If there was a contract of employment, no<br /> doubt the 18th section of the Copyright Act<br /> applies, and the copyright vests in the proprietor<br /> if the article was composed on the terms<br /> that it should belong to him. If nothing<br /> was said about copyright, a contract that itis to<br /> belong to the proprietor will not ordinarily be<br /> implied by the Courts of Law, and it will belong<br /> to the author.<br /> <br /> Tf there was no contract of employment, that<br /> is to say, if the author, without previous com-<br /> munication with the editor, sent the article<br /> to the editor who printed, it and paid for it,<br /> we cannot think that the 18th section will apply.<br /> Tt seems that in such a case, as ‘“‘ P.” contends,<br /> the ordinary law applies, and the copyright<br /> belongs absolutely to the author.<br /> <br /> The foolish restriction of the 18th section, that<br /> incase of employment, &amp;c., the copyright is to<br /> remain the property of the proprietor for twenty-<br /> eight years, should, of course be amended by<br /> shortening the period. T:e Royal Commission<br /> of 1878 recommended three years; and three<br /> years was the period proposed by Lord Monks-<br /> well’s Bill, which Lord Halsbury so illogically<br /> allowed to be read a second time on the condition<br /> that it should not be further proceeded with.<br /> Sooner or later we hope for better things from<br /> the present Lord Chancellor, who happens to have<br /> been one of the members of the Commission of<br /> 1878.<br /> <br /> Meanwhile we may state that the ordinary<br /> practice of magazine proprietors is most liberal in<br /> the matter. As a matter of courtesy, Jeave to<br /> publish an article separately is always asked for<br /> by the author, but we think we are right in<br /> stating that never, after the lapse of a reasonable<br /> period from the publication of the magazine con-<br /> taining the article, has this leave been refused.<br /> <br /> J.<br /> <br /> <br /> <br /> TN<br /> AMERICAN COPYRIGHT.<br /> <br /> A problem was suggested by “Curiosity” in<br /> our November number (p. 210) as to the possi-<br /> bility of protecting a book from further piracy<br /> <br /> VOL. III.<br /> <br /> in America, by adding a chapter and observations<br /> to the edition which has already been published<br /> and pirated, bringing the new portions out in an<br /> American magazine first of all, to secure American<br /> rights, and then publishing the book with the<br /> additions. ‘“‘ Could the pirates produce this com-<br /> plete edition? Would there be a chance of the<br /> preservation of such a new edition from the<br /> piratical competition ? ”<br /> <br /> The answer clearly is, that the pirates could<br /> not produce the complete edition with its copyright<br /> additions. But the fact of these copyright<br /> additions being published with the book would not<br /> create copyright in the 1emainder or old portion<br /> of the work, as to which, no copyright in America<br /> had ever existed. So that, although the pirates<br /> could be restrained from producing the book with<br /> its copyright additions, as a whole, their liberty<br /> to print the original work in its unextended form<br /> would continue just the same.<br /> <br /> No doubt, if the new chapter and ob-ervations<br /> were known by the public to be incorporated in an<br /> authorised edition, such an edition would be pur-<br /> chased in preference to others not containing<br /> them. But the pirates could always continue to<br /> flood the market with the book in its old form<br /> and without the copyright additions, since the<br /> non-copyright source would be always available<br /> for them to copy from.<br /> <br /> The publication of the new portion could, no<br /> doubt, be effected without the aid of a magazine ;<br /> separately, for instance, as a complete work, being<br /> added to their principal after.<br /> <br /> <br /> <br /> Vv.<br /> AUTHOR AND Eprror.<br /> <br /> It would be interesting to know what consti-<br /> tutes “acceptance” by an editor.<br /> <br /> Not long ago I forwarded some stanzas to an<br /> eminent “weekly,” and received from it a<br /> “ proof,” almost by return, which I sent back the<br /> same day for press. The stanzas dealt with an<br /> ephemeral topic, and in order to have any raison<br /> @étre should have appeared in the next number,<br /> or, at the latest, in its immediate successor.<br /> They were, however, inserted in neither, and in<br /> response to a polite appeal for explanation I was<br /> curtly informed that the editor had been unable<br /> to make use of my contribution. Now, had I<br /> not concluded, by the light of former experience<br /> that the sending of a proof was tantamount to<br /> acceptance, I should certainly not have left the<br /> stanzas with the newspaper in question, as there<br /> were at least two other ‘‘ weeklies” where I<br /> should have had no difficulty in placing them.<br /> I quite agree with your suggestion (editorial<br /> <br /> eM<br /> <br /> <br /> <br /> |<br /> |<br /> a<br /> a<br />  <br /> <br /> 234<br /> <br /> note, p. 210, November number of the Author)<br /> that, where acceptance is qualified, there ought to<br /> be some expression to that effect on the part of<br /> the editor.<br /> <br /> As regards accepted contributions that will<br /> “keep,” it would be satisfactory to ascertain<br /> whether an editor can indefinitely postpone pub-<br /> lication, or is under an implied agreement to<br /> publish within ‘‘a reasonable time.” It is now<br /> fully three years since a contribution of mine<br /> was accepted by a popular periodical, but it has<br /> not yet appeared, the excuse tendered being<br /> “‘ pressure on space,” while of course no payment<br /> has been made. Iam much disposed to test<br /> the matter in a court of law, and get the author’s<br /> rights clearly defined. W.<br /> <br /> <br /> <br /> VI.<br /> “SpriaL Rieguts: A Warnina.”<br /> <br /> A practice, happily, at present rare, but capable<br /> of extending rapidly, is coming into vogue of<br /> claiming the right of separate sale and assign-<br /> ment of the use of contributions to periodical<br /> publications on a simple purchase of the “serial<br /> rights.” In the great majority of cases the<br /> author, in disposing of the said “ serial rights,”<br /> had no intention of parting with anything more<br /> than the “single serial use” in the particular<br /> publication in question. In the absence of an<br /> express agreement, or, at any rate, of such an<br /> assignment in writing as would carry a right<br /> of ‘separate assignment, it is extremely doubt-<br /> ful whether he does part with anything but<br /> this single serial use, It is, however, most<br /> desirable to clear up this question so far as it<br /> can be cleared up without a judicial ruling as to<br /> the true construction of such terms as “serial<br /> rights’ or “serial right.” By statute it seems<br /> quite clear that the contract with the proprietor<br /> of a periodical is expressly limited to appearance<br /> in that periodical in the absence of any agree-<br /> ment which varies the contract. It is wholly<br /> immaterial whether the proprietor purchases the<br /> copyright or not. The words of 5 &amp; 6 Vict. c. 45,<br /> s. 18, which were quoted tn evtenso in the Author<br /> for November, are quite explicit on the point.<br /> From this it will be seen that the purchase of<br /> “serial rights,” if the words can be made to bear<br /> the construction which is being put upon them<br /> by the proprietors of certain journals carries more<br /> than the sale of periodical copyright as contem-<br /> plated by the statute.<br /> <br /> Now this is a very serious matter. An<br /> author of repute, who had sold a short story to<br /> a journal of high standing, would naturally feel<br /> seriously annoyed to find the same story subse-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> quently appearing in a journal for which he —<br /> would not have been willing to write on any terms,<br /> <br /> po<br /> <br /> A young and rising novelist would feel himself ).<br /> <br /> to be seriously aggrieved if an advantageous<br /> transaction fell through on the ground that<br /> stories of his sold some months previously to<br /> a high-class weekly were being hawked round<br /> the market at nominal prices. A writer who<br /> had arranged to contribute a series of stories<br /> to a publication of good repute would be<br /> aggrieved by a claim on the part of the editor<br /> to publish or not publish the papers as he<br /> pleases, and to farm them out apparently all over<br /> the world and for ever. The first and most<br /> serious effect of such a practice would be a general<br /> and disastrous lowering of terms. Obviously<br /> vendors of serial rights, who seek to obtain<br /> nothing more than a rebate, are in a position to<br /> make bargains which are very injurious to an<br /> author’s reputation. In the second place the<br /> existence of a perpetual serial sale seriously<br /> reduces the value of any copyrights which the<br /> author may have reserved. It is one thing to<br /> publish matter which can only be read in the back<br /> numbers of journals or periodicals, another to put<br /> upon the market stories or articles which are apt<br /> to turn up in a large number of obscure and<br /> possibly not very reputable prints. To sum up,<br /> therefore, writers of every class are urgently<br /> advised (1) to stipulate in writing that the trans-<br /> action is limited to the single serial use in the<br /> periodical in question; (2) in the event of the sale<br /> of “all serial rights” or the “English serial<br /> rights ’’ being insisted upon, to fix the price upon<br /> the understanding that any copyright they may<br /> reserve is practically worthless.<br /> <br /> One word more. The public is held at law to<br /> have notice of the articles of association of regis-<br /> tered companies. In the case of certain journals<br /> the proprietors are, by their articles of association,<br /> traders as well as publishers, and in the absence<br /> of an express agreement defining the rights sold,<br /> it is possible that it would be held that the author<br /> in question had notice of the intention of the<br /> proprietors in question to trade with as well as<br /> publish in their own publications any rights they<br /> may have acquired from him. It is suggested<br /> that in order to obviate difficulties arising from<br /> the use of terms which are capable of having<br /> their true construction disputed, it is desirable for<br /> authors to simply, and in so many words, “ license”<br /> the proprietors of any publication to use the<br /> matter in question in the columns or pages of<br /> that publication. W. M.C.<br /> <br /> BiG<br /> tee<br /> bi<br /> <br /> ba<br /> od<br /> Bar<br /> <br /> bd<br /> hod<br /> <br /> vie<br /> <br /> <br /> <br /> <br /> 4<br /> a<br /> <br /> sapere,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> VIl.<br /> AutHors’ Rieuts to TITLEs.<br /> <br /> It is well settled law that no copyright exists<br /> in a title (in the general meaning of the word) ;<br /> and Lord Justice James’s opinion that literary<br /> property can be invaded in three, and only three,<br /> ways is now generally accepted, the three ways<br /> being stated by his Lordship as follows :<br /> <br /> 1. By publishing an unauthorised edition, or<br /> importing or selling a foreign one.<br /> <br /> 2. By appropriating the fruit of anoth-r’s<br /> labour.<br /> <br /> 3. By selling one’s work under the title or<br /> name of another.<br /> <br /> Numbers 1 and 2 constitute infringements of<br /> copyright, and, as copyright is the creature of<br /> statute, protection must and can be found in the<br /> provisions of the Act of Parliament. Number 3<br /> is, however, an offence against the common law of<br /> the land, is not an infringement of copyright,<br /> and protection is given by the common law,<br /> because the act of selling one’s goods by the title<br /> or name under which the goods of another are<br /> sold amounts to fraud. As, in trade generally,<br /> it is obviously dishonest to describe your mer-<br /> chandise in such a manner as to lead a purchaser<br /> of it to believe that he is buying something<br /> else; so with reference to literary proper&#039;y it is a<br /> fraud to call your book by such a name as will<br /> lead a buyer to suppose that he is purchasing<br /> another book. ‘This isthe principle upon whicha<br /> literary work will be prevented from being sold<br /> under a title already associated with another<br /> work; but it is entirely unconnected with copy-<br /> right, and it is correct to say that there is no<br /> copyright in a title.<br /> <br /> That being so, it is important to ascertain the<br /> nature and extent of the right that is capable of<br /> acquisition in the title of a literary work; as<br /> well as the method by which it can be acquired.<br /> And to commence with, it should be explained<br /> that by “Title” is here meant a few descriptive<br /> words, and not a mass of lengthy description,<br /> “for instance, a whole page of title or something<br /> of that kind requiring invention,” which might<br /> constitute an original work.<br /> <br /> If a person, by long use of a name, title, or<br /> description, so ass ciates that name with a cer-<br /> tain article he sells as to undoubtedly connect<br /> the two in the minds of the public, he will be<br /> able to assert his common law right to restrain<br /> another from passing off other goods as his by<br /> selling them under the name that he has used.<br /> But by long use and reputation alone will a per-<br /> son acquire this right. To take a practical<br /> Instance :—Two persons, A. and B., conceived the<br /> idea of bringing out a magazine called Belgravia,<br /> <br /> VOL, III.<br /> <br /> AUTHOR. 235<br /> <br /> and B. advertised an announcement of his pro-<br /> ject widely, being quite unaware that A. had long<br /> desired to print a magazine under such a title,<br /> and was actually at work upon it. A. naturally<br /> hurried on when B.’s announcements appeared,<br /> and actually published his Belgravia first, B.’s<br /> following shortly after. B. then filed a bill to<br /> restrain A.’s publication, and A. tried to restrain<br /> B.’s; when the Court of Appeal held practically<br /> that neither party had any exclusive right to the<br /> use of the title in question, and so neither could<br /> restrain the other; that B.’s advertisements and<br /> expenditure did not give him the right to restrain<br /> A. from publishing a magazine under the same<br /> name, the first number of which appeared before<br /> B. published his; and that A. had not acquired<br /> any right to restrain B. from using the name,<br /> and that even the fact that A. had registered<br /> the title a long time before publication could<br /> not give him a copyright in that name.<br /> <br /> Neither party had, in fact, by use associated<br /> his magazine with the name Belgravia, and so<br /> it was open for either, or all the world, to use<br /> that name until such time as it might become<br /> associated with a particular publication, when an<br /> exclusive right to its use would be recognised and<br /> upheld.<br /> <br /> Neither the registration, therefore, nor the<br /> invention of a title will be sufficient to acquire a<br /> right of property in it ; but only actual user. And<br /> when aright of property has been gained by user,<br /> it will apparently not be necessary to show frau-<br /> dulent purpose on the part of a person who<br /> invades the right by selling another book under<br /> the same name; and it will suffice to show that<br /> such sale is calculated to injure the sale of the<br /> book with which the name is generally asso-<br /> ciated, and that it is misleading to the publi.<br /> <br /> Applying the rule to the circumstances set out<br /> on p. 212 (in our November number), if a novel<br /> was in 1884 selling under and known generally<br /> in connection with the title “ Incognita,’ clearly<br /> no publisher had any right to publish another<br /> work bearing the same name, even innocently by<br /> unawares and without fraudulent purpose. The<br /> fact that still another and earlier book, with<br /> similar title, had been published two hundred<br /> years before would not be of great importance ;<br /> except in the case of a work whose popula-<br /> rity and fame might still survive; when the<br /> principle of misleading the public would perhaps<br /> apply, though one can scarcely see who would<br /> bring proceedings—unless it were a deceived<br /> member of the public.<br /> <br /> Alternatively, if in 1884 no novel was generally<br /> associated with the title ‘“Incognita,”’ or was being<br /> inquired for or selling under that-name, no right<br /> by user could have been upheld, and the pub-<br /> <br /> r 2<br /> <br /> <br /> <br /> <br /> <br /> i<br /> i<br /> \<br /> i<br /> q<br /> 236<br /> <br /> lishers would have been justified in proceeding to<br /> print the book under that title, even if another<br /> “Incognita” had in fact been published. For<br /> surely the very essence of a right acquired by<br /> use is a continuation of that use; and a first<br /> consequence of non-user will be the loss of the<br /> right.<br /> <br /> The use of the title in a play would not appear<br /> to interfere with the sale of a book with (pre-<br /> sumably) a different plot, or to mislead. Fora<br /> person who asks and pays for a seat at a theatre<br /> will not be given a copy of the novel instead,<br /> neither will booksellers sell theatre tickets to<br /> persons asking for the book. Had the author<br /> of the novel dramatised it, the consequences<br /> might have been different. However, as the<br /> circumstances referred to#re of recent occurrence,<br /> it would perhaps not be desirable to discuss them<br /> at length.<br /> <br /> It may be said, in conclusion, that two<br /> books published under a similar title, are really<br /> different in their contents will not be taken into<br /> consideration. The question the court has to<br /> consider is merely whether a purchaser desiring<br /> to obtain and asking for a particular book (or<br /> other article), is deceived into purchasing another<br /> bock (or article), to the disappointment of him-<br /> self and to the damage of the vendor of the<br /> book (or article) which he really intended to buy.<br /> <br /> —————<br /> <br /> VIII.<br /> A CopyrieHt BIL.<br /> <br /> It will be remembered by those who take an<br /> interest in the law of copyright that, when Lord<br /> Monkswell’s comprehensive Bill to consolidate<br /> and amend the law of the subject came on for<br /> second reading in the House of Lords last year,<br /> Lord Herschell was prominent in pressing the<br /> Government to take the subject up on the lines<br /> indicated by the Bill. Lord Herschell has now<br /> a good opportunity of carrying out his own<br /> recommendations, and, as one of the few sur-<br /> viving members of the Royal Commission of 1878,<br /> will be able to deal with the subject with creater<br /> knowledge and experience than any possible Lord<br /> Chancellor. It is possible, therefore, that a Copy-<br /> right Bill may be promised in the Queen’s Speech,<br /> and there is no reason why such a Bill should<br /> not become law. The main amendment to be<br /> expected is one substituting the life of the author<br /> plus thirty years as the period of copyright for<br /> the present forty-two years from the date of<br /> publication, or seven years from the date of the<br /> death of the author, whichever may be the longer.<br /> —Law Journal,<br /> <br /> —<br /> <br /> THE AUTHOR.<br /> <br /> IX,<br /> From the Standard, Nov. 28, 1892 :—<br /> (Before Mr. Justice Currry.)<br /> <br /> Borromury v. Tur “News or tHE Wor.xp.”<br /> —Mr. H. Bottomley renewed his application for<br /> an interlocutory injunction to restrain the de-<br /> fendants from publishing in their newspaper as a<br /> complete copy of a book written by the applicant<br /> that which was not complete——The applicant<br /> submitted that the defendants, who had pur-<br /> chased the rights of issuing his work in a serial<br /> form, were bound to publish a complete edition<br /> of his book, or to indicate what was not com-<br /> plete.—The Judge: On what grounds do you ask<br /> for an injunction on this motion’:—The Appli-<br /> cant: On breach of contract. There can be no<br /> custom in journalism that where a serial issue is<br /> published in a newspaper the editor can eliminate<br /> at will—After some discussion, the judge having<br /> indicated that his view was that the case was not<br /> one for an interlocutory injunction, an order was<br /> made that there should be no order on the<br /> motion, except that costs be costs in the action.<br /> <br /> Sem<br /> <br /> X.<br /> An ANTICIPATED CHARGE.<br /> <br /> Among the many valuable services rendered by<br /> the Society of Authors there is none more useful<br /> than the act of its officers in giving experienced<br /> and sensible counsel to those members who seek<br /> their advice. I have profited by this assistance<br /> more than once, but in no instance so signally as<br /> in a case of difficulty in which I recently found<br /> myself involved.<br /> <br /> I had written a novel called “The Fate of<br /> Herbert Wayne,” which had a certain peculiar<br /> central idea that I believed to be entirely new in<br /> fiction. The book was ready for publication<br /> when I discovered that my ‘‘ new idea”’ had been<br /> used already, and not very long ago, by a popular<br /> novelist. My first impulse was to suppress my<br /> own work, but it was represented to me that such<br /> a step would cause great inconvenience to those<br /> who had made arrangements for the production<br /> of the hook, and I was strongly urged to proceed<br /> with it.<br /> <br /> Still, my conscience was not easy. I did not<br /> like to run the risk of being accused or even sus-<br /> pected of plagiarism, and, indeed, I was in doubt<br /> as to whether in honour I ought to proceed with<br /> the publication of a story after I had found that<br /> its main point had been anticipated.<br /> <br /> What was I to do? As a member of the<br /> Authors’ Society I resolved to take it into my con- —<br /> fidence, and submit this delicate question to the<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 237<br /> <br /> arbitration of the Chairman of the Society of<br /> Authors. I knew him to be a busy man, with<br /> something better to do than to concern himself<br /> with every petty trouble of distressed scribblers.<br /> But this question was, to my mind, no petty<br /> matter, and one worthy of our chairman’s personal<br /> consideration.<br /> <br /> He treated it as such, and was good enough,<br /> not only to write me a private letter of advice,<br /> but to publish a note on the case in the<br /> Author. In this he gave his opinion to the effect<br /> that a novelist who had happened to hit upon the<br /> same idea that had been used by someone else<br /> before need not on that account be deterred from<br /> giving his story to the world, that he thought I<br /> was quite free to publish my book, but that it<br /> might be well if I were to insert in it # preface<br /> stating the circumstances of the case.<br /> <br /> That course I adopted. I published my novel<br /> with such a preface as was suggested, and I am<br /> glad that I took his advice, for my reviewers<br /> have nearly all taken notice of the incident, and<br /> not one of them has commented upon it save in<br /> terms of approbation. It is most gratifying to<br /> me to find it recognised in all directions that I<br /> have done the right thing in inviting an opinion,<br /> and in acting up to it.<br /> <br /> I make this brief statement as a simple act of<br /> grateful acknowledgment of kind and_ wise<br /> counsel and as a practical tribute to the value of<br /> the Authors’ Society. I hope it will not have the<br /> effect of causing our chairman to be worried by<br /> appeals for aid in trifling circumstances, but I<br /> will say to my brother and sister authors, when<br /> you find yourselves in any really serious difficulty<br /> mvolying a question of professional honour or<br /> propriety, do as I did, and consult the Society.<br /> <br /> EK. J. GoopMAn,<br /> <br /> Nov. 20, 1892.<br /> <br /> mE<br /> OWNERSHIP.<br /> <br /> Some paragraphs in the Author last month as<br /> to the ownership of literary work leave me, and,<br /> I daresay, many others in doubt upon a certain<br /> point.<br /> <br /> Supposing I send an article, say upon the<br /> “Tower of London,” with a great deal culled<br /> from historical documents (of which I quote<br /> much) toa magazine. Suppose that the maga-<br /> zine, in two or three years after the acceptance of<br /> my article, dies. Suppose I receive half the<br /> agreed payment in compensation. Then I want<br /> to write a book on “London,” four or five years<br /> later. Am I to omit the “Tower of London”<br /> from the book? Orif Linclude it, must I abstain<br /> <br /> from using the historical documents again? Or if<br /> <br /> I use them, and cloak them in new words, must<br /> I abstain from making the same quotations ?<br /> <br /> If the article had appeared in the magazine,<br /> the courtesy of the editor would have allowed<br /> me to reprint it; but the magazine is dead,<br /> Suppose I offer to buy back my work, and the<br /> editor refuses? He holds my article; can I<br /> re-use the original matter if I re-write it in a<br /> different form? If you can throw lght upon<br /> these questions in December you will confer a<br /> favour upon Xe Ne<br /> <br /> [The case is not clearly stated. If a writer has<br /> sold the copyright in an article to the proprietor<br /> of a publication, he obviously cannot make use of<br /> the article in another form without the consent of<br /> the said proprietor. How far he can plagiarize<br /> his own article is more a question of morals than<br /> of law. |<br /> <br /> NOTES FROM PARIS.<br /> <br /> WY HAVE had a letter from a lady who went to<br /> see John Barlas in the Murray House<br /> Lunatic Asylum in Perth, and she informs<br /> <br /> me that, whilst the authorities consider this<br /> unhappy poet to be quite sane enough to be<br /> liberated from his awful durance, they allege him<br /> to be subject to “ delusions.’’ I wonder how many<br /> of us are not in this merry worldof ours. In the<br /> meanwhile I have to express my thanks to the<br /> numerous confréres who have assisted me in<br /> drawing public attention to the mournful case of<br /> my friend, by reproducing my note about him<br /> from last month’s Author.<br /> <br /> ee<br /> <br /> Apropos of confréres, I have a word to say to<br /> certain gentlemen of the press, who have thought<br /> it necessary to comment upon various items which<br /> have from time to time appeared in my letters to<br /> the Author. Is it worthy, messieurs, to com-<br /> mence by proclaiming yourselves members of this<br /> society of ours, and then to set to work to blame<br /> and ridicule, im newspapers which go into the<br /> hands of the general public, a fellow- member who,<br /> in contributing to the organ of our society, has no<br /> other object or aim in view than to do what he<br /> can to add to the interest of that periodical? I<br /> can’t imagine a member of the French Société -de<br /> Gens de Lettres, acting in this way towards a<br /> fellow member, and I suppose that the individual<br /> who quite recently accused me of being bribed<br /> with “meal or malt” to write certain para-<br /> graphs about a poet for whom I have the highest<br /> admiration, and who is a personality in French<br /> <br /> <br /> 238<br /> <br /> literary circles also, must be a type of homme de<br /> lettres with which I am unacquainted. It seems<br /> to me that it is in the Author, and in the Author<br /> alone, that any matters concerning the private<br /> affairs, either of this periodical, or of our society,<br /> should be discussed, and that is a great want of<br /> esprit de corps, to say notuing else, to bawl out at<br /> the corner of the street what should be spoken in<br /> the common-room. I can’t imagine, for instance,<br /> a member of any London club going forth into<br /> Piccadilly, and yelling out some ditferences of<br /> opinion he may have with a fellow member, and<br /> afterwards passing round the hat for coppers in<br /> pay ment of the diversion afforded.<br /> <br /> —=<br /> <br /> Stéphane Mallarmé intends to retire from the<br /> post of Professor of English, which he has held<br /> for many years at the Collége Rollin, and, after<br /> the new year, when his pension will commence,<br /> will devote himself entirely to literary work.<br /> This is news which will please all the many<br /> admirers of the great poet both in England and<br /> France, for, up to the presen’, the drudgery of his<br /> professional work has prevented Mallarmé from<br /> devoting himself to his art. He is a very slow<br /> worker, writing and rewriting each sentence until<br /> it satisfies him, resembling in this respect Gustave<br /> Flaubert, or José de Herédia, the poet, who<br /> spends three months over the creation of a sonnet.<br /> <br /> The opinion in Paris that the English maga-<br /> zines and reviews pay mo t liberally for c ntribu-<br /> tions has been somewhat modified since it has<br /> been whispered abroad that the article on Lord<br /> Tennyson, which a certain distinguished French<br /> poet contributed recently to a certain weekly, was<br /> rewarded with the sum of sixty francs, or two<br /> pounds eight shillings.<br /> <br /> Verlaine has written to Camille Doucet, to<br /> inform him that he is a candidate for one of the<br /> vacant seats in the French Academy. I am<br /> afraid, however, that this application will not be<br /> takeu au sérieux. The Academy is a salon as<br /> well as a ré-union of literary men; indeed,<br /> more a sa/on than anything else, as every one of<br /> the Academicians whom I interviewed for my<br /> Daily Graphic articles on “An Academy of<br /> Lette:s”’ for England, informed me. Verlaine is<br /> without doubt the first poet of France, but I am<br /> afraid he would hardly be an acquisition to any<br /> drawing 100m, even much less select than that<br /> at the French Institute.<br /> <br /> THE AUTHOR.<br /> <br /> A poet who has known how to make his muse<br /> pay him handsomely is Mr. Jean Rameau, who,<br /> after leading a Bohemian life, frequenting the<br /> Chat Noir and similar haunts, for some years, has of<br /> late blossomed out into a society entertainer, and<br /> who may be seen at most of the grand soirées in<br /> Parisian society, reciting choice selections from<br /> his work, being treated precisely the same in<br /> the way of remuneration as the comic singers,<br /> jugglers, and monologuists engaged at the same<br /> soirées to help out the evening. The cheque is in-<br /> variably a handsome one, each such evening being<br /> worth from eight to twenty guineas to the prac-<br /> tical young poet. I have heard bitter things<br /> said about Jean Rameau by fellow poets on this<br /> account, notably from one old Academician and<br /> poet, who said it was dégoitant. For myself I<br /> think Rameau very smart. Let us wring from<br /> the bourgeots all the pieces that we can, and<br /> laugh at them behind their backs.<br /> <br /> The longer [ live in France the more I am<br /> convinced that the forced military service is an<br /> excellent thing for young men. [I have just<br /> received the visit of a very smart young soldier,<br /> up in town on leave from a garrison town in the<br /> east of France. When he was shown into my<br /> garret, [ imagined there must be some mistake,<br /> as I failed to recognise him. It was only when<br /> he mentioned his name that I realised who this<br /> bright, trim, joyous youth was. When I last saw<br /> him it was at a literary café in the Latin Quarter,<br /> and a more miserable-looking object I never<br /> remember having set eyes upon. His hair was<br /> long and matted; his face was sallow with<br /> nightly walks, and his conversation as dismal<br /> as his appearance. He was a decadent poet of<br /> considerable merit, but, although only twenty<br /> years of age was blasé about everything. I found<br /> him changed as much morally as physically.<br /> The army had taken all the nonsense out of him,<br /> and he was as full of life and hope and faith<br /> in the future as I could wish to see a young<br /> man. I cannot help thinking that a year or two<br /> of forced military service would do our English<br /> youths a sight of good. One is always more or<br /> less of an ass at twenty, and some hard work,<br /> discipline, and privation, are the best cures for<br /> nonsense and conceit. Send Bunthorne or Postle-<br /> thwaite “aw régiment” for a year or two; let<br /> an unromantic corporal and a practical sergeant<br /> deal with him, and he will return an infinitely<br /> more useful and agreeable member of society.<br /> <br /> Quite a batch of promising young poets have<br /> just gone this way of late, November being the<br /> <br /> <br /> oe at<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> month when the conscripts have to join their<br /> regiments, and our Paris Parnassus is emptied of<br /> its young folk. I can imagine the delight of the<br /> regimental barber in shearing the flowing locks<br /> of the many young bards who still clung to this<br /> distinction, views jeu though it be. Sar Peladan,<br /> by the way, the most hirsute littérateur of Paris,<br /> made a great fuss when he was told that “it had<br /> all got to come off,” and it is reported that he<br /> called out to the sun, “‘ Dost thou shed thy light<br /> on such an outrage?” Notwithstanding, it all<br /> had to come off.<br /> <br /> <br /> <br /> A league has been formed amongst a certain<br /> number of Parisian and provincial booksellers, to<br /> resist the demands of the public for discounts on<br /> published prices of books, and it has been<br /> arranged with the publishers that any bookseller<br /> giving such discounts shall have his credit<br /> account closed with them. There are, however,<br /> upwards of 2000 booksellers who do not belong<br /> to this league, so that we shall continue to get<br /> our 3d. in the shilling just the same as before.<br /> <br /> oe<br /> <br /> I hear that a school of poets, styling themselves<br /> “Die Phantasten,” and whose literary creed is that<br /> of the French symbolistes, genre Moréas, Ver-<br /> laine, and so forth, has been formed in Germany.<br /> Till now it was realism of the crudest kind that<br /> had most favour in the Vaterland, and I cannot<br /> but think that the symbolistes will get but a poor<br /> hearing from their compatriots.<br /> <br /> <br /> <br /> The book of the day in Paris is ‘“ Le Roi au<br /> Masque d’Or,” by Marcel Schwob, the brilliant<br /> chroniqueur of the Echo de Paris, and one of the<br /> most remarkable, because ore of the most original<br /> of contemporary French prose writers. Schwob<br /> will be remembered as the author of a most<br /> interesting article on Frangois Villon, which<br /> appeared a few months ago in the Revue des<br /> Deux Mondes. He is a lover and the chronicler<br /> of the beauties of the old world, but in some of<br /> his short stories has shown that when he cares to<br /> be realistic he can be so in the most striking<br /> manner.<br /> <br /> <br /> <br /> The Revue des Deux Mondes people have or had<br /> a clever business practice, which it surprises me<br /> not to have seen adopted by English publishers.<br /> It is, or was, I do not know what the arrange-<br /> ments are there to-day, that no writer received<br /> payment for his first contribution to that review.<br /> As a number of people are able, like a certain<br /> Hamilton in the matter of oratory, to produce<br /> <br /> AUTHOR. 239<br /> <br /> one article and one only worth printing, giving<br /> in it, it would seem, all they have in them, the<br /> arrangement is an excellent one for the proprietors<br /> of the magazine in question Even the writers<br /> have not very much reason to complain, for it is<br /> the glory of a writer’s life to have been published<br /> in the Revue des Deux Mondes.<br /> <br /> A thoroughly Anglo-Saxon type of man of<br /> letters is the person who, whilst writing for<br /> money and for money only, goes howling in the<br /> public places that he is an artist, and that if he<br /> does not produce artistic work it is because the<br /> public won’t have it. The man of letters is<br /> either a tradesman cr an artist. If he is an<br /> artist his one pre-occupation is to produce beau-<br /> tiful things without any consideration whatever<br /> of their saleability or the reverse. If he is a<br /> tradesman he writes for money, and according<br /> to the lights of many is a wise and a respect-<br /> worthy man. But don’t let vs have the trades-<br /> man, bustling about like Martha, envying the<br /> part of Mary. What would be thought of a<br /> Clapham cheesemonger who should promenade<br /> about as a Bohemian, and confide to whoever<br /> would listen to him, that though he made a good<br /> living by selling Cheddar and Stilton, his soul<br /> was above such traffic, and that he despised it as<br /> much as any man? He would be very justly<br /> written down as a snob.<br /> <br /> <br /> <br /> An interesting personality amongst English<br /> men of letters in Paris is that of Mr. H. F. Wood,<br /> the Paris crrespondent of the Morning<br /> Advertiser, who, unless I am much mistaken,<br /> will one day occupy a very high place amongst<br /> Bri ish novelists. His novel “A Passenger from<br /> Scotland Yard,’ which, though set down as a<br /> detective story, was a work of the highest<br /> psychological interest, will be remembered by<br /> most readers of fiction, who will be glad to hear<br /> that another work from the same pen, which has<br /> already appeared in America and in the Continen-<br /> tal English library, is about to be published in<br /> London. Its title is ‘“‘ Avenged on Society,” and<br /> itis aremarkable work. Mr. Wood works very<br /> hard at his books, and has the infinite capacity<br /> for taking pains.<br /> <br /> <br /> <br /> I want very much to recommend to any readers<br /> of the Author who make use of the services of<br /> the professional typist, the Miss Patten whose<br /> announcement appears in this journal. She has<br /> been doing a quantity of work for me, and is<br /> really an artist in her genre. Andit appears that<br /> <br /> <br />  <br /> <br /> <br /> <br /> now.<br /> <br /> 240<br /> <br /> Nov. 23, 1892.<br /> <br /> <br /> <br /> work would be particularly acceptable to her just<br /> <br /> oa<br /> <br /> GLAMOUR.<br /> <br /> The wind is blowing from the height,<br /> The hillside gorse has gathered light,<br /> <br /> The day is widowed of the sun,<br /> <br /> And dies upon a blooming pyre ;<br /> Through shifting glories of the sky<br /> The golden argosies sail by,<br /> <br /> To reel and founder one by one,<br /> <br /> And vanish in a sea of fire.<br /> The air is full of startled wings,<br /> <br /> And calling notes, and tossing boughs,<br /> And eerie cries of feathered things<br /> <br /> That deepen as the twilight grows ;<br /> And voices from the solemn seas<br /> <br /> Send rustling echoes through the fern,<br /> Where lone upon the lonely leas<br /> <br /> A ruin’s battered windows burn.<br /> <br /> Through loosened tiles the sunset gleams,<br /> Old cobwebs dangle from the beams,<br /> The casements rattle, creepers twine<br /> Green arms about the gabled walls ;<br /> The grass grows lush besides the doors,<br /> And mildew creeps o’er broken floors,<br /> Where blazing trails of autumn vine<br /> Make chilly fires in roofless halls.<br /> There is a rustle in the leaves,<br /> The wind swings round the creaking vane,<br /> The jasmine dropping from the eaves<br /> Beats wildly on the casement pane ;<br /> And where its tendrils interlace<br /> Round ancient glass that fronts the west,<br /> I see a strange and lovely face<br /> Against the glowing lattice prest.<br /> <br /> Like summer lightning in the air,<br /> Its vivid beauty trembles there ;<br /> The wind-blown roses whispering<br /> Send forth a sudden breath of musk ;<br /> Then swiftly dies the sunset flame,<br /> The vision darkens in its frame,<br /> And flitting shapes on leathern wing<br /> Flash circling through the growing dusk.<br /> The door swings loudly on its hinge,<br /> My steps are on the crazy stair,<br /> The echoes wake, the shadows cringe,<br /> The owls fly hooting from their lair ;<br /> I stand within the latticed room<br /> Where dust and darkness reign supreme,<br /> A cat emerges from the gloom<br /> And hissing wakes me from my dream.<br /> <br /> ELINoR SWEETMAN.<br /> <br /> THE _ AUTHOR.<br /> <br /> Ropert H. SHERARD.<br /> <br /> propose to terminate my chairmanship with an<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> LSEWHERE will be found a report of<br /> LH) the meeting of committee of Monday,<br /> Nov. 21, called to receive my resignation<br /> <br /> and to appoint my successor in the office of<br /> Chairman of the Committee of Management,<br /> The paper in which I set forth the reasons for<br /> taking this step explains itself. I would only<br /> add here, or repeat, that I have been for many<br /> months considering and consulting whether, for<br /> the advantage of the Society, it would not be best<br /> for me to take this step. It seemed, not only to<br /> myself, but also to those whom I consulted, that<br /> the time had come when a change of chairman<br /> should take place. In the first place, in a society<br /> covering so many interests, it is important to<br /> have more than one mind following its daily<br /> work. In the second place, it does positive harm<br /> to a society so large and so important as ours<br /> has now become, that it should be constantly<br /> <br /> coupled with the name of one man. It has come.<br /> <br /> to be regarded, as stated in that paper, as the<br /> hobby and creation of one man. That, at all<br /> events, will now stop. I hope, however, to con-<br /> tinue, under Sir Frederick Pollock’s command,<br /> to work for the society.<br /> <br /> <br /> <br /> We must never forget that our association is<br /> regarded by a certain class of persons with a<br /> hostility and hatred perfectly intelligible—we<br /> bear them no ill-will on account of it—they only<br /> act after their kind—because we have interfered,<br /> and are still constantly interfering, with their<br /> sweet little schemes for overreaching the author.<br /> Whenever they can, these persons get a paragraph<br /> or an article attacking the Society in a paper or<br /> magazine. The meddlesome country clergyman<br /> is set up to accuse us of breaking agreements ; the<br /> * London editor ” is set wp to accuse us of making<br /> letters a close profession ; he also carefully reads<br /> and comments upon documents which do not<br /> exist except under lock and key in the Suciety’s<br /> office ; but the favourite caluwny, and the most<br /> persistent, has been that which represents the<br /> Society as, in my person, “defying publishers.”<br /> This was the phrase used by the Globe the other<br /> day, not by any means for the first time. We do<br /> not, of course, ‘defy publishers,’”’ or anything so<br /> foolish ; but, so long as the statement may do the<br /> Society any harm, it will be used.<br /> <br /> <br /> <br /> I have undertaken to read a paper at the general<br /> meeting of the 12th on the past work—the present<br /> work—and the future work of the Society. I<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> {<br /> <br /> <br /> <br /> THE<br /> <br /> invitation to all the members to take part in a<br /> constructive attempt at the placing of publishing<br /> on an equitable basis. Perhaps, when we have<br /> ourselyes arrived at a statement of our own views,<br /> we may be able to invite the consideration of those<br /> publishers whose views are worth asking.<br /> <br /> The following reaches me in a_ roundabout<br /> fashion. It is an extract from a book on Ossian<br /> published in Edinburgh thirty years ago. It was<br /> sent to the editor of the New York Critic by Mr.<br /> Wall, curator of the Stratford Museum. The<br /> discovery that Shakespeare was a Scotsman will<br /> surprise and delight many.<br /> <br /> Seotsmen should never forget that the concocting, the<br /> sending, and the paying of that base man [Dr. Samuel<br /> Johnstone} was just what might be expected from the<br /> nation of liars called ‘“ English,” the people who have<br /> the audacity to claim for a fictitious character, named<br /> by them Shakespeare, that never had a being, the work of<br /> Archibald Armstrong, who accompanied James the Sixth<br /> [James the First of England] to London, and who by his<br /> wit tormented Bishop Laud and the rest of that set at court<br /> so much, that he was obliged to leave his royal master, and<br /> hide himself in a garretin the metropolis of England, where<br /> he composed a great deal of what English impostors are now<br /> claiming for a-man who uever lived. That while in that<br /> solitary abode Armstrong employed an English mountebank,<br /> whose name perished with himself, to recite through the<br /> streets of London those pieces then composed, caricaturing<br /> the knaves by whose influence he was expelled. That, for<br /> the most part, the work of Armstrong (Shakespeare) is<br /> founded on the dying confessions of hanged English male-<br /> factors; but that since many additions have been made to<br /> it, and that the most recent of these are by the late Henry<br /> Dundas (Lord Melville, ‘*‘ Hielan Harrie”). ‘That all the<br /> English impostors that have hitherto attempted to forge<br /> examples, signatures, &amp;c., of ‘ Shakespeare&#039;s ” handwriting<br /> were completely detected by Scotsmen these two ways: I.<br /> By proving that those specimens were not penned by<br /> Shakespeare, nor by anybody else, but were the impressions<br /> of types forged for the purpose. 2. By an analysis of the<br /> ink used by the forgers, whereby it is proved that the<br /> ingredients used in the manufacture of that liquid at the<br /> alleged period of Shakespeare, were not those of the ink in<br /> use by English scoundrels in their deliberate imposition,<br /> deifying a nonentity.<br /> <br /> It is very well known that whatever mortals<br /> undertake, Setebos troubles all. The Setebos<br /> in my mind at this moment—he is as numerous<br /> as the motes of thought in the human brain—<br /> is a creature who is at once impecunious (for<br /> which he has our deepest sympathies), and<br /> incompetent (for which we tender our sincere<br /> pity); and ardently desirous to fill his purse in<br /> spite of incompetence. And the way this gentle-<br /> man proposes to act is this. He has heard that<br /> in certain quarters it has been proposed to teach<br /> young writers the elementary laws—the technique<br /> of the craft; not with the view of manufacturme<br /> genius and multiplying writers so much as that<br /> <br /> VoL. III.<br /> <br /> AUTHOR. 241<br /> <br /> of weeding out the incompetent and preventing<br /> future disappointment. Our friend, who has never<br /> written anything imaginative in his life, and<br /> has no knowledge of the Arts of Poetry, Fiction,<br /> or the Drama; and knows nothing of Belles<br /> Lettres; thinks he now sees his chance. He<br /> volunteers—this impudent person—to teach the<br /> Art of Letters.<br /> <br /> Ss<br /> <br /> There are many, especially girls in the country,<br /> who may be deceived by such a pretender.<br /> There is one simple touchstone. Ask him to<br /> refer you to any published works by him, which<br /> will show his fitness to teach either as Poet,<br /> Novelist, or Critic, and inform him that you are<br /> going to send his letter to the Society.<br /> <br /> “The last time,” a correspondent tells me,<br /> “that € saw Mr. Facing-both-ways—that rising<br /> publisher, he warned me seriously, that a young<br /> author must not be too grasping. He spoke<br /> with pain as if he had suffered much from the<br /> avarice of young authors. He further advised<br /> me to have nothing to do with agents. And he<br /> then offered to produce a certain work of mine at<br /> my own expense. When I came away I reflected<br /> that the advice not to be too grasping was unde-<br /> served, because I wanted nothing unfair; that<br /> perhaps the advice about agents was not quite<br /> disinterested ; that perhaps I might, after all,<br /> do something with an agent—so I tried one. He<br /> presently obtaned for me a very good offer for<br /> the very book which my friend wanted to pro-<br /> duce for me at my own expense. The moral of<br /> this is obvious.”<br /> <br /> &lt;&gt;<br /> <br /> When one has been working for many years on<br /> a certain subject, collecting books and making<br /> piles of notes, the first emotion on taking up<br /> another man’s work on the same subject is one of<br /> curiosity. How much does this man know? If<br /> the book is a good book curiosity is followed by<br /> a kind of shame, because he seems to know so<br /> much more than the reader. This may be, how-<br /> ever, only the effect of work on different lines.<br /> For instance, I have been from time to time<br /> for the last fifteen years studying certain aspects<br /> of the eighteenth century. I have written four<br /> novels and three or four short stories, the period<br /> of which was laid in that century. ‘These<br /> attempts have necessarily demanded as close a<br /> study of the manners and customs—the ways of<br /> thought—and the language of the period as I<br /> could bestow. In other words, I thought I knew<br /> a good deal. But there is a book by Mr. Austin<br /> <br /> Dobson which seems to show a great deal more<br /> U<br /> <br /> <br /> <br /> i<br /> i<br /> i<br /> <br /> <br />  <br /> <br /> 242 THE AUTHOR.<br /> <br /> <br /> <br /> knowledge than I possess. The book is called<br /> “Highteenth Century Vignettes’? (Chatto and<br /> Windus). It consists of some twenty essays on<br /> books and writers and artists of that century,<br /> and is charming, as is everything produced by<br /> this graceful writer. Austin Dobson is, in fact,<br /> the lineal descendant of Addison, Goldsmith, and<br /> Gray. He loves the libraries and the garden,<br /> the book shop, the coffee house, and the society of<br /> poets and wits. In his end of town one never<br /> comes across the pressgang, the crimp, the<br /> ruffing sea captain, the slaver, the riverside<br /> thief, and all the ragamuffin crew that haunted<br /> the ports of London and Bristol, Gravesend, and<br /> Dover. ‘To him itis a century of leisure. Praed<br /> found it so as well. To me, who have lived more<br /> at Wapping than St. James’s, it is a century full<br /> of fighting, flogging, robbing, pressing, hanging,<br /> enterprise, audacity, ambition, oppression—eyvery-<br /> thing that was wanted to make men discontented<br /> and to stimulate them to work and fight. There<br /> was mighty little leisure in the life of Clive and<br /> the men who went out to conquer an Indian<br /> Empire. On the other hand, to sit and bask in<br /> the sunshine of the eighteenth century with<br /> Austin Dobson turning on the sun is a rare and a<br /> holy joy.<br /> <br /> So<br /> <br /> The following is an extract from Lord Lytton’s<br /> England, 1837. It does not appear that things<br /> have greatly changed in fifty-five years.<br /> <br /> “Why is the poor author to be singled out<br /> from the herd of men (whom he seeks to delight<br /> or to instruct) for the sole purpose of torture? Is<br /> his nature so much less sensitive and gentle than<br /> that of others, that the utmost ingenuity is neces-<br /> sary to wound him? Or why is a system to be<br /> invented and encouraged, for the sole sake of<br /> persecuting him with the bitterest rancour and<br /> the most perfect impunity ? Why are the rancour<br /> and the impunity to be modestly alleged as the<br /> main advantages of the system? Why are all the<br /> checks and decencies which moderate the severity<br /> of the world’s censure upon its other victims, to<br /> be removed from censure upon him ? Why is he<br /> tobe thrust out of the pale of ordinary self-defence ?<br /> —and the decorum and the fear of consequences<br /> which make the intercourse of mankind urbane<br /> and humanized, to be denied to one, whose very<br /> vanity can only be fed—whose very interests can<br /> only be promoted, by increasing the pleasures of<br /> the society which exiles him from its commonest<br /> protection—yes! by furthering the civilisation<br /> which rejects him from its safeguards? It is not<br /> very easy, perhaps, to answer these questions;<br /> and I think, sir, that even your ingenuity can<br /> hardly discover the justice of an invention which<br /> <br /> <br /> <br /> visits with all the most elaborate and recondite<br /> severities that could be exercised against the<br /> enemy of his kind, the unfortunate victim who<br /> aspires to be their friend. Shakespeare has<br /> spoken of detraction as less excusable than theft ;<br /> but there is a yet nobler fanvy among certain<br /> uncivilised tribes, viz., that slander is a greater<br /> moral offence than even murder itself; for, say<br /> they, with an admirable shrewdness of distine-<br /> tion, ‘‘when you take a man’s life, you take only<br /> what he must, at one time or another, have lost ;<br /> but when you take a man’s reputation, you take<br /> that which he might otherwise have retained for<br /> ever: nay, what is yet more important, your<br /> offence in the one is bounded and definite—<br /> murder cannot travel beyond the grave—the deed<br /> imposes at once a boundary to its own effeets ;<br /> but in slander, the tomb itself does not limit the<br /> malice of your wrong—your lie may pass onward<br /> to posterity, and continue, generation after<br /> generation, to blacken the memory of your<br /> victim,”<br /> <br /> <br /> <br /> Seiaimeaecaememen!<br /> <br /> Mr. Stanley Little sends me a tiny volume of<br /> verse bearing the name of Charles William<br /> Dalmon. I open it at random, and I find the<br /> following, and I ask—is there promise in the<br /> lines? The little book is published by that<br /> eminent firm, Messrs. Digby and Long, whose<br /> kind hearted reader is so ready to “report so<br /> favourably on your book that we are prepared<br /> to offer you the following favourable terms: You<br /> to pay, &amp;., and to receive ””—half or two-thirds,<br /> or anything you please out of the enormous<br /> profits.<br /> <br /> At ANTHEM-TIME IN WESTMINSTER ABBEY.<br /> <br /> At anthem-time he glided down,<br /> Wearing his fresh green laurel crown,<br /> And stood by me, with downcast eyes,<br /> Close to where Robert Browning lies.<br /> <br /> The choristers sang on so sweet,<br /> <br /> I heard the sound of angels’ feet<br /> Walking along in Paradise,<br /> <br /> Close to where Robert Browning lies.<br /> <br /> He heard it too, and raised his head,<br /> And I looked in the face long dead,<br /> <br /> And watched it vanish, vapour wise,<br /> Close to where Robert Browning lies.<br /> <br /> <br /> <br /> In my notes of last month 1 gave my own<br /> opinion, innocent of law, that an author may<br /> <br /> bring an action against an uninvited reviewer —<br /> <br /> who maligns his work to his material injury.<br /> Since I wrote the committee have submitted<br /> the question to counsel’s opinion. The opinion<br /> will be found on p. 231.<br /> that it is not only the uninvited reviewer who<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> It will be found —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> it<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> iin<br /> <br /> <br /> <br /> d<br /> <br /> tae ih Kee<br /> <br /> <br /> <br /> THE AUTHOR. 243<br /> <br /> is liable, but any reviewer. The slating and<br /> slashing and insulting of authors which formerly<br /> was a disgrace to hterature, are now confined to<br /> a very few papers and magazines. Perhaps an<br /> occasion may present itself for trying what a<br /> Court of Law may say to the editor who permits<br /> himself, or any of his staff, the luxury of blasting<br /> a man’s reputation and destroying his livelihood.<br /> <br /> ———<br /> <br /> Among the sixty poets enumerated by Mr.<br /> Traill some time ago, did he mention the name<br /> of John A. Goodchild? I think not, but I have<br /> mislaid his ist. But here are three volumes of<br /> verse called Somnia Medici, First, Second, and<br /> Third series. (Kegan Paul, Trench, Tribner,<br /> and Co.) All these series are in their second<br /> edition. This means that the author has arrived<br /> at creating his clienté/e for himself. Out of Mr.<br /> Traill’s sixty poets how many have been so suc-<br /> cessful as to go into a second edition? And<br /> here is aman who is in his second edition with<br /> every one of his volumes! Let us note this<br /> phenomenon. Let us further note that the new<br /> poet’s works are for the most part stories or<br /> dramatic scenes presented in verse, and that<br /> neither the stories nor their pres sentation breathe<br /> the pessimism so dear to the young poets of whom<br /> we hearsomuch. Pessimism may be—very often<br /> is—the cloak to poverty of imagination. But<br /> one submits these facts for consideration. In<br /> an age when poetry is supposed to be hope<br /> lessly out of fashion, here is a poet whose name<br /> is seldom mentioned in the papers, articles, and<br /> reviews, yet has become, quietly, successful and<br /> popular. Is it not worth while to inquire what<br /> are the qualities which have brought him success ?<br /> And is it not worth while asking whether poetry<br /> has, after all, gone out of fashion ?<br /> <br /> ———<br /> <br /> The writings of Anatole France are finding<br /> many English readers. Those who are also<br /> readers of these columns are invited to make a<br /> note of L’L£tui de Nacre, his latest book. It is<br /> a collection of short studies, all equally remark-<br /> able for the fine outline and definite expression of<br /> clear thought which make this writer a model.<br /> The “woolly”? appearance of so much English<br /> writing is due, I believe, more to “ woolly’<br /> thought than to a lack of power of expression.<br /> Why are there, for instance, so few critics?<br /> Because there are so few who have formed for<br /> their own use, in their own minds, their own<br /> standards. Clearness of thought, and, therefore,<br /> clearness of expression, are impossible to them.<br /> So also, in fiction. If the mind does not perceive<br /> a character quite clearly and distinctly as a<br /> <br /> separate individual, the result is “ woolliness.”’<br /> Might one recommend the study of L’Etui de<br /> Nacre to young artists in fiction f<br /> <br /> <br /> <br /> IT called attention last month to a certain<br /> American paper called Science, which invites<br /> scientific contributions from young ladies living<br /> in country vicarages, and offers the paper for<br /> nothing if their contributions are accepted,<br /> otherwise they will have to pay 4&#039;50dols. The<br /> idea is sagacious. A correspondent protests<br /> <br /> against our remarks. He says that English<br /> scientific papers do not, as I fondly thought, accept<br /> all papers which are a real contribution to science ;<br /> that this paper has accepted his contribution, and<br /> has given him a hundred copies for presentation<br /> among his friends. Very well. But our corre-<br /> spondent 7s a scientific man; one can very well<br /> understand that the New York paper was very<br /> pleased to have his contribution; every one of<br /> the hundred papers is an advertisement of the<br /> paper. And our correspondent is not the unscien-<br /> tific young lady living in a country vicarage.<br /> <br /> SS<br /> <br /> I have great pleasure in publishing this<br /> appeal. Will readers of English literature do<br /> something for the object proposed? “Our<br /> church, which was built about 1350, contains<br /> a brass figure of John Lydgate, who occupied<br /> a position analogous to that of the Poet Laureate<br /> of somewhat later date during the earlier<br /> half of the fifteenth century, and was a fete<br /> of this village. Although Lydgate was the<br /> author of 250 works, but few are now extant, yet<br /> we have sufficient knowledge of him to prove to<br /> us that he was the greatest poet, scholar, and<br /> author, of his distant day. I feel confident, there-<br /> that I may appeal to your learned society,<br /> <br /> I do very ear ‘nestly, to help us to put into good<br /> an the church of his village and of his time.<br /> For a long time past the condition of the church<br /> roof has caused us anxiety owing to the number of<br /> leaks that have manifested themselves every time<br /> rain has fallen. We have counted no less than<br /> thirty- three such! All the work we desire to do<br /> is absolutely necessary, and, if not speedily<br /> attended to, the result “will be that our ancient<br /> church will be irreparably damaged. The total<br /> cost is estimated at £300. As the parishioners<br /> are agricultural labourers, with four farmers, we<br /> are compelled to seek help outside the parish. In<br /> twenty-eight months, and with great difficulty,<br /> we have got together &quot;£212 13s. 6d. We shall be<br /> most grateful for whatever assistance you feel<br /> disposed to render us. Please do what you can<br /> <br /> to help.—E. Awpry Gray, Rector of Lydgate.”<br />  <br /> <br /> <br /> <br /> 244<br /> <br /> The Americans are stirring. From that land of<br /> practical common sense and business instincts we<br /> should get leading and an example. The following<br /> is quoted by the New York Critic, from which<br /> paper I take it. The passage, written by Mr.<br /> Maurice Thompson, appeared in the Zndependent.<br /> The plain statement that the present system of<br /> publishing books is “an open bid for fraud on the<br /> part of the publisher” is exactly what we have<br /> been proclaiming for some years.<br /> <br /> What has always seemed to us the key of surrender is<br /> the royalty system of publication. Any man is a fool who<br /> is willing to have another administer on his estate while he<br /> yet lives. Whenever an author hands his manuscript to a<br /> publisher, and agrees that said publisher shall print,<br /> publish, sell and account for the book, that author has an<br /> administrator on his estate and is at his mercy, honest or<br /> dishonest. There is no way, and there can be no way<br /> invented, it is to be feared, by which a dishonest publisher<br /> can be forced to administer faithfully. It is useless to ery<br /> out that publishers are as honest as any other set of men.<br /> So they are; but they are also probably just as dishonest as<br /> any other set of respectable men. It is a safe rule of<br /> business, and publishers well know it and act on it in their<br /> own behalf, that no set of men, however reputable, may<br /> be trusted with one’s monetary affairs where there is no<br /> guaranty of good faith other than the mere word of promise,<br /> and where there is no fairly certain way of detecting fraud.<br /> This rule, when applied to publishing, reflects no discredit<br /> on publishers. It is a rule of banking, of railroad manage-<br /> ment, of merchandising, of manufacture. Bankers must<br /> even submit to the searching examinations of an agent ap-<br /> pointed by law; yet bankers surely are as honest as pub-<br /> lishers. The bottom fact is that the whole system of book<br /> publication, on the so-called royalty plan, is unbusinesslike,<br /> and is an open bid for fraud on the part of the publisher.<br /> Even if all publishers are honest, the principle is wrong. It<br /> is a principle which does not obtain in the transactions be-<br /> tween publishers and booksellers; a principle which, indeed,<br /> applies nowhere save in the relations of publisher and<br /> author. It is time for the pot-boilers and the bean-hoers to<br /> take some steps toward a better control of their labour and<br /> their property. The “literary fellers”” have been the laugh-<br /> ing-stock of the business world long enough to learn some-<br /> thing from the one-sided farce in which they have played the<br /> losing réle. There isnot the slightest call, however, for any<br /> ill-feeling toward publishers, or for any ill-treatment of them.<br /> What the situation demands is a courageous application of<br /> well-known and well-grounded business principles—the<br /> principles of supply and demand, and of bargain and sale.<br /> <br /> —+—- —-<br /> <br /> The Globe, whose attentions to the Society we<br /> have already once or twice thankfully acknow-<br /> ledged, makes a few remarks about the change<br /> of chairmanship, in which it says that the Society<br /> ‘“‘ appeals to the unsuccessful.” Also that “it is<br /> understood to contain at least some authors of the<br /> more helpless sort, who, at any rate in a state of<br /> nature, throw the blame of their original mis-<br /> fortune—namely, to have received writing lessons<br /> —upon the publishers.” Do we appeal to the<br /> unsuccessful? If so, how? By what promises?<br /> By what hopes? We exist to maintain literary<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> property. But the unsuccessful haven’t got any<br /> literary property to defend. How, then, can we<br /> help them? Never mind. It is only another<br /> stone to throw. We ought to collect all the<br /> stones that have been thrown at us and make a<br /> little museum of them.<br /> <br /> =<br /> <br /> Our friend the §.P.C.K.—or, rather, the high-<br /> minded, just, righteous, and noble branch of it<br /> which publishes books—has been hearing hard<br /> things in the Church Quarterly.. Even its own<br /> familiar friend, the Church Quarterly ! Can it<br /> he that Nemesis is overtaking the society ?<br /> <br /> The Society for Promoting Christian Knowledge is a<br /> Church society, richly endowed, conducted by able men,<br /> and, apart from all its direct religious teaching, ought to<br /> provide an ample and magnificent supply of sound, whole-<br /> some, and high-class fiction for young people. For doctrine,<br /> science, and as pure literature, their juvenile books should<br /> take the highest rank. They who know them best cannot<br /> bestow any such commendation, but are sometimes driven<br /> to use such descriptive words as twaddle or wishy-washy,<br /> no salt, not a spark of fire, no flame of living truth. One<br /> result of this is that thousands of young readers, yawning<br /> over the Society for Promoting Christian Knowledge, seek<br /> or food and amusement elsewhere.<br /> <br /> So<br /> <br /> It is late im the day, after all the reviewers have<br /> said what they had to say upon his book, to adda<br /> word of welcome to Mr. Edmund Gosse on his<br /> first appearance as a novelist. The work is, as<br /> might have been expected, full of brilliant<br /> writing. The story belongs to the medieval<br /> period. It is told simply, and without straining<br /> after effect. One may be permitted to hope that<br /> the “Secret of Narcisse” may be followed by<br /> other works in fiction from the same hand.<br /> <br /> WaLrer BrEsant.<br /> <br /> spec<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> I.<br /> CoLLABORATORS.<br /> <br /> RK. WILLIAM MORTON, editor of the<br /> i extremely refined magazine which bears<br /> his principal’s name, was one morning<br /> examining a manuscript which had just arrived<br /> by post. It was a very innocent-looking manu-<br /> script, with a simple and attractive title, “An<br /> Idyl of the Hills,” beautifully type-written, and, ©<br /> moreover, the work of one of his most constant<br /> contributors; yet Mr. Morton frowned as he<br /> glanced through it, and finally flung it on the ©<br /> table with no slight irritation.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 245<br /> <br /> &gt;<br /> <br /> “What is the woman about?” he exclaimed.<br /> “That she of all people in the world should try<br /> to write a romance in humble life! Why on<br /> earth can’t she stick to her own line? Frisky<br /> matrons and jealous husbands — in society, of<br /> course — with dark-eyed and haggard Lord<br /> Georges and Sir Geoffreys, and a fascinating<br /> actress or two thrown in—that’s your form, my<br /> dear lady! But this rural love-story—you can’t<br /> do ita bit. It isn’t badly imagined, though—<br /> I&#039;ll say that for you and really rather pathetic,<br /> only so ridiculously inconsistent. Any child<br /> could see the woman hasn’t the faintest know-<br /> ledge of what she is writing about.”<br /> <br /> He drew the packet towards him again, observ-<br /> ing as he did so that the author’s original rough<br /> manuscript had been inclosed with the type-written<br /> copy. This reminded him of a letter which he<br /> had received from the lady in question a day or<br /> two before, in which she had informed him that<br /> —being about to go abroad—she intended to<br /> have her story sent to him straight from the<br /> type-writer’s, and expressed, as he now remem-<br /> bered, some fear that he might not be altogether<br /> pleased with this, her promised contribution.<br /> <br /> After a short search he found the letter, and<br /> read it over, smiling a little sarcastically to him-<br /> self.<br /> <br /> “Going abrcad — h’m, hm. . . hopes<br /> there won’t be many mistakes .. . these<br /> type-writing people are so stupid Doesn&#039;t<br /> quite know what I will say to this story, which is<br /> in a different style to what she usually writes.<br /> Everybody being so depress: d she found herself<br /> rather hard up for a plot, but the main idea of<br /> this little sketch is certainly original. She won&#039;t<br /> hide her light under a bushel—trust her for that!<br /> but she’s right to a certain extent. The plot vs<br /> original, but the story is so badly told.”<br /> <br /> At this moment a clerk made his appearance,<br /> announcing that there was a young woman down-<br /> stairs who said she must see Mr. Mowbray at<br /> once.<br /> <br /> “ What does she want?”<br /> <br /> “Don’t know, I’m sure, sir. I told her you<br /> were busy, but she made a great fuss—says<br /> she won’t keep you a minute, but she must see<br /> you on very particular business.”<br /> <br /> The Editor laughed and push 4 back his chair ;<br /> then he frowned.<br /> <br /> “Ask her what her business is. Begging, I<br /> daresay. Tell her I’m much too busy to be dis-<br /> turbed like this.”<br /> <br /> The clerk vanished, and reappeared after a<br /> short interval.<br /> <br /> “ She says, Sir, she’s come about some business<br /> of Mrs. Mountjoy’s.”<br /> <br /> “Mrs, Mountjoy’s? Tell her to come up.”<br /> <br /> <br /> <br /> <br /> <br /> After a moment’s pause the young woman was<br /> ushered into the room; a very young woman,<br /> indeed, a young girl one would have said if it<br /> were not for the wedding-ring on her ungloved<br /> hand. &lt;A pretty young thing too, dark-eyed,<br /> pale, with brown hair curling under her shabby<br /> hat.<br /> <br /> She paused in the doorway, and dropped a<br /> timid, countrified curtsey ; the smile which had<br /> hovered over her lips vanishing as she met the<br /> editor’s surprised gaze, and a hot blush covering<br /> her face.<br /> <br /> “Did you say you came from Mrs. Mount-<br /> joy?” he asked.<br /> <br /> She closed the door carefully and approached<br /> the table.<br /> <br /> ““T didn’t say she sent me, sir,’ she said<br /> tremulously. ‘Perhaps I didn’t ought to have<br /> said it was business of hers at all, but I was so<br /> afraid they wouldn’t let me up. It’s my business,<br /> really, sir ; it’s—it’s about a story Mrs. Mountjoy<br /> wrote—I typed it, you know, sir. I work for<br /> Mrs. Sutton. They call it the West London<br /> Type-writing Company, but it isn’t a proper com-<br /> pany—it’s—there’s only Mrs. Sutton and her<br /> daughters and one or two more of 11S.”<br /> <br /> “Tm sorry it isn’t a proper company,” said the<br /> editor, smiling; then, with a little impatience,<br /> though kndly, ‘“ Well, what can I do tor your<br /> Hasn&#039;t Mrs. Mountjoy pad her bill? She iS<br /> abroad, you know.”<br /> <br /> “Oh, it isn’t that, sir,’ cried the girl eagerly.<br /> “Besides, that is Mrs. Sutton’s affair, not mine.<br /> It’s about the story—‘ An Tdyl of the Hills,’ she<br /> calls it. Oh, please, sir, don’t print it! That’s<br /> what I’ve come for—to beg you not to print it.<br /> It’s my story—our story, and it’s so unfair!”<br /> <br /> “ Your story ?” repeated the editor in amaze-<br /> ment. ‘ Do you mean to say you wrote ie<br /> <br /> “ No sir, I—we acted it, we lived it, Jem and I.<br /> Tt’s us that she talks about. We—we were the<br /> lovers. But she’s spoiled it—she’s spoiled it ””—<br /> the girl repeated indignantly—‘ she doesn’t tell<br /> it as L told her. Jim never said the things she<br /> makes him say, and I never—never did what she<br /> says. Nor wouldn’t, and Jem knows I wouldn’t.<br /> She’s got it all mixed up so. Going and saying<br /> my aunt took in washing. She didn’t. We had<br /> a little farm, and never needed to do no such<br /> thing.<br /> <br /> Mr. Morton came out from behind his writing<br /> table, and set a chair for his visitor ; then he<br /> went back again.<br /> <br /> “ Sit down, and tell me all about it,” he said,<br /> “TJ don’t quite understand. You told this story<br /> —your story—to Mrs. Mountjoy, did you?”<br /> <br /> “Yes, sir. You see when we married and came<br /> to London we hadn’t so very much money, and<br /> <br /> <br />  <br /> <br /> <br /> 246<br /> <br /> though Jem had his post as a reporter, I thought<br /> it would be a good thing for me to do some work<br /> too, so—as I never was much good at my needle,<br /> and I wanted to get work as like Jem’s kind of<br /> work as I could, I got myself taught type-<br /> writing. Besides copying in the office, I used to<br /> &#039;e sent out with the machines sometimes, by the<br /> day, to work from dictation. This wasn’t at Mrs.<br /> Sutton’s, you know, sir, but at the first place I<br /> had. Well, just before Christmas I went to Mrs.<br /> Mountjoy s. She was was writing a novel, and<br /> part of it had to be changed and part not; so<br /> she had to be with me all the time to explain<br /> things. I thought her a very nice kind lady, and<br /> was sorry when she had done with me. It was<br /> just the last evening I was there that she said to<br /> me, laughing: ‘ You type-writing people must be<br /> rather amused at all the different stories you<br /> have to copy. I suppose sometimes you get quite<br /> excited over them?’ ‘Yes, ma’am,’ I said, ‘and<br /> yet I don’t think any story can be so strange as<br /> the things which happen in real life. I often say<br /> so to my husband.’ ‘Do you?’ says the lady.<br /> ‘Has your life been so strange, then? You look<br /> very young to be married. How long have you<br /> been married? and are you devoted to each<br /> other?’ Well, sir, she went on like that, and you<br /> know what a taking little way she has, and<br /> so—”’<br /> <br /> “And so<br /> suppose ?”’<br /> <br /> “Yes, sir; it all came out somehow, and she<br /> said it was very curious and touching, and would<br /> make a good novel. Well, I never thought any-<br /> thing about it, except feeling a little vexed,<br /> maybe, that I’d been led on to talk so much, till<br /> bad times came. Jem got the influenza, and had<br /> to give up his place, and I couldn’t make enou eh<br /> to keep us—if you’ve read that ”—elancing<br /> towards the lately-received manuscript which her<br /> quick eye picked out from the others on the<br /> table—* you’ll know, of course, how it was that I<br /> couldn’t write home. I had to give up my place<br /> in the end, and was glad to get work at Mrs.<br /> Sutton’s, where the pay was a little better, Well,<br /> sir, it was when things was at their worst that I<br /> thought one day of what Mrs. Mountjoy had<br /> said—that our story would make a good novel,<br /> and so I said to Jem, ‘T’ll tell you what,’ says I,<br /> ‘you must write it. You must make a book about<br /> you and me, Jem. It’ll be the best beginning you<br /> can have, for you&#039;ve got it all there, and have<br /> only got to write straight out of your heart.’<br /> You know, sir,’—glancing again towards the<br /> manuscript— it says even there what a scholar<br /> he is. You know, by rights he should be a gentle-<br /> man, he’s not common and ignorant like me,<br /> <br /> you told her all about it, I<br /> <br /> He”—throwing back her head and colouring<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> with wifely pride— He was educated as a gentle-<br /> man, and should be one, now, if he had his due.<br /> He is so clever and writes—beautifully. He<br /> has had little things taken by magazines some-<br /> times. Did you ever hear of the People’s Prize,<br /> sir?”<br /> Mr. Morton shook his head with due gravity.<br /> “Well, he tried Longman’s and Temple Bar<br /> first, but they are so hard to get into, you know.<br /> And so then he sent a story to The People’s Prize,<br /> and they took it there ; and Podbury’s Weekly, do<br /> you know that ? ”<br /> Mr. Morton was also obliged to disclaim<br /> acquaintance with that interesting periodical.<br /> “Jem writes for it sometimes. J think it’s a<br /> very good magazine,” she said, wistfully, ‘ but he<br /> often says he would rather never write at all if he<br /> had his choice, than let himself down to these<br /> things. But, though he doesn’t get much money<br /> from them, he gets something, and we want all we<br /> can get. Well, as I was saying, I asked Jem to<br /> write our story, but he wouldn’t hear of it at first.<br /> ‘I couldn’t, Jenny,’ he said, ‘It’s too sacred. I<br /> feel too strongly about it. What are you think-<br /> ing of?’ And then I said, ‘But who’s to know<br /> it’s us, Jem? Youcan put different names, you<br /> know. And, oh dear! you and I are such poor,<br /> unknown, small people, who will ever think that<br /> the Jem and Jenny in the book—only you won’t<br /> callthem Jem and Jenny—are you and me, or<br /> were ever alive at all? And as for your feeling,<br /> my dear,’ said I, ‘unless you feel very strongly<br /> about what you write you’ll never do any good at<br /> it.” ‘Who told you that?’ he said, and he was<br /> pleased. I can’t often put what’s in my mind<br /> into proper words, but he feels it there, and that’s<br /> how we understand each other so well. Well, he<br /> gave in at last, and he wrote it all, bit by bit,<br /> between the odd jobs he gets here and there. He<br /> used to read it to me o’ nights, and sometimes we<br /> laughed over it, and sometimes we cried, and I<br /> used to remind him of things he’d forgotten, and<br /> oh!” said the girl, with tears in her eyes, “ it’s<br /> beautiful, it 7s beautaful! It goes to your very<br /> heart!”<br /> The editor looked at her with an odd mixture<br /> of feelings. Wonder and compassion, and a<br /> certain half-amused ienderness. Mrs. Mount-<br /> joy’s story, imperfect as it was, had seemed to<br /> him pathetic, if improbable; but the sequel was<br /> more touching, more impossible still. This pair<br /> of married children battling with London poverty ;<br /> Jem, with his good education and gentlemanly<br /> instincts writing for Podbury’s Weekly, and doing<br /> ‘“‘odd jobs’; Jenny, the mountain maid, toiling<br /> hour after hour in a typewriter’s office ; and then<br /> these poor innocent babes in the slums, thinking<br /> to redeem their fortunes by setting forth their<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> own little history for the edification of the world<br /> at large. It was absurd, utterly and imconceiv-<br /> ably ridiculous, and yet !—<br /> <br /> “T typed it, after hours,’ went on Jenny.<br /> “Mrs. Sutton allowed me to when I told her who<br /> it was for. But, of course, I had to pay for the<br /> paper, and even that, you know, it would quite<br /> surprise you to find how it mounts up. And now,<br /> just as it is nearly finished—poor Jem working so<br /> hard, and staying up at night, even—I have that<br /> given me to copy,” pointing to the offending<br /> document on the table, “and I find it’s—oh, it<br /> was wicked of Mrs. Mountjoy !—wicked and cruel !<br /> I told Jem, and he was near broken-hearted.”<br /> Here the tears flashed into her eyes again. ‘‘ But<br /> he never said a cross word to me, though it was<br /> all through me it happened. He just pushed<br /> away his papers. ‘It’s no use, Jenny,’ he says,<br /> ‘she’s taken all the cream off it. Ours, if it did<br /> come out, would look as if it was borrowed from<br /> that.’ Fancy! borrowed! Our own story!”<br /> Her voice choked with passion, her look and<br /> attitude were almost noble in their wrath and<br /> scorn. “Think of it, sir! We lived it and<br /> suffered it, and she--she traffics with our hearts’<br /> blood. She, she’s like the wicked giant in the<br /> fairy tale, she grinds our bones to make her<br /> bread !”’<br /> <br /> Even this anti-climax did not make Mr. Morton<br /> laugh; on the contrary, the girl’s fiery indigna-<br /> tion seemed to infect him, and seizing both the<br /> rough manuscript of the “ Idylof the Hills ” and<br /> its fair copy, he tore them across and across, and<br /> flung them into his waste-paper basket.<br /> <br /> “There,” he said, “‘ that’s disposed of!”<br /> <br /> After Jenny had gone he remembered that he<br /> had no right to destroy MS. submitted to him,<br /> and he fished the thing out of his basket, and<br /> sent it back to the author with a note which<br /> made her “sit up.”<br /> <br /> Jenny’s face, after a momentary pause of blank<br /> astonishment, was a sight to see; dimpling all<br /> over with the sweetest, sunniest, most ecstatic<br /> smiles,<br /> <br /> “Oh, sir!’ she cried, and clapped her hands.<br /> “Oh Jem! what will Jem say ?”<br /> <br /> “ What will Mrs. Mountjoy say?”<br /> Mr. Morton, with a dry smile. ‘“That’s more<br /> to the point. Don’t be alarmed ’’—as the bright<br /> face grew clouded over again—‘“T’ll settle all<br /> that, and you may be sure I will never betray<br /> you.”<br /> <br /> “You are good!” said Jenny, “I can tell<br /> Jem now. I didn’t before, because I was afraid<br /> he would think it such a silly plan of mine, to<br /> come here, a poor girl like me, you know, and<br /> tell you all this. But it’s allright now ’—clapping<br /> her hands again—‘ I can tell Jem it’s all right.”<br /> <br /> <br /> <br /> observed<br /> <br /> AUTHOR.<br /> <br /> 247<br /> <br /> Was it all right, and did this poor child really<br /> think there were no further disappointments in<br /> store for them? Did she imagine that her<br /> husband’s novel would be straightway accepted,<br /> and published, and that their fortunes and his<br /> reputation would be made without more ado ¥<br /> And what a very different fate awaited them in all<br /> probability ! In his mind’s eye Morton could<br /> see that hapless manuscript coming back, and<br /> back, a little more soiled and shabby each time,<br /> and he could imagine how in the midst of their<br /> acute disappointment and heart-sickness there<br /> would be additional pangs at the sight of the<br /> damage done to those fair sheets, so carefully<br /> copied and so expensive, and at the thought of<br /> the serious outlay in stamps incurred by each<br /> fresh journey.<br /> <br /> “Look here,’ he said, ‘you may tell your<br /> husband that if he likes I will look over his<br /> book when it is finished. I don’t mean that<br /> there is the slightest chance of its suiting ws,’ he<br /> added hastily, as he saw a momentary wild hope<br /> leap into Jenny’s face. “ But, as he is a beginner,<br /> I should be very glad to help him in any way I<br /> can, and 1 will tell him candidly if there is any<br /> use in his offering it to a publisher.”<br /> <br /> “Thank you, sir,” said Jenny, curtseying ; but<br /> all the light faded out of her face, and Mr,<br /> Morton began to wonder impatiently if it would<br /> not have been better to have left it alone.<br /> <br /> Well, the manuscript came, and Mr. Morton<br /> did not find it a perfect gem, faultless alike in<br /> inatter and construction, and did not immediately<br /> hasten to secure it, offering Jem a large sum for<br /> the right to run it as a serial in his magazine,<br /> before afterwards producing it in three volumes.<br /> Nothing of the kind; this is not a fairy tale.<br /> He found a good deal of charm and power in the<br /> telling of the story, which was of itself, as has<br /> been said, an unusual one; but . . . and<br /> VOC<br /> <br /> He sent for Jem, and gave him a great deal of<br /> advice, about what he was to read, and what he<br /> was to write, and how it was far better for him<br /> to let his manuscript lie by for a little till be<br /> matured. He told him there was good stuff in<br /> it—and watched the eager intelligent eyes dilate<br /> with pleasure—and then, with careless good<br /> humour, enumerated its faults, and was conscious<br /> of an odd feeling of compunction as he saw the<br /> blood sweep over the boy’s face. The end of it<br /> all was that Mr. Morton took a fancy to Jem.<br /> He procured him employment which sufficed to<br /> keep the wolf at quite a respectable distance from<br /> the door, and guided and encouraged this literary<br /> novice, till he required such help no longer.<br /> The story of Jem and Jenny saw the light at last<br /> under a new form, and made its mark, and Jem<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 248<br /> <br /> <br /> <br /> is now—but if I were to tell you who and what<br /> Jem is now, Lam sure you would not believe me.<br /> M. HE. Francis.<br /> <br /> ———— od<br /> <br /> II.<br /> Fenton Fane.<br /> <br /> By G. B. Burain (Author of “A Quaker Girl,” &amp;c.).<br /> <br /> Kettering is so much sought after in general<br /> society, that we were all rath+r surprised to see<br /> him in the smoking-room of “ The Bohemian” just<br /> before dinner the other evening. For some time<br /> past, Kettering has forsaken his less successful<br /> cronies, but he is sucha good-natured little fellow<br /> that we willingly tolerate eccentricities which in<br /> others would call for the severest reprobation,<br /> He seemed excited yet jubilant. You know his<br /> work, of course? Mildly sentimental books, which<br /> are very successful with young ladies. They say<br /> he makes over two thousand a year—guineas, not<br /> books. Turns novels out like so many Waterbury<br /> watches; at any rate,a man of the world wants as<br /> much winding up as a Waterbury before he can<br /> get through one of Kettering’s love stories. Still,<br /> he is clever; there’s no doubt about that. And<br /> he can’t help being conceited. Success has that<br /> effect on some people. Strange to say, he is still<br /> good-natured. Successful men can afford to be<br /> good-natured sometimes—when they like. Very<br /> often they don’t like. But that has nothing to<br /> do with Kettering. I have often known him to<br /> help a fellow.<br /> <br /> Well, Kettering came in with a bundle of<br /> evening papers under his arm, and very full of<br /> something. “ Tell us all about it,” said Spittleby,<br /> of the Warbler, (Spittleby is the man who<br /> writes costume and cookery letters under the<br /> signature of “ Lady Godiva”? Says he adopted<br /> that signature because of his love for naked<br /> truth. Most of those letters are written by men.<br /> You know the sort of thing, where you enter all<br /> the shops of the universe in the course of one<br /> afternoon, and wind up with a recipe for marma-<br /> lade or muffins.) “Tell us all about it,” repeated<br /> Spittleby, looking enviously at Kettering’s special<br /> editions.<br /> <br /> Kettering had evidently bustled in to tell us a<br /> story. We languidly waved him to the centre of<br /> the hearthrug, and prepared to wile away the<br /> unhappy quarter of an hour before dinner. And<br /> this is the tale he told, as he stood before the fire,<br /> the bundle of papers under his arm strangely<br /> contrasting with his correct evening dress :<br /> <br /> One morning, about three months ago, some-<br /> body knocked at my door. It wasn’t a timid or<br /> frightened knock, but a very vigorous rat-tat—<br /> the knock of a successful man. © Come in,” I<br /> shouted, and he did.<br /> <br /> THE AUTHOR.<br /> <br /> Now I ask you dispassionately, whether a man<br /> like that had a right to knock as if he were<br /> Kipling, Jerome. J. M. Barrie, Conan Doyle,<br /> Alfred Calmour, and myself all rolled into one?<br /> I put myself last because you other fellows<br /> mayn’t have heard of my most recent success,<br /> Of course, it’s your misfortune; and ’m sorry<br /> for you. Still, when a man has made a hit he<br /> ought not to be too modest about it; it’s all<br /> confounded nonsense. Most people think that<br /> last book of mine great, so I don’t mind telling<br /> you candidly I agree with them; it is a great<br /> book. My publishers quite flatter me about it.<br /> When they forwarded my last cheque — three<br /> figures—I asked them, and they said that the<br /> cheque meant volumes. It did—my volumes,<br /> T’ve been working a good many years to climb to<br /> the topmost pinnacle of fame. When a fellow’s<br /> been doing that, he likes to be approached with a<br /> little deference after he is sitting on the point,<br /> Not that it matters much, although it does show<br /> a sense of the fitness of things. Naturally, when<br /> that man knocked at the door, I thought it was<br /> the author of ‘“ Pilkins’ Pilgrimage,” at least<br /> (you all know the way he enters the room, as if<br /> he were a country squire, and you&#039;d had the<br /> impudence to sit in his pew without being asked,<br /> and had better get out before he made you),<br /> Well, it wasn’t. It was only a new shorthand<br /> fellow, who came in as if he were my equal, sat<br /> down at the table, pulled out his dirty notebook,<br /> nodded familiarly to me, and cast a contemptuous<br /> glance round the study. Then he grinned.<br /> Positively grinned,<br /> <br /> What sort of a fellow was he? Oh, about<br /> thirty. Tall, thin, not too well-fed. Bags rather<br /> gone at the knees—looked as if they had been<br /> “yevived ” and then collapsed again, after the<br /> manner of most revivals—seams of coat seedy<br /> (you know the greasy pallor of a coat seam, like<br /> that on the face of a dead man) and cheap boots<br /> rather gone at the toes. And his linen was—vwell<br /> I&#039;d rather not mention it—dinner’s coming — It<br /> reminded me of my old Irish servant’s celluloid<br /> collar, which he wore all the year round, and only<br /> washed under protest aad the pump on Christmas<br /> Day. But the fellow was goodlooking in spite<br /> of his poverty. Forehead a bit too bulgy perhaps,<br /> <br /> and his eyes (blue) hada way of sizing one up<br /> <br /> which was rather embarrassing. He was to be<br /> <br /> paid a shilling an hour and his lunch, in addition<br /> <br /> to the pleasure of forestalling the British public<br /> by reading my new book before any one else did,<br /> That should have been worth at least another<br /> <br /> shilling to him if he could only have seen it in<br /> Don’t worry,<br /> You&#039;re<br /> <br /> the proper light, but he didn’t. —<br /> Jones! I&#039;ll give you the papers directly.<br /> more like a human bookworm than ever.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Selwyn (one of my publishers—I keep two or<br /> three—mainly Dissenters) had found him for me.<br /> “Good all round hack,” was Selwyn’s descrip-<br /> tion. Seemed to think I wanted to be carried up<br /> and down the park.<br /> <br /> Well, the fellow opened his notebook, looked<br /> round the room as if he thought all my pictures<br /> beneath contempt (don’t believe he’d ever seen a<br /> Segantini before) and threw himself back with a<br /> laugh.<br /> <br /> “ Doesn’t all this bosh—(he called the get-up of<br /> myself and room ‘bosh,’ the irreverent brute.<br /> You know that rig-out of mine which Jones will<br /> call a ‘tea-gown’ although he’s well aware it’s<br /> old Florentine velvet)—rather interfere with your<br /> work?”<br /> <br /> “No, it doesn’t,’ I said shortly.<br /> enough, Mr. Be<br /> <br /> “Fenton Fane.”<br /> <br /> “Fenton Fane, not to interrupt me by<br /> discussing questions of taste, and thus exposing<br /> your ignorance. We will start with chapter four<br /> if you please.”<br /> <br /> “Very well,” he answered.<br /> you&#039;re loaded up to the muzzle.”<br /> <br /> The man seemed to think I was an old Tower<br /> musket. I stopped hurriedly striding up and<br /> down the room (you know that panther walk of<br /> mine which has been so much talked about in<br /> interviews) and stared at him. Then I began to<br /> dictate, but not so fluently as usual.<br /> <br /> It didn’t matter how fast I went. The fellow<br /> just made little jerks with his fingers—little im-<br /> patient jerks they seemed to me—and waited.<br /> Now, there’s nothing so exasperating as to have a<br /> shorthand-writer get ahead of you. It makes<br /> you feel as if he knew so much more about the<br /> thing than you do yourself. The more he jerked,<br /> the more confused I felt. At last, I came toa<br /> dead stop, and felt empty. Fenton Fane threw<br /> down his pencil with a contemptuous laugh, and<br /> looked at me. ‘Thought so,” he said cuttingly.<br /> “When I saw you rigged out in that high-<br /> faluting dressing-gown and muffin cap I ought<br /> to have known you wouldn’t amount to much.”<br /> <br /> “What d’you mean?” I gasped.<br /> <br /> “T&#039;ll tell you, if you don’t object to smoke,”<br /> he said. “Got amatch? Thanks. He actually<br /> struck it on his trousers—the Antipodean part of<br /> them—and lit a filthy pipe. I had to burn a<br /> pastille in order to stifle its fumes.<br /> <br /> The man drew a shilling from his pocket.<br /> really can’t stand it,’ he said. “Td rather<br /> go back to reporting the police courts. That<br /> Barabbas of yours paid me a shilling in advance,<br /> on . didn’t bargain for deleterious drivel like<br /> <br /> is !”’<br /> <br /> I was speechless with rage.<br /> <br /> “Be good<br /> <br /> <br /> <br /> <br /> <br /> “Fire away, if<br /> <br /> <br /> <br /> “Ty<br /> <br /> You all know<br /> <br /> 249<br /> <br /> what even the National Observer has said of my<br /> work; and it’s very few great men their people<br /> are civil to. When I pointed haughtily to the<br /> door, he only laughed. ‘‘ Let us talk it over,”<br /> he said. ‘Perhaps you’ll learn something.”<br /> <br /> There was no other way to get rid of him, so I<br /> listened.<br /> <br /> He took up his shorthand book, and read the<br /> opening paragraph, a beautiful little poet-<br /> laureate like opening; at least, it resembled the<br /> style of all the candidates for that post. “It’s<br /> all incorrect,” he said. ‘ Every bit of it. Think<br /> it over. You&#039;ve mixed up the flowers in that<br /> garden as if Ouida had planted them in a hurry ;<br /> it’s the wrong time of year for a thunderstorm ;<br /> and that slovenly alliterative style is sad enough<br /> to sicken a slouching schoolboy.”<br /> <br /> Of course, I ought to have cut him short, but<br /> the fellow confused me. “ You—eh—get the<br /> general effect,” I said, crushingly, “ with—eh—a<br /> broad sweep of the brush, and realise the scene. It<br /> doesn’t need little niggling water-colour touches.”<br /> <br /> “Bosh!” he said. ‘“ Bosh! You’re hopelessly,<br /> ignorantly, blatantly, blunderingly, irredeemably<br /> wrong. And the world (he took his pipe out of<br /> his mouth) calls you a great man.” He laughed.<br /> It was not a pleasant laugh to hear; it seemed<br /> about a semi-tone wrong.<br /> <br /> « Don’t you—eh—think it is time to end this dis-<br /> cussion ?” I said, laying my hand on the bell-rope.<br /> That sobered him. He flung back his hair with a<br /> shake, and sat down.<br /> <br /> “No,” he said shortly ; “I don’t often indulge<br /> myself in this way. Suppose I give yowa shilling<br /> (he took one from his pocket) just to free my<br /> mind.”<br /> <br /> I thought the fellow would make a good<br /> character study, so consented. He gave me the<br /> shilling. I have it now.<br /> <br /> “Tye watched you for some time,” he said.<br /> “ Yow re courted all round because you’re read by<br /> people about as wise as yourself. They under-<br /> stand your sentimental twaddle, and you under-<br /> stand them. Your books sell. Here and there,<br /> one notices a faint suggestion of the divine spark<br /> —the sort of mark where the match of genius<br /> has been rubbed along and left a slight phospho-<br /> rescent streak—but that’s all. You&#039;re wealthy,<br /> I’m poor; you&#039;re a great man, I’m a little one;<br /> and yet, before Heaven, I decline to change places<br /> with you, for I have genius—you haven&#039;t.”<br /> <br /> The fellow actually swelled.<br /> <br /> <br /> <br /> <br /> <br /> “Tm not mad,” he laughed (he was always<br /> laughing: that’s one of the secrets of a sane<br /> <br /> genius—to know how to laugh). “No, Pm too<br /> tough for that. But I’ve got to the heart of<br /> Nature’s secrets, I know men and women; I can<br /> paint you pictures passionate or gay, move you<br /> <br /> <br />  <br /> <br /> 250<br /> <br /> <br /> <br /> to laughter or tears, excite your pity, anger,<br /> derision, scorn; I can take you into the night<br /> and make you shudder with nameless dread,<br /> or sing to you in sun-flooded highways so that<br /> the very flints become flowers to your feet.<br /> Oh, yes, I’ve done all that. It’s the truth, the<br /> truth, the truth. Only I can’t get my chance, I<br /> can’t get my chance. Life slips away, day by<br /> day, hour by hour, minute by minute. Fame<br /> stands on the hill-top, and you, and fools like you,<br /> bar the way, so that my voice fails to reach my<br /> fellows. Do you know what you have done ?” he<br /> asked, coming near to me.<br /> <br /> “No,” I said; and I didn’t.<br /> <br /> “ Well, you, and the fellows like you, murder<br /> men’s souls—murder the souls of men who are<br /> the world’s prophets and preachers and singers.<br /> You stifle the hearts and consciences of all man-<br /> land, you dull their ears with your petty babble<br /> of this and that. But they are so accustomed to<br /> the note of your penny whistle that when some<br /> great, pure clarion voice rings over the heights,<br /> men turn aside and heed it not. Out of the way,<br /> you and your brood. Give place.”<br /> <br /> The man was evidently mad. I tried to soothe<br /> him. ‘Yes, yes, my good fellow. You&#039;re quite<br /> right—quite right. But the world needs us, and<br /> we make it pay.”<br /> <br /> He laughed long and low, and put his pipe<br /> back »n his pocket. “I beg your pardon, Mr.<br /> Kettering,” he said. “It was awfully bad form.<br /> Pll get my chance some day, and then you can<br /> review me; but you must admit there is a good<br /> deal of truth in what I have said. I ought not to<br /> have wasted your morning. Good day.”<br /> <br /> I stopped him. Couldn’t help pitying the poor<br /> devil. ‘ Can I help you?” I inquired.<br /> <br /> The colour came into his cheek. ‘“ No, thanks,”<br /> he said. “Td like you to spend half an hour<br /> with me and read a chapter of my book—the<br /> book no publishers will publish because I haven’t<br /> had one out before. I don’t blame them. Why<br /> should they run any risk ?”’<br /> <br /> Somehow, the fellow toucied a sympathetic<br /> chord—reminded me of the time when I pawned<br /> my gold watch and chain to get my first book out.<br /> The book came out, but the profits and the watch<br /> didn’t.<br /> <br /> We went downstairs together. “Can you<br /> stand being seen in a’bus?” he asked. “ Will<br /> your reputation suffer ? ”<br /> <br /> But my brougham came up, and we got in.<br /> <br /> ‘Royal Mint Square,” said Fenton Fane.” Up<br /> by the Tower.”<br /> <br /> It was the usual sort of dirty den—a kind of<br /> Eastern carayanserai, without the camels, but<br /> equally odorous. The !odgings were divided into<br /> two or three little rooms, mostly inhabited by<br /> <br /> THE -AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> policemen, with a sprinkling of ex-Girton girls and<br /> charwomen. The rooms were very pretty ; so was<br /> Fane’s wife. Nay, she was beautiful. Never<br /> saw such golden hair in my life. There was a<br /> little girl also, of about nine, with her mother’s<br /> eyes, and Fane’s trick of looking you straight in<br /> the face. Mrs. Fane greeted me with the self-<br /> possession of a Mayfair matron. Then Fane brought<br /> out his book, and I began to read it. The clock<br /> struck one. When I looked up again, it was<br /> growing dusk. All that time, the man and woman<br /> and little child sat there without saying a word.<br /> I didn’t even hear them breathe. At last, the<br /> strain was so great that I could bear no more. I<br /> laid down the MS. with a long-drawn breath.<br /> <br /> The man and woman and little child sat there<br /> looking at me, their hearts in their beautiful<br /> eyes. They had sat there for hours—in silence—<br /> waiting. Their faces were white and strained, the<br /> lips quivering a little as I looked up. Even the<br /> child knew what was going on. I laid dwn the<br /> MS. Fane rose to open the door for me, without<br /> asking a single question.<br /> <br /> I stood for a moment, dazed, bewildered, over-<br /> <br /> come. Then I took Fane’s hand and turned to<br /> his wife. “He is great,’ I said. “Great!<br /> Great! Great; I am not worthy to sit at his<br /> feet.”<br /> <br /> Fane clasped the woman in his arms and held<br /> her there. 1ooking in her shining eyes, I knew<br /> whence came his greatness.<br /> <br /> “That all? ” we queried.<br /> <br /> ‘“*No,” said Kettering. “It isn’t.<br /> fellows seen the evening papers ?”<br /> <br /> We hadn’t. How could we when they were all<br /> under his arm<br /> <br /> Kettering handed us the bundle, and in them<br /> we read of Fenton Fane’s first book. His clarion<br /> voice is ringing still. Ringing throughout the<br /> world, stirring the souls of all, as we who are<br /> fain to move them fail to do; for the man who<br /> would fire the heart of his fellows must be<br /> cradled in poverty and wrong, live dolorous days<br /> and sorrow on through darkest nights, ere dawns<br /> the morning light when those who once scoffed<br /> and turned him away kneel humbly crying:<br /> “Master, with golden tongue and heart of fire,<br /> teach us the secret of the hidden ways, that we<br /> may climb life’s upward path with thee and touch<br /> the skies.”’<br /> <br /> Have you<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE: AUTHUR.<br /> <br /> CORRESPONDENCE,<br /> <br /> <br /> <br /> 1<br /> A Littie Sum.<br /> some agreements the following clause<br /> <br /> N<br /> a occurs:—|The publisher] “shall... pay<br /> to the author on all copies sold at abvve<br /> half their published price a royalty of ro per cent.<br /> on their published price, and on all copies sold at<br /> or below half their published price a royalty of<br /> 20 per cent. on the net receipts of such sales.”<br /> <br /> It is interesting to notice that under this clause<br /> there is an inducement to the publisher to sell at<br /> a lower price than is to the author’s advantage.<br /> More exactly, if the published price be taken as<br /> 100 units, we get :—<br /> <br /> Selling price. Publisher’s share. Author’s share.<br /> <br /> <br /> <br /> 55 45 ee 10<br /> BO) 2 0 IO<br /> BOS AOS IO<br /> GO AO IO<br /> BO Ae. 5<br /> 499 AOL 8... 4°99<br /> See HOG 4°55<br /> <br /> It is, therefore, to the publisher’s interest to<br /> <br /> sell :-—<br /> At 50, rather than between 50 and 55<br /> <br /> 29 49 ” ” ” ” ”? 5471<br /> ”? 48 ” ” ” ”? ” 53°2<br /> ” 47 ” ” ” ” ” 52°3<br /> 92 46 ” 99 9 ”? ” 514<br /> ”? 45 a3 29 ”? ” ? 50°5<br /> <br /> While to the author the lower price in each case<br /> brings half (or less than half) the return brought<br /> by the higher price.<br /> <br /> <br /> <br /> Il.<br /> No ANSWER.<br /> <br /> A lady living in the country sent a MS. toa<br /> certain weekly journal.<br /> <br /> The editor replied to the effect that he would<br /> like to use it, but that it was too long and should<br /> be cut down. The author, in return, offered to<br /> cut it down herself.<br /> <br /> The editor made no reply to the offer. He<br /> sent no proofs of the paper, but published it six<br /> months later.<br /> <br /> The writer then asked to be paid. She has<br /> written repeatedly. Up to the present moment<br /> she has had no reply to her letters.<br /> <br /> She has been advised to put the case into her<br /> solicitor’s hands.<br /> <br /> 251<br /> <br /> IPE<br /> LerrEers Not RECEIVED.<br /> <br /> Here is another case. A lady sent a MS. to an<br /> editor, which was accepted, printed, and pub-<br /> lished in a certain paper. Then the writer sent<br /> a note asking for a cheque. She received no<br /> <br /> reply. Then she wrote again. She received no<br /> reply. She waited a little, and wrote a third<br /> time. Again, no reply. She then put the case<br /> <br /> in the hands of a gentleman, who wrote for her,<br /> and informed the editor that unless a cheque was<br /> sent by return post the case would be placed in<br /> the hands of a lawyer. The editor then for-<br /> warded a cheque, stating that he had not ) eceived<br /> any of the three letters! In such a case as this,<br /> the only way is to put the case ina lawyer’s hands<br /> when the first letter remains unanswered.<br /> <br /> ————$—-<br /> <br /> IV.<br /> SuaaEstED Memoriat.<br /> <br /> I trust that a special memorial of the late<br /> Laureate, our President, will be raised by the<br /> society, and I venture to suggest that a bust of<br /> the poet might be the best form for such a<br /> memorial to take. It should be easy to find it a<br /> place of honour in the rooms of the society.<br /> Many members would be sure to avail them-<br /> selves of the privilege to contribute to such a<br /> memorial ; and you may include me among them.<br /> <br /> A. M.<br /> <br /> ———— &gt;<br /> <br /> V<br /> A QUESTION.<br /> <br /> In the “Notes from Paris” in the November<br /> number of the Author, Mr. Sherard mentions<br /> how he picked up a first edition of Stendhal’s<br /> “De Amour” from a book-hawker on the quays<br /> of the Seine. I should like to know if, in the first<br /> edition of “ De Amour,” the sixtieth chapter was<br /> printed. I have a copy of that work published<br /> in 1833, which has Le chapitre supprime LX.<br /> Des Fiasco, in manuscript. bound up with it,<br /> The book was given to me by a gentleman who<br /> formerly lived in Paris, and the suppressed<br /> chapter was supplied to him by a Monsieur<br /> Milsand, a litterateur of some note at that time,<br /> and a contributor to the Revue des Deux Mondes.<br /> <br /> Cuaup Harpine.<br /> <br /> &lt;=<br /> <br /> VL.<br /> For Noruina.<br /> <br /> I think the secret at the bottom of half our<br /> literary difficulties lies in the anxiety of amateurs<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 252<br /> <br /> <br /> <br /> to see themselves in print. Am I not stating a<br /> well-known fact when I say that an enormous<br /> amount of matter, neither very good nor very<br /> bad, is sent in to editors daily by writers who are<br /> perfectly content that their work should be pub-<br /> lished gratis? Indeed, with regard to poetry, I<br /> believe it is rather the rule than the exception,<br /> with middling magazines, not to pay for it at all?<br /> Verses are positively poured into the market by<br /> writers who desire nothing better than to see<br /> their effusions published ; so that many a p etty<br /> little poem, which would find its price in time<br /> under different conditions, is doomed to oblivion.<br /> I know the price given for verse in some of the<br /> second-rate magazines is something absurdly low.<br /> But surely if a poem is worthy of being set up<br /> in type at all, itis worthy of a fair price! One<br /> must consider that beginners in literature, if not<br /> absolutely drivelling, are likely to be somewhat<br /> crude in style, and that the market for mediocre<br /> work is the smallest of all. For very good work<br /> there is always an opening, for actual rubbish<br /> there is plenty of room in the weekly “ dreadfuls.”<br /> It is the moderately good writer who suffers most,<br /> and upon him the selfish egotistical amateur<br /> preys.<br /> <br /> I write feelingly, having had articles rejected,<br /> before now, with the words, “ We can get what<br /> we want for nothing, thank you!” I have even<br /> heard more than one established writer say un-<br /> blushingly, “ Oh, I wrote for nothing at first;<br /> one has to do so, you know.” I don’t know. I<br /> don’t believe it. I never wrote for nothing,<br /> except for a local newspaper that could not afford<br /> to pay or for amateur magazines. If one’s early<br /> work is not worth remuneration, it never ought<br /> to appear im widely circulated professional<br /> magazines. Of course, it would be better still if<br /> it never appeared at all; but if amateurs and<br /> beginners must see themselves in print, there are<br /> plenty of amateur magazines open to them nowa-<br /> days. There is no blame to be attached to<br /> editors in this matter, for they are only obeying<br /> the laws of economy. They know well enough<br /> that if everyone demanded payment the sifting<br /> process would be fairer, and many of the stories<br /> and articles they publish for nothing would be<br /> paid for without a murmur. But, say a man has<br /> two articles sent in to him, one of which he may<br /> have gratis, the other requiring remuneration.<br /> Suppose them to be nearly of equal merit and<br /> suitability, but the latter the better of the two.<br /> Which will he choose, considering the expense of<br /> type-setting, &amp;c.? Why the gratuitous one, of<br /> course, even if slightly inferior. How could it be<br /> otherwise ?<br /> <br /> This is a burning question, and the sooncr a<br /> crusade is started against the vain and egotistical<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> amateur the better for the bread-winner.<br /> <br /> The<br /> better for author, editor, and literature generally,<br /> <br /> M. L. P.<br /> <br /> <br /> <br /> VIL.<br /> A Briturant Scare or Pay,<br /> <br /> A correspondent sends information of the<br /> “scale of pay” adopted by a certain penny<br /> weekly supposed to have a very large circula-<br /> tion. It is, indeed, princely. For articles—<br /> stories—he says that he has received payment at<br /> the rate of 5s., 7s. 6d., 10s., or, as the highest pay,<br /> 15s. “ For one story of eight chapters,” he says,<br /> “T received 15s, !!!!”<br /> <br /> The proprietor of this delightful journal may<br /> plead—and very justly—that he can get what he<br /> wants at that rate, and why should he pay more ?<br /> Certainly—why pay more? All the advertise-<br /> ments ask the same question. One answer is<br /> that cheap stuff—in literature, as in other things<br /> —is bad stuff.. A journal which offers bad stuff<br /> is not only low down, but is doomed to go lower<br /> down.<br /> <br /> <br /> <br /> VIII.<br /> A Lawyer’s Lerrer.<br /> <br /> Iwas asked last January to contribute an<br /> article to a projected new review. I was told to<br /> name my own subject and my own price. I<br /> named £20, and, at considerable personal incon-<br /> venience, wrote and sent the article within about<br /> a week. It was never published, as difficulties<br /> supervened, and the idea of starting the review<br /> was abandoned. But I had written the article,<br /> and had in black and white, in terms fully suffi-<br /> cient to satisfy what the Times the other day<br /> called the “ Statue of Frauds,” an undertaking<br /> to pay me £20 forit. After waiting six months<br /> I wrote and offered to take £10, and consider the<br /> article as withdrawn. This was refused, and I<br /> was told [had no legal claim, so I put the matter<br /> in the hands of my solicitor. Three days later he<br /> wrote that he was offered £8 8s. for me and<br /> £1 1s. for his costs: would I take this? ‘ No,”<br /> I replied ; “TI said I would take £10, but, having<br /> had the trouble of employing a_ solicitor and<br /> writing four letters, [mean now to have £11 11s.<br /> for myself, plus costs, or I shall sue for the full<br /> £20.” A day or two after I got my cheque; so<br /> the projectors of the review in question paid<br /> £12 12s. and their own solicitor’s costs instead of<br /> £10, which was all I asked.<br /> <br /> <br /> <br /> <br /> 4<br /> |<br /> 7<br /> 1<br /> 7<br /> i<br /> <br /> <br /> <br /> THE AUTHOR. 253<br /> <br /> ix<br /> DEFAMATORY CRITICISM.<br /> <br /> A remedy for the crying evils of which “ Rank<br /> and File” and Doctor Charles D. Bell complain,<br /> in the current number of the Author, appears to<br /> present itself in your apposite notes on Mr.<br /> Thomas Hardy’s “‘ Review of his Reviewers.”<br /> <br /> Permit me to repeat your words: “If a man<br /> falsely say of a baker that he makes poisonous<br /> bread ; or of a chemist that his pills are pure<br /> flour and water; or of a physician that he is a<br /> quack; or of a solicitor that his advice is not to<br /> be trusted—these practitioners have their remedy<br /> in a court of law. And so, I believe, has the<br /> author upon whose work the reviewer uninvited<br /> makes an onslaught. He may bring an action as<br /> one who has suffered material injury by the<br /> uninvited reviewer. If such an action were ever<br /> brought we should hear very little more of the<br /> gratuitous and meddlesome uninvited slating and<br /> sneering which is now passed over.” Now for<br /> an application of the remedy. In a recent number<br /> of a certain journal, eight works of fiction, com-<br /> prising fifteen volumes, by authors of more or<br /> less repute (yourself among the number) are<br /> airily polished off in about two thousand words,<br /> from which I select an apposite illustration of<br /> the “happy despatch” administered to the latest<br /> production of an author of four or five books<br /> which have passed through various editions :<br /> “For misspelling, misquotation, misconception<br /> of every usual matter of common knowledge, and<br /> constant grammatical atrocities, Mr. ——’s<br /> book is the novel of the season.”<br /> <br /> It must be frankly admitted that this latest<br /> specimen of the pseudonymuncule has “a nice<br /> derangement of epitaphs.” Supposing his state-<br /> ment be a true one, the wretched author is bound<br /> to submit in silence—but, on the other hand,<br /> suppose it can be proved to the satisfaction of<br /> “twelve good men and true” that it is false,<br /> wilfully and maliciously false in every particular,<br /> would not an action lie for libel, and if so, might<br /> not this be made a fest case for the general good<br /> of the craft ?<br /> <br /> The subject invites discussion from both the<br /> captains and the rank and file of the army of<br /> authors. Possibly, too, some of your eminent<br /> legal colleagues will deign to favour us with<br /> their views. Rover.<br /> <br /> [There seems little reason to hesitate. If the<br /> book is, and can be proved to be, falsely described,<br /> the author is as much injured as the imaginary<br /> baker, and has his remedy in a Court of Law. |<br /> <br /> x.<br /> Society oF ARCHIVISTS.<br /> <br /> With reference to the account of the above<br /> society, written by Mr. Cresswell in last month’s<br /> Author, kindly allow me to make a few remarks.<br /> <br /> Stated in a few words, the main objects of the<br /> society are, (1) to combat the dense ignorance of<br /> the value of old MSS. that prevails among the<br /> educated classes; and (2) to form a combinat on<br /> or “trade union” for the profit, protection, and<br /> pleasure to be derived from the companionship<br /> of brother colle: tors.<br /> <br /> One great difficulty in form ng the society is<br /> the indifference, often amounting to coutempt,<br /> shown by those who, instead of leading the<br /> public taste up to higher things, pander to its<br /> grossest forms, and follow its more depraved<br /> instincts into the gutters of the police and<br /> divorce courts. I refer to the newspapers. There<br /> are honourable exceptions, but they are few and<br /> far between. The consequence is this: That,<br /> although we have been trying to attract public<br /> attention (almost the only chance of success) for<br /> nearly six months, the number of leading papers<br /> which have published accounts of our objects<br /> or otherwise drawn attention to us, may be<br /> counted on the fingers of one hand, while day by<br /> dav unleaded type accounts are minutely fur-<br /> nished of the meals eaten and words spoken by<br /> the Jatest ‘‘ fashionable” criminal.<br /> <br /> There is a remedy for this, Sir, and it hes in<br /> this direction. Let some of the leaders of public<br /> thought, the great writers and literary men who<br /> read this journal, join us, if only as honorary<br /> members (it costs 5s.), and I make no doubt that<br /> the daily papers will soon find it out, and, ever<br /> on thealert as they are to flatter the great with<br /> an obsequious paragraph, may in the long run<br /> serve the cause to which, when it stands on its<br /> merits alone, they turn a deaf ear.<br /> <br /> H. Saxe WynpuaM,<br /> Hon. Sec. Society of Archivists<br /> <br /> Thornton Lodge, Thornton Heath.<br /> <br /> <br /> <br /> 2G<br /> A PuzzuE.<br /> <br /> A writer sends a short story to a paper which<br /> will not bind itself to return authors’ MSS. It<br /> is there for a long time, and he is in doubt about<br /> its fate. It is no use writing to the editor of the<br /> paper, because he won’t answer. At the end of<br /> six months or thereabouts, the writer settles in<br /> his own mind that the story is refused, and,<br /> liking the idea, rewrites it and sends it to another<br /> paper. This paper accepts the story and promptly<br /> <br /> <br /> <br /> q<br /> <br /> i<br /> \4<br /> }<br /> ;<br /> (f<br /> iW<br /> i<br /> i<br /> <br /> se<br /> <br /> wegen oer<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 254<br /> <br /> pays for it. A day after the writer receives a<br /> much smaller sum for the same story from the<br /> paper he sent it to first. Now, what ought he to<br /> dor Which cheque ought he to return ?,—A<br /> MEMBER.<br /> <br /> Ss<br /> <br /> XII.<br /> ILLUSTRATIONS.<br /> <br /> I am not an author, but may I ask whether, if<br /> I supply illustrations for an article by one author,<br /> his editor or publisher has a right to use them,<br /> without reference to me, in any other book he<br /> may be bringing out ?<br /> <br /> <br /> <br /> XIII.<br /> “TL. B.” anp Liserat RemMuNERATION.<br /> <br /> In the current number of the Author, your<br /> correspondent “TL. B.” recalls an experience<br /> somewhat analogous to my own.<br /> <br /> A few years ago, I called upon Messrs. North-<br /> ampton and Co., to discuss the publication of a<br /> novel.<br /> <br /> For reasons which need not here be recapitu-<br /> lated, the novel was not accepted; but, as certain<br /> short stories of mine in the Graphic, Longman’s,<br /> Temple Bar, &amp;c., were enjoying a sort of vogue,<br /> it was proposed by Messrs. Northampton that<br /> I should write a short story for the summer<br /> number of a magazine, of which the firm had<br /> recently become proprietors.<br /> <br /> Terms were discussed, and I mentioned those<br /> paid me by the Graphic, Longmans, Temple<br /> Bar, New Review, &amp;c.<br /> <br /> On the faith of what I considered to be an<br /> honourable verbal understanding, I wrote a story<br /> of twenty-four magazine pages, which occupied<br /> the place of honour among a series of stories by<br /> authors of distinction.<br /> <br /> A month elapsed—two—three—four—then I<br /> wrote suggesting that a cheque would be accept-<br /> able.<br /> <br /> Another month passed without a reply—then I<br /> wrote a polite reminder, whereupon I received a<br /> cheque for £2 10s., that is to say, 2s. 1d. for 600<br /> words.<br /> <br /> Now the mere caligraphic process is so dis-<br /> tasteful to me, that I protest I would not (except<br /> under the pressure of starvation) have even<br /> copied the MS. for double this miserable pittance,<br /> leaving the composition of the story quite out of<br /> the question.<br /> <br /> Believing that there must be some mistake,<br /> I returned the cheque, requesting an explanation.<br /> <br /> Like “BL. B.,” I was curtly informed in reply<br /> that “ my story was paid for at the usual scale of<br /> <br /> THE AUTHOR.<br /> <br /> payment for stories published in the ‘ So and So?<br /> magazine, and from that scale there could be no<br /> departure.”<br /> <br /> I was “young in crime” then, and did not<br /> wish to figure in the County Court, but were<br /> Messrs. Northampton and Co. to try that little<br /> game with me now, I would put them in the box,<br /> and I would put beside them the half dozen dis-<br /> tinguished contributors to the “So and So”<br /> magazine, so as to prove the actual truth or<br /> falsehood of Messrs. Northampton’s statement.<br /> <br /> Moral All future contributors to the “ So<br /> and So” magazine will do well to take care to<br /> have a written contract before they commit their<br /> copy to the tender mercies of Messrs. Northamp-<br /> ton and Co.<br /> <br /> Once Brit, Twice Suy.<br /> <br /> <br /> <br /> XIV.<br /> A Sueecrstion—anp Somerurne Mors.<br /> <br /> The strength of the Society of Authors is<br /> proof—if proof were needed — of the excel-<br /> lent work it has done in offering an unbend-<br /> ing front to the fraudulent publisher. But if<br /> authors, individually, relax their vigilance, much<br /> of its good work falls to the ground. There are<br /> amongst us certain penny journals which, when<br /> they are going down, or fall into unenviable<br /> notoriety, make a call upon authors of good stand-<br /> ing to prop themup. And either from ignorance<br /> of the character of these journals, or from that<br /> thoughtlessness which prempts many a writer to<br /> say “Pl write an article for any journal that<br /> pays me my price,” the few at the top are apt,<br /> from no unkindness of heart, to rattle stones on<br /> the heads of the many below. If this sort of<br /> thing has not crossed the mind of any good<br /> writer before, may I bring it to him in this<br /> fashion. When he has been asked for an article,<br /> has he ever considered whether the journal which<br /> begs the loan of his name and talent is a journal<br /> worth propping up? Has he made certain<br /> inquiries about the price it pays its regular con-<br /> tributors? Ifhe has not done this, he may be<br /> unconsciously supporting that which it is the<br /> object of the society to destroy, the art of<br /> sweating.<br /> <br /> When a journal makes a call upon a good<br /> author, and in the pages of which he can gain<br /> neither honour nor renown, from which, as a<br /> matter of taste, he would shrink under ordinary<br /> circumstances from contributing to, that journal<br /> ought to be subjected to careful scrutiny. It has<br /> everything to gain from the influence of his name,<br /> the author nothing, save the guineas. Some of<br /> <br /> the reasons of these journals calling on good<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> si pe bee Sad<br /> Series Boe oe<br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> St ou<br /> <br /> ot<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 255<br /> <br /> authors for help are easily understood. For an<br /> instance, the paper may be simply paralysed, it<br /> stands on the brink of destruction, with a rapidly<br /> decreasing circulation. As a desperate remedy,<br /> it cills on certain writers, and faces the public<br /> with their names in a string. ‘This is a literary<br /> tonic which often places it on its legs again.<br /> Where the journal is honest and straightforward,<br /> and grows weak through no fault of its own, this<br /> is a proper tonic; but where a journal erects a<br /> barrier with these names to keep the public off<br /> the scent of the regular and sweated contributor,<br /> such a tonic is unwholesome. An author, if he<br /> be not very careful, is lable to be paid with the<br /> bright guineas produced by sweating, and he puts<br /> it into the power of a journal to say, “1 sweat !<br /> Look who contributes to my columns! The author<br /> of so and so and the equally talented writer of<br /> such a work!’ Then the general public, the keen<br /> discriminating general public, grows hardened<br /> against the sweated. “ Pooh! If the ‘penny<br /> soul of humanity’ sweated, do you think the<br /> author of this and the author of that would write<br /> for it?” Theauthor of repute is saddled with a<br /> rare responsibility; the general public never<br /> reasons, it goes by outside show, and takes the<br /> good writer’s name as a guarantee that all is fair<br /> and respectable within. Therefore, if the author<br /> of repute is misled, or thoughtless, he finds him-<br /> self in a most undesirable position. In perhaps<br /> a solitary case authors’ names are put forward to<br /> blind the general publi: ; they go down with it<br /> as the regular staff, while the poor objects hidden<br /> in the background, the regular sweated contri-<br /> butors, are writing their stories of 2000 and 3000<br /> words for the magnificent pay of five shillings and<br /> seven-and-sixpence a story! In some bewilder-<br /> ment, the author of repute, who is not, or has not<br /> been till lately, much of a business man, asks how<br /> ishe to pick a journal of this sort out. Easily<br /> enough. Publish in the Awthor the rates of pay<br /> of every journal in the kingdom. Publish it in<br /> instalments, a little every month if you like, but<br /> by all means publish it. There are enough mem-<br /> bers of the Society to do this; let each one make<br /> out his little list and send it to the secretary. Then<br /> all will be fair sailing, the shoals will all be<br /> buoyed off, the rocks marked on the chart, and a<br /> good deep channel prepared for the literary ship<br /> to sail through. Witha good chart there will be<br /> less danger of running ashore. That is my sug-<br /> gestion, open to amendment. Some may assert<br /> that it is not needed; and those who deal in cold<br /> logic declare that mediocrity always will be<br /> sweated, it can’t command a price, and a writer<br /> of that sort must, in the nature of things, fall<br /> into somebody’s grasping clutch. To think thus<br /> is to do nothing. If a journal is discovered to be<br /> <br /> a sweater, it ought to be strictly boycotted, that<br /> is, if the Society is going to make any headway.<br /> No man who has made a name, or who values his<br /> reputation and_ the welfare of the humblest<br /> scribbler, should show it in the light of his signa-<br /> ture. Show the sweater that he is a sweater, deal<br /> with him as a sweater, make even the general<br /> public recognise him as a sweater, and, without<br /> he be made of wrought iron, or adamant, he will<br /> surely fade and die. Peace to his ashes !<br /> CHARLES KING,<br /> <br /> 7, The Conge, Great Yarmouth.<br /> <br /> <br /> <br /> De<br /> <br /> <br /> <br /> “Al THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> Dictionary of the World’s Press,’ is<br /> <br /> preparing an exhibit for the Chicago<br /> Exhibition of old newspapers. Contributions or<br /> loans may be sent addressed to him, Fleet-street,<br /> London. It is stated by the Queen that he will<br /> establish a permanent museum of old newspapers<br /> in London after the exhibition. There are surely<br /> materials in the British Museum for such an<br /> exhibition.<br /> <br /> N -R. HENRY SELL, compiler of “The<br /> <br /> Mr. James Payn shows all his old dexterity in<br /> his new story “The Stumble on the Threshold,”’<br /> which has been running:through the Queen, and<br /> has just been published by Mr. Horace Cox Whe<br /> tale possesses a strong interest, while its<br /> dénouement is in the highest degree original,<br /> being, we believe, absolutely new in fiction. Not<br /> the least of the many charms of the story is its<br /> inexhaustible fund of humour. In ‘“‘ The Master,”<br /> Mr. Payn has given us a really great creation.<br /> <br /> The book of “The Recollections of Gordon<br /> Hake, Physician,” is simply delightful. Here is<br /> a man over eighty years of age who has always<br /> lived with literary and artistic people of the best<br /> kind, a friendof Trelawny, Walter Savage Landor,<br /> George Borrow, Latham, Rossetti, and to all<br /> those poets, painters, novelists, and writers who<br /> are associated with their names. The book is<br /> filled with anecdotes, and with sharp, caustic,<br /> clever things. To me at least, in such a book as<br /> this, attraction is the chief thing to be considered ;<br /> it proved attractive enough to make me read it<br /> from end to end at a sitting. It is more than<br /> attractive; it is a most valuable contribution to<br /> the literary history of the century.<br /> <br /> There is a strange charm about Wessex and its<br /> people and its dialect. Here is another novel<br /> —“Dark” (Smith and Elder)—belonging to<br /> Devonshire. The story is anonymous; it is<br /> <br /> <br /> <br /> <br />  <br /> <br /> 256<br /> <br /> <br /> <br /> painful; it is lacking in humour ; but it is a true<br /> picture of country life. There is the girl—not<br /> unlike Hardy’s Tess—who loves and sins and<br /> suffers. The author should do much _ better<br /> things than “ Dark,” which, however, is a story<br /> to note and to read.<br /> <br /> The advertisement pages give us a few facts<br /> to note. Mr. James Payn’s new novel is pub-<br /> lished by Mr. Horace Cox—a new departure.<br /> The ‘“ Record Press Limited,” is the title of a<br /> new publishing firm. Mr. Newnes, proprietor<br /> and editor of the Strand and Tit Bits, has<br /> become a publisher with books by Conan Doyle,<br /> Grant Allen, J. E. Muddock, and George Sims.<br /> The continual increase in the number of London<br /> publishers is an indication of the rapid growth,<br /> as well as the enormous extent, of the book<br /> trade.<br /> <br /> The Orchid Seekers, a Story of Adventure and<br /> Peril in Borneo,” by Ashmore Russan and<br /> Frederick Boyle, will shortly be published by<br /> Messrs. Chapman and Hall, and by Messrs<br /> Roberts Brothers, of Boston, U.S.A. It was<br /> published serially in the Boys’ Own Paper.<br /> <br /> “The City and the Land” is a collection of<br /> seven lectures delivered in the spring of the pre-<br /> sent year on the work of the Palestine Exploration<br /> Fund. The lecturers were, Col. Sir Charles Wilson,<br /> Major Conder, R.E., Canon Tristram, Walter<br /> Besant (formerly secretary to the society), Rev.<br /> Dr. Wright, W. M. Flincers Petrie, and Canon<br /> Dalton. The lectures are published for the com-<br /> mittee by A. P. Watt, 2, Paternoster-square.<br /> <br /> The life of Lord Tennyson, by Arthur Waugh,<br /> seems to be accepted as the best biography we are<br /> likely to have until the appearance of that<br /> written with the assistance of the private papers<br /> in the hands of the family. Mr Waugh is per-<br /> fectly modest upon the subject ; he puts forward<br /> his work expressly as one prepared upon facts<br /> within the reach of everybody; he only professes<br /> to have searched into these facts with a little<br /> more care than most people are likely to give.<br /> The result is a good piece of careful work which<br /> will prove acceptable and instructive to every-<br /> body. The book has already gone into its second<br /> edition.<br /> <br /> “ Whither?” by Mrs. E. Francis, in 3 vols.<br /> (Griffith, Farran, and Co.), was published last<br /> month.<br /> <br /> The fourth edition is announced of Messrs.<br /> Gibbons and Uttley’s “Labour Contracts,” a<br /> popular handbook on the law of contracts, for<br /> works and services. It is revised with an<br /> <br /> appendix of statutes: (Crosby Lockwood and<br /> Son).<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> The Fortnightly Review for December con-<br /> tains a powerful and suggestive article by the<br /> Rev. Professor Momerie, called “ Religion—Itg<br /> Future.” It is a significant fact that such an<br /> advanced Broad Churchman as the Rey. Professor<br /> should have been selected to write upon this<br /> subject; but the time has come for speaking<br /> the truth about theology, and Dr. Momerie is<br /> the man to speak it. He is in the Church of<br /> England, but a member of an obscure sect; if<br /> he is wrong in his deductions there are plenty of<br /> Churchmen to set him right, and it is their<br /> bounden duty to do so if possible.<br /> <br /> Mr. Mowbray Marras is responsible for the<br /> Italian adaptation of “Der Schauspieldirektor,”<br /> recently successfully produced, with Mozart’s<br /> music, at the New Olympic Theatre, under the<br /> title of “L’Impresario.” He is likewise the<br /> author of the English version thereof, and both<br /> librettos have been favourably noticed.<br /> <br /> “This Wicked World”? is a final collection of<br /> hitherto unpublished essays by the late Hain<br /> Friswell, Author of ‘“ The Gentle Life.”<br /> There are twenty-one essays in all, presumably,<br /> though the fact is not stated, reprints from<br /> various magazines and journals. If this new<br /> volume achieves anything like the same success<br /> as has been accorded to ‘“‘ The Gentle Life,” now<br /> in its thirty-second edition, it will be a curious<br /> confirmation of the verdict pronounced twenty-<br /> five years ago upon that collection of essays on<br /> similar subjects and similarly treated.<br /> <br /> “Willow and Wattle”’ is the title of a little<br /> volume of poetry by Robert Richardson (Edin-<br /> burgh: John Grant. 1893). The verse is easy<br /> and pleasant to read; the metres are those of the<br /> latest and youngest poets. Asa writer of vers de<br /> société, at least, Mr. Robert Richardson should<br /> have a future before him. Yet at times he can<br /> strike a deeper note in the very pretty lines<br /> called ‘‘ Annette,’ and in a very beautiful ballade<br /> on the “Northern Autumn.” Those who are<br /> curious about young poets and fond of first<br /> editions, which may become scarce and valuable,<br /> should get this little volume without delay.<br /> <br /> Mr. E. J. Goodman has written, in “ The Fate<br /> <br /> of Herbert Wayne” (Chatto and Windus),a | &amp;<br /> <br /> highly readable novel. Reference has already<br /> been made in the Author to the plot of the story. —<br /> Mr. Goodman’s treatment of the theme is fresh ©<br /> and vigorous. The manner in which the tale —<br /> develops shifts suspicions from one person to<br /> another to the end, and all with the most deli-<br /> cate touch, so that the reader must perforce go<br /> finish the book to the last line almost before the<br /> secret is revealed to him.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The novel has been — i<br />  <br /> <br /> ne i<br /> <br /> cH<br /> <br /> ‘in<br /> <br /> Saas<br /> a<br /> <br /> <br /> <br /> ae<br /> <br /> (et<br /> 10<br /> <br /> 1a<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> that journal.<br /> + author, appears in the current number of Cham-<br /> <br /> THE AUTHOR.<br /> <br /> highly successful in serial form, and now as a<br /> book should win numerous readers.<br /> <br /> Headon Hill, whose series of detective stories<br /> is about running to a close in the Million, is<br /> engaged upon a further ser.es of short sturies for<br /> An Indian sketch, by the same<br /> <br /> ber’s Journal.<br /> <br /> “The Book of Delightful and Strange De-<br /> signs, being one hundred facsimile Illustrations<br /> of the Art of the Japanese Stencil-cutter, to<br /> which the gentle reader is introduced by one<br /> <br /> | Andrew W. Tuer, F.S.A., who knows nothing at<br /> <br /> allabout it.”” (Leadenhall Press Co.) The title<br /> islong, but when one gets through it there<br /> <br /> | follows the most extraordinary book ever pub-<br /> <br /> lished. It is a collection of the Japanese stencil<br /> plates used in decorating the cotton stuffs used<br /> in the dress of that people. All kinds of things<br /> are pressed into the service: cranes, bamboos,<br /> tortoises, umbrellas, chrysanthemums, butterflies,<br /> grapes—everything conceivable. Everybody in-<br /> terested in art should look at this book, grotesque<br /> as many of the plates are.<br /> <br /> Mrs. Greet tells her story of the ‘‘ Golden Owl”<br /> (Leadenhall Press Co.) on brown paper, the illus-<br /> trations alone being on white paper. The result<br /> is fatiguing to the eye. But the story charms<br /> away the 1tatigue.<br /> <br /> The “ Divers,” by Hume Nisbet (Adam and<br /> Chacles Black), is astory for boys—a romance of<br /> Polynesia—the only part of the world where the<br /> romance ofadventure may now be found. Fortu-<br /> nately, before romance has vanished from this,<br /> its last haunt upon the earth, the disciples of<br /> Romance have found her and captured her. An<br /> excellent and stirring book for boys.<br /> <br /> Hall Caine’s “Capt&#039;n Davy’s Honeymoon,”<br /> Wich gives its title to the new collection<br /> (Heinemann) of these stories, shows the novelist<br /> ina new light. He can write in more veins than<br /> one. This story is light, fanciful, and humorous.<br /> It is well for an artist to show that he need not<br /> be always painting tragic pictures of strong<br /> emotions,<br /> <br /> Mr. R. Warwick Bond, M.A., University<br /> Extension Lecturer, is preparing a new edition<br /> of a long-neglected poet, William Basse (1602—<br /> 1653). It will be published in a limited edition<br /> by Ellis and Elvey, 29, New Bond-street.<br /> <br /> 25]<br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> Theology.<br /> Bapuam, F. P. The Formation of the Gospels. Second<br /> edition, revised and enlarged. Kegan Paul. 53s.<br /> <br /> Brrecuine, Rev. H. C. Faith, eleven sermons with a<br /> preface. 3s. 6d. Percival and Company.<br /> <br /> Bret, JosepH A., D.D. Through Christ to God.<br /> in scientific theology. Hodder and Stoughton. 6s. 6d.<br /> <br /> Book sy Boox. Popular studies on the Canons of<br /> Scripture. Isbister and Company. 7s. 6d.<br /> <br /> Driver, 8. B., D.D. Sermons on Subjects connected with<br /> the Old Testament.<br /> <br /> EXELL, Rev. J.S. The Biblical Illustrator.<br /> James Nisbet and Co. 7s. 6d.<br /> <br /> Farmer, Jonn. 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(Rulers of India<br /> Series; edited by Sir W. W. Hunter.) At the Claren-<br /> don Press, London, Henry Frowde, 2s. 6d.<br /> <br /> ALLEYNE, Forster M. All Saints’, Clifton; The Church,<br /> its History, andits Octaves. With a preface by the<br /> Very Rev. R. W. Randall, M.A., Dean of Chichester.<br /> Tlustrated. W.C. Hemmons, Bristol.<br /> <br /> Boyp-CarPentmer, H., Green, G. E. Outlines of British<br /> History, for pupil teachers and matriculation students.<br /> Joseph Hughes and Co., Pilgrim-street, H.C. 2s. 6d.<br /> <br /> Bremont, ANNA Comtesse DE. The World of Music.<br /> 3 vols. The great singers, the great virtuosi, the great<br /> composers. W. W. Gibbings, Bury-street, W.C.<br /> <br /> Brieut, Rev. Wituiam. The Canon of the First Four<br /> General Councils of Nica, Constantinople, Ephesus,<br /> and Chalcedon. With notes. 2ndedition. Oxford, at<br /> the Clarendon Press. London, Henry Frowde. 7s. 6d.<br /> <br /> Brooxn, Stoprorp A. The History of NHarly English<br /> Literature, being the History of English Poetry from<br /> its beginnings to the accession of King Ailfred. 2 vols.<br /> Methuen. 20s. net.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 258 THE AUTHOR.<br /> <br /> CHICHESTER, BisHop or. Memories of James Chapman,<br /> D.D., first Bishop of Colombo, with a prefatory letter.<br /> Skeffington.<br /> <br /> CuowEs, Aticge A. Charles Knight: aSketch. Bentley.<br /> <br /> Darwin, Francis. Charles Darwin: his life told in an<br /> autobiographical chapter and in a selected series of his<br /> published letters. Edited by his son. With portrait.<br /> John Murray. 7s. 6d.<br /> <br /> Dykes, J. OswaLp, D.D. Autobiography of the late<br /> Donald Fraser, D.D., and a selection from his ser-<br /> mons. With a preface by J. Nisbet and Co. 3s. 6d.<br /> <br /> HarveERN, Rey. T. B. Church Discipline, its History and<br /> Present Aspect. Simpkin, Marshall.<br /> <br /> HeEnvDERSON, E. F. 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Paper covers.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Tres, JOHN, AND GUNN, ALEXANDER. Abbeys, Castles,<br /> and Ancient Halls of England and Wales ; thoir Legen-<br /> dary Lore and Popular History. Revised, with illustra-<br /> tions from photogravures. 3 vols., North, South, and<br /> Midland. F. Warne. 18s.<br /> <br /> Watrorp, L. B. Twelve English Authoresses. Long-<br /> mans. 4s. 6d.<br /> <br /> WESTMINSTER ScHooL RecisTER, THE, from 1764 to<br /> 1883, compiled and edited, with biographical notes, by<br /> G. F. Russell Barker, of Lincoln’s Inn, and Alan H.<br /> Stenning, with Appendices. Macmillan. tos. 6d.<br /> <br /> Wricut, THomas. Life of William Cowper, Principal of<br /> Cowper School, Olney. Fisher Unwin.<br /> <br /> General Literature.<br /> <br /> ABRAHAM, FeLIx. 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Lowes.<br /> <br /> la<br /> <br /> (1% DicrionaRy OF ARCHITECTURE, THE.<br /> <br /> ™ Dicsy-Picorr, T.<br /> <br /> “) Drayson, Masor-GENERAL.<br /> <br /> <br /> <br /> <br /> <br /> panies, considered from a Parliamentary and legal point<br /> of view ; a report to the London County Council.<br /> <br /> Dawson, Rev. W. J. Quest and Vision: Essays in Life<br /> and Literature. Hodder and Stoughton. 33s. 6d.<br /> <br /> Revolution and Reaction in<br /> Modern France. George Allen, Bell-yard, Temple Bar. 5s.<br /> <br /> Dickson, Nicwouas. The Elder at the Plate. A collec-<br /> tion of anecdotes and _ incidents. 10th thousand.<br /> Revised and enlarged. Morison Brothers, Glasgow.<br /> Paper covers. Is.<br /> <br /> Concluding Part,<br /> <br /> No. XXIII. Published by the Architectural Publica-<br /> tion Society. Printed by Whiting and Co. Paper<br /> covers. £3 338.<br /> <br /> London Birds and London Insects<br /> (revised edition), and other sketches. H. Porter,<br /> Princes-street, Cavendish-square. 7s. 6d.<br /> <br /> Dirrosr’s ANNUAL FOR 1893. Diprose and Bateman,<br /> Sheffield-street, Lincoln’s-inn-fields. Paper covers, Is.<br /> <br /> The Art of Practical Whist.<br /> 5th edition. Routledge.<br /> <br /> Dyer, T. F. Tuistteton. Church-lore Gleanings.<br /> Innes, Bedford-street, W.C. 55.<br /> <br /> Ecrerton, Rev. J. C. Sussex Folk and Sussex Ways.<br /> Edited by the Rev. Henry Wace, D.D., with a preface<br /> by the Rey. Harry Jones, M.A. A new edition, with<br /> iuustrations. Chatto and Windus.<br /> <br /> AS Ds<br /> <br /> calling at Madeira. George Philip. 3s.<br /> <br /> Enuiorr, O. L. The Tariff Controversy in the United<br /> States, 1789-1833. Palo Alto, California. Published<br /> by the University. 1 dol.<br /> <br /> Exiuis, Havyetock. The Nationalisation of Health.<br /> Fisher Unwin. 3s. 6d.<br /> <br /> Ericusun, J. Eric. On Hospital Federation for Clinical<br /> Purposes, a suggestion. H.K. Lewis. 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Churchill, New Burlington-—<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 263<br /> <br /> The Sociefy of Authors (Sncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGE MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Sir Epwin ARNOLD, K.C.LE., CSE<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A BECKETT.<br /> <br /> RosBeRT BATEMAN.<br /> <br /> Sir Henry Berens, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AvuGusTINE BrRRELL, M.P. |<br /> R. D. BLACKMORE.<br /> <br /> Rev. Pror. Bonney, F.RB.S.<br /> <br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Haut CAINeE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> Austin Dosson.<br /> A. W. DUBOURG.<br /> <br /> HERBERT GARDNER,<br /> <br /> RicHARD GARNETT,<br /> . EDMUND GOSSE.<br /> <br /> H. Riper HAGGARD.<br /> <br /> Tuomas Harpy.<br /> <br /> JEROME K. 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H. Mippieton-WakeE F.LS. EpMuUND YATES.<br /> <br /> Hon. Counsel—E. M. UNDERDOWN, QC:<br /> <br /> Solicitors—Messrs FreLp, Roscoz, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HERBERT THRING, B.A.<br /> 4, PoRTUGAL STREET, Lincoxtn’s INN FIELDS, W.C.<br /> <br /> THE AUTHOR&#039;S HAIRLESS PAPER-PAD A BOOK FOR MEMBERS AND CANDIDATES. {<br /> <br /> (Tue LeapENHALL PREss Lrp., H.C.)<br /> ee<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Etre A Pe<br /> <br /> (SONTRIBUTIONS WANTED for the New<br /> SPORTING and DRAMATIC PAPER,<br /> <br /> “ PLEASURES, AFOOT, AFIELD, &amp; AFLOAT.”<br /> <br /> NEW EDITION ENLARGED.<br /> <br /> MYSTERY OF PAIN, DEATH, AND SIN.<br /> By Rev. C. VOYSEY, B.A.<br /> To vindicate on grounds of pure reason the Goodness and<br /> Love of God in ordaining human lot.<br /> WILLIAMS AND NORGATE. Price 7s. 6d.<br /> <br /> Twenty-fourth Issue, Super-royal 8vo., price 15s., post free.<br /> <br /> ee CLERICAL DIRECTORY 1892.<br /> <br /> Being a Statistical Book of Reference for facts relating to the<br /> Clergy in England, Wales, Scotland, Ireland, and the Colonies ; with<br /> a fuller Index relating to Parishes and Benefices than any ever yet<br /> given to the public.<br /> <br /> HorAcE Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br /> 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY<br /> <br /> OF THE<br /> <br /> BRITISH PARLIAMENT,<br /> <br /> From the EARLIEST PERIODS to the PRESENT TIME.<br /> With Notices of Eminent Parliamentary Men,<br /> their Oratory.<br /> <br /> and Exampl+s of<br /> Compiled from Authentic Sources by<br /> <br /> GEHKEORGE HENRY JHNNINGS. j<br /> CONTENTS : . \<br /> Part L—Rise and Progress of Parliamentary Institutions.<br /> <br /> Parr Il.—Personal Anecdotes: Sir Thomas More to John Morley.<br /> <br /> Part Il].—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br /> Strangers; Publication of Debates. 3. Parliamentary<br /> Usages, &amp;e. 4. Varieties.<br /> <br /> APPENDIX.—(A) Lists of the Parliaments of England and of the<br /> United Kingdom. (B) Speakers of the House of<br /> Commons. 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446	https://historysoa.com/items/show/446	The Author, Vol. 03 Issue 08 (January 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+08+%28January+1893%29"><em>The Author</em>, Vol. 03 Issue 08 (January 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-01-02-The-Author-3-8					265–304																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-01-02">1893-01-02</a>							8			18930102	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 8.] JANUARY 2, 1803. [Prick SIXPENCE.<br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE | PAGE<br /> ) Warnings ae tie .. 267 | Notes and News. By the Editor... = ake oe ene wow 284<br /> | How to Use the Society = ies Pee ee =e aoe cre | Ethics of Criticism ... oe ee Bee see ies ae «se 288<br /> # The Authors’ Syndicate... ae eS Ce oe es .. 268 | Authors, Publishers, and Reviewers... ee a es wes 288<br /> | Notices... ee 269 | Correspondence—<br /> The Annual Meeting— | 2 Bs 970 | 1.—An Omnium Gatherum for the New Year... 0 « se. 290<br /> a aaa Retiring Chairman... —... wee eee ee SIO 2.—Religious Firms Pee ok Re er eee OD<br /> ‘ y era | 3.—Seale Pay... ae o. ee vse ay ee ae |<br /> 1.—Canadian Copyright a aa ae = me + 275 | 3 mhe Reotistical Amateur ... vas 591<br /> 2.—Contributors’ Remuneration... 0. ss eve ve 276 EP Opipiahers’ Aereanianita, LL 292<br /> 3.—Magazines and Copyright Pee eke ere ene oe a | 6.—The Public Criticism of Books... 9.1 sve ewe, te 292<br /> = v. eget ee au 7.—A Literary Scholarship ... 00 4. se sue aus, ane 298<br /> Sia Sve ot se on Se sre 978 | een ere ieee a ove eo Ps a<br /> ee Oe<br /> §8.—American Copyright in New Editions... a &amp; cae 11.—The Magazines : a t) 295<br /> - By fh Bo Woveton. 3:5 se eas bee ge ame ti opie a i aon<br /> “Very Inaccurate and Very Unreliable.” By S.S. Sprigge ... 279 | ae : Be Bae ore ec<br /> Mee @ethor” and the “Bookseller”... ... ss wwe wee 280 | At the Sign of the Sulliors ROMs Sas Ciceeh ey wan aes soe 295<br /> A Rejected Author ... ae ws Be ss Ps nee sc. 28) New Books and New Editions... ore Son oe os see 296<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 4<br /> § 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> Literature and the Pension List. By W. Morris Coxtns, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 35.<br /> <br /> The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> the Society. Is.<br /> <br /> The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> The Various Methods of Publication. By S. Squire Spricas. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 33s.<br /> <br /> Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment, With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. 15. 6d.<br /> <br /> <br /> <br /> <br /> 266<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated),<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHEORGHE MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arnoxp, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BaRRIE.<br /> <br /> A. W. A Becxetr.<br /> <br /> RoBERT BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLacKMORE.<br /> <br /> Rev. Pror. Bonney, F.RB.S.<br /> Lord BRABOURNE.<br /> <br /> JameEs Bryce, M.P.<br /> <br /> Hatt CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. 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Ross.<br /> <br /> Gzorase Auaustus SALA.<br /> <br /> W. Baptiste Scoonss.<br /> <br /> G. R. Sims.<br /> <br /> S. Squire SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy Tomas.<br /> <br /> H. D. Trarit, D.C.L.<br /> <br /> Baron HENRY DE Worms,<br /> F.R.S.<br /> <br /> EpMuND YATES.<br /> <br /> MP.<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HerBert THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortugaL Street, Lincoun’s Inn Freups, W.C.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGE<br /> <br /> BEN RY JBINNiWN Ge.<br /> <br /> CONTENTS.<br /> <br /> Part I.—Riseand Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Parr III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 83. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> Apprnprx.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> ‘“‘ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ’—Scotsman.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.” —Globe.<br /> <br /> ‘‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> eampaign, is incomparable.”—Sala’s Journal.<br /> <br /> <br /> <br /> “Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.&quot;—Kentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> <br /> ‘“Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> leisurely entertainment, which is not less enjoyable from being allied<br /> with edification.” —Liverpool Courier.<br /> <br /> <br /> <br /> “ Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br /> <br /> 8<br /> |<br /> |<br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> .<br /> <br /> <br /> <br /> <br /> <br /> The #utbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED<br /> <br /> BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vor. IIL.—No. 8.]<br /> <br /> JANUARY 2, 1893.<br /> <br /> [PricE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responstble. :<br /> <br /> <br /> <br /> HE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post, and requests that all members not<br /> <br /> receiving an answer to important communications<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has been proved to have<br /> been committed, it is reasonab’e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> <br /> <br /> ol<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> <br /> <br /> Sramp your AGREEMENTS.—Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> 10s. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> ————<br /> <br /> AsScERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br /> Remember that an arrangement as to a joint<br /> <br /> VOL, Ill.<br /> <br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> ——<br /> <br /> Lirerary Acents.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. You place your property<br /> almost unreservedly in his hands. Your only<br /> safety is in consulting the Society, or some friend<br /> who has had personal experience of the agent.<br /> <br /> Sa<br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> seven years’ work upon thedangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) Never enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Nuver accept any proposal of royalty<br /> until you have ascertained what the<br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS, has been refused by<br /> respectable houses, pay others, whatever<br /> <br /> x 2<br /> <br /> <br /> 268<br /> <br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights. Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher. If the publisher<br /> insists, take away the MS. and offer it<br /> to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Portugat Street, Linconn’s Inn FIevps.<br /> <br /> ee<br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> THE AUTHOR.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> ec<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> R. Colles desires to inform readers of the<br /> <br /> N Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> nature of the services rendered, but the<br /> charges are reduced to the lowest possible<br /> amount compatible with efficiency. Mean-<br /> while members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis, and<br /> when desirous of seeing Mr. Colles, they<br /> must write for an appointment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands ;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> 7. That in the face of the present competition,<br /> authors will do well to moderate their<br /> expectations.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> To this it may be added, that where advice is<br /> sought, the Secretary of the Society, and not the<br /> Syndicate, must be consulted.<br /> <br /> NOTICES.<br /> <br /> ———— &gt;<br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest: 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be of use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> <br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ¢<br /> <br /> <br /> <br /> 269<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> Ss<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> &gt;<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble 5f<br /> sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> se<br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding“has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of ‘‘doimg sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> THE<br /> <br /> 270<br /> <br /> Some remarks have been made upon the amount<br /> charged in the “Cost of Production’”’ for<br /> advertising. Ofcourse, we have not included any<br /> suins which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> secs<br /> <br /> THE ANNUAL MEETING.<br /> <br /> HE annual meeting of the Society was held<br /> aL on Thursday, Dec. 15th, in the hall of the<br /> Medical Association, Hanover-square.<br /> The chair was taken by Sir Frederick Pollock.<br /> The business of the meeting was formal except<br /> that an address was read by the retiring chairman<br /> on the history and progress of the Society since<br /> its foundation in the autumn of 1883.<br /> This address will be placed in the hands of<br /> every member of the Society. In these columns<br /> we need only quote passages.<br /> <br /> LireRARY PROPERTY,<br /> <br /> “ Now let us interrupt our history for a moment<br /> to say a word about literary property and its<br /> bearing upon the higher interests of literature.<br /> You have all observed, during the last few years,<br /> when we have been active in this direction, the<br /> constant stream of abuse, detraction, and wilful<br /> misrepresentation of our work that has been<br /> poured upon us continually. Chiefly we have<br /> been reviled for daring to ask what our own pro-<br /> perty means. This abuse shows, first, the<br /> hostility of those who desire to conceal and hush<br /> up the truth as regards the buying and selling<br /> of books. That is a matter of course: such<br /> hostility was to be expected, and, with all the<br /> misrepresentations that can be devised and<br /> invented, must be taken as part of the day’s<br /> work. It has been, as you perha;s know, a good<br /> part of my day’s work, during the last five years,<br /> to silence this opposition. I am happy to think<br /> that every such misrepresentation published in a<br /> newspaper or in a magazine has only resulted in<br /> an accession of new members and in an increase<br /> in public confidence. But, in addition to the<br /> opposition of interested persons, we have had to<br /> encounter a very unexpected and remarkable<br /> <br /> AUTHOR.<br /> <br /> opposition from those who ought to be our friends<br /> —certain authors and certain journalists. Into<br /> the history and motives and reason of this<br /> opposition I should like with your permission to<br /> inquire.<br /> <br /> “There has existed for a hundred and fifty<br /> years at least, and there still lingers among us, a<br /> feeling that it is unworthy the dignity of letters<br /> to take any account at all of the commercial or<br /> pecuniary side. No one, you will please to<br /> remark, has ever thought of reproaching the<br /> barrister, the solicitor, the physician, the surgeon,<br /> the painter, the sculptor, the actor, the singer,<br /> the musician, the composer, the architect, the<br /> chemist, the physicist, the engineer, the pro-<br /> fessor, the teacher, the clergyman, or any other<br /> kind of brain worker that one can mention, with<br /> taking fees or salaries or money for his work;<br /> nor does anyone reproach these men with looking<br /> after their fees and getting rich if they can.<br /> Nor does anyone suggest that to consider the<br /> subject of payment very carefully—to take<br /> ordinary precautions against dishonesty—brings<br /> discredit on anyone who does so; nor does any-<br /> one call that barrister unworthy of the Bar who<br /> expects large fees in proportion to his name<br /> and his ability; nor does anyone call that<br /> painter a tradesman whose price advances with<br /> his reputation. I beg you to consider this<br /> poit very carefully. For the moment any<br /> author begins to make practical investigation<br /> into the value—the monetary value—of the work<br /> which he puts upon the market—a hundred<br /> voices arise, from those of his own craft as well<br /> as from those who live by administering his pro-<br /> perty—voices which cry out upon the sordidness,<br /> the meanness, the degradation of turning lite-<br /> rature into a trade. We hear, I say, this kind<br /> of talk from our own ranks—though, one must<br /> own, chiefly from those who never had an oppor-<br /> tunity of discovermg what literary property<br /> means. Does, I ask, this cry mean anything at<br /> all? Well: first of all, it manifestly means a<br /> confusion of ideas. There are two values of<br /> literary work—distinct, separate; not commen-<br /> surable—they cannot be measured—they cannot<br /> be considered together. The one is the literary<br /> value of a work—its artistic, poetic, dramatic<br /> value; its value of accuracy, of construction, of<br /> presentation, of novelty, of style, of magnetism.<br /> On that value is based the real position of every<br /> writer in his own generation, and the estimate of<br /> him, should he survive, for generations to follow.<br /> Ido not greatly blame those who cry out upon<br /> the connection of literature with trade: they are<br /> jealous, and rightly jealous, for the honour of<br /> letiers. We will acknowledge so much. But<br /> the confusion lies in not understanding that every<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> man who takes money for whatever he makes or<br /> does may be regarded—not offensively—as a<br /> tradesman ; that the making of a thing need have<br /> nothing whatever to do with the price it will<br /> command; and that this price in the case of a<br /> book cannot be measured by the literary or artistic<br /> value.<br /> <br /> “Tn other words, while an artist is at work<br /> upon a poem, a drama, or a romance, this aspect<br /> of his work, and this alone, is in his mind, other-<br /> wise his work would be naught.<br /> <br /> “ But, once finished and ready for production,<br /> then comes in the other value—the commercial<br /> value, which is a distinct thing. Here the artist<br /> ceases and the man of business begins. Hither<br /> the man of business begins at this point or the<br /> next steps of that artist infallibly bring him to<br /> disaster, or at least the partial loss of that com-<br /> mercial value. Remember that any man who<br /> has to sell a thing must make himself acquainted<br /> with its value, or he will be—what? Call it<br /> what you please—over-reached, deluded, cheated.<br /> That is a recognised rule in every other kind of<br /> business. Let us do our best to make it recog-<br /> nised in our own.<br /> <br /> “ Apart from this confusion of ideas between<br /> literary and commercial value, there is another<br /> and a secondary reason for this feeling. For<br /> two hundred years, at least, contempt of every<br /> kind has been poured upon the literary hack, who<br /> is, poor wretch, the unsuccessful author. Why?<br /> We do not pour contempt upon the unsuccessful<br /> painter who has to make the pot boil with pic-<br /> tures at 15s. each. Clive Newcome came down<br /> to that, and a very pitiful, tearful scene it is—full<br /> of pity and of tears. If he had beena literary<br /> hack, where would have been the pity and the<br /> tears? In my experience at the Society, I have<br /> come across many most pitiful cases, where the<br /> man who has failed must lead a life which is one<br /> long tragedy cf grinding, miserable, nnderpaid<br /> work, with no hope and no relief possible. One<br /> long tragedy of endurance and hardship. I am<br /> not accusing anyone ; I call no names ; very likely<br /> such a man gets all he deserves; his are the poor<br /> wages of incompetence; his is the servitude of<br /> the lowest work ; his is the contumely of hopeless<br /> poverty; his is the derision of the critic. But<br /> we laugh at such a wretch, and call him a literary<br /> hack. Why, I ask, whenwe pity the unsuccessful<br /> in every other line, do we laugh at and despise<br /> the unsuccessful author ¥<br /> <br /> “ Once more, this contempt—treal or pretended<br /> —for money. What does it mean? Sir Walter<br /> Scott did not despise the income which he made<br /> by his books; nor did Byron; nor did Dickens,<br /> Thackeray, George Eliot, Charles Reade, Wilkie<br /> Collins, Macaulay—nor, in fact, any single man<br /> <br /> 271<br /> <br /> or woman in the history of letters who has ever<br /> succeeded. This pretended contempt, then, does<br /> it belong to those who have not succeeded? It<br /> is sometimes assumed by them; more often one<br /> finds it in articles written for certain papers by<br /> sentimental ladies whoare not authors. Wherever<br /> it is found, it is always lingering somewhere—<br /> always we come upon this feelmg, ridiculous,<br /> senseless, and baseless—that it is beneath the<br /> dignity of an author to manage his business<br /> matters as a man of business should, with the<br /> same regard for equity in his agreement, the<br /> same resolution to know what is meant by both<br /> sides of an agreement, and the same jealousy as<br /> to assigning the administration of his property.<br /> “Again, how did the contempt arise? It<br /> came to us as a heritage of the last century. In<br /> the course of our investigations into the history<br /> of literary property—the result of which will,<br /> I hope, appear some day in volume form—I<br /> recently caused a research to be made into the<br /> business side of literature in the last century.<br /> Publishers were not then men of education and<br /> knowledge, as many of them are at the present<br /> moment; they were not advised by scholars, men<br /> of taste and intuition; the market, compared<br /> with that of the present day, was inconceivably<br /> small; there were great risks due to all these<br /> causes. The practice, therefore, was, in view of<br /> these risks, to pay the author so much for his<br /> book right out, and to expect a successful book to<br /> balance, and more than balance, one that was<br /> unsuccessful. Therefore they bought the books<br /> they published at the lowest price they could<br /> persuade the author to accept. Therefore—the<br /> conclusion follows like the next line in Euclid—<br /> the author began to appear to the popular imagi-<br /> nation as a suppliant, standing hat in hand<br /> beseeching the generosity of the bookseller.<br /> Physician and barrister stood upright, taking the<br /> recognised fee. The author bent a humble back,<br /> holding his hat in one humble hand, while he held<br /> out the other humble hand for as many guineas as<br /> he could get. That, I say, was the popular view<br /> of the author. And it still lmgers among us.<br /> There are also, in other callings, if we think of it,<br /> other professional contempts. Everybody ac-<br /> knowledges that teaching is a noble work, but<br /> everybody formerly despised the schoolmaster<br /> because he was always flogging boys—no imagi-<br /> nation can regard with honour and envy the man<br /> who is all day long caning and flogging. The<br /> law is a noble study, but everybody formerly<br /> despised the attorney, with whom the barrister<br /> would neither shake hands nor sit at table.<br /> Medicine is a noble study, but the surgeon was<br /> formerly despised because in former days he was<br /> closely connected with the barber. Do not let us<br /> <br /> <br /> THE<br /> <br /> 272<br /> <br /> be surprised, therefore, if the author who had<br /> to take whatever was given him came to be<br /> regarded as a poor helpless suppliant.<br /> <br /> “The kind of language even now sometimes<br /> used illustrates a lingering of the old feeling.<br /> We constantly read here and there of the<br /> generosity of a publisher. My friends, let us<br /> henceforth resolve to insist that we do not want<br /> their generosity ; that we will not have it; that<br /> we are not beggars and suppliants, and that what<br /> we want is the administration of our own pro-<br /> perty—or its purchase—on fair, just, and honour-<br /> able terms. Let us remember that the so-called<br /> generosity must be either a dole—an alms—over<br /> and above his just claim, in which case it degrades<br /> the author to take it and robs the publisher who<br /> gives it; or it is a payment under the just value,<br /> when it degrades the publisher who gives, while<br /> it robs the author who takes it.”<br /> <br /> ImpRoVEMENT IN PusiisHinc Mernops.<br /> <br /> “T am now quite certain, and I advance the<br /> statement with great satisfaction, that very con-<br /> siderable improvement has taken place of late in<br /> respect to these methods: solely—mind—in con-<br /> sequence of the action of the Society. We have<br /> brought no criminal action against anyone. This<br /> fact is due less to our own wishes than to the<br /> extreme unwillingness of the victims to prosecute.<br /> Better, however, than any criminal prosecution<br /> has been the publication of the facts. These have<br /> awakened a certain amount of public opinion upon<br /> the subject: they have made authors suspicious—<br /> now suspicion is itself a power; and unscrupulous<br /> persons dread nothing so much as publicity of<br /> their methods. Moreover, the Society, it is<br /> known, has been large:y instrumental in keeping<br /> authors out of bad hands. The greatest encourage-<br /> ment to virtue is to make its culture and practice<br /> profitable. As regards one house guilty of many<br /> corrupt things, we were so “abundantly blessed”<br /> that in two or three years, as has been told me by<br /> our secretary, we were able to keep some thousands<br /> of pounds’ worth of work out of their hands. And<br /> as regards another house, which proposes to those<br /> who go there a form of agreement that is a<br /> mockery of the human understanding, our<br /> secretary only a few weeks ago kept away three<br /> victims in one week, This method of carrying<br /> on war these people do not like, and the wider<br /> the publicity we give tu their practices; the<br /> greater the suspicion we awaken ; the more they<br /> find their cdientéle diminish ; the more honest they<br /> become. Our weapons, indeed, are more certain<br /> than any court of law—that can punish ; we can<br /> prevent. There are other considerations that<br /> make strongly for us. For instance, when a man<br /> has reached a certain social level, he no longer<br /> <br /> AUTHOR.<br /> <br /> likes to do things which may be detected and<br /> exposed, though he might have gone on doing<br /> them so long as there was no danger of their<br /> being exposed. And, again, there are things—<br /> fraudulent things—which get introduced bit by<br /> bit, and become gradually reconciled to the<br /> conscience until they are assumed to be right<br /> and proper—the true interpretation of an agree.<br /> ment—the custom of the trade—and so forth—<br /> when these things are set forth in their true light,<br /> and exposed and held up to view for the public<br /> derision, and it is perceived that they can no<br /> longer be defended—then all those men who<br /> respect themselves and desire the public respect<br /> make haste to abandon these practices. In this<br /> way, and without going into court more than<br /> once or twice, though in a great many instances<br /> an action has been proposed as an alternative, we<br /> have succeeded, not only in procuring substantial<br /> justice in. many cases for our clients, but we have<br /> also done a great deal to put a stop to the former<br /> prevalent abuses.<br /> <br /> ‘Another point in our favour has been the<br /> extreme moderation of our demands. We have<br /> claimed, in fact, so far, only three points: (1)<br /> that we must have the right of audit; (2) that<br /> in any agreement based on ro alties we must<br /> know what the agreement gives to either side;<br /> and (3) that there must be no secret profits, which<br /> are fraudulent. Imagine, if you can, two men in<br /> the City venturing on a joint enterprise, and one<br /> of the partners—the managing partner—refusing<br /> these conditions! You cannot imagine such a<br /> thing. It is impossible to imagine such a thing.<br /> Such a man would be stamped, at once, as one<br /> who intended to overreach and cheat his partner.”<br /> <br /> Extent oF Literary Property.<br /> <br /> “We have also made a careful and prolonged<br /> inquiry into the very difficult subject of the<br /> present nature and extent of literary property.<br /> By the passing of the American International<br /> Copyright Act a writer of importance now ad-<br /> dresses an audience drawn from a _ hundred<br /> million of English-speaking people. Remember<br /> that never before in the history ot the world has<br /> there been such an audience. Taere were doubt-<br /> less more than a hnndred millions under the<br /> Roman rule round the shores of the Mediter-<br /> ranean, but they spoke many different languages.<br /> We have now this enormous multitude, all, with<br /> very few exceptions, able to read, and all reading.<br /> Twenty years ago they read the weekly paper;<br /> there are many who still read nothing more. Now<br /> that no longer satisfies the majority. Every day<br /> makes it plainer and clearer that we have arrived<br /> at a time when the whole of this multitude, which<br /> in fifty years time will be two hundred millions,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> will be reading books. What kind of books? All<br /> kinds, good and bad, but mostly good ; they will<br /> prefer good books to bad. Even now the direct<br /> road to popularity is by dramatic strength, clear<br /> vision, clear dialogue—and this, whether a man<br /> write a play, a poem, a history, or a novel. We<br /> see such a magazine as the Strand suddenly<br /> achieving a circulation reckoned by hundreds of<br /> thousands while our old magazines creep along<br /> with a circulation of—what? Two thousand ?—<br /> Five thousand? Ten thousand? How is this<br /> popularity achieved? By pandering to the low,<br /> gross, coarse taste commonly attributed to the<br /> multitude? Not at all. But by giving them<br /> dramatic work—stories which hold and interest<br /> them—essays which speak clearly—work that<br /> somehow seems to have a message. If we want<br /> a formula or golden rule for arriving at popu-<br /> larity, I should propose this. ‘Let the work<br /> havea message. Let it havea thing to say, a story<br /> to tell, a Man or Woman to present, a lesson to<br /> deliver, clear, strong, unmistakable.’<br /> <br /> “The demand for reading, then, is enormous,<br /> and it increases every day. I see plainly—as<br /> plainly as eyes can see—a time—it is even now<br /> already upon us—when the popular writer—the<br /> novelist—the poet, the dramatist, the historian,<br /> the physicist, the essayist—will command such an<br /> audience—so vast an audience—as he has never<br /> yet even conceived as possible. Such a writer as<br /> Dickens, if he were living now, would command an<br /> audience—-all of whom would buy his works—of<br /> twenty millions at least. The world has never<br /> yet witnessed such a popularity—so wide spread<br /> <br /> —as awaits the successor of Dickens in the<br /> affections of the English-speaking races. This<br /> <br /> consideration must surely encourage us to perse-<br /> vere in our endeavours after the independence of<br /> our calling! And do not think that this enormous<br /> demand is for fiction alone. One of the things<br /> charged upon us is that we exist for novelists<br /> alone. That is because literary property is not yet<br /> understood atall. As a fact educational literature<br /> is a much larger branch than fiction. But for<br /> science, history—everything—except, perhaps<br /> poetry—the demand is leaping forward year after<br /> year In a most surprising manner. Now, im order<br /> to meet this enormous demand, which has actually<br /> begun and will increase more and more—a claim<br /> which we alone can meet and satisfy—I say that<br /> we must demand and that we must have a read-<br /> justment of the old machinery—a reconsideration<br /> of the old methods—a new appeal to principles of<br /> equity and fair play.’’<br /> <br /> <br /> <br /> WHAT HAS BEEN DONE.<br /> “To sum up, we have reduced our Copyright<br /> Law from chaos to order; we have investigated<br /> VOL. III,<br /> <br /> AUTHOR.<br /> <br /> 273<br /> <br /> and made public the various Methods of Publish-<br /> ing, and have shown what each means; we have<br /> placed in the hands of every author the means of<br /> ascertaining for himself what his property may<br /> mean: we have examined and exposed the facts<br /> connected with the Civil Pension List; we have<br /> stopped an attempt to keep novelists out of that<br /> List ; we have established a central office where a<br /> Bureau for information and advice of all kinds is<br /> freely given; we bring for the first time authors<br /> together at our annual réunion ; we have estab-<br /> lished a journal for the carrying out of our own<br /> purposes, and the record of facts connected with<br /> these purposes; we have so far eained the con-<br /> fidence of men and women of letters that we<br /> have enlisted 900 members, among whom are<br /> nearly all the leading men and women in every<br /> single branch of letters. That is, I submit,<br /> something to have done. Besides these things,<br /> which are real achievements to which we may<br /> fairly point with pride, there are off-sets,<br /> independent branches of our work, not coutrolled<br /> by the Committee. There is the Authors’ Club,<br /> now fairly established, and in a most hopeful<br /> condition ; there is the Writers’ Club for ladies,<br /> also, { believe, in a flourishing condition; there<br /> is the Authors’ Syndicate, which undertakes to<br /> take all the trouble of your business affairs off<br /> your hands.”<br /> <br /> Tur FUTURE oF THE SOCIETY.<br /> <br /> “What do we intend to do in the future?<br /> Here I must speak for myself. I cannot speak<br /> for the council, but I should like to tell you what<br /> I personally hope will be the development of the<br /> society. First, I look for the enlargement of the<br /> society to four times, ten times its present<br /> numbers. Every one who writes—the journalists<br /> who lead the thought of the world—the teachers<br /> of all kinds—the scientific men, the medical<br /> men, the theologians, the creators in imaginative<br /> work—every one who writes a single book should<br /> consider it his duty to belong to us. With this<br /> extension of our numbers we shall create funds<br /> for special purposes, for fighting actions if neces-<br /> sary. There are certain disputed points which<br /> can only be settled in the courts. We shall give<br /> our journal wider aims; we shall give it, even<br /> while it continues to be the organ for the Defence<br /> of Literary property, a more literary character.<br /> We shall also, which I should very much like<br /> to see, establish an Institute akin to the Law<br /> Institute—it might be called the Authors’ House<br /> —which should be a place where members might<br /> find books of reference, and a place for quiet<br /> work, where they could consult the officers of the<br /> Society, and each other—the head-quarters, in<br /> short, of our members,<br /> <br /> <br /> <br /> <br /> <br /> <br /> 274 THE<br /> <br /> The next thing that I want—even more than the<br /> Tn: titute—is a Pension Fund. That, I see plainly,<br /> is above all to be desired. I want a Pension Fund<br /> such as that which the Socicté de Gens de Lettres,<br /> in Paris, has established, where every one in his<br /> turn receives a pension, which is not a dole or a<br /> charity, but a right. The member is not obliged<br /> to take that pension: if he chooses he can refuse<br /> it—then it gves to swell the pensions of those who<br /> want the assistance. We have been too much<br /> occupied during these last years for this Fund to<br /> be so much as started. Perhaps, however, the<br /> committee may see their way at no distant period<br /> to attempt the thing. A Pension Fund is abso-<br /> lutely necessary for the completion of the<br /> Independence of Literature.<br /> <br /> “T am also very much of opinion—an opinion<br /> in which I confess that I am not joined by all my<br /> colleagues of the council—that an Academy of our<br /> own, not a slavish copy of the French Academy,<br /> might prove of great service to our literature.<br /> I will not now stop to explain why I think so. I wish<br /> only to place on record the fact that I do think so.<br /> <br /> “‘T have also, on several oc asions, stated an<br /> opinion that the national distinctions should be<br /> as much open to men and women of letters as<br /> they are to soldiers and lawyers and engineers.<br /> Here, again, I have not been able to carry with<br /> me all my colleagues. I will therefore only<br /> remind you that the people of every country are<br /> accustomed to consider those men and women<br /> worthy of honour whom the State honours, and<br /> those men and women unworthy of honour whom<br /> the State refuses to honour. I will also remind<br /> you that it is very good for the people to honour<br /> Literature. But in this country men and women<br /> of letters are not honoured by the State. The<br /> conclusion seems to me to be obvious. I ask your<br /> permission to place on record the opinion I have<br /> myself formed.<br /> <br /> “T desire, next, that the Society should be<br /> officially recognised as the head-quarters of the<br /> literary calling, as the Royal Academy of Arts,<br /> the College of Physicians, the College of Surgeons,<br /> the Institute of Civil Engineers, are recognised.<br /> Hitherto that has not been done. I think we<br /> ought to endeavour, in every way possible, to<br /> obtain this recognition. With it should come<br /> the registration of book, the registration of titles,<br /> and all the official acts connected with literature.<br /> Especially I think that the Society should be<br /> officially consulted in the administration of that<br /> part of the Civil Pension List which belongs to<br /> literature.”<br /> <br /> Some CHARACTERISTICS OF LitpRARY MEN.<br /> <br /> “During this intimate experience of our<br /> craft, which it has been my, singular privilege to<br /> <br /> AUTHOR.<br /> <br /> enjoy, it is reasonable that I should make certain<br /> observations onauthors as acompany or profession,<br /> I trust that I shall not give any offence by offering<br /> to you some of these observations. I have found,<br /> then, among literary men and women, a very<br /> curious timidity, even among the successful. It<br /> is that kind of timidity which, I think, belongs<br /> to a profession whose position is not recognised,<br /> its emoluments not defined, and its rewards<br /> capricious. Authors are, as a body, timid. They<br /> are also suspicious; it has been found, for<br /> instance, extremely difficult to persuade some of<br /> them that the Society has no secret and selfish<br /> objects at heart. It is, therefore, with great<br /> unwillingness that they disclose their agree-<br /> ments, and produce their accounts. Again, great<br /> jealousy of each other prevails, and seems tradi-<br /> tional. The jealousy of authors towards each<br /> oth. r is, as a fact, most unreasonable. It ought<br /> to be removed by the simple consideration that<br /> no man can write in a year what cannot be read<br /> in a week, which gives fifty-one weeks for<br /> other wr.ters. It has been charged upon men<br /> and women of letters that they are avid of<br /> praise. Iam sure that the charge is quite true;<br /> but that can equally be said of any other pro-<br /> fession. To desire honour is to desire excellence.<br /> Men of letzers, again, have been accused of being<br /> ready at all times to stick knives in each other’s<br /> backs. This charge may, have been true once,<br /> but it can hardly be alleged at the present day.<br /> Those authors of any position who still find<br /> delight in abusing and scarifying each other are<br /> very few. They are not extinct; but I think we<br /> may fairly say that they are very rare. What,<br /> in fact, does it matter to a writer of position<br /> whether a certain popular author is worthy of his<br /> popularity. Time—a very short time — will<br /> determine his position in the world of letters.<br /> Meanwhile, let us leave him to those who are<br /> critics by profession.<br /> <br /> “T think that we ought to imitate, in the<br /> matter of criticism, the professional etiquette of<br /> the Bar, which compels the outward forms of<br /> respect between lawyers. It should be held dis-<br /> graceful in an author to “slate,’”’ and revile, and<br /> depreciate another. There is one charge, how-<br /> ever, which is distinctly true. It is that of being<br /> bad at business. I am quite certain that there<br /> cannot be any body of men worse over their own<br /> affairs than literary men. Publishers tell strange<br /> stories on this point. I could tell you strange<br /> stories. Just as they are sometimes blind to<br /> their own interests, so they are sometimes blind<br /> to their own duties. Ihave heard, for instance,<br /> of authors who have engaged anagent to conduct<br /> their affairs, and then have gone behind that<br /> agent’s back, and left him in the lurch, not, I<br /> <br /> «<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> am sure, with intent to avoid their obligations to<br /> the man who had worked for them, but in pure<br /> ignorance of theirengagements. It is sometimes,<br /> we must sorrowfully admit, as if there were not<br /> only no capacity of looking after own affairs, but<br /> no perception of obligation towards those who<br /> work for one. I have even known cases in which<br /> an author could not be made to understand that<br /> those who work for him must be paid. Happily,<br /> these cases are very rare. The fraudulent a :thor,<br /> as was pointed out in our journal the other day,<br /> cannot, as a rule, exist. The facts of the case<br /> compel honesty, whether he would or would not.<br /> Timidity, jealousy, suspicion—these are the three<br /> most common vices of the literary craft. They<br /> combine —all three together—to make it the<br /> more difficult for us to unite for purposes of<br /> self-defence. However, only to recognise these<br /> difficulties —these qualities— may be the first<br /> step to overcoming them. And, indeed, we have,<br /> of late years, done so much towards union that<br /> we ought to be very hopeful as regards the<br /> future.”<br /> <br /> WHAT CAN EACH MEMBER DO?<br /> <br /> “Such and such we have done, such and such<br /> we are doing for you, our members—what will<br /> you do or yourselves ?<br /> <br /> “Youcan, if you will,dosomuch. You can openly<br /> show your active sympathies with our work. Do,<br /> especially, what we ask you to do every month.<br /> Send us your past and your present agreements, in<br /> order to increase the accumulated knowledge of<br /> the Society; refuse to sign an agreement until it<br /> has been examined at the office; refuse, which<br /> you can do very well if you are a successful<br /> author, to accept any agreement unless the clauses<br /> are fair and reasonable; find out at our office<br /> whether your proposed publisher is a right person<br /> to be entrusted with your property; enlist new<br /> members everywhere; attend to our warnings,<br /> and spread them abroad. Send information of<br /> all kinds toour Journal. In fat, if we were not<br /> helped by you in this way, we might dissolve ;<br /> but we have already kindled a flame that you<br /> will not suffer to be extinguished. Not only<br /> your own self-interest—which I do not calla sordid<br /> consideration at all—is concerned in the advance<br /> and prosperity of our Society, but your desire<br /> for righteousness—your hatred of servility—your<br /> love of independence—your sense of duty towards<br /> those who come after us and will reap the harvest<br /> of our labours,—all these things are working<br /> together for our cause. and for our prosperity.<br /> The time has now surely come when we ought<br /> to call upon you for a more active co-operation.<br /> Work for us—work with us—in the full confidence<br /> that you are working for yourselves.”<br /> <br /> VOL. Ill.<br /> <br /> AUTHOR.<br /> <br /> 275<br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> i.<br /> Re CanapIaN CopyRicHt.<br /> <br /> T present copyright in Canada, so far as<br /> concerns British authors, is governed by<br /> the Imperial Act (5 &amp; 6 Vict. c. 45) as<br /> <br /> modified by the Modern Reprints Act (10 &amp; 11<br /> Vict. ¢. 95) and the Canadian Copyright Act,<br /> 1875 (38 &amp; 39 Vict. ¢. 53).<br /> <br /> The effect of these Acts may shortly be stated<br /> as follows:—Under the Foreign Reprints Act<br /> and the Order in Council issued thereunder,<br /> pirated copies of copyright works are admitted<br /> into Canada upon paying an ad valorem duty ;<br /> but, as is well known, the duties are practically<br /> never collected, and the compensation suppused to<br /> be given to authors is wholly illusory. Under<br /> the Canadian Copyright Act, however, authors<br /> can, by republishing their works in Canada<br /> (whether simultaneously with or at any time<br /> after publication elsewhere), and registering the<br /> same, obtain Canadian copyright, and exclude the<br /> operation of the Foreign Reprints Act.<br /> <br /> The Act of 1875 is, I think, on the whole, as<br /> favourable a one as can be expected, having<br /> regard to the claims made on behalf of the<br /> Canadian public and publishers. It has not,<br /> however, I believe, as yet been taken advantage<br /> of to any great extent by English authors; but<br /> the difficulty has, I believe, been, so to speak, a<br /> geographical one, that is to say, it has been<br /> impossible owing to tne position of Canada,<br /> either to make the pirated American editions<br /> pay duty under the Foreign Reprints Act, or<br /> keep them out under the Act of 1875. It appears<br /> to me, however, that the recent United States<br /> Copyright Act should, to a great extent, remove<br /> this difficulty, and that English authors should<br /> now be able 10 obtain the benefit of the circula-<br /> tion of their books in Canada if the provisions<br /> of the Act of 1875 can be maintained. At all events<br /> it is not, I imagine, likely that they will be able<br /> to obtain any more favourable terms. It remains<br /> to be considered how far the position of British<br /> authors will be prejudiced by the proposed Cana-<br /> dian statute if it is allowed to come into force.<br /> <br /> The first question is whether the statute would<br /> operate as a repeal of the Imperial Act so far as<br /> regards Canada. In the absence of any pro-<br /> vision to that effect in the Act authorising its<br /> proclamation, I do not think it would have that<br /> effect, but if a British author did not comply<br /> with the provisions of the Canadian Act, his copy-<br /> right under 5 &amp; 6 Vict. ¢. 45, would be subject to<br /> the licensing provisions of the Canadian Act. The<br /> <br /> y 2<br /> <br /> <br /> THE AUTHOR.<br /> <br /> point should, however, be definitely settled by<br /> some express provision.<br /> <br /> The next question is as to the terms upon<br /> which Canadian copyright is to be secured. These<br /> are (1) registration either before or simultaneously<br /> with first publication whether in Canada or else-<br /> where, and (2) reprinting and republishing in<br /> Canada within one month. Both of these con-<br /> ditions appear to be opposed to the principles<br /> adopted by the Berne Convention and approved<br /> by the English Government. As to the registra-<br /> tion it is to be observed that, under the Act of<br /> 1886, registration in a colony is recognised as<br /> sufficient to secure copyright throughout the<br /> British Dominions, and it is hard to see why<br /> British authors should be required to register in<br /> Canada. At all events, the same period should<br /> be allowed for registration as for republication,<br /> especially if copies of the work are to be deposited.<br /> As to reprinting and republishing, it would<br /> probably be useless to attempt to do away with<br /> this condition altogether, but I think that an<br /> endeavour should be made to extend the period<br /> within which reprinting and republishing must<br /> take place, though no doubt the Canadians will<br /> justify themselves by reference to the provisions<br /> of the United States Copyright Act. With<br /> regard to the licensing provisions of sections 3<br /> and 4, it appears to me that if exclusive, instead<br /> of non-exclusive, licences were to be granted,<br /> many of the present objections to these pro-<br /> visions would be removed. The collection of the<br /> royalties would, I think, be much easier, whilst<br /> the publisher would be free from the danger of<br /> being undersold directly a work had been brought<br /> out at considerable expense began to sell, and he<br /> would therefore be more ready to bring out<br /> valuable and expensive works, which would be to<br /> the advantage of the public. In any case I think<br /> that the author should be able to take pro-<br /> ceedings against the licensees if he is dissatisfied<br /> with the Government returns of royalties, but I<br /> am unable to suggest any means by which the due<br /> collection of royalties can be easily secured under a<br /> non-exclusive licensing system. Of course it should<br /> be seen that a provision similar to sect. 4 of 38 &amp;<br /> 39 Vict. ¢. 53, prohibiting the importation of<br /> Canadian reprints into the United Kingdom is<br /> inserted in any Imperial Act authorising the pro-<br /> clamation of the Canadian statute. I can hardly<br /> imagine that the statute is intended to be retro-<br /> spective ; but, if it is not, [do not understand to<br /> what sub-sections 3 &amp; 4 of sect. 5 of the Act of<br /> 1875, as amended by the proposed statute are<br /> intended to apply, and I think it would be as<br /> well that it should be made clear that the statute<br /> is not in fact retrospective. Another point<br /> I think which should, if possible be made clear is<br /> <br /> that the author should be entitled, in the event of<br /> licences being issued under sect. 3, to take pro.<br /> ceedings against unlicensed reprints; I think he<br /> probably would be able to do so as the matter<br /> stands, but the pointis not free from doubt.<br /> <br /> The above are the principal points which occur<br /> to me in connection with the proposed statute,<br /> and if, as I understand is the case, the matter is<br /> still before Government, the Society might ]<br /> think properly make representations with regard<br /> to them. They may be summarised as follows :<br /> <br /> 1. The proposed statute is entirely contrary to<br /> the provisions of the Berne Convention and the<br /> Imperial Act of 1886. Ifit is allowed to come<br /> into force it would seem that Canada must be<br /> excluded from the Convention. On principle,<br /> therefore, the statute should not be allowed; but,<br /> if for any reason it is considered that exceptional<br /> legislation is required for Canada, the following<br /> points arise in the interests of British authors.<br /> <br /> 2. Copyright under 5 &amp; 6 Vict. ¢. 45, should<br /> be expressly reserved subject only to the licensing<br /> provisions of the statute.<br /> <br /> 3. Hither registration in the United Kingdom<br /> should be sufficient or the same period should be<br /> allowed for registering in Canada as for re-<br /> publication.<br /> <br /> 4. That one month is not a sufficient period to<br /> allow for the republication of works first pub-<br /> lished in the United Kingdom. :<br /> <br /> 5. That ifa licensing system is to be introduced<br /> the licences granted should be exclusive.<br /> <br /> 6. Thatin any case authors should be entitled<br /> to take proceedings against licensees for royalties<br /> if dissatisfied with Government returns.<br /> <br /> 7. That Canadian reprints should not be<br /> allowed to be imported into the United Kingdom.<br /> <br /> 8. That it should be made clear that the<br /> statute ls not retrospective, and<br /> <br /> g. That authors should be expressly empowered<br /> to take proceedings in respect of unlicensed<br /> reprints.<br /> <br /> J. Rout, 3, New-square,<br /> Lincoln’s-inn, W.C.<br /> Novy. 22, 1892.<br /> <br /> IT,<br /> Conrrisutors’ REMUNERATION,<br /> <br /> { should like to add to my brief note in<br /> the last number that when I spoke of a<br /> contract to pay at the usual rate being im-<br /> ferred in the absence of express agreement, I<br /> meant to assume that the usual rate was reason-<br /> able. As matter of law the agreement, if not<br /> defined by the parties, is to pay a reasonable<br /> recompense, @.e. what a jury (or judge if there<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> be no jury), may find to be reasonable in all the<br /> circumstances.<br /> <br /> In ordinary cases, and where business is con-<br /> ducted in good faith, what is usual is the best<br /> measure of what is reasonable. But aman may<br /> not offer an obviously inadequate recompense for<br /> work of any kind, literary or other (not having<br /> been expressly agreed to), on the pretext that so<br /> much and no more is what he usually gives.<br /> <br /> In exceptional, but only in exceptional cases,<br /> the work may be on the face of it of such peculiar<br /> value (by reason of the writer’s fame, special<br /> competence, &amp;c.), that more than the usual rate<br /> may be required as reasonable even without<br /> express previous agreement. It is however far<br /> from easy to fix how much more, though evidence<br /> of practice in other like cases may be some guide.<br /> The only safe way for both parties is a clear<br /> understanding beforehand. BE<br /> <br /> EEL<br /> MaGaziInes AND CoPpYRIGHT.<br /> <br /> I submit that it is beyond question that the<br /> draughtsman of sect. 18 of 5 &amp; 6 Vict. c 45,<br /> had not in his mind, when drawing it, the<br /> ordinary case of a contributor posting a story or<br /> article to a periodical, and, after seeing it in<br /> print, receiving a cheque, no other communica-<br /> tion passing between the writer and editor. I<br /> further submit that the question whether the<br /> language of the section covers such a transaction,<br /> though not primarily intended to do so, is a diffl-<br /> cult and an open one, and one which has never<br /> yet been even satisfactorily discussed. I have<br /> read your note in the Author for November and<br /> that of “J.” in the December number. No mention<br /> has hitherto been made of the only case (as far as<br /> T can discover) on the subject, that of Browne vy.<br /> Cooke (16 Law Jour., Chancery, p. 40): in<br /> that case the dispute was between the Medical<br /> Gazette and certain persons alleged to have<br /> pirated their articles, and the Medical Gazette<br /> failed, the affidavits not showing that the pro-<br /> prietors had paid for the articles in question.<br /> The case, therefore, seems to have been decided on<br /> what was almost a technical point, and the<br /> authors do not appear to have been either repre-<br /> sented or directly interested in establishing their<br /> rights.<br /> <br /> There is, however, an obiter dictum of the Vice-<br /> Chancellor at page 142, which supports your<br /> view, for, in answer to something which had been<br /> said by the court, Mr. Bethell (afterwards Lord<br /> Westbury) suggested “. then if I sent to<br /> the Quarterly an article written by me which is<br /> paid for, it would confer no copyright, because,<br /> <br /> AUTHOR.<br /> <br /> 277<br /> <br /> according to the language of the Act, there has<br /> been no antecedent employment of me.” The<br /> Vice-Chancellor replied: “I am not observing<br /> upon that, because I conceive that the payment<br /> is evidence of a thing at least tantamount to the<br /> employment ; I am not putting it in that way.”<br /> <br /> This was said in 1846, and the Vice-Chancellor<br /> took no notice of the words of the section, which<br /> speak not only of employment but of ‘“ employ-<br /> ment on the terms that the copyright therem<br /> shall belong to such proprietor,” &amp;c.<br /> <br /> I, myself, lean to “J.’s” interpretation of the law ;<br /> from my own experience I know that publishers<br /> and editors take varying views, usually adopting<br /> yours, and I fancy that if a case were fought on<br /> the subject, evidence of trade customs might<br /> become material. Such a case, however, would, I<br /> believe, raise a question of interest to many<br /> authors; a question hitherto obscure, and one<br /> which would hardly be answered conclusively<br /> until it had come under the consideration of their<br /> Lordships of the upper House.<br /> <br /> I beg very strongly to urge upon those respon-<br /> sible for the copyright bill now before Parliament<br /> the possibility of dealing with the matter in a<br /> short clause, declaring the copyright in such cases<br /> to remain in the author, the right of the publisher<br /> being merely a licence to publish.<br /> <br /> E. A. ARMSTRONG.<br /> IV.<br /> WALTER Uv. STEINKOPFF.<br /> <br /> From the “Notes” of the Law Quarterly<br /> Review, Jan. 1893 :—<br /> <br /> It is perhaps arash thing to say of any judgment covering<br /> nearly eight pages of print that it is a faultless exposition<br /> of the law. But the judgment of North, J.in Walter v.<br /> Steinkopff, ’92 (3 Ch. 489), seems as near perfection both in<br /> law and in literary common sense as any deliverance of a<br /> human and therefore fallible judge can be. There is no<br /> copyright in published information as such. “ But there is<br /> or may be copyright in the particular forms of language or<br /> modes of expression by which information is conveyed, and<br /> not the less so because the information may be with respect<br /> to the current events of the day.” If the retailer of other<br /> people’s news cannot convey the substance of the news<br /> without “ conveying” (as the “ wise it call”) the form also,<br /> so much the worse for him. People are apt to forget that<br /> there is no positive, much less paramount, right to do all<br /> things in themselves lawful or not forbidden. The right,<br /> or rather liberty, is to do them without infringement of<br /> our fellow-subject’s right.<br /> <br /> It might be a curious speculative question whether, if the<br /> doctrine of copyright at common law had prevailed, a<br /> strong argument might not have been framed for an analo-<br /> gous right of quasi-property in news or other novel infor-<br /> mation. But, as such a natural right would have, appa-<br /> rently, no limit in time, it is hard to see how it could be<br /> made compatible with recent history being written or<br /> publicly discussed at all. Special correspondents, on the<br /> other hand, would be rich beyond the dreams of avarice.<br /> <br /> <br /> <br /> <br /> 278<br /> <br /> Y.<br /> Stamp your AGREEMENTS.<br /> <br /> Here is a case which may interest some of<br /> your readers. Some time ago I sent a short<br /> story to one of the weeklies, and, in reply toa<br /> letier from the editor, stated my terms; the story<br /> was printed. That was the only answer. A<br /> month later I wrote for a cheque, and received<br /> one for a guinea, just a quarter the amount for<br /> which I had stipulated As remonstrance proved<br /> useless, I carried the matter into court. The<br /> defence took me by surprise, the editor pleaded<br /> that he had paid me at his usual rate, and that<br /> as I had no stamped agreement, I could not<br /> claim more ; and now comes the curious part or<br /> the affair. If he had written accepting my terms,<br /> and if I had neglected to get the letter stamped,<br /> I should have lost my case ; but he had not written,<br /> therefore, the publication of the story completed<br /> the contract, and no stamp was required. So the<br /> defence fell to the ground.<br /> <br /> And here I wou&#039;d ask, does not the necessity of<br /> having every little agreement stamped press very<br /> unfairly upon all who write? If every letter from<br /> an editor, agreeing to take a short story on cer-<br /> tain terms must be stamped, an author has to<br /> pay a heavy tax upoa every day’s work he does.<br /> It is not merely the money, bu* also the time and<br /> trouble of going to Somerset House. I know<br /> that the secretary of the Society of Authors<br /> kindly underiakes to do this, but, if every member<br /> took advantage of the offer, he would have<br /> nothing else tv do. D.<br /> <br /> [Our correspondent supposes a literary activity<br /> quite impossible. If every member sent all his<br /> agreements to the secretary the work would take<br /> a very small part of the day.—Eb. |<br /> <br /> VI.<br /> INTERNATIONAL COPYRIGHT.<br /> <br /> A nearly exact copy of‘ King Solomon’s<br /> Mines,” without the author’s :eave, is at present<br /> being published in French in a weekly paper<br /> called Les Annales Politiques et Littéraires at<br /> 15, Rue Saint Georges, Paris.<br /> <br /> An editorial note from that paper which<br /> appeared on Oct. 2 runs :—<br /> <br /> “* Ta Reine de Saba,’ par Alfred de Sauveniére.<br /> <br /> “Ce récit est imit¢é d’un roman anglais de M.<br /> Rider Haggard, qui s’est vendu en Angleterre et<br /> en Amérique a plus de trois cent mille exem-<br /> plaires, et qui a valu 4 son auteur une universelle<br /> renommée.<br /> <br /> “M. Alf ed de Sauveniere s’est inspiré de<br /> Vouvrage original, mais il l’a accomodé au tem-<br /> <br /> THE AUTHOR.<br /> <br /> prament et au goit francais, et l’a allégé de<br /> quelques digressions et développements inutiles,<br /> <br /> ‘“‘L’action de la ‘Reine de Saba’ se déroule<br /> dans les contrées mysterieuses de l’intérieur de<br /> PAirique; elle transporte le lecteur au milieu<br /> dun pays barbare, demeuré stationnaire depuis<br /> des siécles, soustrait au contact des civilisations<br /> européennes, et rempli @’incalculables richesses.<br /> <br /> “Au moment ow sous les regards se tournent<br /> vers ce continent, et suivent les efforts accomplis<br /> par nos soldats, nous avons pensé qu’un tel<br /> roman, mouvementé, rapide et dramatique exci-<br /> terait une vive curiosité et serait accueilli avec<br /> faveur.”<br /> <br /> SS<br /> <br /> VII.<br /> INJURING THE SALE.<br /> <br /> As bearing upon the discussion of libellous<br /> reviews now proceeding in the Author, the follow-<br /> ing extract from the letters of Darwin seem very<br /> pertinent.<br /> <br /> “ The botanists praise my orchid-book to the<br /> skies. The treats me with very<br /> lind pity and contempt; but the reviewer knows<br /> nothing of his subject. . . Whe will<br /> hinder the sale greatly.” (June, 1862.)<br /> <br /> “‘T have no idea who wrote the review in the<br /> (on the ‘Descent of Man’). He has no know-<br /> lege of science, and seems to me a wind-bag full of<br /> metaphysics and classics, so that I do not much<br /> regard his adverse judgment, though I suppose it<br /> will injure the sale.” (April, 1871.)<br /> <br /> Now, it appears to me that in cases such as<br /> these an action claiming damages for libel should<br /> at once be brought. We have the statements of &#039;<br /> Darwin (1) that the reviewer is ignorant of his<br /> subject, while, nevertheless, be pronounces a<br /> scathing judgment upon an author’s work; and<br /> (2) that such criticism will injure the sale. Both<br /> these statements might be established ina few<br /> minutes in a court of law, and 1t would seem clear<br /> that the aggrieved author would receive damages.<br /> A few such actions would do invaluable service to<br /> literature (both to authors and to readers) by<br /> rendering reviewers and critics careful to make<br /> their remarks appropriately fair and honest, and<br /> by frightening them from presuming to lay down<br /> the law concerning subjects of which they are<br /> utterly ignorant.<br /> <br /> VIII.<br /> AMERICAN CopyricHt In New EDITIONS.<br /> <br /> In response to your correspondent’s inquiry<br /> respecting the power of copyrighting a new and<br /> amended edition of an English book which, in<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE ._ AUTHOR.<br /> <br /> its original form, has been pirated in America<br /> previous to the passing of the Act of 1891, I<br /> venture to express the belief that the provisions<br /> of the statute sufficiently cover such a case.<br /> <br /> The words of the Act (clause 5) are these:<br /> “The proprietor of every copyright book, or<br /> other article, shall deliver at the office of the<br /> librarian of Congress a copy of every<br /> subsequent edition where any substantial<br /> changes shall be made: Provided, h wever, that<br /> the alterations, revisions, and additions made to<br /> books by foreign authors, heretofore published, of<br /> which new editions shall appear subsequently to<br /> the taking effect of this Act. shall be held and<br /> deemed capable of being copyrighted as above pro-<br /> vided for in this Act, unless they form a part of<br /> the series in course of publication at the time<br /> this Act shall take effect.” Apam W. Brack.<br /> <br /> <br /> <br /> 2ecs<br /> <br /> VICTORY.<br /> <br /> <br /> <br /> With all his soul he loves her still,<br /> His soul is master of his will;<br /> <br /> He loves too well to work her ill!<br /> Just for a glance from those rare eyes<br /> Wherein such subtle magic lies<br /> <br /> Fain would he forfeit Paradise !<br /> <br /> Just for a coil of that bright hair<br /> That sweeps her brow—a golden snare—<br /> The darkest peril he would dare.<br /> <br /> Just for one pressure of those lips,<br /> Whence bees might take their sweetest sips,<br /> Fain would he suffer Life’s eclipse.<br /> <br /> And yet this yearning—this desire<br /> To hold her—this consuming fire<br /> Is kept in thrall by something higher!<br /> <br /> That which he has of the Divine<br /> Within him, doth his soul incline<br /> <br /> To say: “I may not make her mine!”<br /> She loves him next to God—she deems<br /> Her Love the Hero that he seems;<br /> <br /> At night he comes to her in dreams.<br /> Her virgin breast is all aglow<br /> <br /> With purity he cannot know,<br /> <br /> So he will nobly let her go!<br /> <br /> One stormy eve he steals away,<br /> <br /> Victorious in the bloodless fray ;<br /> He passes with the passing day.<br /> <br /> His agony he may not tell,<br /> Even to her—his Christabel—<br /> He leaves a tenderest farewell.<br /> She, like a bird with broken wing,<br /> Will creep apart—a stricken thing—<br /> For Life has nothing more to bring!<br /> She in a convent’s holy calm<br /> For her deep wound will find a balm ;<br /> Above he’ll wear the Victor’s Palm !<br /> F. B. DovEToN.<br /> <br /> 279<br /> <br /> “VERY INACCURATE AND VERY<br /> UNRELIABLE.”<br /> <br /> TR. HEINEMANN, in the Atheneum of<br /> IN Dec. 3, 1892, labels the handbooks of<br /> the Society of Authors as “ very inac-<br /> <br /> curate and very unreliable.’”’” May I point out<br /> that the epithets have been unduly bestowed ?<br /> <br /> <br /> <br /> Literature and the Pension List-——The author<br /> said in his preface: ‘‘I have reprinted verbatim<br /> the official lists of pensions from the commence-<br /> ment, with the reasons assigned for each ap-<br /> pointment and the amount.”’ Does Mr. Heine-<br /> mann mean that he disbelieves this? Or does he<br /> mean that the official lists were, in his opinion,<br /> “very inaccurate and very unreliable.”<br /> <br /> La Société des Gens de Lettres—The facts<br /> concerning the French institution were derived<br /> from their own papers, courteously supplied to<br /> our delegates by their officials. Mr. Edmund<br /> Gosse who had previously written on our sister<br /> association in the Nineteenth Century, kindly<br /> allowed the Author to quote from his article, and<br /> read the proofs. Is it the translation that Mr.<br /> Heinemann mistrusts? Or some few anecdotes<br /> concerning certain eminent French authors? Or<br /> does he mean that the original prospectuses<br /> were, in his opinion, “ very inaccurate and very<br /> unreliable.’’<br /> <br /> The Methods of Publishing.--The author im-<br /> plied in the preface to the first edition, that all<br /> the documents used in illustration of the methods<br /> discussed were genume—real letters between<br /> authors and publishers, and real agreements<br /> under which publication took place, or, at any<br /> rate, was proposed. At the end of this book<br /> this is said. Does Mr. Heinemann mean that he<br /> disbelieves it? 1 can think of no other way in<br /> which the book could be “very inaccurate and<br /> very unreliable,” and hasten to assure the Society,<br /> for whom and at whose expense the work was<br /> done, that what I said was true.<br /> <br /> The Cost of Production.The preliminary<br /> statement of the compilers ran—‘‘the estimates<br /> here contained have been carefully prepared for<br /> the society and examined by three first-class firms<br /> of printers.”” Does Mr. Heinemann mean that<br /> he disbelieves this? Or does he mean that all<br /> first-class printers are ‘‘ very inaccurate and very<br /> unreliable.” Surely neither! Surely he means<br /> that he finds that, in detail, some of our figures<br /> do not agree with some of his. That is not a<br /> sufficient reason for miscalling our pamphlet. Our<br /> own printers did not agree in their separate esti-<br /> mates in any singledetail; while the wages of<br /> <br /> <br /> <br /> <br /> SIE SIA<br /> <br /> <br /> <br /> 5<br /> re:<br /> i<br /> <br /> a<br /> <br /> eo<br /> <br /> <br /> <br /> THE<br /> <br /> <br /> <br /> <br /> 280<br /> <br /> those engaged in the different branches of trade<br /> are subject to constant fluctuation, entailing a<br /> constant alteration in prices. The work gives the<br /> average cost of works of ordinary shape and<br /> style. It pretends to do no more, and the fact<br /> that here and there 15 per cent. above or below its<br /> figures may be paid does not affect its utility.<br /> These estimates do not include the publishers’ work-<br /> ing expenses. This omission Mr. Heinemann finds<br /> “ deliciousinits airiness.” No. Those expenses are<br /> not included. Nor is the cost of the author’s pens,<br /> nor his stationer’s bill, nor his type-writer’s bill, nor<br /> any bill that is his. Mr. Heinemann has not had<br /> leisure to read the introductory chapter to the<br /> handbook that he finds “ very inaccurate and very<br /> unreliable, or he would understand that both sets<br /> of omission are legitimate.<br /> <br /> While I feel hound to object to the adjectives<br /> thit Mr. Heinemann has employed towards one<br /> section of our work, I should be churlish indeed<br /> if I did not recognise the friendship of his<br /> other remarks about the Society of Authors.<br /> <br /> S. S. Spriece.<br /> <br /> THE “AUTHOR” AND THE “BOOKSELLER.”<br /> <br /> ————— &gt;<br /> <br /> HE following is from the New Vork Tribune<br /> (Nov. 24, 1892):<br /> <br /> Other points occur, but let us come at once to the main<br /> point, which is this. I give it in the form of a quotation<br /> from the Bookseller :<br /> <br /> “The driving of hard bargains with authors, or debiting<br /> their accounts with excessive charges, are, no doubt,<br /> matters of which there are occasional reasons to complain;<br /> but such practices are a long way short of fraudulent,<br /> although we fully admit they are not what is expected from<br /> members of an honourable calling.”<br /> <br /> Mr. Besant’s reply is that these and other frauds were<br /> common, very common, deplorably common, until the Society<br /> of Authors put a stop to them in so many cases. They<br /> would again flourish, he thinks, if the Society were to relax<br /> its efforts. Then, with reference to the contention of the<br /> publisher’s organ, that “‘debiting accounts with excessive<br /> charges,” is a practice “a long way short of fraudulent,”<br /> Mr. Besant says with energy :<br /> <br /> “Does the writer know the meaning of words? Why.<br /> what does a common pickpocket or shoplifter do, when he<br /> steals anything he can lay his hands on, worse than a pub-<br /> lisher who pays £60 for printing a book, and sends in an<br /> account stating that he has paid £80? Nota fraud? Then<br /> is stealing not a fraud; and lying is truth; and vice is<br /> virtue.”<br /> <br /> This is language well calculated to add to the irritation<br /> of the publisher who has been guilty of the fraud which Mr.<br /> Besant denounces. But the question is, not whether Mr.<br /> Besant is irritating, but whether his description is a true<br /> description. That is a question which can be answered<br /> without much _ technical knowledge. An elementary<br /> <br /> AUTHOR.<br /> <br /> acquaintance with Exodus XX., 15, is all that is wanted for<br /> the outside, non-publishing, world.<br /> <br /> But the publishing view is a thing apart. We have all<br /> heard of that magic phrase, “custom of the trade,” and<br /> know how much it has been made to cover. There is, id<br /> apprehend, no doubt that the publisher’s practice of paying<br /> one sum, and telling the author he had paid another and<br /> larger sum, and putting into his own pocket the difference<br /> expressed by the lie, was at one time a custom of the trade,<br /> or of some part of the trade. It was decently covered up<br /> under the phrase “ discounts,” and upon the plea that what<br /> passed between the publisher and his printer, or paper<br /> maker, or advertising agent, did not concern the author.<br /> <br /> Let us admit, for civility’s sake, that this particular<br /> custom of the trade is a thing of the past. What one<br /> would like to know is whether it is still upheld and<br /> defended, even if no longer practised, by any of those who<br /> formerly profited by it. I turned to the current number of<br /> the Bookseller. The answer is not there; only a short<br /> paragraph explaining that the Awthor—published on<br /> Nov. 1—came out too late to be answered in the Bookseller—<br /> published on the 8th. But there is an answer, exclaims the<br /> publisher’s editor, and it will be forthcoming. We shall<br /> have to wait for it, but it must be well worth waiting for,<br /> if it be something better than the hoary and threadbare and<br /> impudent excuse, so often heard before, which I have<br /> summarised above.<br /> <br /> A REJECTED AUTHOR.<br /> <br /> <br /> <br /> their marriage.<br /> <br /> He was a young gentleman with some<br /> brains (which she admired), and no profession,<br /> and she was a young lady with some beauty<br /> (which he admired), and no dowry. So they<br /> married, and ran the household on the brains<br /> and the beauty (and the mutual admiration),<br /> together with a slender stock of ready-money, and<br /> agreed that the world was very blind when it<br /> estimated such unions as imprudent, having<br /> regard to the acute happiness that was attending<br /> their venture.<br /> <br /> And in the first year they spent the ready-<br /> money. The second year, though not without<br /> its thorns, still yielded them many gallant ¢ r-<br /> lands of roses. For one thing, Mr. Bayard, the<br /> eminent publisher, accepted what our author<br /> irreverently termed a shocker, for his ‘Detective<br /> Series,” and promised to find the round sum of<br /> fifty pounds for it upon publication. Again, though<br /> they were poor, they found that their plight was<br /> not without its pleasant side. For there was<br /> romantic novelty in the actual want of money,<br /> and keen delight in obtaining it—perhaps unex-<br /> pectedly—when need was urgent. Moreover,<br /> the necessity of procuring credit made demands<br /> upon their ingenuity, and much merriment<br /> would follow, as they rallied each other<br /> over the success or failure of their little<br /> <br /> i was the beginning of the third year of<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> plots. And this bright fortitude under privation<br /> was itself a source of pleasure to them; for he<br /> was led by it to picture himself leading the real<br /> vie de Bohéme in a manner that would have done<br /> credit to Murger’s rollicking heroes (he was<br /> given to French romance); while she felt that<br /> she was facing a harsh world unrepiningly, side<br /> by side with her choice for better or for worse<br /> (and she was addicted to the penny serial).<br /> <br /> And hope yielded them some joys. For during<br /> their year of prosperity, he had written his great<br /> book—-and when we mention it by name, all<br /> necessity for alluding to its author by more<br /> distinct appellative than a pronoun is gone. For<br /> has not the world welcomed “The Hill of<br /> Tilusion 2” I[t contains jou morbid psychology,<br /> social theories, religious discussions, two new<br /> crimes, and some elegant versicles. Its main<br /> interest centres in an unmentionable problem of<br /> heredity. And what more can we moderns want ?<br /> But alas for the sanguine expectations of the<br /> young pair! ‘“ The Hill of Illusion,” at the time<br /> <br /> that it was written, failed to find a pub-<br /> lisher on its own obvious and now admitted<br /> merits. With one firm it remained three months,<br /> <br /> and with another six hours. Some read it, and<br /> some did not. Some returned it unopened, and<br /> one lost it fora time. But the result was always<br /> the same—rejection. During the second year<br /> of its anthor’s married lite, to his humiliation<br /> and to the damage of its fairly-written pages,<br /> this masterpiece was ever on a circular tour.<br /> <br /> Thus it will be seen that we find them in a<br /> sufficiently gloomy plight. For, indeed, the luck-<br /> less couple were more than ordinarily bankrupt.<br /> Brains, beauty, and a little money had been<br /> their sto:k at starting. The money had at least<br /> been indubitable, and it was gone. But what of<br /> their other capital? What of the causes of<br /> mutualadmiration? Could she still believe in his<br /> brains, when he could find no practical believer<br /> else? He feared not. And could he still be<br /> enthralled by her be auty—could life, however<br /> mean and worrying, if spent with her, still and<br /> always be glorious to him? When she noted his<br /> weary, woody face, she feared not.<br /> <br /> “¢ (est ’amour, l’amour, l’amour,<br /> Qui du monde fait la ronde.’<br /> <br /> Do you know that, my dear? ”’ said he, draw-<br /> ing her towards him, and throwing his arm<br /> round her.<br /> <br /> “JT don’t,” said she, “ because I don’t under-<br /> stand what it means.”<br /> <br /> ‘« Well,” said he, “ it means just this” (examin-<br /> ing a scrawl of figures that he held between his<br /> <br /> VOL. Ill.<br /> <br /> AUTHOR.<br /> <br /> 281<br /> <br /> fingers), ‘‘ that to-day we are penniless, that to-<br /> morrow we receive fifty pounds from that noble<br /> fellow Bayard, that to-morrow we must pay away<br /> at least fifty-four pounds, and that, until we get<br /> some more money from somewhere, we shall have<br /> to subsist off love ae<br /> <br /> “Tt means a good deal,” said she.<br /> <br /> “To gubsist off love, the love that makes the<br /> world go round,” he continued. “S rely such<br /> a power can keep our wheels going round, till<br /> another cheque winds us up again. That’s what<br /> it means.”<br /> <br /> “But you don’t want to spend the whole of<br /> that money at once in paying people? ”’ said<br /> she.<br /> <br /> “Dearest! Why ask me that question? 7 Ae<br /> replied. ‘‘ Of course not. I don’t want to pay<br /> anyone anything at anytime. But it happens<br /> that if I do not pay that much immediately<br /> sordid creditors will remove our possessions,” and<br /> he swept a lean hand comprehensively round the<br /> sparsely furnished little room. ‘‘ We must pay,<br /> we must pay, and worry along as before, till we<br /> cet some more.” He felt her tremble. “ Why,<br /> it will all come right in time,” said he. “ Trust<br /> me, trust me, if you can.” But before he could<br /> support her she was down on the floor, with her<br /> head in his lap, and between her sobs he caught<br /> her words, being helped to their comprehension<br /> by his intuition.<br /> <br /> “ Must they for ever go on like this ? Would<br /> they never be out of debt? Would they never<br /> have enough to eat, and perhaps a few shillngs<br /> over to spend on anything they wished, especially<br /> on what was unnecessary? How long must they<br /> live in this terrible shabby little Inn, where all<br /> were fighting for their bread ; where no one could<br /> afford to be respectable, and but few could afford<br /> to be honest? Perhaps she was a burden to<br /> him? Had she not better go back home?<br /> Could he go on loving her? Did he feel quite<br /> certain—quite, guite certain— that she would<br /> always love him, even if he continued to fail?”<br /> <br /> “That&#039;s a very shrewd question,” said he,<br /> when the storm had passed. ‘‘A very shrewd<br /> question ! failure.<br /> <br /> <br /> <br /> Yet, believe me, ’m not a<br /> I receive fifty pounds to-morrow from a creat<br /> publisher.”<br /> <br /> “Qh!” said she, “I didn’t mean allI said, and,<br /> of course, dear, you will succeed. And « h!” she<br /> repeated, “it’s weary work waiting, and fifty<br /> pounds isn’t much for a year’s work.”<br /> <br /> “Tt isn’t,” he asserted cordially. “ But let us<br /> be just. The thing only took two months to<br /> scribble, and isn’t really worth a penny more than<br /> I am going to receive. Now,” and he touched<br /> with a caressing hand a dirty heap of paper on<br /> his desk, “here is a year’s work and two years’<br /> Z<br /> <br /> <br />  <br /> <br /> 282<br /> <br /> <br /> <br /> thought, and the outcome of ten years’ observa-<br /> tion, yet no one will look at it. But I’m nota<br /> failure.” And he patted the luckless manuscript.<br /> “Tm not a failure while I can show this.”<br /> <br /> “ Of course xot, dearest,” she assented.<br /> <br /> “You&#039;re good, that’s what you are—good,”<br /> he continued, running his eye over a page<br /> here and there, ‘Yet, because you are uncon-<br /> ventional, because you are not improving, no one<br /> will have anything to say to you. Why, if you<br /> were the work of a man who had made his name,<br /> you might be worth a thousand pounds. And I,<br /> your owner, stand here ready to commit all crime<br /> fora poor fifty.”<br /> <br /> “But,” said she, “ Your novel that is coming<br /> out to-morrow may make your name; and then<br /> you can sell this for a lot of money.”<br /> <br /> “ That rot will do me no good,” hereplied. “It<br /> may sell, but no one will want to hear more from<br /> itsauthor. And, quite right, too!”<br /> <br /> “T think it’s such-a jolly story,” said she, with<br /> a consoling air.<br /> <br /> “Tt seems absurd,” he continued, disregarding<br /> her amiable criticism, ‘ that Ido not know how<br /> to get fifty pounds. I must be a very futile<br /> person. JI am crammed with knowledge. Iam a<br /> student of human nature. I have ingenuity and<br /> invention, I am versatile and venturesome. And<br /> 1 can’t get fifty prounds. The world is full of<br /> dull dogs who make their tens of thousands, and<br /> I cannot make my daily bread! Oh ! it’s absurd.<br /> Iam hungry. My wife is hungry. I can’t get<br /> fifty pounds, and yet I am as immoral as Mrs.<br /> Grundy would have a literary person.”<br /> <br /> “ Don’t talk like that,” said she.<br /> <br /> ‘ IT think,” he answered, “that it is only my<br /> playful way. And yet—and yet—No! No! NO!<br /> It isn’t play! It’s earnest! I have an idea, and<br /> by - Here! give me some paper! Some<br /> string! Quick !’’ And he sprang from his seat<br /> holding the manuscript in his hands.<br /> <br /> But she thought lightly of any idea, however<br /> energetically introduced, that purposed to deal<br /> with that luckless work. “ Where are you taking<br /> it?’ she asked languidly.<br /> <br /> “To Bayard.”<br /> <br /> “ But it has been there.”<br /> <br /> “Been there ! Why, of course it has been there.<br /> There isn’t a publisher in London who hasn’t<br /> had his chance of achieving repute as a sagacious<br /> critic, and money as an astute tradesman, by<br /> issuing this book. I have made no invidious<br /> distinctions, as you know. They’ve all had it, and<br /> they’ve all rejected it uncompromisingly—save<br /> some people who wanted a hundred and fifty<br /> pounds down for publishing it. They alone<br /> thought it a work of genius, and their reader<br /> wrote to me to that effect, and, if I remember<br /> <br /> <br /> <br /> <br /> <br /> THK AUTHOR.<br /> <br /> right, hespelt Genius with a J. But it’s going<br /> to Bayard again, and, what is more, it will stick<br /> there, and, what is still more, it will be paid for<br /> at once. The paper and the string !”<br /> <br /> On his return he wrote to half-a-dozeu friends,<br /> and made no further allusion to his design, save<br /> that over his evening tea he gave his wife<br /> the sinister toast of ‘“‘ Here’s to crime!”<br /> <br /> * * * * * * *<br /> <br /> The followmg morning the detective story<br /> duly appeared, in proof of which Mr. Bayard’s<br /> cheque arrived. And hard on this there came<br /> six gentlemen of the author’s acquaintance in<br /> response to his letters.<br /> <br /> ‘““Comrades,” said the author, “you are very<br /> welcome. May I take it for granted that not<br /> one of you has anything to do that is likely<br /> to bring him in ten shillings? Encouraged<br /> by your silence I venture, then, to hire three<br /> of you, at that price, to aid me in crime. The<br /> other three of you, being notoriously wealthy,<br /> will assist for nothing. Here is a map of London,<br /> The districts that I have chalked are rich in<br /> booksellers. | This morning the literary world<br /> was convulsed at the appearance of a new novel—<br /> by me. I want the agony kept up a bit. I want<br /> you fellows to choose a district each, and go and<br /> worry for that book. I want you to get on<br /> *buses and fall to talking ab ut the excellencies of<br /> the work. I want you to have accidental inter-<br /> views with each other in book-shops, and urge<br /> each other to buy the book without delay. I<br /> want you to make as much silly racket as you<br /> know how. Lastly, each of you will order fifty<br /> copies—at different shops, of course, It will not<br /> be in stock anywhere, so you will say you will call<br /> to-morrow for them. But you need not—unless<br /> you like.”<br /> <br /> “Tt’s a new fake,” said a very dingy-looking<br /> man, without removing his pipe, “ But it won&#039;t<br /> wash.”’<br /> <br /> “Ah! but you&#039;ll help us all the same,” said<br /> the novelist’s wife, with suavity. “For, after all,<br /> lots of nice things don’t wash.”<br /> <br /> ”<br /> <br /> * * * * * * *<br /> <br /> Two days later the author stood in Mr.<br /> Bayard’s office, and waited his turn to see the<br /> great man. His only weapon was a letter from a<br /> well-known firm, declining the privilege of reading<br /> his novel. He looked about him, believing that<br /> he should detect something in his reception that<br /> might help him to a guess at the success that<br /> was to be his, but apparently no ripple from the<br /> little storm that had been raised in book-land had<br /> reached this haven of rest and procrastination.<br /> He waited. He waited longer even than usual,<br /> for Mr. Bayard believed that the author, having<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> heard that his novel had caused some excitement,<br /> had come to ask for more money on the strength<br /> of his success, and Mr. Bayard was a man of<br /> proper spirit, and disliked begging. At last he<br /> was admitted, and dispelled the frowns from the<br /> forehead of his publisher by saying that he had<br /> eome about another book.<br /> <br /> “T don’t think,” said Mr. Bayard, who was not<br /> the man to spoil his own market by any useless<br /> congratulation, ‘that we shall see our way to<br /> bringing out anything more from your pen<br /> just at present. We must wait and see how the<br /> other goes.”<br /> <br /> “Quite so,” said the author with cheerfulness,<br /> “Quite so. In fact that suits me altogether, and<br /> T’ve come to ask if you&#039;ll let me have my manu-<br /> script back.”<br /> <br /> « What manuscript?”<br /> <br /> “The one you have. One I sent ina few days<br /> ago.”<br /> <br /> “Oh! have we one ?” said Mr. Bayard, loftily.<br /> “Tn that case, better leave it Better leave it,<br /> and we&#039;ll report on it in due course, and” (with<br /> an air of handsome concession) “very likely<br /> publish it.” :<br /> <br /> “You&#039;re very good,” said the author, but I<br /> think I&#039;ll take it away, that is if you don’t mind.”<br /> And the mendacious one contrived to look the<br /> picture of mental distress.<br /> <br /> “ We don’t mind,” said Mr. Bayard, “ but you<br /> are ili-advised? What are you going to do with<br /> Lr”<br /> <br /> “You see,’ said the author shamelessly, ‘‘ I’ve<br /> had a letter from Gordon Washington and Co.,<br /> asking me to send them a novel if I had one ready.<br /> And the one I sent here two days ago happens to<br /> be the only one I have ready. I know you don’t<br /> mind giving it back to me, as you only took<br /> the detective story as a favour to me; I<br /> remember you told me that, and I thought it<br /> so awfully good of you. Gordon’s people say they<br /> will bring my book out in America simultaneously<br /> if they like it.”<br /> <br /> “Come, now, won’t you sit down,’ said Mr.<br /> Bayard. ‘Just sit down and hear a word of<br /> advice from an old hand. Don’t you be in a<br /> hurry. Nothing looks so bad in a young author<br /> as constantly changing his publisher. It looks so<br /> fanciful! So cantankerous! It looks as if he was<br /> one of those vain fidgetty fellows that can’t wait<br /> for his reward. And, another thing, it does look<br /> so cursedly ungrateful. I wonder you are not<br /> ashamed to come to me in this way.”<br /> <br /> “Why, so I am,” said the author, “ more<br /> ashamed than you can guess. But you see<br /> Gordon and Washington will bring out the book<br /> ome they like it, and, if they like it,<br /> will__—<br /> <br /> AUTHOR. 283<br /> <br /> “ @o on,” said Mr. Bayard, ‘be frank, always<br /> be frank. Goon! You&#039;ve seen them, and they&#039;ll<br /> pay you more than I have paid you. Go on.”<br /> <br /> “ Weil,” said the disingenuous one, drawing<br /> from his pocket the envelope marked with the<br /> conspicuous chiffre of the great Anglo-American<br /> firm, ‘‘ you see their letter is marked private, but<br /> I think there is no doubt that they will do so.<br /> In fact, if you saw this letter, you would be sur-<br /> prised.”<br /> <br /> “ Now see the ingratitude of that !’’ exclaimed<br /> Mr. Bayard. “How did they hear of you?<br /> Because we have published your book, and as<br /> that has been a bit of a success, you want to run<br /> off to someone else to get a higher price.”<br /> <br /> “But how was 1 to know that it had been a<br /> success. Has it?”<br /> <br /> «“ Ah! well,” said Mr. Bayard, “it’s a little<br /> early to say that yet.”<br /> <br /> “Tt is,’ agreed the author.<br /> <br /> “But I thought, when I read it, that it had<br /> merit,” said Mr. Bayard.<br /> <br /> « And so you published it—as a favour to me.”<br /> <br /> “That&#039;s it. I’ve always felt kindly towards<br /> you since you first came to my office. And now<br /> you want to go to somebody else. Better come to<br /> us, and see if we can’t manage it for you. Now,<br /> let’s see, what is it you want? How long’s the<br /> book?” And Mr. Bayard grinned.<br /> <br /> So the author’s fraud was successful, and ina<br /> few minutes Mr. Bayard opened his cheque book<br /> and wound up the conference.<br /> <br /> “Fifty pounds now,” said he, “‘and another fifty<br /> if I sell ‘more than one edition in the three-volume<br /> form, and a penny in the shilling on all cheaper<br /> issues. No need for an agreement. I’m a man<br /> of my word. And there isn’t another man in<br /> London would have done it for you.”<br /> <br /> “ Don’t cross the cheque,” said the author,<br /> <br /> ‘Not another man,” continued Mr. Bayard,<br /> “not another man, before seeing the manuscript.<br /> But I like you, and I like your stories. I can feel<br /> safe about you. I’m sure there’s no beastly<br /> character-analysis, and sociology, and rubbishy<br /> poetry in your book, Stick to good healthy<br /> stories, my lad, with lots of plot, and a happy<br /> ending. They’re business. Here you are, and<br /> uncrossed. Want to cash it at once and spend it<br /> this afternoon, eh? Lightly made, lightly spent,<br /> eh? Ah, improvident! improvident!” Here<br /> Mr. Bayard wagged his head. “ And come to us<br /> first another time when you&#039;ve anything to sell.<br /> Eh? won&#039;t you?”<br /> <br /> ”<br /> <br /> “Tm a novelist,” said the fraudulent person to<br /> his wife when he reached home with the cash,<br /> “and [ wish to conform to my knowledge of life.<br /> <br /> <br />  <br /> <br /> 284<br /> <br /> <br /> <br /> When people frisk the till, I note that they<br /> always go to B:ighton to spend their ill-gotten<br /> gains. Let us go to Brighton. Are you ashamed<br /> of me?”<br /> <br /> “Not a bit!” said she, stoutly.<br /> <br /> “JT don’t know that I am much ashamed. of<br /> myself,” said he. ‘I’ve sold a book for fifty<br /> pounds that I honestly believe to be worth five<br /> times the money, and I believe that the agree-<br /> ment was dispensed with that I might be robbed<br /> with impunity, if necessary. When those books<br /> come back to my friend Bayard from the book-<br /> sellers, of course he’ll howl, and feel cheated. And<br /> when he finds out what sort of thing he has<br /> bought, he will howl louder. But he’ll shove it<br /> along all the same, and all the merrier, to get his<br /> money back. He won’tlose. If I was not quite<br /> certain that he will know how to avoid that, I<br /> might be more inclined to blush. And, if I know<br /> good work at all, and am not an egotistical ass, I<br /> shall have no bother in placing my next book.<br /> No, I’m not a bit ashamed. I ought to be, but<br /> I’m not. Kiss me, dearest.” O. J.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> WRITER in the Daily Chronicle of the<br /> A 19th Dec. 1892, asks two questions.<br /> <br /> (1) What voice the 800 and odd mem-<br /> bers have in the election of the chairman of com-<br /> mittee ?<br /> <br /> (2) What the Society is going to do for the<br /> writers who live from hand to mouth, and are<br /> the prey of every sweater ?<br /> <br /> <br /> <br /> The answer to the first question is—‘‘ None.”<br /> The members have no voice at all in the election of<br /> a chairman of committee. In all committees the<br /> chairman is chosen by the committee, unless there<br /> is an official chairman of the company. We have<br /> a president, elected by the council; a council<br /> which elects its own members; a committee<br /> elected by the council; a chairman of committee<br /> elected by the members of the committee. The<br /> government of the Society is distinctly and<br /> frankly oligarchic. Whe her it should continue<br /> so in the future is a question for discussion.<br /> Meantime, in the pursuit of the policy of throwing<br /> light—and more light—always more light—upon<br /> all matters connected with literary property—<br /> which has chiefly occupied the Society up to the<br /> present—the present form of government is, I am<br /> convinced, the best possible. Considering the<br /> <br /> natural ignorance of most members on the whole<br /> subject, the intervention of the vote of those who<br /> <br /> THE AUTHOR.<br /> <br /> had not studied it at all might have been fatal at<br /> the outset. :<br /> 2. What will the Society do for those who live<br /> <br /> from hand to mouth, and are, therefore, continu- -<br /> <br /> ally sweated ?<br /> <br /> The writer says that he would like to see a<br /> separate Society formed for their benefit. But<br /> that would only be to shift the burden from one<br /> set of shoulders to another.<br /> <br /> It is, in fact, a dreadful burden. It is the<br /> burden of the needle-woman ; it is the burden of<br /> the tram and ’bus servants; it is the burden of all<br /> labour which is not organised.<br /> <br /> Can we organise, or devise, anything for the<br /> improvement of the position of these writers?<br /> Suppose we had such an organisation. Suppose<br /> we were to inform the committee of the Society<br /> for Promoting Christian Knowledge for instance,<br /> referring them once more to the Author of July<br /> 1890, that we will not let our members accept<br /> £12 for a book of which they will sell 6000<br /> copies; can we be sure that some one else, outside<br /> the Society, will not step in and take the money?<br /> <br /> There are two ways of helping the sweated<br /> worker in any branch of labour:<br /> <br /> (1.) The first is to publish everywhere and<br /> continually—to keep harping upon it, so that<br /> people cannot forget it—the treatment to which<br /> he is subjected. In this way public feeling is<br /> awakened and kept alive.<br /> <br /> (2.) The second is to form a union, and to<br /> make everybody in that branch of work feel that<br /> they must join it. But this union must be known<br /> to exist for the sole purpose of ensuring justice and<br /> enforcing honesty.<br /> <br /> Can the Society become the centre of such an<br /> organisation? It could, but as yet, I fear, the<br /> professional spirit is too weak; there is too much<br /> jealousy.<br /> <br /> Perhaps the writer of the letter will put himself<br /> in communication with the editor of this Journal.<br /> <br /> <br /> <br /> ——<br /> <br /> There is hope for the great army of the rejected.<br /> There is going to be published from a London<br /> office, a weekly journal—price to be one penny<br /> —which will mainly consist of MSS. that has<br /> been refused by the editors of other journals,<br /> which may yet be worthy of publication.<br /> The rate of pay will be 5s. per column.<br /> It is not much, but for the rejected it will be<br /> some solatium. It is probable that the immense<br /> popularity of the journal will cause all other<br /> editors— or rejectors—to cast themselves from a<br /> high place into the sea,<br /> <br /> <br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> A correspondent writes: ‘ Why have you not<br /> recorded the fact that Mr. Wilbam Black is at<br /> his best in ‘ Wolfenberg ’—his very best?’ Why<br /> indeed, except that old friends are sometimes<br /> taken for granted. One says, “ Dear me! Here’s<br /> a new man! and he is actually good !” and when<br /> the old friend comes along, one welcomes him<br /> kindly, but makes no remarks. The old friend ? of<br /> course he is good.<br /> <br /> <br /> <br /> Mr. R. B. Marston (Samps -n Low and Co.),<br /> writes to the Times (Dec. 19, 1892) about<br /> American spelling. His firm has brought outa<br /> book in which the language is beautified by<br /> Americanism in spelling. The book is, of course,<br /> printed from plates. Mr. Marston asks why<br /> sixty millions of people should not choose their<br /> own spelling? Why not, indeed ? The question<br /> is, why should not we be suffered to choose our<br /> own spelling? Time was when we all declared<br /> unanimously that we would not tolerate the<br /> American spelling in this country. We shall see<br /> whether that good resolution will hold. Mean-<br /> time, I wonder how many people would unite<br /> in resolving never to buy any book with the<br /> American spelling ?<br /> <br /> Se RNS<br /> <br /> Great is the detective, especially in fiction! So<br /> great is he that a company is now forming for the<br /> express purpose of publishing the detective stories<br /> of a well-known writer in this branch of literature.<br /> The company will also start a sixpenny monthly<br /> to be called Dick Donovan&#039;s Journal, in<br /> which the chief feature will be detective stories<br /> told by the editor “ Dick Donovan.” There is to<br /> be a capital of £15,000, in shares of 41 each.<br /> <br /> <br /> <br /> It has been stated in the Pall Mall Gazette<br /> that a powerful association of French novelists<br /> has been formed for the protection of their<br /> interests. One had always supposed that the<br /> Société des Gens des Lettres was protecting the<br /> interests of all French authors. Can it be that<br /> we shall see the formation of separate branches<br /> of literature into separate unions? If so, one<br /> hopes that a central union will be always main-<br /> tained. The grievances of French novelists are<br /> stated to be, (1) that their books are sold at any<br /> price the publishers can get for them; and (2)<br /> that the latter print and sell more volumes than<br /> they account for.<br /> <br /> <br /> <br /> The Authors’ Club, of New York, is going to<br /> raise £5000 or 25,000 dols. for its purposes by a<br /> method which I fear would be impossible<br /> here. They are going to produce a volume<br /> <br /> AUTHOR.<br /> <br /> printed,<br /> style possible.<br /> 251 copies.<br /> <br /> illustrated in the<br /> The edition is to be limited to<br /> Tts contents are to consist of contri-<br /> <br /> bound, and<br /> <br /> 285<br /> <br /> best<br /> <br /> butions by about a hundred members of the club :<br /> these papers will never be reproduced elsewhere :<br /> <br /> each article in every co<br /> <br /> author.<br /> <br /> yy will be signed by the<br /> Each copy is to be priced at a hundred<br /> <br /> dollars, but the committee reserve the right of<br /> raising the price after the first hundred copies<br /> <br /> have been subscribed.<br /> <br /> Lastly, the MSS. are to<br /> <br /> be bound up in two or more volumes and sold to<br /> <br /> the highest bidder.<br /> following :<br /> <br /> Henry Abbey<br /> Felix Adler<br /> Henry M. Alden<br /> O. Cyrus Auringer<br /> Marian Benjamin<br /> Poultney Bigelow<br /> James Thompson Bixby<br /> Hjalmar Hjorth Boyesen<br /> Alexander Black<br /> John H. Boner<br /> Arthur Elmore Borthwick<br /> R. R. Bowker<br /> <br /> J. H. Bridge<br /> <br /> E. 8S. Brooks<br /> Noah Brooks<br /> <br /> W. M. Butler<br /> William Carey<br /> William Carleton<br /> Andrew Carnegie<br /> W. H. Carpenter<br /> Edward Cary<br /> <br /> J. D. Champlin<br /> L. V. Cheney<br /> <br /> W. C. Church<br /> <br /> “ Mark Twain”<br /> T. M. Cann<br /> <br /> A. J. Conant<br /> <br /> M. D. Antony<br /> <br /> T. L, De Vihne<br /> M. F. Egan<br /> <br /> i. Eggleston.<br /> <br /> G, C. Eggleston<br /> H. R. Elliot<br /> <br /> G. W. Elwanger<br /> W. D. Foulke<br /> <br /> H. Frederick<br /> <br /> W. H. Gibson<br /> <br /> R. W. Gilder<br /> <br /> D. C. Gilman<br /> Parke Godwin<br /> <br /> A. 8. Hardy<br /> <br /> H. Harland<br /> <br /> John Hay<br /> <br /> W. T. Henderson<br /> R. Hitchcock<br /> <br /> W. D. Howells<br /> Brinson Howard<br /> Lawrence Hulton<br /> Rossiter Johnson<br /> C. A. Kay<br /> <br /> W. L. Keese<br /> J.B. Kenyon<br /> <br /> Among the authors are the<br /> <br /> Leonard Kip<br /> <br /> J. Kirkland<br /> <br /> T. W. Knox<br /> H. E. Krehbill<br /> Seth Low<br /> <br /> W. Marned<br /> <br /> C. Lewis<br /> <br /> G. P. Lathrop<br /> Percival Lowell<br /> J. M. Ludlow<br /> H. W. Mabie<br /> A. Mathews<br /> Brander Matthews<br /> W.S. Mayo<br /> Theodore H. Mead<br /> E. W. Moore<br /> J. H. Morie<br /> <br /> C. L. Norton<br /> E. W. Nye<br /> <br /> B. F. O’Connor<br /> D. Osborne<br /> <br /> C. H. Phelps<br /> G. E. Pond<br /> <br /> H. Porter<br /> <br /> O. L. Proudfit<br /> G. L. Raymond<br /> T. Roosevelt<br /> Jonah Royce<br /> C. Scollard<br /> <br /> H. Q. Scudder<br /> R. H. Stoddard<br /> H. Seely<br /> <br /> J. L. Spalding<br /> M. Smith<br /> <br /> BH. C. Stedman<br /> W. J. Stillwall<br /> F.R. Stockton<br /> F. H. Stoddard<br /> O. 8. Straus<br /> <br /> S. H. Thayer<br /> D. G. Thompson<br /> H. Vandyke<br /> <br /> J. C. Vandyke<br /> E. 8. Van Zill<br /> W.S. Walsh<br /> W. H. Ward<br /> G. H. Waring<br /> C. D, Warner<br /> C. H. Webb<br /> <br /> C. G. Whiting<br /> F. H. Williams<br /> <br /> What would happen if, by such a method, our<br /> <br /> <br /> 286<br /> <br /> Authors’ Club were to try to raise £5000? Unless<br /> one is greatly mistaken, even with the help of the<br /> best hundred men of thisrealm of Great Britain<br /> and Ireland, the answer of the public would be<br /> that, for the MSS. they cared nothing, and<br /> for the things themselves they were content to<br /> wait until the papers appeared in the sixpenny<br /> magazines.<br /> <br /> &lt;&lt;<br /> <br /> A copy of the New York Times (Nov. 27, 1892)<br /> has been sent to me because it contains a curiously<br /> ignorant attack on this Society. It speaks of the<br /> Society’s “eager determination to secure better<br /> payment for all writing, good, bad, and indiffe-<br /> ent alike.” Now, the Society has never for one<br /> moment purposed or endeavoured to secure<br /> “better payment” for anybody, good or bad.<br /> The slightest acquaintance with the objects and<br /> work of the Society is enough to show that the<br /> question of “better payment” does not concern<br /> us at all. Our object is to ensure fair and<br /> equitable agreements—fair to both sides. The<br /> writer goes on to point out the dreadful results<br /> caused by our abominable work. Foremost among<br /> these results is a calculated estimate of 70,000 (!)<br /> MSS. of novels submitted every year to publishers.<br /> <br /> The figures appear to be reached by multiplying<br /> 2400, the number stated by a certain publisher<br /> to be annually submitted to him, by three and<br /> subtracting 2000—one knows not why. But is it<br /> the case that 2400 MS. novels are annually sub-<br /> <br /> mitted to any firm of publishers? From my<br /> own experience, and the evidence of publishers, I<br /> should say 300 was a figure nearer the mark.<br /> Now we print the paper again: “Surely it<br /> has only leaped to these terrible proportions<br /> since the trades-union notion was engrafted upon<br /> literature, and the idea was sown broadcast that<br /> everyone who was at the pains to write was some-<br /> how entitled to be paid something by somebody,<br /> and need only join an association to enforce that<br /> right.” Yes! But who has sown broadcast that<br /> idea? And what words ever uttered in any organ<br /> of our Society encouraged anybody to believe<br /> that he need only to write in order to get paid ?<br /> In these days of rapid journalism, when a volume<br /> has got to be filled somehow, the temptation is<br /> always pressing to set down things on report.<br /> But surely this writer might have perceived, with<br /> a moment’s reflection, that it was simply silly to<br /> credit the Society of Authors with anything so<br /> <br /> preposterous. Will he only be so very kind as to<br /> read our papers ?<br /> <br /> A correspondent calls attention to a curious<br /> point in minor morals. It is this: Mr. Thomas<br /> Hardy has long since applied for purposes of<br /> <br /> THE AUTHOR.<br /> <br /> fiction, and used in all his novels, the name of<br /> Wessex for certain districts which once formed<br /> part of the ancient kingdom of Wessex. Thus<br /> Dorsetshire in his books is South Wessex; Berk-<br /> shire is North Wessex ; Hants is Upper Wessex;<br /> and Dorsetshire is Lower Wessex. Again, his<br /> novels are always Tales of Wessex. Has any<br /> other person, then, the right to appropriate these<br /> names? ‘The correspon ent asks these questions<br /> apropos of a novel called ‘ Dark,’’ which was<br /> mentioned in the last number of the Author.<br /> Dark lived in a “typical North Wessex cottage,”<br /> Afterwards mention is made of a Berkshire farm,<br /> so that Mr. Hardy’s nomenclature is clearly<br /> intended and adopted. Is this quite fair?<br /> <br /> A correspondent calls attention to a paper<br /> published in the Western Daily Mercury, of<br /> which he gives a résumé. It is the old story,<br /> only rather more amusing. Those ladies who<br /> answer firms advertising for MSS. may take<br /> note.<br /> <br /> There are nine letters.<br /> <br /> Letters 1 and 2.— ‘Reader has reported<br /> favourably.” This reader always does. ‘ Pub-<br /> lishers are willing to undertake publication on<br /> ‘favourable terms.’’’ These publishers always<br /> are. Said ‘favourable terms,” that the lady is<br /> to pay £100 down and £60 on seeing the last<br /> proofs ; that they are to produce an edition of<br /> 500 copies of the novel in three vols. at 315. 6d.,<br /> and that the author is to have three-fourths of<br /> proceeds.<br /> <br /> Let us see. The novel would cost to produce<br /> about £120, without advertisement. Clear profit<br /> to the publisher of £40, without the sale of a single<br /> copy. The question of advertisements is left<br /> open. Obviously the author is intended to pay<br /> for them. Say she is charged £25 at a moderate<br /> estimate, and £5 for corrections. She pays,<br /> therefore, £190.<br /> <br /> If, say, 400 copies are sold at 13s. 6d. each,<br /> the sum realised would be £270; the author<br /> would receive £200; gain £10. The publisher<br /> would net about £130. Very good business, this.<br /> <br /> Letter 3.—In this they nobly reduced the pay- —<br /> ment to £120, Refused.<br /> <br /> Letter 4,—A new and brilliant idea. Author<br /> is to send up £5 15s., in return for which she is -<br /> to have 1000 circulars. She is to distribute them, —<br /> and as soon as she has got 75 subscribers at<br /> 31s. 6d. they will go on.<br /> <br /> As no one could possibly get 75 subscribers at —<br /> that absurd price, the idea seems to be limited<br /> to getting a profit on printing the circular.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Letters 5 and 6.—A reduction to £3 15s. for<br /> the circular.<br /> <br /> 7,—Further argument.<br /> <br /> 8,—Harking back to the advance of £80, and<br /> payment of £40 on seeing proofs.<br /> <br /> g and 10.—Repetition.<br /> <br /> The MS. has at last been returned to the lady.<br /> <br /> <br /> <br /> The calamity which has befallen William<br /> Watson is one that all of us must deeply deplore.<br /> We can only express, in the name of every one of<br /> us, our most earnest hope that he will be restored<br /> to the world, his faculties revived and his<br /> genius undimmed, very shortly.<br /> <br /> $e<br /> <br /> A new fashion is beginning—a fashion which<br /> promises to last long and to bring about many<br /> useful things, especially a demand for clear<br /> thought and dramatic presentation. JI mean the<br /> duologues or proverbes, or little dramas of two<br /> columns or so that some of the papers are now<br /> producing. For instance, in the Court Circular<br /> of Dec. 3—a paper which I seldom see, because<br /> neither my ways nor my friends are courtly—I<br /> found a most beautiful little duologue called<br /> “ Merely Players.”’ It is signed by “ Clara Savile<br /> Clarke.’ Nothing could be better or more telling.<br /> How much better is a short crisp little dramatic<br /> sketch, with a long and strong story imagined,<br /> than long columns of description with a short and<br /> weak story presented. Let us prophesy. The<br /> fashion for dramatic sketches will be followed by<br /> the power to produce them. That power will be<br /> followed by the power to produce plays. There<br /> are immense possibilities in the dramatic sketch.<br /> <br /> &lt;&lt; —<br /> <br /> The Critie contains a most tragic story of the<br /> late P. S. Gilmore, who died in Boston last<br /> month. He was, among other things, a com-<br /> poser of music, and he ardently longed to com-<br /> pose a national anthem which would take the<br /> place of “Hail Columbia” and the other well-<br /> known American National Anthem. He did<br /> compose that anthem—he called it ‘* Columbia ”’—<br /> and this is what he wrote about it :<br /> <br /> To be simply honest with you, I believe the Almighty has<br /> made me the humble messenger of the grandest national<br /> anthem, music and words, ever bestowed upon a people.<br /> You know the warmth of my enthusiasm when I am on fire ;<br /> but, great as the mountains were to climb in our jubilee<br /> days, it was a tremendous mental and physical strain to<br /> bring what would seem air castles to terra firma. The con-<br /> centrated essence, the germ, the diamond of a life’s Hercu-<br /> lean labour in the vineyard of music, has now taken the<br /> shape of an anthem for the nation. When you read the<br /> words you will see how the history of the nation is packed<br /> <br /> into forty lines, with a prayer added. It was born without<br /> a struggle, for it was the body coming forth to clothe the<br /> moral soul—the music, which came first into the world un-<br /> sought for, without an effort. In the early stages of the<br /> war I wrote a song for the nation, but the music was not<br /> heaven-born and consequently it pinedaway. Whatever may<br /> be said, of one thing I am satisfied, that a national song<br /> should be deduced from its history, and when you hear its<br /> music it will take instantaneous lodgment in your heart.<br /> May God bless you allis the heartfelt wish and prayer of<br /> yours truly and sincerely, P. 8. Gilmore.<br /> <br /> And yet, alas! the hymn was a failure.<br /> <br /> <br /> <br /> In the announcements of new books given in a<br /> certain number of the New York Critic it is<br /> interesting to notice that by Americ+n authors<br /> there are fourteen, by English authors there are<br /> thirteen, one French, one German, and one<br /> Dutch. In the list of ‘ Publications Received ”<br /> there are twenty-five English writers and twenty-<br /> three American. ‘These numbers, compared with<br /> those published in the Author a year ago, show<br /> a great increase in the proportion of American to<br /> British authors. This increase is bound to con-<br /> tinue if only on account of the International<br /> Copyright Act, whose first result must be the<br /> development of native American literature.<br /> <br /> A correspondent objects to the sweeping de-<br /> nunciation of the publications of the S.P.C.K.,<br /> quoted in the last number of the Author. But it<br /> was quoted as an opinion from a friendly quarter,<br /> not as our own opinion. Speaking for myself, I<br /> have constantly, in my most friendly remarks on<br /> that venerable and truly religious body, called<br /> attention to the dainty and delicate work given to<br /> the world by some of the ladies who have the<br /> great good fortune to write for it, and who love<br /> and venerate the large souled »nd honourable<br /> committee, and pray for them daily. It is the<br /> true spirit of living Religion that I have pointed<br /> out for admirition in the committee of the<br /> S.P.C.K —not the nature of the work that they<br /> produce.<br /> <br /> We have frequently advocated in these pages<br /> the employment of a literary agent by those<br /> authors who have already created some kind of<br /> public. We have to adda caution, of the greatest<br /> importance, against going to any agent not recom-<br /> mended by tbis Society, or by some personal<br /> friends who have had experience of his capability.<br /> Tt will easily be understood that a so-called agent<br /> may, if he be dishonest, serve only as another<br /> <br /> trap and danger for the wrecking of the author,<br /> 5 Dp<br /> <br /> <br />  <br /> <br /> 288 THE<br /> <br /> If the following is true, why do we not all turn<br /> publishers? For that matter a great many of us<br /> are crowding into the profession.<br /> <br /> ARTNERSHIP.— £2000 will secure share in high-class<br /> publishing business, active or sleeping. Above amount<br /> will return 30 per cent. per annum without risk. The<br /> business will stand the most searching inquiry, and only the<br /> highest references will be accepted and given.— Principals<br /> or their solicitors may address, in the first instance.<br /> London.<br /> An income of £600 a year, without risk, on the<br /> investment of £2000, and “active or sleeping” !<br /> <br /> <br /> <br /> There have been certain literary forgeries of just<br /> the old-fashioned kind in Edinburgh. The<br /> following is an account which recently appeared<br /> iu the Times :—<br /> <br /> In May, 1891, an Edinburgh collector had a public sale<br /> of his treasures, the most remarkable feature of which was<br /> the very low prices which they brought. In August last<br /> this same collector was rash enough to send to an Ayrshire<br /> paper copies of two autograph poems of Robert Burns, the<br /> originals of which he declared to have been in his possession<br /> for twenty-five years, and which had never been printed.<br /> One of these poems was entitled the ‘Poor Man’s Prayer,”<br /> and in the course of it Chatham was appealed to. The<br /> collector expressed the opinion that no one could read the<br /> verses without being convinced that they were the pro-<br /> duction of the national bard. I quote three of the verses in<br /> order that the ordinary reader, to say nothing of the<br /> literary critic, may be able to judge of the kind of stuff<br /> that is described as worthy of Robert Burns :<br /> <br /> Tur Poor Man’s PRAYER.<br /> Amidst the more important toils of state,<br /> The counsels labouring in thy patriot soil ;<br /> Though Europe from thy voice expect her fate,<br /> And thy keen glance extend from pole to pole,<br /> <br /> O Chatham, nursed in ancient virtue’s lore,<br /> <br /> To these sad strains incline a favouring ear,<br /> Think on the God whom thou and I adore,<br /> <br /> Nor turn unpitying from the poor man’s prayer.<br /> While I, contented with my homely cheer,<br /> <br /> Saw round my knees our prattling children play.<br /> And oft with pleased attention sat to hear,<br /> <br /> The little history of their idle day.<br /> <br /> But this is not merely a question of judgment; it is a<br /> question of fact. For Mr. George Stronach, one of the<br /> librarians of the Advocates’ Library, Edinburgh, has found,<br /> not only these verses, but a great many more of the same<br /> stamp, printed in the London Magazine for 1766. The<br /> verses are there described as “Hxtracts from‘ The Poor<br /> Man’s Prayer,’ addressed to the Earl of Chatham ; by Simon<br /> Hedge, labourer.” It might, of course, be argued that<br /> “ Simon Hedge” was a nom de plume of Robert Burns; but,<br /> unfortunately for this supposition, Burns was in 1766 a boy<br /> of seven years, and the notion of his “prattling children”<br /> playing round his knees at that ageis too absurd to need<br /> refutation. This discovery has giventhe coup de grace to the<br /> whole scheme of forgeries. With this failure all the other<br /> impostures of the same set necessarily assumes the same<br /> character.<br /> <br /> Water Busan.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ETHICS OF CRITICISM,<br /> <br /> SS<br /> <br /> HE following notes arefrom a paper by Dr.<br /> A. Conan Doyle, published in the Morning<br /> Leader of Dec. 21:<br /> <br /> To review a book without having read it. as in the case of<br /> the reviewer who described Barrie’s “ Auld Lichts” asa<br /> volume of “very tolerable poetry,” is not criticism. It is<br /> obtaining money under false pretences.<br /> <br /> To review a book without cutting the leaves, by dipping<br /> into it here and there is not criticism. It is laziness.<br /> <br /> To review a book by writing a paragraph which repro-<br /> duces the plot of the book is not criticism. It is petty<br /> larceny.<br /> <br /> To hold a brief against a book, and to review it by pick-<br /> ing out every weak passage, and holding it up to ridicule<br /> without a word upon the other side, is not criticism. It is<br /> an aggravated assault.<br /> <br /> To review a book anonymously in several papers, so that<br /> it appears that all these papers have independently come<br /> to a conclusion, when really it is only one man who has<br /> done so, is not criticism. It is impersonation.<br /> <br /> But, in spite of all drawbacks, our critical Press is, I<br /> think, better than any other critical Press ; and if a man is<br /> blamed where he does not deserve it now and then, it is<br /> morally certain that he will also be praised where he does<br /> not deserve it occasionally; and so the balance is re-<br /> adjusted.<br /> <br /> A. Conan Doyur.<br /> <br /> coi aa<br /> <br /> <br /> <br /> AUTHORS, PUBLISHERS, AND REVIEWERS.<br /> <br /> ———— &gt;<br /> <br /> NHE results of some years’ experience in<br /> authorship and reviewing have led me to<br /> the following conclusions:<br /> <br /> It is not in any case advisable for a young<br /> author to leave the fate of a book entirely m the<br /> hands of a publisher. In the case of a book<br /> published on commission, such blind belief in the<br /> omniscient goodness of a publisher is fatal. In<br /> 1885 I paid for the production of 775 copies of a<br /> costly genealogical work. I have since ascer-—<br /> tained that several copies charged to me by the<br /> printer as copies sent for review were lost, and _<br /> five copies described as “library copies,” sent im _<br /> accordance with the Copyright Act, were lost<br /> also. In order to procure a belated notice in—<br /> two important magazines, I was obliged to send —<br /> second copies.<br /> <br /> Curious discoveries are frequently made by an<br /> author under process of review. ‘‘ The familia:<br /> friend whom he trusted” may appear in a new<br /> light, and the cloud which he dreaded may<br /> ‘burst in blessing.” The first and hardest hr<br /> I ever had from a reviewer came from one who<br /> had received a favour from me, and the kindlies<br /> ereetings were sent from sources altogethe<br /> unknown to me. One reviewer, who had not<br /> <br /> <br /> <br /> <br />  <br /> <br /> ty<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> received a copy, and could not obtain one on loan,<br /> was good enough to purchase the book for the<br /> purpose of annihilating it entirely in two columns<br /> of a sectarian newspaper. Unconsciously he did<br /> me a good turn. So did the Russian Scrutator.<br /> <br /> One book cost me £170 and three years’ hard<br /> labour, besides the labour of an assistant.<br /> Another book cost me £40, and no labour at all.<br /> The British public selected the last as the most<br /> valuable.<br /> <br /> It requires experience to be able to send out<br /> copies for review, and to compose and distribute<br /> advertisements judiciously, and when such experi-<br /> ence has been gained, the work is best done by<br /> the author—at least, that is my experience. As<br /> a reviewer IL know that I take more interest in a<br /> book sent directly to me with a little note from<br /> the author (which note is often an interesting<br /> reyelation of character) than I am apt to do if<br /> the same book arrives among a pile of others<br /> from the publisher.<br /> <br /> In the case of my third book, out of fifty<br /> copies sent for review, I obtained twenty-three<br /> reviews, and in addition to these, [ received seven<br /> notices from papers to which no review copies<br /> had been sent. Probably other notices appeared<br /> which I did not see, as my experience proves that<br /> even the eagle eye of a Press Cutting Agency<br /> has only a limited vision.<br /> <br /> I once obtained a most remarkable opportunity<br /> of blowing my own trumpet. The editor of a<br /> provincial weekly wrote to say that, as my book<br /> possessed a strong local interest, and he could<br /> not possibly find time to read it, would I kindly<br /> review it myself—any space up to a column and<br /> a half was at my disposal, and would I advertise<br /> in his paper? I passed the letter toa friendly<br /> reviewer, whose trumpet gave no uncertain<br /> sound. He produced the column and a half,<br /> and I advertised in the journal of that particular<br /> <br /> editor. He was a good fellow, a sound Tory,<br /> and an excellent judge of champagne and<br /> cigars,<br /> <br /> Publishers keep a list of papers 10 which they<br /> send copies of books for review. This list is not<br /> elastic. Like the laws of the Medes and Persians,<br /> it altereth not.<br /> <br /> A prominent publisher recently published a<br /> book in which 1 felt some interest. A few days<br /> after the usual allowance of review copies had<br /> been distributed, I wrote to the publisher stating<br /> that the author was a personal friend of mine,<br /> that I was reviewing for the principal provincial<br /> daily in a district where the author was well<br /> known, and that if a copy of the book were sent<br /> to me, I would give some space to it. No notice<br /> whatever was taken of my offer. As my object<br /> in reviewing is to give my readers a brief account<br /> <br /> 289<br /> <br /> of all works of merit as they appear, I usually<br /> contrive to read them, whether the publishers<br /> send them to me or not. I, therefore, read and<br /> reviewed this particular book in spite of the<br /> publisher’s discourtesy. Naturally copies of the<br /> work were vouchsafed to certain editors, who<br /> acknowledged the receipt by the barest possible<br /> mention of the book, and such copies might as<br /> well have been thrown into the sea. :<br /> <br /> The fact is, most publishers provide for reviews<br /> by a hard and fast line, from which they will not<br /> swerve an inch, Therefore it behoves young<br /> authors to stand guard over their own reputation,<br /> and if they get the chance of a good review let<br /> tbem see that the chance is not sacrificed by the<br /> density of the middle man.<br /> <br /> The notion that an editor has no right to<br /> criticise a book which has not been sent directly<br /> to him for the purpose of review is preposterous.<br /> Every intelligent editor owes it to his readers to<br /> keep them properly posted up in current litera-<br /> ture, and to discrimimate for them between the<br /> good and the bad in the world of books.<br /> Hundreds of books are reviewed in this way<br /> every week, and will continue to be so reviewed, to<br /> the very great advantage of authors, publishers,<br /> and the public generally.<br /> <br /> A published book is public property, and any<br /> attempt to boycott the liberty of the press in<br /> reviewing, whether made by author or publisher,<br /> is certainly made too late in the day.<br /> <br /> With respect to advertising, I may say that a<br /> single illustrated quarter-page advertisement in a<br /> good magazine sold fifty copies of one of my<br /> books, whilst I spent £25 in small advertise-<br /> ments hidden away among the holes and corners<br /> of newspapers having the “ largest circulation in<br /> the world,’ such advertisements having no<br /> appreciable effect whatever on the sale of the<br /> book. In fact, I might just as well have given<br /> my £25 to the blind.<br /> <br /> T consider that the farming of advertisements<br /> by publishers is a mistake. They debit your<br /> account with £25 or £50 for advertisements<br /> without stating when or where these advertise-<br /> ments appeared. They contract for so much<br /> space, and your advertisement will have to be<br /> packed, with perhaps a score of others, into this<br /> space. The review quotations will be hanged,<br /> drawn, and quartered. Sometimes you will have<br /> half-a-dozen quotations, sometimes you will have<br /> <br /> none. ‘There will be continual changings and<br /> choppings. You may complain, and the gentle-<br /> <br /> man who farms the advertisements will “ much<br /> regret, but really the pressure on our space, &amp;c.”<br /> Two of my books—a volume of sermons and a<br /> volume of humorous reminiscences—were adver-<br /> tised together. The review quotations executed<br /> <br /> <br /> <br /> <br />  <br /> <br /> 290<br /> <br /> a flying leap from one book to the other, and a<br /> grave and reverend reviewer was made to declare<br /> that the sermons were ‘“ vastly amusing.”<br /> <br /> Well, accidents will happen. One thing, how-<br /> ever, is certain. You will have to pay the piper,<br /> pipe he never so sadly. You will have to settle<br /> the bill, whether the work has been done well or<br /> ill. Mistakes are certain to be made, but it is<br /> not equally certain that they will be made in your<br /> favour. What is worth doing at all is worth<br /> doing well, and my experience teaches me that if<br /> you want a thing done well it is often advisable<br /> <br /> <br /> <br /> to do it yourself. Ho JS<br /> oc<br /> CORRESPONDENCE.<br /> I.<br /> A Lirrte Omnium GatHERuM FoR THE NEw<br /> YEAR.<br /> <br /> ILL you allow me to suggest, a little<br /> roughly, some few points for the con-<br /> sideration of your readers ?<br /> <br /> Books Wanted.—A short but comprehensive<br /> index to such letters as MA, F.RS., P.C.,<br /> LL.D., D.C.}., and so on—An unbiassed com-<br /> parison of Bimetallism with Monometallism—A<br /> short history of the Free Trade Controversy—An<br /> annotated and comparative edition of the Con-<br /> fessions of St. Augustine, the Thoughts of<br /> Marcus Aurelius, and the Confessions of Ros-<br /> seau—A. Life of Jay Gould, with an estimate of<br /> his moral character—Lives of the Laureates,<br /> from Chaucer to Tennyson, with a poem of each—<br /> The history and morality of gambling, with special<br /> reference to the views of the late Archbishop of<br /> York upon the subjects.<br /> <br /> Biographies—Let there be always an index ;<br /> let the biography in no case exceed one volume, and<br /> let the letters be very carefully weeded and placed<br /> in an appendix by themselve-, the text consisting<br /> of asummary of the life, including the letters.<br /> If here and there a letter is so important as to<br /> justify its beg printed in the text, let it be<br /> printed in small type.<br /> <br /> Suggestions to Editors.—In no case should the<br /> notes be allowed to choke the text. Full tables<br /> of contents should be placed at the beginning of<br /> each chapter, and the table of contents at the<br /> beginning of the book should Le a very short one<br /> —perhaps not more than a page, to give a bird’s<br /> eye view of the whole.<br /> <br /> Shakespeare’s ‘‘ Neece.”—How is it that Eliza-<br /> beth Hall, Shakespeare’s grand-daughter, is<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> described in Shakespeare’s will as his neece?<br /> Neither Dyce nor Hazlitt (both of whom print<br /> the will) notice this curious point. Has Lady<br /> Barnard’s will been sufficiently examined? This<br /> might make a good subject for a short article,<br /> <br /> Tennysoniana.—How is it that “ Timbuctoo ”<br /> is not obtainable ?<br /> <br /> Contents Tables; Machine-cut Pages; Prices<br /> and Dates of Books.—Surely every newspaper<br /> should have a paged table of contents on its first<br /> page or outside cover, as the Spectator, Saturday<br /> Review, and some others (the Author included)<br /> have. Surely, too, the pages of newspapers should<br /> be machine-cut in every case, and books and<br /> magazines ought to be issued with machine-cut<br /> pages also. Last, though not least, every book<br /> should have its price printed on its cover, and its<br /> date (as is usual) on the title page.<br /> <br /> Obscurity of Language.—So many great men<br /> have clothed their thoughts in obscure language,<br /> that we are running some risk of obscurity of<br /> language being considered of itself a mark of<br /> greatness, whereas, in my humble opinion, it is<br /> quite the reverse.<br /> <br /> Expressions of which we have had enough.—<br /> “Passing Away” or “ Joiniug the Majority ” as<br /> a substitute for “ Dying.” “Singer” as another<br /> name for a poet. ‘‘ Galore,” except occasionally.<br /> <br /> Reviewing.—An author should never solicit a<br /> review. A reviewer should always quote from<br /> the preface, and state the price of the book<br /> reviewed. It is worth considering whether the<br /> return of an unreviewed book should not be<br /> claimed. The author should not know by whom<br /> he is reviewed.<br /> <br /> Presentation Copies.—If sent to strangers, an<br /> acknowledgment should not be considered as a<br /> due. The copies should be sparingly sent—even<br /> to friends. ‘The risk of coming across them uncut<br /> is a great risk to run. J. M. Lexy.<br /> <br /> ——————<br /> <br /> I.<br /> ‘* ReLIgious” Firs.<br /> <br /> I must write to thank you for drawing —<br /> attention to firms and societies of “religious”<br /> publishers grinding the faces of authoresses of<br /> books, which go some way towards making the<br /> fortunes of such firms, who make a great favour<br /> of pay ng £20 or £30 for “ copyrights and all<br /> rights” of a work calculated to realise £400 or<br /> £500. I have sold several MSS. under these<br /> very conditions. The last I agreed to write on<br /> given subjects, which took me months to prepare,<br /> for £25. ‘he book is now published at 3s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The publisher said he had never given so much<br /> for its compauion volumes published previously,<br /> and when I say that even this small sum stretches<br /> over eighteen months’ credit, you may imagine<br /> what good it has done me.<br /> <br /> I know the fault les in agreeing to such terms,<br /> but with hungry faces around, dry bread is better<br /> than nothing. I most earnestly wish we could<br /> manage these things better, as one tastes little<br /> of the “sweet bliss of providing ” under distressing<br /> circumstances. Itis no consolation to me, writing<br /> amid the wrecks of a once comfortable, if not<br /> luxurious, home, to know that my books sell in<br /> America and Australia, that they are beautifully<br /> got up, &amp;c., while I and those dear to me are<br /> actually starving. (You know the tramp said it<br /> was no sort 0’ satisfaction to be chawed up by a<br /> fust-class dog.) I should think it a paradise to<br /> get a house to take care of, as suggested last<br /> week by you; or to live in a lodge or country<br /> cottage, where, as my little girl says, “ she could<br /> pick real daisies and see blue sky.’’ It is the<br /> height of my ambition to get the three acres and<br /> a cow, or a poultry farm to supplement my<br /> meagre earnings, or to enable me to stand out for<br /> better prices for my MSS.<br /> <br /> I cannot sew cleverly, and to teach is impossible<br /> in these days of free education ; neither could I<br /> earn auy more at grinding pen points than Frank<br /> Stockton’s unpopular journalist, if I tried that<br /> experiment. A Scripstine Moruer.<br /> <br /> Despair-street, Nov. 26, 1892.<br /> <br /> TEL,<br /> Scante Pay.<br /> <br /> When you headed Mr. Charles King’s letter<br /> “A suggestion and something more,’ I hope you<br /> designed to hint that the idea of publishing ‘in<br /> the Author the rate of pay of every journal in<br /> the kingdom,” struck you as well worth considera-<br /> tion. If you would like to have the opinions of<br /> those interested, allow me to express the warmest<br /> approval. I write very little in periodicals with<br /> which Iam unacquainted ; but in three instances<br /> Ihave received payments so small—by comparison<br /> with the importance and repute of the paper—<br /> that they dwell in my memory with unholy 1an-<br /> cour. I cannot suppose that the sum paid to me<br /> was less than is usual. But, if authorities and<br /> personages are content to write for such pay, the<br /> fact should be made known in order that profes-<br /> sional littérateurs may not be tempted to waste<br /> their time under a misapprehension caused by those<br /> names, or by the standing of the periodical. The<br /> owner, if honest—as is not to be questioned—<br /> <br /> 291<br /> <br /> could not object. It is no disgrace to a man if<br /> he cannot afford to pay as much as people expect<br /> of him. But for all that, I consider myself<br /> badiy “done” in two of those three in-tances.<br /> In the third case I complained, and by return of<br /> post came an additional 50 per cent., or nearly,<br /> with a letter of warm appreciatiun. But I am<br /> to suppose that the first cheque represented the<br /> normal scale of payment. Let those scales be<br /> published therefore, and the pages of the Author<br /> are the fitting place. iB.<br /> <br /> LV.<br /> Tue HeorisricAaL AMATEUR.<br /> <br /> I read with feelings of considerable satisfaction<br /> “M. L. P.’s” indictment of the “ egotistical<br /> amateur.” He isan individual from whom I too<br /> have suffered, and whom I have longed desired to<br /> see pilloried in the Author. But the egotistical<br /> amateur is not the only adverse force with which<br /> bond fide knights of the pen have to contend.<br /> There is the “ lady of title,” whose aid it would<br /> appear is absolutely necessary to insure the suc-<br /> cessful floating of a new magazine. It may be<br /> said she is included inthe “ H. A.’s,” who bestow<br /> their wares gratuitously upon the needy editors ;<br /> but this is erroneous, judging from the following<br /> anecdote, given to me on the best possible autho-<br /> rity. A lady of title and means, well known in<br /> the religious and philanthropic world, entered a<br /> small publishing office not a hundred miles trom<br /> St. Paul’s, and, requesting an interview with the<br /> proprietor, offered to compile a certain small book<br /> for the sum of £20. Her offer was declined,<br /> there not being £5 worth of honest work in the<br /> whole affair, and the publisher, unlike others of<br /> his kind, apparently not considering her title<br /> worth the remainder. Now, Ido not wish to say<br /> a word against titled and wealthy ladies writing<br /> upon special subjects with which they are specially<br /> acquainted, and being paid for it—if they choose ;<br /> but why should they trade upon their name and<br /> title, as in the case cited, to do work which scores<br /> of women who write for a living would do equally<br /> well, if not better, for half the money they<br /> demand? That the sums “earned” by these<br /> ladies are expended in charity, as 1 have heard<br /> asserted in their defence, is no justification. It<br /> is but “robbing Peter to pay Paul,” and ‘ Paul,”<br /> some of us think, has had a pretty good run, and<br /> itis time the claims of ‘ Peter” received con-<br /> sideration. EK. H.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> NE<br /> <br /> PusiisHers’ AGREEMENTS.<br /> <br /> 1. Anold and respectable firm agreed to publish<br /> a book for me, I paying costs, and they giving<br /> me 40 per cent. of the gross returns. Their<br /> estimate was higher than that furnished to me by<br /> the Secretary; still he thought their offer not<br /> bad, and the said estimate would be binding as an<br /> agreement, if [had it stamped. It was a very<br /> informal little document, and, as it expressly<br /> called itself, merely “approximate.” I did not<br /> see how it could be binding. It was not signed<br /> by either party. I did not have it stamped, and<br /> when the accounts came in, I found that the<br /> publishers certainly had not considered it binding,<br /> as they had allowed me 50 per cent. instead of<br /> the 40 per cent. agreed upon. I called their<br /> attention to the fact, thinking it might be an<br /> oversight, but they said they found themselves<br /> able with such books to allow 50 per cent.<br /> <br /> 2. I was remodelling an MS. by the advice of<br /> a publisher, who was interesting himself much in<br /> the matter, and going in largely for illustrations ;<br /> but nothing had been said about terms. I did<br /> not intend to take any share in the expense, but,<br /> that there might be no doubt upon the subject,<br /> I wrote and said so. In reply, the manager said<br /> that his firm were prepared to publish at their<br /> own cost, giving me half profits. I expected to<br /> have a formal agreement sent me for signature,<br /> as I had had before, from the same firm, but<br /> none came. By the time I found that none<br /> was coming, it was too late to have the letter<br /> stamped.<br /> <br /> I do not mistrust these publishers, but in<br /> neither case do they seem to me as businesslike<br /> as is desirable. In the case of the first firm,<br /> there have been sundry mistakes in their<br /> accounts, now in my favour, now in their own;<br /> pure mistakes, I quite believe, but not the more<br /> satisfactory for that.<br /> <br /> [ think it would be desirable, if it could be, to<br /> have a recognised form of agreement adopted by<br /> all; one, too, in which it should be distinctly<br /> stated whether copyright is assigned or not. At<br /> present an author seems to lose his copyright<br /> whenever the publisher undertakes the cost of<br /> production, even though the word be not<br /> mentioned in the agreement.<br /> <br /> To whom does the copyright of my second<br /> book belong ?<br /> <br /> I have not signed anything, so I do not know<br /> how I can have assigned it, unless silence gives<br /> consent. :<br /> <br /> Is it just that copyrights should form part of<br /> the assets of a bankrupt publisher ?<br /> <br /> Some of the books of a late popular writer<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> were published by a firm which became bankrupt.<br /> They were books in steady demand, bringing in a<br /> regular income, as they probably do still ; but<br /> when the firm failed the copyrights were sold<br /> with the rest of their property, and the author<br /> received, and apparently could claim, nothing<br /> more.<br /> <br /> This is what I was told, and I know his family<br /> were left very poorly off, though his books must<br /> still be producing an income for somebody.<br /> <br /> Surely, if copyright is sold in this way, the<br /> author’s rights should be safeguarded in some<br /> way, as he certainly did not assign it uncondition-<br /> ally, but on an agreement that he should receive<br /> a certain proportion of the proceeds.<br /> <br /> 8. G.<br /> <br /> [This lette is published as the writer sent it.<br /> There is some little confusion, apparently, e.g,<br /> (1) The author paid the costs, and the publisher<br /> was to give her 40 per cent. on the gross pro-<br /> ceeds. Let us work this out with a 6s. novel, ‘|<br /> (‘Cost of Production,” p. 31). We will suppose a:<br /> 1000 copies to be printed and sold, binding has =<br /> advanced 15 per cent. so the figures must be<br /> slightly altered :<br /> <br /> &amp; 8a<br /> Gr ss proceeds of 1000 copies = 166 0 Oo<br /> Publisher&#039;s share (by agree-<br /> ment). 4: .. 2 2) 90 te<br /> Author’s share (by agree-<br /> ment) «3 == 60 8 =<br /> Author pays cost, viz... ... 122G ae<br /> Author’sloss ... ... ... 62 0 6<br /> Publisher’s gain... ... .., 99 0 O<br /> <br /> Very good business. But they gave her, instead<br /> of 40 per cent., 50 per cent. of the gross proceeds :<br /> Publisher’s gain 83.0.0<br /> Author’s loss ... 39 0 O<br /> <br /> Is there anything wrong here ?—Ep. ]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> VI.<br /> Tue Pusiic Criticism oF Books.<br /> <br /> According to counsel’s opinion in the current<br /> number of the Author, an adverse criticism is<br /> only libellous ‘“‘if prompted by malice, or charac-<br /> terised by such reckless disregard of fairness as<br /> indicates malice towards the author.”<br /> <br /> This, though doubtless good law, is scarcely<br /> consolatory, inasmuch as the generality of unfair<br /> criticism contrives to keep clear of the definition<br /> here laid down. Take, for instance, the example<br /> cited by Dr. Bell in the November number<br /> (“‘ Correspondence” IV.). The review there<br /> quoted is manifestly unfair, and calculated to<br /> injure the author’s reputation, yet he would, I<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> suspect. have great difficulty in bringing it within<br /> the definition above laid down.<br /> <br /> It was this difficulty of establishing malice, or<br /> unfairness indicative of malice, that I had in my<br /> mind when I submitted in last month’s number<br /> that “for an author to obtain legal reparation<br /> would be well nigh impossible.” I never intended<br /> to convey, as “F. P.,” in the current number,<br /> represents me to have done, “that it would be<br /> well-nigh impossible to prove that any criticism<br /> is unfair;’’ that of course would be nonsense,<br /> but I still venture to maintain that, in the gene-<br /> rality of cases of unfair reviewing, it would be<br /> extremely difficult to satisfy the legal standard of<br /> “libellous criticism.” Rank AND FILE.<br /> <br /> <br /> <br /> VII.<br /> A Lirerary SCHOLARSHIP.<br /> <br /> There was an idea at one time that if a man<br /> did not die of starvation, and give some one<br /> else a chance to get something out of his works,<br /> he was no genius, and, it may be added, no man.<br /> Even Byron seemed to doubt whether a man<br /> ought to ask for his money, for he wrote :<br /> <br /> ‘“* When the sons of song descend to trade,<br /> Their lays are rare, their laurels fade.”<br /> <br /> The only way to prevent them descending to<br /> trade is for the nation to give them a little help.<br /> And this the nation at last seems disposed to do.<br /> I refer to the case of William Watson. Sons of<br /> song,and men of talent generally, have bestowed<br /> many gifts upon the nation. What the nation<br /> has given them in return is a matter for reflection<br /> over their own firesides. The democratic wave<br /> is rolling, and it rests with writers to say<br /> whether it shall flow over them or they shall<br /> ride on the top. If the nation is disposed to be<br /> kind, here is a scheme that may well occupy its<br /> attention. Ido not advocate it for men of genius.<br /> Men of genius have a way of getting out of<br /> holes that is denied to mere talent. I advocate<br /> it for young and struggling talent, for those of<br /> comparatively no opportunities, for those who, if<br /> no hand is outstretched towards them, sink, un-<br /> honoured and unsung. If it is anyone’s business<br /> to stretch this hand, it is surely the nation’s;<br /> for the glory of budding talent is the glory of<br /> the land that reared it. My scheme is this:<br /> that the nation shall make an annual grant of<br /> say £600—it is not a large draw on the exchequer<br /> —to be competed for by the most promising in<br /> poetry, fiction, and the drama, divided, in fact,<br /> into three scholarships. The judging, the means<br /> of selection could all be left to the Society of<br /> Authors, who would manage it, Iam sure, with<br /> pleasure and satisfaction. There is one ridiculous<br /> <br /> #25<br /> <br /> functionary in the British Parliament whose race<br /> is nearly run, I mean the Usher of the Black<br /> Rod. Let his salary be the basis of my scholar-<br /> ship. To an anticipated complaint that the<br /> output now is large, is enough; I have this to<br /> say: Weed it out. Take from it the works of<br /> those who publish at their own expense. Those<br /> of the driveller, who, after a sail in his yacht,<br /> startles the world with a log-book voyage; the<br /> people who pass through a foreign country, and<br /> come home with an account of its manners and<br /> customs, the butter-paper poets and the rest,<br /> and it will not seem so large after all. It is not<br /> the above class who make a nation famous; they<br /> make it a laughing stock. Talent is usually<br /> bereft of yachts, but if those who have yachts<br /> can wrest the scholarship from it, all the better.<br /> A Seasip—E MEemper.<br /> <br /> <br /> <br /> VEE<br /> <br /> A RECOMMENDATION FROM THE SOCIETY.<br /> <br /> Perhaps you may think the following woith<br /> publishing :<br /> <br /> While realismg, and valuing to the full, the<br /> immense benefits that the Society renders to<br /> authors in keeping them away from, or helping<br /> them out of difficulties with, fraudulently inclined<br /> publishers, I would like to point out how it might<br /> render another service to many writers, which<br /> would be of as great value as its present services<br /> are,<br /> <br /> So far the Society has turned its attention<br /> chiefly to safeguarding the interests of authors<br /> against publishers, but its scope is not bounded<br /> by this work, for in its circular issued in 1890 it<br /> is stated that ‘“ other and larger schemes remain<br /> for future development.’”’ The services now ren-<br /> dered are for those authors who have succeeded<br /> in finding a publisher, and, having provided for<br /> the relations between them being put on an<br /> understandable and equitable basis, it might now<br /> he made to render as great a service to those<br /> writers who want to find a publisher.<br /> <br /> What they are most in want of is—if their<br /> work be good—some such recommendation of it<br /> as will ensure its being published. Were the<br /> Society to enter into arrangements with various<br /> publishers to bring out any work it might recom-<br /> mend to them, and were it to have a committee<br /> to read works submitted to it, to which anyone<br /> should be entitled to send on payment of a fee,<br /> then, those writings that it approved being<br /> assured publication, the way of the beginner<br /> would be made much easier.<br /> <br /> The great stumbling block to beginners would<br /> thus be removed, as it would no longer be neces-<br /> <br /> <br /> <br /> <br />  <br /> <br /> 294<br /> <br /> <br /> <br /> sary to send a work to publisher after publisher<br /> (which does sometimes happen with good works),<br /> and lose in this process months of valuable time,<br /> for it would be known that a work of real merit,<br /> whatever its subject, would always be sure of<br /> speedy publication. The mere announcement to<br /> the public that it was published on the recom-<br /> mendation of the Society of Authors would surely<br /> ensure any book a large sale.<br /> <br /> The work already done by the Society was<br /> what was wanted by the author who can get<br /> published, and it would seem to require as a<br /> complement that which is wanted by the author<br /> who wants to get published. It surely, then,<br /> might become one of the other schemes referred<br /> to to organise a means of clearing the road and<br /> making a short and direct way for the beginner<br /> to reach the publisher by. This is, perhaps, the<br /> service that beginners in authorship most want,<br /> and I doubt not it has caused disappointment to<br /> some to find that the Society could not help them<br /> in this, the most needed direction, and that the<br /> only service it could render them was of a negative<br /> character.<br /> <br /> The carrying out of this plan would not involve<br /> a new departure on the part of the Society, it<br /> would need simply a development and combina-<br /> tion of work now performed by it and by the<br /> Authors’ Syndicate.<br /> <br /> Were it to become a practice for books to be<br /> published on the recommendation of the Society,<br /> meritorious works would -always see the light<br /> without unreasonable delay ; more writers would<br /> be induced to join the Society, and gradually it<br /> would have it in its power to set up a standard of<br /> literature ; it would in time become a centre or<br /> exchange for publishers to apply to for approved<br /> works, and be the great mart for literary wares.<br /> <br /> This manner of a new author reaching a pub-<br /> lisher would be more in accordance with advanced<br /> civilisation, which would surely exclude such an<br /> awful loss of time as is so often involved by the<br /> present comparatively haphazard method.<br /> <br /> Houserr Hass.<br /> <br /> <br /> <br /> IX.<br /> Wuyr?<br /> <br /> Is it not strange that, although my Poems and<br /> Prose Sketches were highly praised by your<br /> reader, as well as other critics, the publishers<br /> whom the Society named to me should have<br /> rejected them, one after another? I mean so far<br /> as taking any share of the risk is concerned,<br /> <br /> One publisher declines this, although he ad-<br /> mitted frankly that they were favourably reported<br /> on by his reader, as containing much good work.<br /> <br /> THE AUTHOR.<br /> <br /> One or two publishers absolutely declined having<br /> anything to do with them—even on commission<br /> terms, presumably—and another, who shall be<br /> nameless, withheld his opinion of them, even<br /> after having promised it to me.<br /> <br /> I ask, Sir, whether this is not discouraging to<br /> one, whose poems have been eulogised not only<br /> by the leading poetical critics of the day<br /> (probably), but also by such poets as Lewis<br /> Morris, J E. Whittier, Robert Browning,<br /> Matthew Arnold, and others. Is it not strange<br /> that no publisher should be found willing to<br /> risk a few paltry pounds for the chance of giving<br /> the poetical world considerable pleasure? Iam<br /> not speaking of my own case only, but of parallel<br /> ones as well. They may say, why not then<br /> publish at your own cost? The answer is simple<br /> —I can’t afford the risk, and they can!<br /> <br /> From a purely commercial standpoint they<br /> may be right, of course, but how tamely they<br /> show here; how utterly lacking in a spirit of<br /> enterprise! It is, after all, merely one throw of<br /> the dice, and, remember, had not my poems been<br /> endorsed so highly, I would never have submitted<br /> them. ‘ Nothing venture, &amp;ec.”’<br /> <br /> F. B. Doveron.<br /> <br /> [The above is another proof of the fact so often<br /> advanced in these columns, and so constantly<br /> denied—that there are very few publishers who<br /> ever take any risk at all.—Ep.]<br /> <br /> <br /> <br /> X.<br /> A Lirrie Sum.<br /> <br /> A printer’s mistake in the “Little Sum” is,<br /> from the printer’s point of view, a very small one<br /> —being only the substitution of a 2 fora (ce,<br /> line 7 should read, “10 per cent. on the net<br /> receipts of such sales’’).<br /> <br /> Yet it is very unfortunate in its effect on the<br /> sum, since, if 20 per cent. were given, it would<br /> alter the figures below the line as follows:<br /> <br /> 50) ee dO<br /> 4990 22. 30°92 oes<br /> AS 80 9<br /> <br /> In fact, the drop of ro per cent. in selling 5<br /> price (between 55 and 45), would thus mean a<br /> <br /> drop of 20 per cent. in publisher’s share, and<br /> only of 10 per cent. in the author’s. As things<br /> <br /> are, under the real clause, the 1o per cent. drop<br /> in selling price makes only a 10 per cent. drop in<br /> publisher’s share, and a 55 per cent. drop in the<br /> author’s.<br /> <br /> But the fault of the clause does not, I suppose,<br /> reside in this fact, since the publisher has to get<br /> back his cost of production.<br /> <br /> The wrong thing<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> is that he should have an inducement to sell un-<br /> necessarily low. It seems to me this might best<br /> be remedied by making the clause run :—‘“ Shall<br /> pay to the author on all copies sold a royalty of<br /> 10 per cent, provided that in no case shall the<br /> publisher receive less than 40 per cent. of the<br /> published price. No sales below 40 per cent. to<br /> take place without consent of the author.”<br /> We should then get :<br /> <br /> Selling price. Publisher’s share. Author’s share.<br /> 3<br /> <br /> <br /> <br /> <br /> <br /> 50°! 40°! IO<br /> <br /> 50 40° 0 IO<br /> <br /> 49°9 We re 9°9<br /> <br /> 48 HO 8<br /> <br /> ee ee VS i ee 7<br /> <br /> ee eee 40 &amp;e.<br /> Del.<br /> <br /> THe Maaazines.<br /> <br /> Might I suggest that a small space in the<br /> pages of the Author should be devoted each<br /> month to giving a list of magazines and papers,<br /> with the style and length of article, poem, or<br /> story contained in each.<br /> <br /> I venture to think this would be a great saving<br /> of time and trouble both to editors and to authors<br /> desirous of sending contributions to them,<br /> especially if the authors live in the country, and<br /> are unable to procure the various magazines, &amp;c.,<br /> in order to look over their contents, and see what<br /> articles or poems are suitable to each one.<br /> <br /> CAROLINE CREYKE.<br /> <br /> <br /> <br /> XI.<br /> PLAGIARISM.<br /> A tale I lately commenced to write opens as<br /> follows: “A long time ago there<br /> dwelt an old man of science<br /> <br /> the few people who ever caught a glimpse of him<br /> were wont to cross themselves as he passed by, for<br /> they looked on him as a magician; and perhaps<br /> they were right, for is not everybody who knows<br /> more than we do ourselves a being verging on<br /> the supernatural ? ”’<br /> <br /> Before I had proceeded far with the MS. it<br /> occurred to me to refer to Sir Walter Scott’s<br /> “Quentin Durward,” in order to refresh my<br /> memory regarding medieval modes of expression.<br /> To the best of my recollection I had never read the<br /> book, but nevertheless I thought it was probable<br /> I should find what I wanted in it. There was<br /> some difficulty in procuring a copy, and at length<br /> I purchased one, when, turning over the pages at<br /> random, the following was the first paragraph<br /> <br /> AUTHOR.<br /> <br /> e<br /> <br /> 295<br /> <br /> that attracted my attention: ‘“‘To read and<br /> wite!’ exclaimed Le Balafré, who was one of<br /> those sort of people who think all knowledge is<br /> miraculous which chances to exceed their own.”<br /> <br /> I have now perused Sir Walter’s admirable<br /> romance, and am quite convinced that I never<br /> did so before. The circumstances attending this<br /> unconscious plagiarism appear to me so extraor-<br /> dinary that I am induced to lay them b fore the<br /> readers of the Author. H. R Greene.<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> RS. SPENDER’S Christmas<br /> d Year books are “ Awaking,’”’ a new and<br /> <br /> cheaper edition (illustrated, 3s. 6d.),<br /> and a family story book for girls, called ‘No<br /> Humdrum Life for Me” (illustrated, 5s.). Both<br /> are published by Hutchinson.<br /> <br /> Mr. Reynolds Ball, editor of “ Mediterranean<br /> Winter Resorts,” is writing a series of papers on<br /> “Coming Winter Resorts’’ in the Queen news-<br /> paper. He contributes also an article on “ Sicilian<br /> Puppet Shows” to the January number of the<br /> Theatre, under his nom de guerre ‘“ Evelyn<br /> Ballantyne.”<br /> <br /> “In the Gun Room” is the title of a series of<br /> sketches in prose and verse by Mr. H. Knight<br /> Horsfield (Eden, Remington, and Co.). It is a<br /> book for sportsmen—for those who love the rod<br /> and gun.<br /> <br /> ‘‘The March of Shem” and other poems, by<br /> Alfred Hayes, author of “The Last Crusade,”<br /> &amp;c. (Macmillan and Co.). has advanced to a<br /> second edition. Let us note the fact as another<br /> indication of the increased interest felt in poetry.<br /> <br /> <br /> <br /> and New<br /> <br /> <br /> <br /> Russian Lirerature.—An analysis has been<br /> prepared by the Russian bibliographer Pavlenkoff<br /> of the works published in Russia during the year<br /> 1891. It seems that—excluding Finland—there<br /> appeared in Russia 9053 books ani pamphlets,<br /> with an aggregate sale of 29,000,000 copies. Of<br /> these 6588, with a total of 23,000,000 copies,<br /> were in the Russian language, 840 in the Polish,<br /> 393 in German, 380 in Hebrew, and 219 in<br /> Lettisch. One of the most popular forms of<br /> literature in Russia seems to be calendars, of<br /> which 229 were published, many of them having<br /> editions of upwards of 500,000. The most<br /> notable event in the Russian book world during<br /> this period was the expiration of the copyright of<br /> Lermontoff’s works, in consequence of which<br /> g2 editions of them appeared, having a total<br /> sale of upwards of 1,000,000 copies. The largest<br /> <br /> <br /> <br /> <br /> i<br /> i<br /> <br /> <br /> <br /> <br /> 296 THK AUTHOR.<br /> <br /> lass of publications was that of educational<br /> works, to the number of 574, exceeding bedles-<br /> lettres by 65. The third largest section was that<br /> of medical works. More thana third of the whole<br /> amount of Russian literature appeared in<br /> St. Petersburg alone.<br /> <br /> The Rev. F. Baring-Gould, M.A. (author of<br /> “Mehalah”’) has written a new story for the<br /> Queen newspaper. Its chief character is a female<br /> Cheap Jack—‘“ Cheap Jack Zita” is her name<br /> —and under this title the work will be published.<br /> <br /> Lady Violet Greville’s new novel is called<br /> “That hated Saxon,” and is to be published by<br /> Messrs. Ward and Downey.<br /> <br /> Canon Ainger will give three lectures on Tenny-<br /> son at the Royal Institution on Jan. 19, Jan 26,<br /> and Feb. 2.<br /> <br /> Mr. Alfred Austin’s new poem, “ Fortunatus,<br /> the Pessimist,” is going into a new edition.<br /> <br /> Mr. George Allen (of London and Orpington)<br /> is preparing for publication an interesting volume<br /> which will throw new light on that side of Mr.<br /> Ruskin’s character least known to his readers.<br /> This work, which will include many anecdotes,<br /> both pathetic and humorous, never before pub-<br /> lished, is being compiled by Mr. Arthur Severn,<br /> R.I., whose recollections and reminiscences of Mr.<br /> Ruskin dates from his (Mr. Severn’s) boyhood ;<br /> the illustrations will comprise various charac-<br /> teristic sketches made by Mr. Severn when accom-<br /> panying Mr. Ruskin on his driving tours.<br /> <br /> Mr. Allen has also in hand a “ Life of the late<br /> Lady Waterford,” Mr. Augustus J. OC. Hare, of<br /> which fuller particulars will be given shortly.<br /> <br /> “The World of Music” is the generic title<br /> which Anna Comtesse de Brémont has given to<br /> the three volumes she has written, and Mr.<br /> W. W. Gibbings has published “The great Com-<br /> posers,’ “The great Singers,” and “The great<br /> Virtuosi.” The volumes have been carefully and<br /> feelingly compiled, and the author has succeeded<br /> ina somewhat difficult task. In a future series<br /> the authoress contemplates dealing with com-<br /> posers, virtuosi, and singers of the day,<br /> <br /> “ The Successful Life” by “ An Elder Brother,”<br /> which has been published by Cassell and Co.,<br /> contains many weighty words of counsel, comfort<br /> and warning to young men commencing business.<br /> It is written in a shrewd, practical, and distinctly<br /> wholesome vein, and may be placed with confi-<br /> dence in any young man’s hands. “ An Hider<br /> Brother,” is obviously sincere in every word he<br /> has written, and his book is intended for those<br /> who are peculiarly susceptible to the influence of<br /> Sincerity.<br /> <br /> Mrs. L. T. Meade’s “A Medicine Lady,”<br /> which has just been published in three volume<br /> form by Casselland Co , will rank amongst her best<br /> stories. A difficult motif has been delicately<br /> handled. Mrs. Meade has kept well abreast of<br /> medical science, and has woven round what<br /> it has accomplished shapes to accomplish a<br /> story which is distinctly human and profoundly<br /> pathetic.<br /> <br /> A new edition of the “ Records of a Naturalist<br /> on the Amazons,” by the late Henry Walter<br /> Bates, is about to be issued (John Murray). The<br /> edition is to be unabridged, and will be accom-<br /> panied by a memoir of the author by Edward<br /> Clodd.<br /> <br /> “One Land—One Law.” This is the title<br /> of Mrs. Crafton-Smith’s new novel, to be com-<br /> menced in Sala’s Journal early in February.<br /> Mrs. Crafton-Smith is known under the name of<br /> “Nomad*” as the author of “The Milroys,”<br /> “A Railway Foundling,” “Holly,” &amp;e.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> History and Bioeraphy.<br /> AUTOBIOGRAPHICAL AND FULL HisTORICAL ACCOUNT OF<br /> THE PERSECUTION OF HamiEetT NicHoLson in his<br /> opposition to Ritualism at the Rochdale Parish Church.<br /> Barber and Farnworth, Manchester.<br /> <br /> Barnett-Smiru, G. History of the English Parliament,<br /> with an account of the Parliaments of Scotland and<br /> Ireland. 2vols. Ward, Lock. 24s.<br /> <br /> Buacx, Heten C. Notable Women Anthors of the Day.<br /> Biographical sketches, with portraits. David Bryce,<br /> Glasgow. 10s. 6d. é<br /> <br /> Bootu-Tucker, F. p—E L. The Life of Catherine Booth,<br /> the Mother of the Salvation Army. 2 vols. Inter-<br /> national Headquarters, Queen Victoria-street, E.C., or<br /> Simpkin, Marshall. 153.<br /> <br /> Bovurrinot, J. G. Historical and Descriptive Account of<br /> the Island of Cape Breton, and of its memorials of the<br /> French régime, with bibliographical, historical, and<br /> critical notes. Foster, Brown, and Co., Montreal.<br /> <br /> CassELL’s New BroGRAPHicaAL DicTIOoNARY, containing<br /> memoirs of the most eminent men and women of all<br /> ages and countries. Cassell. 7s. 6d.<br /> <br /> CLASSICAL PicTURE GALLERY, a Series of 144 reproduc-<br /> tions of the choicest paintings of the old masters, taken<br /> from the originals in the galleries and private collec-<br /> tions of Europe. Edited, with biographical notices, by<br /> Professor F. von Reber and Dr. A. Bayersdorfer,<br /> directors of the Munich Pinakothek. H. Grevel and<br /> Co., King-street, Covent-garden. 21s.<br /> <br /> Cooxn, Rev. G. A. The History and Song of Deborah.<br /> Judges IV, and V. Henry: Frowde. Paper covers.<br /> Is. 6d.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Courtney, W.L. The Life and Work of Hubert Herkomer,<br /> R. A. The Art Annual, with illustrations. Also the<br /> Art Journal for 1892. Art Journal Office, Ivy-lane,<br /> Paternoster-row.<br /> <br /> CunNINGHAM, PrerTerR, F.S.A. The Story of Nell Gwyn,<br /> and the sayings of Charles II., related and collected by.<br /> Edited, with introduction and life of the author, bv<br /> Henry B. Wheatley, F.S.A. W. W. Gibbings, Bury-<br /> street, W.C.<br /> <br /> Dasent, Jonn Rocue. 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Government.<br /> <br /> <br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Toe Leraprennatt Preuss Lrp., H.C.)<br /> a<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siapence each: 5s. per dozen, ruled or plain.<br /> <br /> <br /> <br /> A VALUABLE AID to all engaged or interested in<br /> LITERARY PURSUITS is<br /> <br /> THE WRITER,<br /> <br /> Six Numbers of which have been issued, price Sixpence each.<br /> The set of six will be sent, post free, on receipt of postal<br /> order for 2s. 6d.; or single copies will be sent on receipt of<br /> Sixpence.—En@LisH PuBLisHiING Co., 73, Ludgate-hill, H.C.<br /> <br /> Twenty-fourth Issue, Super-royal 8vo., price 15s., post free.<br /> <br /> Ce CLERICAL DIRECTORY 1892.<br /> Being a Statistical Book of Reference for facts relating to the<br /> Clergy in England, Wales, Scotland, Ireland, and the Colonies; with<br /> a fuller Index relating to Parishes and Benefices than any ever yet<br /> given to the public.<br /> Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> HE AUTHORS’ AGENCY. Established 1879.<br /> <br /> The interests of Authors capably represented. Proposed agreements and estimates _<br /> MS. placed with Publishers.<br /> practical experience in all kinds of publishing and book producing. Consultation free.<br /> <br /> 1, Paternoster Row.<br /> examined on behalf of Authors.<br /> <br /> <br /> <br /> MRS. GiLg,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;e., 1s. 3d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br /> <br /> Miss PATTEAEN,<br /> TYPIST,<br /> <br /> 44, Oakley Street Flats, Chelsea, S.W.<br /> <br /> rmitted<br /> <br /> Authors’ MSS. carefully transcribed. References kindly<br /> sq., and<br /> <br /> to George Augustus Sala, Esq., Justin Huntly’ McCarthy,<br /> <br /> many other well-known ‘Authors.<br /> Fire - Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> Stickphast<br /> <br /> PASTE<br /> for joining papers and sticking in scraps:<br /> Sixpence and One Shilling, with strong useful brush.<br /> <br /> Proprietor, Mr. A. M. BURGHES,<br /> <br /> Transfers carefully conducted. Twenty-five years’<br /> <br /> leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horacr Cox, Windsor House, Bream’s-buildings, London, H.C.<br /> <br /> <br /> <br /> <br /> <br /> Terms and testimonials from	https://historysoa.com/files/original/5/446/1893-01-02-The-Author-3-8.pdf	publications, The Author
447	https://historysoa.com/items/show/447	The Author, Vol. 03 Issue 09 (February 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+09+%28February+1893%29"><em>The Author</em>, Vol. 03 Issue 09 (February 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-02-01-The-Author-3-9					305–344																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-02-01">1893-02-01</a>							9			18930201	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> BONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> FEBRUARY 1, 1893. [Prick SIXPENCE.<br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE.<br /> <br /> Warnings ae see wee Be ce ae Be ao: ws. OT The Starveling. By William Toynbee ...<br /> <br /> How to Use the Society... ae ae e vee ae .-. 308 Notes and News. By the Editor...<br /> <br /> The Authors’ Syndicate } ‘Tho Empty Purse”<br /> <br /> Notices... x = aie = ae a : = : Feuilleton—<br /> <br /> Literary Property— 1.—A Writer of Stories a<br /> 1.—Author and Editor yes peo Se oe aac coe BLO 2.—My Critic on the Hearth ...<br /> 2.—Clarke v. Mills es yas es er wwe ae ce OLD Mr. Hawley Smart. In Memoriam<br /> 3.—The First Decree under the New American Copyright Act 312 Labour&#039;s Sunday. By John Saunders ...<br /> <br /> The Output of 1892<br /> Correspondence—<br /> 1.—G. P. G. on Many Things...<br /> 2.—Wessex wae eae<br /> $.—Author and Editor...<br /> 4.—On Mr. H. Haes’ Letter<br /> 5.—Prompt Payment<br /> 6. The Lady of Title<br /> 7.—Recommended by the Court<br /> At the Sign of the Author’s Head...<br /> List of Publications, &amp;ec.<br /> <br /> 4.—Magazines and Copyright<br /> 5.—Another Pirate<br /> 6.—A Case for the Society<br /> 7.—The Hardships of Publishing<br /> Association of American Authors...<br /> { From the Daily Chronicle<br /> A Confession ... ase<br /> i Letter by Miss Mitford Es oo os eee<br /> * AnOmnium Gatherum for February. By J. M. Lely<br /> A National Name a tae<br /> Notes from Paris. By R. H. Sherard<br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> { 1, The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> Literature and the Pension List. By W. Morris Coutss, Barrister-at-Law. (Henry Glaisher,<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> 5, The History of the Sociéte des Gens de Lettres. By S. Squire Spriaen, late Secretary to<br /> the Society. Is.<br /> <br /> 6. The Cost of Production, In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squire Spriaee. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> contaming the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> -<br /> <br /> <br />  <br /> <br /> <br /> <br /> 306<br /> <br /> The Soctety of Authors (Sncorporated),<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin ARNo.xp, K.C.I.E., C.S.1.<br /> ALFRED AUSTIN. |<br /> J. M. Barrie.<br /> <br /> A. W.A Beckert.<br /> <br /> RoBeRT BATEMAN.<br /> <br /> Str Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BrRRELL, M.P.<br /> <br /> R. D. Bhackmore. |<br /> Rev. Pror. Bonney, F.R.S.<br /> Lord BRABOURNE.<br /> <br /> James Brycz, M.P.<br /> <br /> HAuu CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> Epwarpb CLopp.<br /> <br /> W. Morris Cougs.<br /> <br /> Hon. JoHN CoLurEer.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dogson.<br /> A. W. Dusoure.<br /> <br /> EpmuND Gossr.<br /> <br /> <br /> <br /> THomas Harpy.<br /> <br /> J. M. Lary.<br /> <br /> <br /> <br /> OswaLp CRAWFURD, C.M.G.<br /> THE HAR oF Desarr.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> Pror. MicHarn Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHarD GARNETT, LL.D.<br /> <br /> H. Riper HaGearp.<br /> <br /> JEROME K. Jerome.<br /> Rupyarp KIpuine.<br /> Pror. E. Ray LAnKestEr, F.R.S.<br /> <br /> Rev. W. J. Lorriz, F.S.A.<br /> <br /> Pror. J. M. D. Merknesoun.<br /> HERMAN C. MERIVALE.<br /> <br /> Rev. C. H. Mippneton-WakeE F.L.S.<br /> <br /> Lewis Morgis.<br /> <br /> Pror. Max Miuuer.<br /> <br /> J. C. PARKINSON.<br /> <br /> THE Ear oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sire FREDERICK PoLtocx, Bart., LL.D.<br /> <br /> WaALter Herries PoLiock.<br /> <br /> A. G. Ross.<br /> <br /> GEoRGE AuGusTUsS SALA.<br /> <br /> W. BaprisTE Scoongs.<br /> <br /> G. R. Sms.<br /> <br /> S. SQUIRE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Wiuiiam Moy Tuomas.<br /> <br /> H. D. Tears, D.C.h.<br /> <br /> Baron Henry DE Worms,<br /> F.R.S.<br /> <br /> Epmunp YAtTEs.<br /> <br /> MP.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNpERpown, Q.C.<br /> <br /> Solici&#039;ors-<br /> <br /> Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—C. HurBert Turina, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortuGau Street, Lincoun’s Inn Fiexips, W.C.<br /> <br /> <br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price lds.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> CoMPILED rRoM AUTHENTIC SOURCES BY<br /> GCHORGE HENRY JBN NTN.<br /> <br /> CONTENTS.<br /> <br /> Parv I. Riseand Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Part HI.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> <br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> | AppENDIx.—(A) Lists of the Parliaments of England and<br /> <br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> <br /> | (C) Prime Ministers, Lord Chancellors, and<br /> <br /> | Secretaries of. State from 1715 to<br /> <br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> ’ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. &quot;—Scotsmar.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> atest form should have increased popularity.”—Globe,<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> vempaign, is ineumparable.”’—Sa/a&#039;s Journal.<br /> <br /> “It is a work that possesses both a practical and an historical<br /> value. and is altogether unique in character.”— Kentish Observer.<br /> <br /> ‘* We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> <br /> ‘Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> <br /> | leisurely entertainment, which is not less enjoyable from being allied<br /> <br /> with edification.”—Liverpool Courier.<br /> <br /> <br /> <br /> we<br /> <br /> Orders may now be sent to HORACE COX “Iaw Times’’ Office, Windsor House, Bream&#039;s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> Che<br /> <br /> Fluthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible.<br /> <br /> ————<br /> <br /> NHE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post and requests that all members not<br /> <br /> recviving an answer to important communicatiops<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has Leen proved to have<br /> been committed, it is reasonab’e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> WARNINGS.<br /> <br /> ———- &gt;<br /> <br /> Seri1aL Ricuts.—In eselling Serial Rights<br /> stipulate that you are selling simultaneous serial<br /> right only, otherwise you may find your work<br /> <br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> <br /> <br /> Srame your AGREEMENTS.— Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> biought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution, The stamp duty varies from 6d. up to<br /> 10s, or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> <br /> VOL, III.<br /> <br /> FEBRUARY 1, 1893.<br /> <br /> [Prick SIXPENCE.<br /> <br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br /> Remember that an arrangement as to a joint<br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> Sa<br /> <br /> Literary Acrents.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. Remember that you place<br /> your property alm»st unreservedly in his hands.<br /> Your only safety is in consulting the Society, or<br /> some friend who has had personal experience of<br /> the agent.<br /> <br /> ———<br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> eight years’ work upon the dangers to which literary<br /> property is exposed :-—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you lave proved the<br /> figures.<br /> <br /> (2.) Nuver enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have asceitained what the<br /> <br /> AA 2<br /> <br /> rise scanpanieemnaii<br /> <br /> ee ees<br /> <br /> <br />  <br /> <br /> 308<br /> <br /> <br /> <br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights. Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher, unless for a substantial<br /> consideration. If the publisher insists,<br /> take away the MS. and offer it to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Portucat Srreet, Lincoun’s Inn Freups.<br /> <br /> De<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> z. Remember that questions connected with<br /> copyright: and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> THE AUTHOR.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as to a change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer. :<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> [ B. Colles desires to inform readers of the<br /> <br /> N Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> nature of the services rendered, but the<br /> charges are reduced to the lowest possible<br /> amount compatible with efficiency. Mean-<br /> while members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis, and<br /> when desirous of seeing Mr. Colles, they<br /> must write for an appointment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands ;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> That in the face of the present competition,<br /> <br /> authors will do well to moderate their<br /> expectations.<br /> <br /> aul<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be cf use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> a ee<br /> <br /> a°o<br /> <br /> The Editor is always glad to receive short<br /> papers and communiations on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of ea:h month.<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> + &gt;<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> SE oe<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> oo<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years<br /> <br /> <br />  <br /> <br /> 310 THE<br /> <br /> <br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of ‘doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> Some :emarks have been made upon the amount<br /> charged in the “Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> spec<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> LE<br /> AUTHOR AND EprTor.<br /> <br /> HERE are two question- relating to author-<br /> Ty ship which, while of considerable im portance<br /> to authors, have never yet, I believe, been<br /> the subject of judicial decision. They are, how-<br /> ever, merely questions of the ordinary law of<br /> contract, and the general principles which<br /> underlie that law will be found to afford a<br /> sufficient answer. ‘The questions are:<br /> <br /> I. What are the duties of an editor with<br /> respect to an article that has been submitted for<br /> his approval, but has been rejected as unsuitable ?<br /> <br /> i{. What right has an author to deal with an<br /> article which he has submitted to the editor of a<br /> paper or magazine, and of the acceptance or<br /> rejection of which he has not heard ?<br /> <br /> I. As to the first question, papers may perhaps<br /> be divided into three classes, their duties and<br /> liabilities varying according to the class in which<br /> they happen to fall. They are—<br /> <br /> 1. Those papers which, by the insertion of a<br /> notice, invite contributions to be submitted for the<br /> approval of the editor,<br /> <br /> AUTHOR.<br /> <br /> 2.. Those papers which neither invite nor refuse<br /> contributions.<br /> <br /> 3. Those papers which give notice that they<br /> do not desire contributions, and will not be<br /> responsible for articles sent in, nor undertake to<br /> return them.<br /> <br /> 1. As to the first class it is clear that the notice<br /> in the paper is an offer to consider all contributions<br /> submitted, and to see if they are suitable for<br /> publication. The sending of an article by a con-<br /> tributor is an acceptance of that offer. But if the<br /> editor rejects the article as unsuitable, what are<br /> his duties with regard to it? Is he at liberty to<br /> put it in his waste paper basket ? Certainly not,<br /> any more than I am at liberty, if I ask Maple to<br /> send me furniture on approval and do not approve<br /> of it, to put it outside my door to take care of<br /> itself. There is here a bailment for the mutual<br /> benefit of both parties, and the editor must take a<br /> reasonable care of the article until it is returned<br /> into the hands of the author. But provided that<br /> he has exercised such care as a reasonably prudent<br /> man would naturally exercise in his own business,<br /> he will not be liable for loss. Whether reason-<br /> able care has been exercised is a question of fact<br /> to be decided in each particular case. Of course,<br /> if an author sends in his article in answer to<br /> such a notice, and the notice contains special<br /> terms, to which he makes no objection, he will<br /> be held to have acquiesced in, and will be bound<br /> by, those terms, provided they are reasonable.<br /> By special terms, I mean, for instance, such a<br /> term as a refusal to be responsible for the return<br /> of articles. Probably, in the absence of special<br /> terms, in such a case as this, the editor would be<br /> liable to return a rejected article at his own ex-<br /> pense ; because, since the editor expects that he<br /> will obtain, at least, as much benefit from the<br /> article as will the author, and as, therefore, the<br /> contract is for the benefit of both parties, it is<br /> difficult to see why one of them should be put to<br /> more expense in carrying it out than the other.<br /> Still, an author who desires to have hig article<br /> returned in case of rejection, will, no doubt, be<br /> wise to enclose stamps to defray the cost of<br /> postage. Ifan editor were to venture to raise<br /> the defence that, at the time of sending in the<br /> article, the author had, as a matter of fact, no<br /> knowledge of the notice, I apprehend that the<br /> principle involved in the class of cases commenc-<br /> ing with Williams v. Carwardine (4 B. &amp; Ad.<br /> 621), and in the last of which, Gibbons v. Proctor<br /> (7 Times L. Rep. 462), Mr. Justice Day held that<br /> a policeman might claim a reward offered by<br /> advertisement for certain information, although<br /> at the time he gave the information he had not,<br /> and could not have had, any knowledge of the<br /> offer, would apply; and that where something is<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> done (e.g., the sending of an article) subse-<br /> quently to an offer (e.g., the offer to consider<br /> contributions) which does, im fact, form an<br /> answer to that offer, it must be taken to be an<br /> acceptance of the offer, although it is not shown<br /> that the offer was the motive for the act, and<br /> perhaps, even though at the time of doing the<br /> act, the acceptor had no knowledge of the offer.<br /> <br /> 2. In the case of papers which insert no notice,<br /> if an author of his own motion sends an article<br /> to an editor, the offer comes from the author, and<br /> the editor, if he accepts it, does so by dealing<br /> with the article in such a manner as to show that<br /> he intends to become the owner, for instance, by<br /> publishing it in his paper. Tf he rejects the<br /> article, he is not bound to put himself to the<br /> trouble and expense of returning it; though he<br /> might do so as a matter of courtesy, and would<br /> be wise to do so ev abundantia cautele.<br /> <br /> It is possible that an editor would, in this<br /> case, be under a liability to take some care of an<br /> article which had been submitted to him. If he<br /> were bound to do so, it would probably be on the<br /> ground of a presumed request preceding the<br /> sending of the article (Wilkinson v. Coverdale,<br /> 1 Esp. 76), but the offer so clearly appears here<br /> to come from the author, that it seems open to<br /> doubt whether such a presumption would be<br /> reasonable. If there is any liability to exercise<br /> this care, it can only be for areasonable time, and<br /> the author must allow no great length of time to<br /> elapse before applying for the return of his<br /> article.<br /> <br /> 3. In the third case, when an editor gives an<br /> express notice that he does not wish for contribu-<br /> tions and will not be responsible for any that are<br /> sent, it is difficult to see why he should be held<br /> liable.<br /> <br /> If a person enters, or offers to enter, into a<br /> contract with a knowledge that there is a notice<br /> containing special terms, he is considered to have<br /> assented to those terms, and will be bound by<br /> them provided they are reasonable (Watkins v.<br /> Rymill, 10 Q. B. D. 178).<br /> <br /> The liability of the editor in this case would, it<br /> seems, depend upon whether he had taken<br /> “reasonable means to give notice of the condi-<br /> tions” to contributors, and it is submitted<br /> that such a notice might be “ reasonable means.”<br /> If it occupied a sufficiently prominent place in<br /> the paper to be generally seen, the contributor<br /> would probably be held to have had knowledge<br /> of it and to have intentionally sent his article<br /> at his own risk, and the editor would not be<br /> liable. If the notice were not sufficiently promi-<br /> nent to be seen by ordinary readers the editor<br /> would be in the same position as if there were<br /> no notice, that is to say, he might be bound<br /> <br /> AUTHOR.<br /> <br /> ais<br /> <br /> to take a reasonable care of the article for a<br /> reasonable length of time. Whether the notice<br /> was sufficiently prominent or not is a question of<br /> fact which must be decided according to the<br /> circumstances of each case.<br /> <br /> If, however, an author could prove that there is<br /> a well-established custom in the trade that an<br /> editor, by publishing a paper, holds himself out as<br /> ready to receive and consider contributions, then,<br /> in case No. 2, where there is no notice, the editor<br /> would certainly be liable if he did not take a<br /> reasonable care of the article; and in case No. 3<br /> he would probably have to show that he did take<br /> all reasonable means to bring the notice to the<br /> knowledge of contributors, possibly even that the<br /> notice had actually come to their kaowledge.<br /> <br /> II. As to the right of an author to deal with<br /> an article which he has offered to a paper, but of<br /> the acceptance or rejection of which he has not<br /> heard.<br /> <br /> In each of the above cases the author appears<br /> to make an offer; but im the first case there is<br /> an acceptance on his part as well as an offer. In<br /> the first case by sending in his article he, in<br /> effect, says: ‘I accept your offer to consider my<br /> article, and I further offer to sell it to you if you<br /> think that it is suitable for your paper.” In the<br /> other two cases there is merely an offer by the<br /> author : ‘ Will you purchase my article?’’? There<br /> is, therefore, in each case an offer from the author<br /> to the editor. To complete the contract there<br /> must be an acceptance by the editor, and that<br /> acceptance, to take effect, must be com municated<br /> to the author (Felthouse v. Bindley, 11 C. B.<br /> N.S. 69).<br /> <br /> Until there has been either a direct acceptance<br /> by letter or word of mouth, or an indirect accept-<br /> ance by some act, which act has been brought to<br /> the knowledge of the author (publication would<br /> probably fulfil both these conditions) he is at<br /> liberty to withdraw his offer. If he desires to<br /> do so, however, he must bring notice of the<br /> withdrawal of the offer to the knowledge of the<br /> editor (Byrne v. Van Tienhoven, 5 C. P. Div.<br /> 344). But it appears than an offer only remains<br /> open for a reasonable time, and then lapses<br /> (Ramsgate Hotel Company V. Montefiore, L. Rep.<br /> 1 Exch. 10g), and that withdrawal of the offer<br /> is in that case unnecessary; so that it may be<br /> that an author, after a reasonable time has<br /> elapsed, may offer his article to another editor<br /> without notice to the former. But it is, of course,<br /> always safer to give a notice.<br /> <br /> What is a reasonable time is a question of fact<br /> in each case; in the case cited above four months<br /> was held to be an unreasonable time to keep an<br /> offer to take shares in a company open, and the<br /> defendant was considered justified in refusing to<br /> <br /> <br />  <br /> <br /> 312 THE<br /> <br /> <br /> <br /> acknowledge an acceptance of his offer after the<br /> lapse of such a period. B.<br /> <br /> — +<br /> <br /> II,<br /> CLARKE v. Mitts.<br /> <br /> (Before Mr. Justice Wright, sitting as an addi-<br /> tional Judge in the Chancery Division.)<br /> (From the Times.)<br /> <br /> The plaintiff in this action is vicar of Battersea,<br /> and an honorary canon of Winchester Cathedral,<br /> and for many years has been editor of the well<br /> known children’s periodical entitled Chatterbox,<br /> and other publications. He now claimed the<br /> right to a half share in that magazine as a<br /> partner, as against the clam of the legal repre-<br /> sentative and executor of the late Mr. James<br /> Johnson, who, by a codicil executed shortly<br /> before his death in 1891, had treated himself as<br /> sole proprietor of the property. For three or four<br /> years before the Chatterbox was started, Canon<br /> Clarke had had business relations with Mr. John-<br /> son, and in 1866 they proposed to publish a maga-<br /> zine for young folk, and Canon Clarke hit upon<br /> that of Chatterbox, which Mr. Johnson, in the<br /> October of that year, registered at Stationers’<br /> Hall in their joint names. The first number was<br /> not published until December, so that the regis-<br /> tration became irregular, and no steps were<br /> afterwards taken to register. Nothing but a<br /> verbal arrangement to share the profits was made,<br /> Mr. Johnson undertaking to illustrate and finance<br /> the paper, while Canon Clarke was to do all<br /> editorial work. The periodical soon became a<br /> great success here and also in America, producing<br /> as much as from £3000 to £5000 a year profit,<br /> and Canon Clarke proposed that there should be<br /> some deed of partnership prepared, but Mr. John-<br /> son, who alone managed all the business arrange-<br /> ments, took no steps in the matter. During this<br /> time they also produced a publication called<br /> Prizes, and continued to divide the profits arising<br /> from it after the deed of partnership for seven<br /> years had expired. They also shared the profits<br /> of a third publication called the Parish Magazine<br /> for which they had only a verbalagreement. A<br /> few days prior to the publication of the first<br /> number of Chatterbox, Mr. Johnson sent to<br /> Canon Clarke a slip of paper purporting to be a<br /> transfer by the latter of his rights in the Chatter-<br /> box to Mr. Johnson. It was signed by Canon<br /> Clarke, but not stamped by Mr. Johnson until<br /> five days before he executed the codicil in ques-<br /> tion. Of this memorandum Canon Clarke says<br /> he remembers nothing.<br /> <br /> Mr. Neville, Q.C., and Mr. Swinfen Eady<br /> <br /> AUTHOR.<br /> <br /> appeared for the plaintiff; Mr. Chadwyck Healy<br /> Q.C., and Mr. Jenkins for the defendant.<br /> <br /> Mr. Justice Wricut, in giving judgment,<br /> said probably Mr. Johnson doubted whether a<br /> partnership existed, as there was no deed, but he<br /> had clearly so acted as to give Canon Clarke<br /> reasonable grounds for believing a partnership<br /> did exist. No question was raised as to there<br /> being a partnership in the other properties, which<br /> were carried on in the same manner. He could<br /> not accept the contention of the defendant’s<br /> counsel that the half profits were paid to Canon<br /> Clarke solely as a salary for editing the Chatterbox,<br /> and, in spite of the codicil, he should decide in<br /> favour of the plaiutiff’s claim. He, however,<br /> would defer giving formal judgment until next<br /> Saturday, in order to give counsel an opportunity<br /> of couferring as to what would be a fair arrange-<br /> ment to make in regard to the title of which Mr.<br /> Johnson&#039;s representatives had admitted their legal<br /> ownership.<br /> <br /> eee<br /> <br /> III.<br /> <br /> THe First Decrer Unprer tHe New AMERICAN<br /> Coprrieut Act.<br /> <br /> The first decrees entered under the new Copy-<br /> right Act, by which English publishers are<br /> enabled to obtain copyrights in the United<br /> States, have just been entered in the United<br /> States Circuit Court for the district of New<br /> Jersey. The suits in which these decrees<br /> were made were instituted by Messrs. Eyre and<br /> Spottiswoode, Her Majesty’s printers, against the<br /> New York Recorder Company and the American<br /> Lithographic Company, and had relation to a<br /> copyright in an engraving entitled “ Little Lord<br /> Fauntleroy.” Messrs. Eyre and Spottiswoode,<br /> who, as proprietors of the ‘“ Woodbury Com-<br /> pany,” publish engravings and works of art of all<br /> descriptions, employed Mr. Charles J. Tompkins,<br /> an English engraver, to reproduce, in pure<br /> mezzotint, the painting by James Sant, R.A.,<br /> entitled “ Little Lord Fauntleroy.’’ This engrav-<br /> ing was duly copyrighted in the United States.<br /> Shortly after the first artist’s proofs appeared in<br /> the American market the engraving was copied<br /> by the defendants, where:pon the plaintiffs<br /> immediately instructed their representatives,<br /> Messrs. E. and J. B. Young and Co., of Cooper<br /> Union, N.Y., to institute suits.<br /> <br /> Mr. Rowland Cox, an eminent member of the<br /> legal profession in New York, was retained to<br /> conduct the case, and Mr. W. Hugh Spottiswoode<br /> went over to represent the firm of Eyre and<br /> Spottiswoode. The statement of complaint was<br /> based upon the allegation that the engraving had<br /> <br /> <br />  <br /> <br /> <br /> <br /> |<br /> |<br /> .<br /> |<br /> &#039;<br /> ]<br /> i<br /> }<br /> 1<br /> |<br /> <br /> <br /> <br /> THE<br /> <br /> been used in the manufacture of the chromo-<br /> lithograph made and sold by the defendants,<br /> which fact was supported by numerous coinci-<br /> dences which were pointed out. A preliminary<br /> injunction was granted by his Honour Judge<br /> Lacombe, based upon an inspection of the engrav-<br /> ing and the chromos and expert testimony. The<br /> final decrees now entered recognise the rights of<br /> the complainants, and provide for perpetual<br /> injunctions restraining the sale of the chromo-<br /> lithographs.<br /> <br /> The painting after which this engraving was<br /> made was in the Royal Academy Exhibition of<br /> 18g1. The infringement complained of consisted<br /> of a lithographic reproduction issued as an ‘art<br /> supplement” to the New York Recorder of<br /> Feb. 28, 1892, under the title of “A Noble<br /> Friend.”<br /> <br /> The result of this litigation will be satisfactory<br /> to all who are interested in British art.— 7vmes,<br /> Dee. 30, 1892.<br /> <br /> IV.<br /> MAGAZINES AND COPYRIGHT.<br /> <br /> It is not unnatural, perhaps, that a difference<br /> of opinion should exist as to the interpretation of<br /> a statute so inartificially framed as the Copyright<br /> Act of 1842. With this excuse I venture to<br /> dissent from the view expressed in your article<br /> on page 190, as to the effect of sect. 18; and<br /> T notice that some of your readers are appa-<br /> rently still in doubt as to the meaning of that<br /> section.<br /> <br /> You say “if the proprietor has paid for the<br /> article, and unless the author by express or<br /> implied contract reserves to himself the copyright,<br /> then the copyright for a period of twenty-eight<br /> years resides with the proprietor . . . after<br /> that period the copyright for the remainder of<br /> the term reverts back to the author.”<br /> <br /> This view is in accordance with the statement<br /> contained in Mr. Shortt’s ‘‘ Law relating to Works<br /> of Literature and Art” (2nd edit. p. 101). But<br /> the section of the Act says that the proprietor<br /> “shall enjoy the same rights as if he were the<br /> actual author thereof, and shall have such term<br /> of copyright therein as is given to the authors of<br /> books by this Act.”<br /> <br /> Now, the author of a book under the Act has a<br /> copyright for life and seven years more, or forty-<br /> two years; and this I submit to be the period of<br /> copyright which the proprietor enjoys if he is<br /> entitled under sect. 18 to any copyright in the<br /> article at all.<br /> <br /> In order that the proprietor should be so<br /> <br /> VOL. III.<br /> <br /> AUTHOR.<br /> <br /> 343<br /> <br /> entitled it seems that three conditions must be<br /> fulfilled :<br /> <br /> (1) Employment.—The writer must have been<br /> employed to write the article.<br /> <br /> (2) Terms.—The article must be written on<br /> the terms that the copyright therein shall belong<br /> to the proprietor.<br /> <br /> (3) Payment.—The writer of the article must<br /> be paid.<br /> <br /> Tn the absence of any of these three essentials,<br /> would the proprietor be entitled to any copyright<br /> in the article at all? I would submit that if he<br /> wished to procure the copyright he must do so by<br /> an assignment in writing (Layland v. Stewart,<br /> 4 Ch. Div. 419).<br /> <br /> Some confusion apparently arises from the<br /> limitation contained in sect. 18, by which the<br /> proprietor is precluded from publishing the<br /> article in a separate form, and the use of the word<br /> “revert”? as applied to the right of the author to<br /> publish the article in a separate form at the<br /> expiration of twenty-eight years. Inasmuch as<br /> the proprietor never has the right to publish the<br /> article in a separate form, and the autbor cannot<br /> have such right until the expiration of twenty-<br /> eight years, except by agreement, express or<br /> implied, the word “revert” appears to be<br /> inappropriate. Haroup Harpy.<br /> <br /> V.<br /> From THE Zvmes.<br /> <br /> Sir,—The letters that have appeared in the<br /> Times on the subject of American copyright<br /> prompt me to give you an account of the treat-<br /> ment I have received in the United States.<br /> <br /> In April last I. published, in England, a book<br /> on a medical subject. In November T noticed an<br /> advertisement of an American mineral water, in<br /> which occurred a quotation strongly recom-<br /> mending it. The quotation was stated to be taken<br /> from a book with the same title as mine, by me,<br /> and edited by R. W. Wilcox, M.D., an American.<br /> This was the first I had ever heard either of the<br /> mineral water, or the American edition of my<br /> book, I got a copy of it from the United States,<br /> and found that the English edition of my book<br /> had been reprinted there, with the insertion in<br /> various places of statements I never made, and<br /> that there was no indication whatever that they<br /> were the work of the American editor. The exact<br /> title of my book was retained, and this American<br /> edition was stated, on the title-page, to be by<br /> me and to be edited by Dr. Wilcox ; consequently<br /> I was made to appear responsible for statements<br /> T never made, and even to puff mineral waters of<br /> which I never heard, and all this without my<br /> <br /> BB<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 314<br /> <br /> sanction or a single line from the American<br /> publisher or editor to say what they were doing.<br /> Iam your obedient servant,<br /> <br /> W. Hare Wuirs, M.D.<br /> 65, Harley-street, W., Jan. 9.<br /> <br /> V1,<br /> A Case For THE Socrery.<br /> <br /> A certain journal recently advertised for stories.<br /> Among those sent in was a good one, for which<br /> the author asked at the rate of two guineas for<br /> every thousand words. The editor offered ten<br /> shillmgs. While the correspondence was. still<br /> going on, the editor published it as the winner of<br /> a guinea prize, profferine that sum in full<br /> payment.<br /> <br /> A claim was made, at the instance of the<br /> Society, for the balance due.<br /> <br /> The case came before a metropolitan small<br /> debts court. The judge expressed himself in<br /> very strong terms about the proceedings of the<br /> magazine.<br /> <br /> The defendants then asked for an adjournment<br /> in order to produce a certain letter which, it was<br /> sworn, would be inconsistent with the plaintiff&#039;s<br /> evidence,<br /> <br /> The action was adjourned, the defendants<br /> paying the costs of the day.<br /> <br /> With some difficulty an exact note of the<br /> matter, so far, was taken, and on the adjourn-<br /> ment the case was taken up exactly at the point<br /> where it had stopped, with a reminder as to the<br /> meaning of this note, and that the court took a<br /> strong view of the case if the letter were not<br /> produced.<br /> <br /> The letter was not forthcoming,<br /> <br /> The defendants were defeated, and the author<br /> obtained his claim in full, together with all his<br /> costs.<br /> <br /> <br /> <br /> VII.<br /> THe Harpsuirs or PusiisHina,<br /> <br /> Mr. Heinemann, in the Atheneum of Dee. 3;<br /> contributed a paper on the above title. What<br /> follows—the reply of the week following—shows<br /> what he said about the Society.<br /> <br /> He expresses his surprise that the Authors’ Society should<br /> “take upon itself ”—‘ take upon itself” !—“to judge the<br /> proper remuneration the author should receive.” Here is a<br /> confusion of thought into which many have fallen. Literary<br /> work, one must remind Mr. Heinemann, is the property of<br /> the author—of him who produces, creates, invents, and<br /> writes it—not of him who sells it. The author retains that<br /> property until he parts with it for a consideration. The<br /> <br /> AUTHOR.<br /> <br /> book does not—cannot—belong to the publisher at all until<br /> he buys it. This may seem elementary, but it is really the<br /> root of the whole matter. The Society of Authors, as the<br /> defender of literary property, must consider the proportion<br /> of profit—not remuneration—that is to be the author’s and<br /> his agent’s respectively. An author who entrusts his<br /> property to a middleman to manage must, if he is a wise<br /> man, negotiate in his own interests on the same basis as<br /> underlies all other business, viz., the value of the property<br /> and the proportion that should be paid to the middleman<br /> for his services. The Society has in the past endeavoured<br /> strenuously to place authors, for the first time in the<br /> history of literature, in a position which will enable them to<br /> understand the meaning of their property, and I hope it will<br /> always continue to do so. ‘<br /> <br /> Mr. Heinemann speaks of “a number of very inaccurate<br /> and very unreliable handbooks” which we have pub-<br /> lished. Indeed! What are these? We have issued<br /> a book called “Methods of Publishing,’ in which a<br /> great number of actual agreements which have been<br /> brought to our notice have been analysed. Is this book<br /> inaccurate? If so, in what way? We have also issued a<br /> book, called, ‘ The Cost of Production,” in which the cost<br /> of producing books of the ordinary and common kinds is<br /> considered. This book was most carefully got up with the<br /> assistance and estimates of three or four firms of printers.<br /> Now I will tell Mr. Heinemann a little story about the book.<br /> A certain publisher, with this work in his hand, began to<br /> complain of its gross inaccuracies,” to a man, who, unfor-<br /> tunately for him, knew the business. He laughed. ‘“ Well,”<br /> he said, “I will make yon an offer, Mr. So-and-so. Give<br /> me all your printing on these terms, and I will get it done<br /> for you ata good profit to myself.’ He did not get that<br /> printing, however. I can also tell Mr. Heinemann that I<br /> have seen many accounts in which the cost of production, as<br /> rendered by the publisher, was actually less than that<br /> estimated in our book. Further, on the recent advance of<br /> composition, a new edition, then about to appear, contained<br /> the necessary alterations ; and on the recent advance of<br /> binding our .members were advised that there would be<br /> another small change under this head. I do not know what<br /> Mr. Heinemann means by congratulating himself that this<br /> book, and the “ mischief’? produced by it have not gone<br /> very far. ‘“ The Cost of Production” has, I believe, nearly<br /> completed its third edition. There are certainly not 3000<br /> authors of all branches in this country whose productions<br /> can be considered as literary property. It is therefore to be<br /> presumed that nearly all those authors worth considering<br /> have got the book.<br /> <br /> As regards royalties, I do not know what individual<br /> members of our Council may say—itis not evidence as to the<br /> work of the Society—but there are one or two questions<br /> which naturally occur, as, for instance, what proportion of<br /> profit, i.e., difference between sales and cost of production,<br /> should a publisher claim for his services ? And why? And<br /> what royalty, in the case of a popular book, represents Mr.<br /> Heinemann’s views? And on what figure, is his opinion<br /> based? We have given our figures in our book, and, until<br /> good reason otherwise is produced, we shall stick to them.<br /> But it may help us to have Mr. Heinemann’s figures,<br /> especially if he will allow anyone to make some such offer<br /> as was quoted above.<br /> <br /> Mr. Heinemann suggests a publishers’ union. Excellent!<br /> Nothing could be more desirable. Honourable men can only<br /> combine for honourable purposes, and will exclude dis-<br /> honourable men from their association.<br /> <br /> This letter has been followed by one from Mr.<br /> Arthur D, Innes, which would call for no com-<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ment but for the stale old charges which are<br /> blindly copied.<br /> <br /> Thus—Mr. Innes says (1) that publishers<br /> “have a natural objection to being spoken of in<br /> a lump as little better than thieves.” Quite so.<br /> When did the society so speak of them ?<br /> <br /> (2) “That the authors do not include office<br /> expenses in the ‘ Cost of Production.” How far<br /> publishers’ office expenses ought to be considered<br /> in an agreement is open to argument: so is the<br /> question of authors’ expenses.<br /> <br /> (3) That the authors say that no publisher<br /> ever loses on a book. The authors have never<br /> said any such thing.<br /> <br /> (4) The Society “ differs from publishers ” as<br /> to the cost of producing a book. One did not<br /> know this. We produce figures based on the<br /> estimates of most respectable printers who cannot<br /> be accused of sweating.<br /> <br /> These four statements have been made over<br /> and over again. They willcontinue to be made,<br /> I supp se, so long as it is thought they will<br /> serve any purpose. WB.<br /> <br /> <br /> <br /> oc<br /> <br /> ASSOCIATION OF AMERICAN AUTHORS.<br /> <br /> <br /> <br /> HE stated monthly meeting was held on<br /> Dec. 7, at the Hotel Brunswick in<br /> Boston at 3 p.m., and was a large and<br /> <br /> representative gathering. Colonel T. W. Hig-<br /> ginson presided. The minutes of the last mect-<br /> ing were read and accepted.<br /> <br /> The stamp plan of publication, which had been<br /> discussed and laid over at the last meeting, was<br /> then taken up and elicited an animated debate,<br /> nearly every member present speaking pro or<br /> con. The majority of the speakers favoured the<br /> adoption of the plan or of some other that would<br /> prove as effective.<br /> <br /> Mrs. Julia Ward Howe remarked that she had<br /> not been present at former meetings, and asked<br /> as to the object of the proposed stamp plan.<br /> The Secretary explained, that it aimed to afford<br /> the author sume knowledge as to the number of<br /> books sold; that under the present system a<br /> publisher might sell an edition of 5000 copies<br /> and report but 3000, and the author could only<br /> accept his statement, having uo means of veri-<br /> fying it. It was proposed by this plan to apply<br /> business methods to what was purely a matter<br /> of business. In reply to the Chair, the Secretary<br /> said that he had received from Mr. Coolidge, our<br /> Minister to France, a letter enclosing one from<br /> the Secretary of La Société des Gens de Lettres,<br /> <br /> VOL. Ill.<br /> <br /> BUTHOR.<br /> <br /> 315<br /> <br /> which he<br /> <br /> follows &lt;<br /> <br /> would read. The translation was as<br /> <br /> SIR,—<br /> <br /> It is to be desired indeed that publishers should be<br /> obliged to affix upon each copy sold a seal furnished by the<br /> author, in order to assure control of the number of volumes ;<br /> but there exists no law upon this subject. The Committee<br /> is. now occupied with this question, but it is as yet only<br /> being studied.<br /> <br /> From this it appeared that the plan had not<br /> yet been adopted, but was being agitated.<br /> <br /> Mrs. Louise Chandler Moulton and Mrs.<br /> Elizabeth Phelps Ward spoke in favour of the<br /> general uprightness of publishers; they ferred<br /> the stamp plan might be con-idered an imputa-<br /> tion on their honesty Prof. N. 8. Shaler was<br /> opposed to the plan; he favoured the accountant<br /> system; if he believed his publish r was cheat-<br /> ing him he would seek another publisher.<br /> stamp could be counterfeited. If authors<br /> lieved that they were being cheated they could<br /> demand that an expert accountant should examine<br /> the publisher’s books.<br /> <br /> Prof. W. M. Griswold replied. He thought<br /> the stamp system perfectly feasible. If it<br /> made uniform no publisher could object to it as<br /> an imputation on his honesty. As to counterfeit-<br /> ing the stamp, that would be forgery, and forgery<br /> was a serious crime.<br /> <br /> Mr. W. Blackburn Harte favoured the stamp<br /> plan if it could be made general. No young<br /> author would dare demand an accounting from<br /> his publisher; it would ruin him. Miss Cynthia<br /> Cleveland, Mr. James Jeffrey Roche, and Mr.<br /> Hunter McCulloch spoke in favour of the plan.<br /> <br /> President Higginson said that to object to the<br /> stamp plan because many publishers were honest<br /> was like objecting to divorce laws because most<br /> husbands and wives were happy.<br /> <br /> Laws were made for exceptional cases: because<br /> successful authors were on pleasant terms with<br /> their publishers was no proof that young and in-<br /> experienced authors were not ill-treated and de-<br /> frauded. He gave several examples of this fact.<br /> The case of a lady author had been brought to<br /> the attention of the Society. Her publisher had<br /> issued two editions of her book, one legitimate,<br /> the other of 20,000 copies without her name as<br /> author, without her knowledge, and without<br /> giving her a penny of royalty. She only dis-<br /> covered it by accident.<br /> <br /> What was a woman without money or friends<br /> to do in such a case? Many other similar<br /> examples might be cited. It was the object of<br /> the law and of this Society to protect the weak<br /> from the strong. Continuing, he said that it<br /> would be ruin for an author to enter into an indi-<br /> vidual contest with his publisher; it was not wise<br /> BB 2<br /> <br /> pas<br /> The<br /> <br /> 1<br /> ve-<br /> <br /> Was<br /> <br /> <br />  <br /> <br /> 316<br /> <br /> for him to have a difference of opinion with him.<br /> There was good reason for adopting the stamp<br /> system if only to help others who could not help<br /> themselves.<br /> <br /> Mr. Robert Grant thought the effect of the<br /> stamp plan might be to widen still further the<br /> chasm between author and publisher. He<br /> favoured the accountant system, and the making<br /> of a list of reputable publishers for the use of<br /> members. Mr. Todd, for the committee, said<br /> that the plan was reported for discussion, not for<br /> adoption at that time and that it might be well to<br /> postpone the matter until more light could be had.<br /> <br /> It was resolved to accept the report of the com-<br /> mittee, and to indefinitely postpone further con-<br /> sideration of the report.<br /> <br /> Mr. Todd, being about to visit France, was then<br /> instructed to make a special investigation of the<br /> French stamp plan, and learn what efforts were<br /> being made to secure its legal adoption.<br /> <br /> It was resolved that the President appoint a<br /> committee of three to prepare a circular giving,<br /> first —the different methods of publication ;<br /> second—the cost of publication ; third—a form<br /> of a model contract between author and pub-<br /> lisher, and that such circular be printed and<br /> mailed to our members. Passed, with an amend-<br /> ment offered by Mr. Grant, that a list of reputable<br /> publishers be made out and added.<br /> <br /> Secretary Todd, of New York, Professor W. M.<br /> Griswold, of Cambridge, and Dr. Titus M. Coan,<br /> of New York, were appointed as said committee.<br /> The Secretary proposed the name of Freling H.<br /> Smith, of 115, Broadway, N. Y., as legal counsel<br /> of the association, and that he be recommended<br /> to such of our members as may desire legal<br /> advice; referred to a committee of three. Mr.<br /> Robert Grant, Miss Cynthia Cleveland, and<br /> Mr. James Jeffery Roche were appointed such<br /> comunittee.<br /> <br /> CuarLes Burr Topp, Secretary.<br /> <br /> <br /> <br /> <br /> <br /> ees.<br /> <br /> FROM THE DAILY CHRONICLE.<br /> <br /> <br /> <br /> L<br /> <br /> _\NE or two letters have recently appeared in<br /> () the Daily Chronicle. One of those, signed<br /> ‘““A Member,” was indignant because the<br /> members do not elect the Chairman of Committee,<br /> and because more is not done for the assistance of<br /> the struggling aspirants. As regards the first<br /> grievance, every committee has the privilege of<br /> electing its own committee, except when the<br /> Chairman or President of the Society is in, when<br /> he is, ea officio, the chairman of that committee<br /> <br /> THE AUTHOR.<br /> <br /> as well. The constitution of this Society, it is<br /> repeated, is contained in the articles of associa-<br /> tion, The government of the Society is like that<br /> of the Law Institute, the College of Surgeons,<br /> the Society of Arts, the Palestine Exploration<br /> Fund, and so many others. That is to say, the<br /> administration rests with the Council, or the<br /> Fellows, not with the members ; and the Council<br /> elects its own members.<br /> <br /> The complaining member has since communi-<br /> cated with the Editor. He reduces his claims, or<br /> propositions, to six. We gladly give publicity to<br /> these:<br /> <br /> 1. He would havea Free Register of all persons<br /> engaged in literature—Such a list, or register,<br /> has been proposed and seriously considered But<br /> there are difficulties. What is literature? Is it<br /> journalism? If so, journalism including the<br /> penny-a-liner? How far down is literature to go?<br /> And who is to draw the line? Even if we include<br /> only those who have written books, the question<br /> of expense is very serious. We could hardly<br /> charge authors so much for putting in their<br /> names, and the question arises how far such a<br /> volume—which must be no more than a dictionary<br /> —would pay its way?<br /> <br /> 2. Public advertisement of the pay of maga-<br /> zines and journals.—This has also been asked<br /> for in the Author before now. The difficulty is<br /> this: The better-class English magazines, unless<br /> special terms are made—which is generally the<br /> case with well-known names—pay a guinea a page.<br /> The inferior sort pay just exactly what they<br /> think the author will take. If it is a very<br /> miserable sum they fall back on the excuse that<br /> it is their “ scale pay,” their “regular” pay, their<br /> “tariff” pay.<br /> <br /> 3. The granting of certificates to literary<br /> agents.—Humph! Suppose the agents do not<br /> want certificates. There would be some sense in<br /> this if authors were agreed to employ no agent<br /> without such a certificate. First let us make our<br /> members fall into line and agree together. We<br /> have not yet got so far.<br /> <br /> 4, Monthly meetings of members.—Certainly.<br /> But what will they do when they meet ?<br /> <br /> 5. A bi-monthly Author at 3d.—A weekly<br /> Author would be better. But it cannot yet be<br /> afforded. Shall we ever afford it? Such a<br /> paper would cost a good many thousands a<br /> year, and would require a circulation of 6000 at<br /> least to pay expenses, not reckoning the possible<br /> advertisements.<br /> <br /> 6. “A Union Branch.’ — Well, we are a<br /> union, so far as authors, have ever yet been<br /> united. What any further union can effect<br /> outside the lines on which we are steadily<br /> advancing is not intelligible.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> i<br /> <br /> The second letter, signed ‘ Resignation,” is<br /> appended as a very pretty specimen of deliberate<br /> malignity. It appeared in the Daily Chronicle<br /> of Jan. 6, 1893:<br /> <br /> S1r,—The letter of “A Member” on the management of<br /> the “ Incorporated Society of Authors” is, in my view, very<br /> much to the point. It appears from the January number of<br /> the Author that the society “is distinctly and frankly oli-<br /> garchic,” and that ordinary members have no more rights or<br /> privileges than are covered by the monthly receipt of the<br /> journal, which can be purchased in the open market for 6d.<br /> a month. To ask poor devils of authors to pay one guinea<br /> annually for the honour of sitting at the feet of the fifty odd<br /> Gamaliels who compose the council, without ever seeing<br /> them or sharing in the benefit of their united wisdom, is too<br /> much of a joke. Like others, I joined the society in the<br /> belief that it was organised, like any other association, for<br /> the union of certain interests or persons; and it is, there-<br /> fore, staggering to be told that membership carries with it<br /> no earthly advantage save advice gratis on publishing agree-<br /> ments, which, however, can be had anywhere for less than<br /> half the subscription. There are no published rules in con-<br /> nection with this society, no special annual report, no list of<br /> members, no publications at all save the Author (and this<br /> members are asked to subscribe for in addition as much as<br /> they can). Ihave never seen a financial statement. There<br /> are no meetings for the transaction of business, and, to<br /> crown all, it appears from recent statements that no voice<br /> whatever is allowed in the management of the society to<br /> any ordinary subscriber. In these circumstances it seems<br /> that resignation (not in the sense of enduring) is the best<br /> course for those dwellers in Grub-street who cannot spare<br /> guineas like members of the “ oligarchy.’”—I am, Sir, yours<br /> truly, RESIGNATION.<br /> <br /> This letter was written, it is clear, with the<br /> deliberate intention of injuring the Society by the<br /> use of absolute falsehoods.<br /> <br /> 1. “ No published rules.”’—It is a public com-<br /> pany with Articles of Association which it is<br /> bound to produce on application.<br /> <br /> 2. “No special annual report.’”—Not a single<br /> year has passed without a special annual report.<br /> <br /> 3. “ No list of members.”—There is a list at<br /> the office. It is not published, and is not likely<br /> to be published, for very good reasons.<br /> <br /> 4. “No publications except the - futhor.’—<br /> There are six volumes which are advertised in<br /> every number of the Author.<br /> <br /> 5. “Members are asked to subscribe for the<br /> Author as much as they can.”—Members are told<br /> that, if they choose not to pay for the Author, they<br /> will go on having it; but they are told that those<br /> who send up their 6s. 6d. a year help the com-<br /> mittee inthe expense of the paper (see p. 309).<br /> <br /> 6. “He has never seen a financial statement.”<br /> —One duly audited by professional auditors<br /> appears with every annual report.<br /> <br /> 7. “There are no meetings for the transaction<br /> of business.”—There is at least one every year at<br /> which members are invited to comment on the<br /> Report.<br /> <br /> AUTHOR.<br /> <br /> ot7<br /> <br /> 8. “Members have no voice in the conduct of<br /> the Society.” The Council, through the Com-<br /> mittee, manages the Society, but no member has<br /> ever yet sent in a suggestion which has not been.<br /> properly considered.<br /> <br /> g. “ Members get nothing but advice gratis on<br /> an agreement, which can be had anywhere for<br /> less than half the subscription.”—Can it? One<br /> would like to know where. Moreover, this is not<br /> all that the member gets. He has the right to<br /> free legal opinion in any difficulty that arises in<br /> his business. He has his agreements examined<br /> for him. He has his agreements stamped for<br /> him. He can consult the secretary in any<br /> arrangement, proposal, or trouble that he may<br /> happen to be engaged in.<br /> <br /> The letter was answered by Mr. Thring. It is<br /> only quoted here to show the desperate straits to<br /> which the enemies of the Society are reduced<br /> when such a string of falsehoods can be devised<br /> and thrown into the form of a letter with intent<br /> to deceive the readers of a paper and to injure<br /> the society.<br /> <br /> <br /> <br /> pect<br /> <br /> <br /> <br /> A CONFESSION.<br /> \ PENITENT Publisher” sends a paper he<br /> <br /> has contributed to the Western Daily<br /> <br /> Mercury on the general subject of pub-<br /> lishing. It is a remarkable paper, and deserves to<br /> find a more lasting place than in the columns of<br /> a daily paper. Here are some extracts and<br /> compressions :<br /> <br /> 1. Why, he asks, do publishers publish ?<br /> <br /> “In order,’ he replies, ‘to make money.”<br /> That was known before, but it is useful to repeat<br /> it if only to put an end to the ‘ Patron of Litera-<br /> ture” impersonation which is so favourite a réle<br /> with some publishers.<br /> <br /> 2. “The prizes are few and the risks are ereat.”<br /> <br /> It is evident that the writer of the paper uses<br /> the word “risk ” ina sense different from that to<br /> which we are accustomed. By ‘risk’? we mean<br /> the danger of not covering the small outlay of<br /> production with a certain amount above. By<br /> “risk” this writer clearly means uncertainty of a<br /> large and remunerative sale. Now, most pub-<br /> lishers will refuse a work unless they see their<br /> way quite clearly to covering their outlay, and<br /> many, unless they see their way to a remunerative<br /> sale.<br /> <br /> a. “the MSS. came in at the rate of 1500 a<br /> ear.” Those which were selected were laid<br /> before the partners assembled,<br /> <br /> 4. Proposals were made to the authors of these<br /> MSS. These proposals varied, but they will all<br /> <br /> <br /> <br /> <br />  <br /> <br /> 318<br /> <br /> <br /> <br /> <br /> be found in the Society’s book—the “ Methods of<br /> Publishing.”<br /> <br /> 5. “Authors sometimes behave badly.”” Some<br /> will sell a book and then go away and write another<br /> on the same subject for another house. One man<br /> assured this firm that his last novel had run<br /> through seven editions. So it had: but they<br /> were editions of fifty each. Another—a clergyman<br /> —said that the last work had sold 25,000 copies.<br /> Perhaps; but the work he brought this firm<br /> did not reach 200. Authors sometimes plagiarise.<br /> Authors sometimes obtain money in advance for<br /> works they take five or six years to complete.<br /> <br /> 6. On estimates.<br /> <br /> An author cannot be too cautious in accepting an esti-<br /> mate. He is usually tempted to ask for one in order that<br /> he may know the expense to which he is likely to be put.<br /> But the better plan is to get a general idea of the cost, and<br /> to bargain that he shall be charged the actual amounts<br /> which the publishers pay. He should never attempt to get<br /> his book printed for himself. A publisher can always get<br /> it done more cheaply. There are few printers who can<br /> resist the temptation of making a handsome profit out of<br /> an inexperienced hand. Why, indeed, should they? But<br /> the author must see that he gets the advantage of the<br /> cheap production, and not the publisher. A keen look out<br /> should be kept for possible discounts. Advertisements<br /> should be paid for at “actuals,” and not at list or scale<br /> prices. A publisher receives in some cases a discount of as<br /> much as one-third of the price. The cost of “ corrections ”<br /> is a fruitful source of dispute. These are charged for by<br /> the time they take to make, and cost from tod. to 1s. an<br /> hour. It is difficult for a publisher to check this item in<br /> the printer’s bill; for an author it is almost impossible.<br /> <br /> It will perhaps be useful if I give a few examples of the<br /> cost of books. These figures may be relied on, as they are<br /> drawn from my own actual experience. I have selected the<br /> classes of books more usually published by the author at<br /> his own, or partly at his own, expense.<br /> <br /> 1. A crown octavo three volume novel, making in all<br /> about 850 pages. This was considerably longer than the<br /> average. The edition was one of 500 copies. It may be<br /> mentioned that printing (or “machining,” as it is techni-<br /> cally termed) is usually estimated for by the double sheet of<br /> 32pp., while crown paper is often bought in reams of quad<br /> sheets, each of which gives 64pp.<br /> <br /> <br /> <br /> &amp; &amp; a.<br /> Composition (i.e., setting the type).................. 68 0 0<br /> Corrections (made by author in proof) ............ LS 12 6<br /> Binding at 36s. 6d. per 100 vols................ 000505 a2 2 {e 6<br /> Paper, 12} reams quad crown of 120Ib. per ream<br /> at SO Per ll, ue 19° 26<br /> Machining 26} reams at 12s. 6d. .......0....0000.. Ws 3<br /> Total (not including advertising) ...... 143 9 9<br /> 2. Novel. One crown 8yo. volume. 1000 copies. 340 pages.<br /> s. d.<br /> Coniporition (0 34.9 9<br /> COrechions 406 13 15 0<br /> Binding at 86. per 100° 3 8<br /> Binder’s letterings ................, £2050<br /> Paper, 22 reams double crown .....,...... 3 EL 16.56<br /> Machining at 6s. 6d. perream ......................7 3 0<br /> <br /> THE AUTHOR.<br /> <br /> 3. Shilling Shocker, 1000 copies. 192 pages.<br /> <br /> <br /> <br /> <br /> 2 sd<br /> <br /> Composition ..0.s. ce<br /> Corrections: 9 ...50 205.3 2 4°16<br /> Binding 210 0<br /> Printing 1000 wrappers .. 2 6 0<br /> Pape? oat 7 4 0<br /> Machining ...... eau sie y ibis eels ae<br /> Moulditig. ee 210 6<br /> Potala 30 2 7<br /> <br /> To this, at least, £10 must be added for advertising. The<br /> sale of the whole edition would realise about £30, and there<br /> would, therefore, be a loss on the book of about £10, which<br /> would have to be made up in subsequent editions. In order<br /> that these may be cheaply produced, “ moulds” are taken of<br /> the type in papier maché. From these a stereotype cast is<br /> taken when required. The cost of this would be about £5.<br /> A second edition of 1000 copies would then cost £20 18s.<br /> Bringing forward the £10 lost on the first edition, and<br /> adding £5 for further advertising, the loss on the book<br /> would, after the second 1000 were sold, be reduced to<br /> £5. Athird edition would cost £15 18s. After the sale of<br /> 3000 there would therefore be a profit of £10 to be divided<br /> between author and publisher. Roughly speaking, no<br /> shilling book is worth producing unless at least 3000 copies<br /> can be sold.<br /> <br /> 4. Volume of verse. Foolscap. 500 copies. 280 pages..<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> Composition ..055... 22 10 10<br /> Corrections 4.(, 3.05. 2) 312 6<br /> Binding | 32 we LO<br /> Binders’s letterings ......4.060..00 0 8 3<br /> Paper 7.45.50 3814 4<br /> Machining ......... ee ay See<br /> Moulding 00 a 316 8<br /> Potala ee 50 8 7<br /> <br /> 5. Volume of Essays. 250 copies. 256 pages.<br /> <br /> sd.<br /> <br /> Paper oe a ee 210 0<br /> Binding 32.3 4 Los<br /> Composition and machining .. 18-8: 0<br /> Corrections: &lt;30). i 119 6<br /> Voted oe 2618 9<br /> <br /> The above examples will serve, to some extent, as a guide<br /> to my readers as to the cost of production. The figures<br /> given may be taken as a fair price for country printers.<br /> London work is more expensive.<br /> <br /> It is interesting to compare the “ Publisher’s ”<br /> figures with our own.<br /> <br /> Turning to the ‘Cost of Production” (Third<br /> Edition), p. 15, we there find the estimate for a<br /> novel of about the same number of pages. It<br /> comes out, though it is I think longer, at £12 less<br /> for composition ; alittle more for machining ; our<br /> binding is a great deal less, viz, 28s. instead of<br /> 36s. 6d. per 100 vols.; but binding has gone up<br /> 15 per cent. The only real difference is in the<br /> item composition, which perhaps shows that the<br /> work was done in London. Then he allows £18<br /> odd for corrections, which is a very large sum.<br /> Perhaps the type was smaller than that for<br /> which we estimated. This would make the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> difference in composition. As regards the one vol.<br /> novel, we are not given the type or the length<br /> of the page, but, roughly speaking, the cost 1s<br /> about the same as our own.<br /> <br /> The shilling shocker, according to us, costs<br /> £29 12s. gd for 1000 copies; according to the<br /> “ Publisher” £30 2s. 7d., which is near enough.<br /> <br /> 7. Royalties :<br /> <br /> In the case of books of little or no risk the most satis-<br /> factory arrangement is to have a royalty on every copy<br /> sold. The author is not troubled with accounts. All he<br /> has to see is that he does receive his royalty on all copies<br /> sold, as instances have been known of several thousand<br /> copies being disposed of secretly without the author’s know-<br /> ledge. Publishers usually insert a clause in the agreement<br /> to the effect that in the case of sales at special prices the<br /> author shall only receive 5 per cent. on the amount so<br /> realised. It is often necessary to dispose of books in this<br /> way, and no wrong is done the author so long as the clause<br /> is legitimately used. It does, however, afford a loophole<br /> for sharp practice, and the author should, therefore, keep an<br /> eye on its working, more especially with regard to sales for<br /> America, &amp;c.<br /> <br /> 8. Agents:<br /> <br /> On the whole, I should advise young authors to have<br /> nothing to do with agents. These intermediaries are quite<br /> unnecessary, and their honesty is not invariably cast-iron.<br /> I have known cases in which the agent was paid by both<br /> sides, and more heavily by the puhlisher than by the author.<br /> An author should learn to make his own terms. He should<br /> take every opportunity of investigating the cost of produc-<br /> tion and the methods of the trade. He should keep an eye<br /> on the literary papers and notice what publishers produce<br /> particular classes of books. And he should not neglect the<br /> simple and ordinary precautions of business, such as getting<br /> his agreements stamped, &amp;c.<br /> <br /> g. Solicitors<br /> <br /> If the author’s agent is undesirable, the solicitor is use-<br /> less. I never knew a solicitor yet who undertood the tech-<br /> nicalities of the trade, who could distinguish sheets from<br /> quires, or pearl from pica. Some of the worst agreements I<br /> have known were those drawn by the help of solicitors.<br /> They are always suspecting the wrong thing, and guarding<br /> against trickeries which no publisher outside of an asylum<br /> would think of perpetrating.<br /> <br /> The Author’s Society :<br /> <br /> This society has done good work, and authors would do<br /> well to provide themselves with its publications. Pub-<br /> lishers have no quarrel whatever with the work of the<br /> society.<br /> <br /> <br /> <br /> <br /> <br /> en 9<br /> <br /> MISS MITFORD;<br /> OR,<br /> <br /> &quot;TIS SIXTY YEARS SINCE.<br /> <br /> &gt;<br /> <br /> HE following letter was written by Miss<br /> Mitford, from her house near Reading, to<br /> <br /> Mrs. Trollope. It was just after the<br /> appearance of Mrs. Trollope’s ‘‘ Domestic Manners<br /> <br /> AUTHOR.<br /> <br /> 3&#039;2<br /> <br /> of the Americans,” and before her first novel ‘‘ The<br /> Refugee in America.” It was also just before<br /> the appearance of Miss Mitford’s fifth and con-<br /> cluding volume of ‘‘ Our Village.” The difficulties<br /> of an author with editors were far greater, it<br /> will be perceived, thenthan now. The editor who<br /> refuses to pay, does not answer letters, and pre-<br /> tends not to have received letters sent, is now a<br /> creature who presides over obscure and struggling<br /> papers, not the representative of great houses.<br /> It is a glimpse of a bad anda bygone time.<br /> <br /> “Three Mile Cross,<br /> “ My dear Friend, « April 30, 1832.<br /> <br /> “T am going to write you a very long and<br /> strictly confidential letter; for, as a dramatic<br /> author, I am so much in the power of these<br /> magazine and annual editors, who are all, more<br /> or less, connected with the weekly or daily<br /> press, that nothing short of my strong affection<br /> for you and my warm sympathy with the<br /> cause of your writing would induce me to<br /> unveil my opinion of them. The fact is that, for<br /> the most part, they are so dishonest that I should<br /> entirely Lives you to abstain from writing for<br /> them. Two magazines, and two only, paid me<br /> last year, though of cne other it is confessed<br /> by their own bookseller that my article, and mine<br /> only, sold the book!!! If the »y serve me so, it<br /> is like ly that they would be e &gt;qually remiss, even<br /> with you, though I have no doubt that they would<br /> grasp at your papers eagerly. I will gladly oive<br /> <br /> you notes to two of the editors if you lke,<br /> warning you that for certain reasons, of which<br /> T will ie you se your papers are<br /> <br /> likely to be declined. With the other persons<br /> IT have made up my mind to have nothing to<br /> de. itis too bad to have been for years<br /> the main prop of their publications, and then<br /> to be cheated (as I have been during the<br /> last two years) out of nearly £100 amongst<br /> them; and all this, not merely because their<br /> works are going out of fashion, but because<br /> they live at an expense and give parties, and vie<br /> with each other in dress, furniture, and finery<br /> to a degree actually incredible. My price is ten<br /> guine as an article—higher, I believe, than they<br /> give anyone else. It answered to me, because,<br /> also reserving the copyright, I thus get, as, it<br /> were, doubly paid for the volumes of ‘Our<br /> Village,” in which the papers were subsequently<br /> collected. But, besides the pecuniary disappoint-<br /> ment, it provokes one not to be paid one’s<br /> honest earnings. So that I really thought it only<br /> right to give you fair warning. What makes it<br /> that these people pretend to be my<br /> <br /> <br /> <br /> worse is,<br /> friends!!!<br /> “The magazines will, I fear,<br /> <br /> suit you as little.<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 320<br /> <br /> <br /> <br /> The inferior oves pay little, and often not at all.<br /> Colburn’s, the New Monthly (which would be sure<br /> pay, but is altogether Radical), the Metropolitan,<br /> I know (for I have just had a demélé with the<br /> editor), is as tricky as if it were an annual, and<br /> Fraser&#039;s, besides that the pay is very small—only<br /> £10 a sheet of sixteen pages, double columns—<br /> is hardly such as a Jady likes to write for. On<br /> the whole, I think Whittaker’s Magazine would<br /> suit you best, though the pay is only £10a<br /> sheet. To him you can, of course, speak without<br /> scruple. But, in my mind, my dear Mrs.<br /> , I really think that you will find it<br /> better to write novels—I mean, better for money.<br /> There is no doubt of your finding a ready pur-<br /> chaser, since this work has done its office of<br /> making a reputation most speedily and effec-<br /> tually, and have not a doubt but that it is by<br /> far the most profitable branch of the literary<br /> profession. I shall be most anxious to see<br /> your novel. May I ask of what sort it<br /> is? English or foreign? modern or ancient ?<br /> If ever I be bold enough to tr; that arduous path,<br /> I shall endeavour to come as near as I can to Miss<br /> Austen, my idol. I do not think that Whitaker<br /> has done badly by you. The work was well<br /> advertised, as it deserved to be, though Captain<br /> Hall’s review was the best advertisement. I<br /> suppose that he has made a good deal of me—<br /> but so they do all—and I don’t know that one<br /> gains much by changing. You are very good<br /> about my opera. I am sorry to tell you, and you<br /> will be kindly sorry to hear, that the composer<br /> has disappointed me, that the music is not now<br /> yet ready, and that the piece is therefore neces-<br /> sarily delayed till next season, I am very sorry<br /> for this on account of the money, and because I<br /> have many friends in and near town (yourself<br /> amongst the rest) whom I was desirous to see ;<br /> but I suppose that it will be for the good of the<br /> opera to wait till the beginning of a season, It<br /> is to be produced with extraordinary splendour,<br /> and will, I think, be a tremendous hit. I hope<br /> also to have a tragedy out at nearly the same<br /> time in the autumn, and then I trust we shall<br /> meet, and I shall see your dear girls and Mr.<br /> Henry. Your elder and younger sons I already<br /> know. How glad I am to find that you partake of<br /> my great aversion to the sort of puffery belonging<br /> to literature. I hate it, and always did, and love<br /> you all the better for partaking in my feeling<br /> on the subject. I believe that in me it is pride<br /> that revolts at the puff, and then it is so false—<br /> the people are so clearly flattering to be flattered.<br /> Oh! T hate it!!! Mrs. Wilson is better, but she<br /> breaks fast. I scarcely evér see Mr. B , and<br /> <br /> <br /> <br /> <br /> <br /> fear for her much, The man is spending three<br /> times her income, and she will be a very wretched<br /> <br /> AUTHOR.<br /> <br /> oor woman. Moreover, he’s a fool.<br /> &gt;<br /> <br /> T hope<br /> that dear Marianne will be benefited by her<br /> tour. I had an illegible crossed letter from her.<br /> from which I contrived to make out that she<br /> was very happy—the best piece of information to<br /> <br /> those who love her. Adieu, my dear frien,<br /> Pray keep my secret, and forgive this hasty<br /> scrawl, Make my kindest regards, and accept<br /> my father’s.—Ever most faithfully and affection-<br /> ately yours, ““M. R. Mrrrorp,<br /> <br /> “I suppose my book will be out in about a<br /> month, I shall desire Whitaker to send youa<br /> copy. It is the fifth and last volume.”<br /> <br /> Sees<br /> <br /> <br /> <br /> AN OMNIUM GATHERUM FOR FEBRUARY.<br /> <br /> <br /> <br /> AY I once more propound a few discon-<br /> nected suggestions ?<br /> <br /> Subjects for Books or Articles—A list of<br /> pseudonyms, including (with their consent) those<br /> of living writers; Political Nomenclature; A<br /> paged index to the Bible; An annotated edition of<br /> Mill on Liberty; A short (with all acknowledg-<br /> ments to Mr, Moncure Conway) life of Thomas<br /> Paine (with extracts from the “ Age of Reason ”<br /> and the “ Rights of Man,” and special reference to<br /> Paine’s scheme for pensioning the aged poor) ; The<br /> Evils of Early Marriages ; Fifty Years of Life : an<br /> Inquiry whether the possession of political and<br /> other power should not be confined between the<br /> ages of 25 and 75; The Curtailment of the Testa-<br /> mentary Power, with special reference to the<br /> morality of Charitable Bequests.<br /> <br /> Copyright.—Is not the time arrived for the<br /> Society to put forward an amending Bill on the<br /> subject of copyright — say, about ten clauses,<br /> dealing with the term of copyright, the dramatisa-<br /> tion of novels, newspaper copyright, the absur-<br /> dity of existing artistic copyright, and other<br /> pressing matters? Our consolidating Bill, so<br /> grotesquely dealt with by the late Government,<br /> must wait till it is taken up by the Government<br /> of the day.<br /> <br /> The Magazines—Not long ago, the Author<br /> contained a few particulars of the terms on which<br /> the magazines receive MSS., whether they engage<br /> to return them with or without stamps, &amp;c. Could<br /> not a complete list be printed in the Author of<br /> these terms, with the addresses of all the maga-<br /> zines P<br /> <br /> <br /> <br /> Handwriting.—Is not the chance of an article<br /> being accepted the less, and is not the cost of<br /> printing it the more, if the handwriting of the<br /> <br /> <br /> <br /> le<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE. AUTHOR.<br /> <br /> author be bad P<br /> should be so ?<br /> <br /> Is it not quite right that this<br /> <br /> American Spelling.— Could not a conference at<br /> the Chicago Exhibition come to some reasonable<br /> and amicable arrangement as to the extent to<br /> which the books of English authors may be<br /> printed with American spelling. Could not a list<br /> of the discrepancies (not, I believe, very many) be<br /> published in the Author forthwith ?<br /> <br /> The Laureateship.—Could not the Laureateship<br /> be made tenable for five years only (as the office<br /> of Commander-in-Chief in India is), so as to give<br /> more than one of our contemporary p ets a chance<br /> of wearing the laurel ?<br /> <br /> A Tontine for Authors—The Société des Gens<br /> de Lettres has an admirable plan whereby each<br /> member subscribes up to a certain age, on arriv-<br /> ing at which he may either \ake a pension or de-<br /> cline it as his means may allow (see Mr. Besant’s<br /> address in the Author of last month). Could not<br /> our Society imitate this plan with or without the<br /> help of one of our great insurance companies,<br /> and possibly with help from the Royal Literary<br /> <br /> <br /> <br /> Fund? J. M. Leny.<br /> A NATIONAL NAME.<br /> ANTED, a single name for “The<br /> <br /> United Kingdom of Great Britain and<br /> Treland.”<br /> Estne bonum nobis “ Anglobriceltia ’’ nomen<br /> An melius, queso, “ Briscoterinna ” sonat ?<br /> Nil refert, titulis dum fortis Hibernia nostris<br /> Accedat, patrie nomine lata novo.<br /> Scilicet hase multos vixdum appellata per annos<br /> Non minima augusti pars fuit imperii.<br /> ORNITHORHINCUS PARADOXUS.<br /> <br /> eee<br /> <br /> <br /> <br /> NOTES FROM PARIS.<br /> <br /> iL<br /> (These Notes arrived just too late for the last Number.)<br /> TYNHE dinners known as “ Les Diners de la<br /> Plume” are rapidly becoming the<br /> pleasantest of the many monthly dinners<br /> wn Paris, La Plume is a literary society founded<br /> by M. Léon Deschamps, who publishes a magazine<br /> of that name. In connection with this magazine<br /> weekly réunions of litterateurs are held at one of<br /> the transpontine cafés, whilst every month a<br /> dinner, known as “le Diner de La Plume,” brings<br /> together the best known and the least known of<br /> VOL. ILI.<br /> <br /> sak<br /> <br /> Parisian men of letters. La Plume is the<br /> magazine of the new schools of French literature,<br /> and is contributed to by the Decadents, Symbo-<br /> listes, Romanes, and so forth. The bulk of its<br /> contents are poetry, but prose and criticism have<br /> a large place in its pages also. The contributors<br /> meet together once a week at some café, and there<br /> read their poems and discuss their art, and are as<br /> serious about it as a board of railway directors<br /> discussing their balance-sheet. The “ dinners of<br /> La Plume” are less formal. The price is five<br /> francs, including wine, and the banquet is usually<br /> held in some small café on the other side of the<br /> <br /> water. Some well-known man usually takes the<br /> chair. Zola was president a month or two ago,<br /> <br /> Coppée and Lecomte de Lisle have also presided.<br /> Tt is an excellent institution and does much to<br /> keep up that solidarity which in our métver, more<br /> than in any other, should be the desideratum of<br /> one and all, but which it really seems hopeless to<br /> look for in England.<br /> <br /> There was rather a dismal letter printed in the<br /> Daily Chronicle a few days ago in which a<br /> “member” of the Authors’ Society rather<br /> bitterly asked what the Society did for its un-<br /> successful members. ‘The question struck me as<br /> very unreasonable, but, before writing on that<br /> point, I should like to repeat, as to the passage in<br /> his letter in which I am personally touched up,<br /> that I consider it very bad form for any journa-<br /> list, who is a member of the society and who may<br /> have complaints to make about the literary con-<br /> tents of the Author, to make this complaint the<br /> subject of a paragraph in another paper. Every<br /> house is, I suppose, more or less divided against<br /> itself, but there is no reason for letting the<br /> general public know that our particular house is<br /> in that state. There are only too many people<br /> who would be delighted to see us fall, and such<br /> remarks must be unction to their souls. Let us<br /> grumble about the Society as much as we like<br /> entre nous, but still, to the outside world, present<br /> a beaming and cheerful front, as if ever since we<br /> syndicated ourselves we have a fowl in the pot<br /> every Sunday and change for a five-pound note in<br /> every one of our pockets.<br /> <br /> Se -<br /> <br /> As to what the Society ought to do for its<br /> unsuccessful members, beyond what it does in<br /> the way of advice, I for one am puzzled to<br /> answer. Still I think much good might be done<br /> by the issuing to each member who may consider<br /> himself unsuccessful a card, which he could hang<br /> up inhis room, on which should be painted in fair<br /> letters that text of Thomas a’Kempis, “ Limit thy<br /> <br /> cc<br /> <br /> <br /> i<br /> i<br /> i<br /> <br /> <br /> <br /> 322<br /> <br /> <br /> <br /> <br /> desires and thou shalt know peace.” A man<br /> enters the literary profession either as a trades-<br /> man or as an artist. If as a tradesman, and he<br /> find that his wares don’t sell, let him sell any-<br /> thing else for which he can find a market,<br /> matches or slippers, or pastilles du serail. Tf<br /> as an artist, his success or nonsuccess financially<br /> must be matters of perfect indifference to him.<br /> All that he requires is the means of living, his<br /> enjoyment in life will come from his art. As an<br /> artist he will despise money, remembering that<br /> while Edgar Allen Poe died without a penny to<br /> his name, a certain Jay Gould has recently<br /> bequeathed seventeen millions sterling to his<br /> heirs ; and that quite recently that great man<br /> Ernest Renan died without leaving anything to<br /> his children beyond his books and manuscripts,<br /> whilst the Baron de Reinach’s heirs are dividing<br /> three million sterling between them. Of course,<br /> if a man wants to live in a perfect feu de joie of<br /> champagne corks, he never should take to litera-<br /> ture at all; on the other hand, the man who is<br /> satisfied with a very simple life, can find none<br /> more desirable than a literary life. I would<br /> personally rather live on a pound a week as an<br /> independent homme de lettres than on fifty times<br /> that amount at the sacrifice of my tastes and<br /> principles. One can get a lot of comfort for want<br /> of success out of the very genuine contempt for<br /> money which those who study the question of how<br /> wealth is acquired cannot but feel, and at the<br /> same time the pleasures which money purchases<br /> are, compared to the pleasures which we can get<br /> out of our métier, whether successful or not, so<br /> mean and miserable that one wonders at the zeal<br /> with which other men pursue them. I was never<br /> happier in my life than, when, a few years ago, I<br /> was rowing a ferry-boat between the quay of<br /> St. Lucia at Naples and the Ischia and Capriz<br /> steamers. My duty was to convey old market<br /> women backwards and forwards between the<br /> quay and the steamer, and I got a penny for each<br /> passenger, with a halfpenny for every basket<br /> carried, After deducting the rent of the boat<br /> and the pay of a scoundrelly assistant, who<br /> played the mandoline and was always drunk, my<br /> income amounted to an average of twenty-three<br /> francs a week, It was very tirmg work, but I<br /> had my evenings to myself, and I never did<br /> better literary work, nor ever shall, than at that<br /> time. I have also had pound-a-week spells in<br /> London, and was quite happy all the while.<br /> Anybody, however unsuccessful, can earn a pound<br /> a week with a few hours’ toil, and have all the<br /> rest of his time for the work which he feels it is<br /> in him to produce, And if he is a genuine<br /> artist and the kind of man of letters who is<br /> more interesting than the cheesemonger, it will<br /> <br /> THE AUTHOR.<br /> <br /> be a matter of complete indifference to him<br /> whether his books sell or don’t sell, are published<br /> or not published.<br /> <br /> <br /> <br /> The Soci¢té des Gens de Lettres have recently<br /> published the tariff at which reproductions of<br /> works by authors belonging to the society are<br /> permitted. This tariff varies from one penny a<br /> line to twopence halfpenny, according to the<br /> circulations of the papers. The tariff for serial<br /> stories, moreover, is rather less than for short<br /> stories.<br /> <br /> <br /> <br /> The longer I live the more I see that a course<br /> of journalism is the very best training that the<br /> writer of fiction can undergo. I don’t say this<br /> nastily, although in journalism as in company-<br /> promoting, a certain amount of imagination is an<br /> indispensable qualification. I mean that jourua-<br /> lism will do much to teach a man what life really<br /> is, and give him an insight into human nature<br /> which he could acquire nowhere else. I should<br /> say that a couple of years of interviewing for<br /> instance, would teach a man more about his fellow<br /> beings than years of reading, or of such society as<br /> he might have time and occasion to frequent<br /> otherwise. The interviewer is brought into con-<br /> tact with all sorts and conditions of men, and if<br /> he knows how to keep his eyes and ears open,<br /> and is endowed with a certain power of analysis,<br /> can learn aa immense amount in the course of his<br /> visits. It is, moreover, with the big men and<br /> women of the world that he is brought into con-<br /> tact, and I suppose there is more to be learnt<br /> from one big man or woman than from a thousand<br /> nonentities. Iam afraid, however, that such a<br /> course would destroy in him to a large extent,<br /> that healthy optimism, that admiration for his<br /> pastors and masters, which seems an essential<br /> characteristic of the British novelist. He will be<br /> considerably dissappointed with the great of this<br /> world, and often find himself wondering how they<br /> came to be great at all) Guy de Maupassant, in<br /> his admirable novel “ Bel-Ami,” describes th!s<br /> disillusioning piovess on the character of his hero<br /> Georges Duroy with his usual power and truth.<br /> All French authors of any value, commenced their<br /> areer as journalists, if not as interviewers.<br /> <br /> So<br /> <br /> In the leisure of writing his new work, M.<br /> Emile Zola will contribute to Ze Journal, the<br /> new paper, which is being financed by Mr. Menier,<br /> the chocolate manufacturer, a series of studies on<br /> “ How people get married.” It will be remem-<br /> bered that many years ago he published a series<br /> of sketches on “How People die.” I presume<br /> the new series will be somewhat of the same nature.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I am sorry not to be able to answer the query<br /> addressed to me in the last number of the<br /> Author by a gentleman, apropos of Stendhal’s<br /> « Amour.’ I have not got my books by me<br /> where I am writing, and of late have been think-<br /> ing of things very different from ]’Amour,<br /> Stendbal’s or anybody else’s. But I will look<br /> the matter up, and answer my correspondent<br /> next month. R. H. SHERARD.<br /> <br /> Christmas Day, 1892.<br /> <br /> ET,<br /> <br /> Alphonse Daudet has asked me to deny the<br /> statement, which was published some time ago,<br /> in the English papers, that he has any intention<br /> of visiting London this year. He said that<br /> possibly one of the many false Alphonse Daudets,<br /> who are de par le monde, may have proposed to<br /> go to London, and to masquerade there in bor-<br /> rowed plumes. He added that it has long been<br /> his wish, and always his hope, to visit England,<br /> but that at present the state of his health makes<br /> travelling quite impossible. I was sorry to find<br /> him looking aged, and obliged to use a crutch-<br /> handled stick to help him about his room.<br /> He is, however, still able to work, and is at<br /> present engaged upon a novel which is on the<br /> subject of youth, and which he proposes to eall<br /> “ Soutien de Famille.’ He says that it is giving<br /> him a great deal of trouble.<br /> <br /> <br /> <br /> <br /> <br /> +&gt;<br /> <br /> Jules Verne writes to me that his health is far<br /> from satisfactory, and that he suffers especially<br /> with his eyes, which are so bad that he is often<br /> obliged to interrupt his daily task. At the same<br /> time he says that he is encouraged to hope that the<br /> trouble will only be temporary. I have always<br /> fancied that Verne makes a mistake in living in<br /> Amiens, a damp, misty, and most dismal of the<br /> cities of the plain. I should fancy it to be one<br /> of the least healthy of French towns, as it cer-<br /> tainly is one of the most depressing.<br /> <br /> SS<br /> <br /> The wife of a New York millionaire, who<br /> recently rented the country house of one of our<br /> literary lords, has, I hear, taken to authorship.<br /> Her first novel will be published in New York in<br /> the spring, and will, I fancy, create a sensation in<br /> society circles in England. It is a satire on the<br /> ways of the London world, and a keen one.<br /> <br /> <br /> <br /> T hear that Miss Marie Belloc, who is one of<br /> the cleverest of the young ladies in London who<br /> <br /> 323<br /> <br /> make a living by their pens, has been commis-<br /> sioned by a firm of London publishers to write a<br /> biography of the De Goncourt Brothers, She<br /> was recently in Paris to collect material for this<br /> purpose, and was most amiably received by<br /> M. de Goncourt, who placed himself entirely at<br /> her disposition.<br /> <br /> A few days ago I made the acquaintance of an<br /> American at the counter of one of the American<br /> bars here. He was a most respectable-looking<br /> old gentleman, and I was much impressed both<br /> by his manners and his conversation until J<br /> learned that this benevolent and dignified person<br /> was nothing more nor less than a pirate publisher<br /> of New York City, and one of the worst of them.<br /> It was amusing to hear him speak of his various<br /> business coups, and I can’t deny that I was rather<br /> flattered when, in answer to my question as to<br /> what he had “done” with a certain volume of<br /> my own which he had “handled,” he mentioned<br /> a figure, or number of copies, which made me<br /> feel quite popular. I did not even attempt to<br /> discuss the morality of his transactions, so firmly<br /> convinced did he seem of their perfect legality<br /> and straightforwardness, but I did venture a<br /> timid objection to his having changed the title of<br /> my book, and “ edited” it up or down to the<br /> tastes of his clientele. To this he answered<br /> that he knew best what fetched his public, and<br /> no doubt he did. After a whiskey or two he<br /> invited his “author” to dinner, and took him to<br /> a Bouillon Duval, where he regaled me to the<br /> extent of four francs, and seemed to think that he<br /> was acting very handsomely by me. Had he<br /> only given me a 5 per cent. royalty on the copies<br /> he had sold of my book—but he didn’t.<br /> <br /> <br /> <br /> Apropos of American pirates. I don’t know<br /> why this name should be specially applied to a<br /> certain class of publisher in the States. I<br /> remember offering an MS, of special interest to<br /> the American reading public to one of the best<br /> and most reputable of New York publishing<br /> firms. Their answer was that, as I was doubtless<br /> aware, “I was liable to be republished in<br /> America,” and that they should prefer to wait—<br /> i.e., until they could get my book for nothing.<br /> <br /> a<br /> <br /> Albert Delpit, who died since my last letter<br /> appeared in the Author, was one of the most<br /> popular hommes de lettres amongst his confreres.<br /> Although his talents were not such as arouse the<br /> enthusiasm of the fraternity—although he was<br /> very popular with the reading public—he was so<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 324 THE AUTHOR.<br /> <br /> good-hearted, gallant, and generous, that every-<br /> body liked him. He was always willing to give a<br /> young author a helpiog hand, and there are many<br /> writers in Paris to-day who owe their start to him.<br /> Delpit was a great duellist, as ready with his<br /> rapier as with his pen. His most famous duel<br /> was with Alphonse Daudet, and only shortly<br /> before his death he very nearly “ went out” with<br /> Brunetitre, the critic, for reviling his dead friend,<br /> the poet Baudelaire. Ropert SHERarp.<br /> <br /> THE STARVELING.<br /> <br /> <br /> <br /> Her little hands to wraiths were worn,<br /> Her face was weirdly wan ;<br /> <br /> She lifted up one look forlorn<br /> Then feebly faltered on ;<br /> <br /> The flowers she in her basket bore,<br /> Poor, sad, forsaken elf,<br /> <br /> As afternoon to evening wore,<br /> Seemed spectres, like herself.<br /> <br /> High o&#039;er the turmoil of the town,<br /> Above the traffic’s beat,<br /> <br /> A bright-eyed star beamed softly down<br /> Upon the squalid street ;<br /> <br /> But as it watched that wastrel there,<br /> So desolate, and drear,<br /> <br /> Shining no more serenely fair,<br /> It clouded with a tear!<br /> <br /> * * * *<br /> <br /> Dawn glimmers from the calm cold sky<br /> Across a garret-bed,<br /> <br /> Where, ah, how strangely placid, lie<br /> Two little hands outspread—<br /> <br /> Into the room a star smiles clear,<br /> As tho’ with gladness fraught<br /> <br /> That Death, in answer to its tear,<br /> At last had rescue wrought !<br /> <br /> WILLIAM TOYNBEE.<br /> <br /> ee<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> ROFESSOR Brander Matthews very kindly<br /> P sends me a little book of his called<br /> “ Americanisms and Briticisms.”’ The first<br /> <br /> two chapters are devoted to the national differences<br /> of speech and spelling. These do not, after all,<br /> amount to very much. I hope that we shall not<br /> be forced into the adoption of American spelling,<br /> which seems to me even worse than our own,<br /> what nobody can defend and yet we must retain.<br /> On the other hand, we cannot expect to convince<br /> Americans that our way is better than their own,<br /> and we may just as well leave off considering the<br /> subject, or at all events, writing essays and<br /> <br /> articles about it. The author hardly touches on<br /> the question of pronunciation, which is a much<br /> more interesting one, because some of the older-<br /> ways of pronouncing words are kept up in the<br /> States. Then Mr. Matthews says that he was<br /> brought up to pronounce again and been as if<br /> they were written agen and bin, which is Eliza-<br /> bethan. All the essays are more or less marred<br /> by a singular spirit of jealousy towards our<br /> writers, and by a needless persistence in com-<br /> paring American writers with our writers, always<br /> to the advantage of the former. Every man does<br /> well to be jealous for his own country: but it<br /> surely shows some suspieion of weakness to be<br /> always comparing. It is as if one was not sure<br /> of one’s ground.<br /> <br /> <br /> <br /> The best essay in the book is that on the Art of<br /> Criticism. Here we must all be heartily on the side<br /> of this American writer. More, we must acknow-<br /> ledge that he has put his case clearly and forcibly,<br /> as well as pleasantly. What we call “slating ”—a<br /> Briticism—is, for the most part, a brutal, useless,<br /> degrading, and degraded kind of criticism. The<br /> true critic—to quote from the book—“ is no more<br /> an executioner than he is an assassin; he is<br /> rather a seer sent out to spy out the land, and<br /> most useful when he comes back bringing a good<br /> report and bearing a full muster of grapes.” The<br /> great critics do not go out of their way to deride<br /> and expose an impostor. Nor is it. worth the<br /> while of a critic to slate an unfortunate man<br /> merely because he is popular and has a wide<br /> circulation. Must, then, humbugs and vulgar<br /> writers thrive? Certainly, for their little day.<br /> Must we not expose the impostor and point out<br /> vulgarity and keep up the standard of literature ?<br /> Certainly, but accordmg to the laws of good<br /> manners and with courtliness — not with a<br /> bludgeon, or a flail, or a quarter-staff. M.<br /> Edouard Scherer, Mr. Matthews says, once handled<br /> M. Emile Zola without the gloves—with what<br /> result? ‘ Since Scherer fell foul of him, M. Zola<br /> has written the strongest novel, Germinal (one of<br /> the most popular tales of this century) ; and his<br /> rankest story La Terre, one of the most offensive<br /> fictions in all the history of literature.” The<br /> author speaks of certain praises bestowed upon<br /> certain writers in c-rtain papers as hopelessly un-<br /> critical. Very true; but every paper must have<br /> its reviews, and how many critics have we? The<br /> difficulty of getting a book well reviewed is too<br /> great for any editor to encounter quite success-<br /> fully. I would suggest that Mr. George Suints-<br /> bury’s suggestion be adopted, and that the young<br /> critic should pass an examination, and obtain a<br /> certificate or a degree. Q.C. might thus mean<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Qualified Critic as well as Queen’s Counsel; or<br /> C.C.—Competent Critic—as well as County<br /> Councillor. Mr. Matthews gives ‘“ Twelve Good<br /> Rules for Reviews,” and these are so good and so<br /> simple that I wish every editor in this realm or<br /> empire would have them printed and given to<br /> every critic with every book he hands him for<br /> review.<br /> <br /> I. Form an honest opinion.<br /> <br /> Il. Express it honestly.<br /> <br /> IfI. Don’t review a book which you cannot take seriously.<br /> <br /> IV. Don’t review a book with which you are out of sym-<br /> pathy. That is to say, put yourself in the author’s place,<br /> and try to see his work from his point of view, which is sure<br /> to be a coign of vantage.<br /> <br /> V. Stick to the text. Review the book before you, and<br /> not the book some other author might have written ; obiter<br /> dicta are as valueless from the critic as from the judge.<br /> Don’t go off on a tangent. And also don’t go round in a<br /> circle. Say what you have to say, and stop. Don’t go on<br /> writing about and about the subject, and merely weaving<br /> garlands of flowers of rhetoric.<br /> <br /> VI. Beware of the Sham Sample, as Charles Reade called<br /> it. Make sure that the specimen bricks you select for<br /> quotation do not give a false impression of the facade, and<br /> not only of the elevation merely, but of the perspective<br /> also, and of the ground-plan.<br /> <br /> VII. In reviewing a biography or a history, criticise the<br /> book before you, and don’t write a parallel essay, for which<br /> the volume you have in hand serves only as a peg.<br /> <br /> VIII. In reviewing a work of fiction, don’t give away the<br /> plot. In the eyes of the novelist this is the unpardonable<br /> sin. And,as it discounts the pleasure of the reader also,<br /> it is almost equally unkind to him.<br /> <br /> IX. Don’t try to prove every successful author a plagiarist.<br /> It may be that many a successful author has been a pla-<br /> giarist, but no author ever succeeded because of his<br /> plagiary.<br /> <br /> X. Don’t break a butterfly on a wheel.<br /> worth much, it is not worth reviewing.<br /> <br /> XI. Don’t review a book as an east wind would review an<br /> apple-tree—so it was once said Douglas Jerrold was wont<br /> todo. Of what profit to anyone is mere bitterness and<br /> vexation of spirit ?<br /> <br /> XII. Remember that the critic’s duty is to the reader<br /> mainly, and that it is to guide him not only to what is good,<br /> but to what is best. Three parts of what is contemporary<br /> must be temporary only.<br /> <br /> If a book is not<br /> <br /> <br /> <br /> In another part of this paper will be found<br /> a poem written by Mr. John Saunders. The<br /> names of certain powerful and dramatic novels<br /> —such as “ Abel Drake’s Wife,’—and others,<br /> will be remembered by everyone in connec-<br /> tion with ths name. But there are not<br /> many surviving writers, or readers, who remem-<br /> ber Mr. John Saunders’s work in the Forties.<br /> Mr, Saunders has published a new story written<br /> for the Leisure Hour last year, and has now<br /> another completed. He came up to London<br /> more than sixty years ago. After a_ brief<br /> experience of the boards, he settled down to a<br /> lite of letters, which he has ever since continued.<br /> He has been dramatist, essayist, historian, and<br /> <br /> 375<br /> <br /> novelist by turns. He has done everything well,<br /> and he is still vigorous and ready for new and<br /> strong work. Many of us possess Charles<br /> Knight’s book on “ London.” It was in six<br /> volumes, and contained 150 chapters, each chapter<br /> ona different subject. Mr. Saunders contributed<br /> a half—75 chapters—to that work. Let us wish<br /> him many more years of life and good work.<br /> <br /> SS<br /> <br /> The use of the word “ middleman” or “ agent’”’<br /> <br /> applied to a publisher seems to have been received<br /> with scant favour. Let us therefore distinguish.<br /> When the publisher buys the work of the author,<br /> he is certainly not a middleman—he is the pur-<br /> chaser of an estate. When he engages the services<br /> of an author to perform a certain piece of work, he<br /> is not a middleman—-he is an employer. When<br /> he accepts articles for his magazine he is not a<br /> middleman—he is again the purchaser of a pro-<br /> perty, or the limited use of a property. When<br /> he publish: sa book on commission he is distinctly<br /> an agent or middleman. When he publishes a<br /> book on some kind of royalty, either to himself<br /> or to the author: or on some share of the profits;<br /> he may be regarded either as a partner or part<br /> venturer ; or as an agent.<br /> <br /> poe<br /> <br /> I strongly recommend our readers to study the<br /> document called “ A Confession,” which has been<br /> quoted from a country paper. They will find<br /> curious and ample corroboration of what we have<br /> maintained so strongly in the teeth of every kind<br /> of denial. Our ‘“ Cost of Production” is indi-<br /> rectly confirmed, and the hints and suggestions<br /> are precisely those which we have advised for<br /> the last four years. Note, especially, what is<br /> said about advertisements and agents. Note also<br /> what is said about solicitors. Ordinary solicitors<br /> —indeed all solicitors except a very few—know<br /> nothing whatever about literary property. Like<br /> the rest of the world—like authors themselves—<br /> they have to learn what it means.<br /> <br /> aa<br /> <br /> A society has been started called the ‘‘ Brother-<br /> hood of Poets.’”” The prospectus now before me<br /> speaks with some bitterness of the contempt with<br /> which the minor poet is too often regarded.<br /> This is quite true, and it is a very remark-<br /> able thing—one not quite easily explained. Why<br /> should a minor poet be spoken of with contempt ¢<br /> We do not despise the minor preacher; the<br /> minoc traveller holds up his head; the minor<br /> essayist looks about him cheerfully and even<br /> proudly ; the minor novelist is trampled upon,<br /> but, on the whole, does not feel himself an object<br /> <br /> <br />  <br /> <br /> 4<br /> 4<br /> i<br /> |<br /> ie<br /> <br /> of contempt; for the minor poet especially is<br /> reserved ridicule and contempt. Why? Is it be-<br /> cause only the best poetry is tolerable to the most<br /> cultivated class ? But this is a very small class.<br /> The great mass of mankind are not cultivated.<br /> But they also despise the small poet. Perhaps<br /> there is a feeling of incongruity between their<br /> endeavours and their performance which seems<br /> ridiculous. The comic man who fails to make us<br /> laugh is ridiculous ; so is the tragic man who can-<br /> not compel tears ; so is the poet who would fain, as<br /> this prospectus says, make men better and nobler,<br /> and cannot influence them one whit. Granting<br /> the fact, and denying the justice of the fact, the<br /> “ Brotherhood ” is organised with the general<br /> intention of cultivating the muse. Why not?<br /> A poet cannot be made, but he may be encouraged,<br /> taught, put in the way of good models; in fact,<br /> there may be a school of poetry. Whether any<br /> great poet will ever come out of such a school, I<br /> know not. Perhaps not. But its students will<br /> most certainly learn what the best poetry should<br /> be; the taste for, and reverence of, good poetry<br /> will most certainly be imereased and stimulated,<br /> and a great many people will be encouraged to<br /> pursue the most delightful recreation in the<br /> world—the writing of verse—the compelling of<br /> thought to fall imto the order of metre and<br /> rhyme—the fitting of noble words to what should<br /> be noble thought—this certainly will be a great<br /> gain.<br /> <br /> If the world chooses to laugh at the spectacle<br /> of this Brotherhood of young poets, let them.<br /> The laugh will not continue long, and the<br /> Brotherhood may. Perhaps, too, some of the<br /> recognised living poets will join the Brotherhood<br /> as an encouragement.<br /> <br /> a<br /> <br /> A new business has been started, that of a<br /> “Literary Revision” Office. This office undertakes<br /> to revise MSS, with a view to correcting gram-<br /> matical error; to find out accuracies, anachro-<br /> nisms, wrong references, &amp;c., in MSS.; or to<br /> rewrite a MS. from beginning to end. Nothing<br /> is said about terms, except that they are<br /> “ moderate.” One might ask certain questions<br /> as (1) How if a MS. on being read, is proved to<br /> be free from any grammatical errors? (2) How<br /> do we know the competence of the readers? It<br /> is hardly enough to tell the world that the work<br /> is to be done by “Anglophil” and “ qualified<br /> experts.” To begin with, an expert is an expert,<br /> but what is a “ qualified’? expert? Here at the<br /> very threshold we stumble grammatically. A<br /> ‘qualified ” expert? A “ qualified” professional<br /> man generally means one who has passed examina-<br /> tions and taken degrees. But how is an English<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> grammarian ‘ qualified?’’ Then in the matter<br /> of anachronisms and inaccuracies. Why are we<br /> to trust the “ qualified” experts? How do we<br /> know that they are historical students of such<br /> experience as to make them quick to detect such<br /> things as, say, a fork in the reign of Henry VII ?<br /> Again, as to the rewriting of books. Who is to<br /> assure the author (?) that his MS. will be<br /> improved by the process? How can we be sure<br /> that the “ qualified expert,” who will be put on<br /> to the job is a master of style? If he is, one<br /> would ask, cruelly, why be has not made his own<br /> mark in literature for himself? However, there<br /> is the Office and these are the things it proposes.<br /> We give the Institution a free advertisement.<br /> And if any reader feels that his grammar is a<br /> weak point, or that his style creeps, or that his<br /> history is rusty, let him apply to the Society, and<br /> ask further particulars, especially with regard to<br /> the “ qualification” of the experts.<br /> <br /> <br /> <br /> The following alphabet of the Disappointed<br /> Author is sent by one who says that if it may<br /> help in dissuading only one from entering on<br /> literature as a means of livelihood, he will gladly<br /> see it in the Anthor. So here it is—the O and<br /> the X a little shaky :—<br /> <br /> A was the Author, who-turned down his collars ;<br /> B was the Bookman, who trousered the dollars.<br /> C was the Critic, impartial and ealm ;<br /> <br /> D were his Drops of omniscient balm.<br /> <br /> E Expectation of early reviews :<br /> <br /> F for their Flutter who slily peruse.<br /> <br /> G for the Guerdon of agony past ;<br /> <br /> H for the Hope that is sinking at last.<br /> <br /> J for the Joke of the careless condoler ;<br /> <br /> K for the Kiss of the only consoler.<br /> <br /> L for the Limbo of copies unsold ;<br /> <br /> M for the Mystery—Who took the gold ?<br /> N for the Number assigned to the Press ;<br /> O the returns—and they could not be less.<br /> P Periodical balance of cash ;<br /> <br /> Q for its Quaint unmethodical hash.<br /> <br /> R for the Ruin that neighbourly stared ;<br /> <br /> S for Suspicion the critics were squared.<br /> <br /> T for Tranquillity, banished of late ;<br /> <br /> U for Unrest—in the crown of the pate.<br /> <br /> V for the Venom distilled in the mind ;<br /> <br /> X for the infinite fancies unkind.<br /> <br /> Y for the Yesterdays wasted and run;<br /> <br /> Z for the Zenith— but that is all done.<br /> <br /> <br /> <br /> A correspondent writes :—<br /> <br /> “ Apropos of the present controversy in the<br /> Athenxum, it has occurred to me that there is a<br /> point of view from which Messrs. Heinemann,<br /> Tnnes, and Co., might be ruled out of order.<br /> <br /> “The Authors’ Society came into existence to<br /> make known to its members various things, ignor- —<br /> ance of which means loss to them. In effect<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> there were practices of trade which flourished on<br /> this ignorance ; practices then known to a few,<br /> now known widely, which need not be charac-<br /> terised. In opposition, it is now proposed to<br /> form a Publishers’ Union. But why? There<br /> are no malpractices on the part of authors to be<br /> made known, to be resisted, to form a razson<br /> @étre. Itis not suggested that there are such.<br /> Then why the proposed league? Unless it is to<br /> devise new methods of . . .!”<br /> <br /> What has been said in the Athenwum may be<br /> repeated here. Since a body of men cannot<br /> unite for openly avowed dishonourable purposes,<br /> such a union would comprise only the honourable<br /> <br /> houses. Since, too, we have never advocated or<br /> demanded anything more than honesty and<br /> justice—these simple and elementary things—<br /> <br /> we should only rejoice at such an union. A secret<br /> union is one which honourable men would not<br /> join, and which would have to be fought with<br /> such weapons as are at our command.<br /> <br /> <br /> <br /> The Atheneum has abandoned the practice of<br /> reviewing novels ina batch. Hach novel is now<br /> presented with a separate notice. This conces-<br /> sion will give great satisfaction to many readers<br /> as well as writers.<br /> <br /> Water BEsant.<br /> <br /> THE EMPTY PURSE.<br /> <br /> By Greorcxe Merepirnx. Macmillan and Co. 1892.<br /> <br /> FFN\HOUGH, within the last few years Mr.<br /> | George Meredith’s achievements in fiction<br /> <br /> have been so widely recognised, it is only a<br /> very short time ago that many or his most ardent<br /> admirers began to know him as a poet of rare<br /> power and distinctive originality. It was, of<br /> course, a long time before the far-seeing reviewer<br /> discovered Mr. Meredith as a novelist at all.<br /> But there was always a certain number of people<br /> who appreciated the author of ‘‘ Richard Feverel”<br /> —delightful, selfish, esoteric, esthetic people, ever<br /> wishing to keep the good things of this world to<br /> themselves; and, just as these, were the few who<br /> recognised that one day he would take his true<br /> place among the first novelists of England. There<br /> were also a few (smaller, perhaps, in number)<br /> who had the good fortune to know ‘Modern<br /> Love,” and acknowledged the author’s high<br /> poetic gifts. The first critical and appropriate<br /> tribute to his genius—the first, that is to say,<br /> from anyone qualified to speak on such matters—<br /> came, we believe, from Mr. Swinburne, just as the<br /> <br /> a7<br /> <br /> same magnificent capacity for appreciation with<br /> which Rossetti was endowed, enabled him to<br /> delight inthe ‘‘ Shaving of Shagpat ” now one of<br /> Mr. Meredith’s most popular works. A mar-<br /> vellous House of Poetry it must have been when<br /> the three poets lived under the same roof. Since<br /> then ‘“‘ Modern Love” has been happily reprinted ;<br /> and the name of George Meredith, with that of<br /> William Blake, Michael Angelo Dante Rossetti,<br /> and Victor Hugo, stands as a splendid contradic-<br /> tion to that well-nigh exploded canon “ that a<br /> man cannot excel in two arts;” for the art of<br /> poetry is as distinct from fiction as it is from<br /> painting.<br /> <br /> In this short notice it is impossible to give any<br /> adequate idea of even so small a volume as Mr.<br /> Meredith’s latest poems. There is far too much<br /> thought behind the language to be discussed in<br /> half a column, and dismissed with a few adjec-<br /> tives. Besides, two of the longerand perhaps the<br /> finest poems, the “ Empty Purse” and “ Youth<br /> in Memory,” do not bear quotation. They are<br /> too concentrated and too synthetic to allow of<br /> detachment. One can only say that they are<br /> steeped in that thought pec ‘uliar to this author,<br /> and are of Meredith Meredithian.<br /> <br /> Many modern poets, indifferent to matter, pay,<br /> it is thought, undue attention to form, and very<br /> elaborate form indeed; it will therefore rejoice<br /> the more old fashioned to learn that Mr. Meredith<br /> is still on the side of the angels. It requires the<br /> ethical genius of Browning or Mr. Meredith to<br /> bring a Salvation lass within the limited capacities<br /> of poetic art In “Jump to Glory Jane,” this<br /> has certainly been done, and the poem is perhaps<br /> the literary feat-of the volume.<br /> <br /> Though Mr. Meredith possesses that essentially<br /> modern quality, the feeling for Nature (the<br /> absence of which is regarded almost as a crime),<br /> he has made us realise that in modern poetry we<br /> have had more thanenough and are well-nigh nause-<br /> ated with commonplace observations and atmo-<br /> spheric phenomena, the physical condition of the<br /> earth’s surface, and the attractions of young ladies<br /> whose names are disguised like unto a classical or<br /> music hall nomenclature. For such practically<br /> forms the substance subject-matter of three-<br /> fourths of our modern poetry. ‘The Empty<br /> Purse,” not differing from Mr. Meredith’s other<br /> works, comes, therefore, not only as an intel-<br /> lectual pleasure, but as a mental relief.<br /> <br /> F.<br /> <br /> <br />  <br /> <br /> a eee<br /> <br /> POs<br /> <br /> SELES NT<br /> <br /> FEUILLETON.<br /> <br /> I.<br /> A Writer or STORIES.<br /> F ND Vm sure I wouldn’t say go, Miss, I<br /> <br /> A wouldn’t, indeed ; but, with my husband<br /> <br /> ill and five children to keep, if I could<br /> get someone to take the room as could pay regular,<br /> it would make a deal of difference to me.”<br /> <br /> “Yes, I know, Mrs. Smith; you have been<br /> very patient. I—TI will move out this evening.”’<br /> <br /> “Oh, no, Miss; I don’t mean as sudden-like<br /> as that—just if you could make your arrange-<br /> ments to go when I hear of anyone else.”<br /> <br /> “Thank you,’ Mary Allen said; “I think I<br /> can make my arrangements to-day.”<br /> <br /> Sbe closed the door of her room when her<br /> landlady had passed out, and, sitting down, she<br /> reviewed the story of her life.<br /> <br /> When she had begun to write she had been<br /> ambitious, and she had intended to succeed.<br /> Poor girl! Nay, her ambition had soared higher<br /> still, for she had intended to deserve success.<br /> Again, let us say: Poor girl! This would-be<br /> successful writer of stories had had before her as<br /> beacon-lights the words: Local Colour, Atmo-<br /> sphere, and—Heaven help her!—Style. Doubt-<br /> less, they are good words all; but this girl was<br /> not the possessor of a competence. She dreamt<br /> of writing for Art’s sake, and she had to write to<br /> live.<br /> <br /> She began, of course, as young beginners do;<br /> she sent her stories—crammed with those good<br /> intentions concerning Local Colour, Atmosphere,<br /> and Style, and, also with youthful ignorance of<br /> the technique of her art—to the best magazines<br /> open to receive fiction. One’s pity for their<br /> editors would be supreme, but that superlative<br /> emotion must be reserved for some of those who<br /> persecute them. The manuscripts were rejected<br /> and rejected again; until they were dog’s eared<br /> and soiled; until they were rewritten and again<br /> despatched ; until others were written to take<br /> their places, and went forth in their stead. And,<br /> alas! they, too, came back.<br /> <br /> ‘hen she declined to the magazines of the<br /> second rank; and, subsequently, to those still<br /> lower down the scale; until, at last, she reached<br /> the weekly publication issued at the price of one<br /> penny, and then sometimes her tales were ac-<br /> cepted — sometimes at long intervals—and paid<br /> for. Nay, not always; it was the Family Cup-<br /> board, 1 believe, which accepted one of her<br /> stories, published it without attaching her name<br /> thereto, and paid her not at all. Happy the day<br /> when the Weekly Want, with its fixed scale of<br /> half-a-guinea a column, and its honourable habit<br /> <br /> THE AUTHOR.<br /> <br /> of payment on publication, gave shelter to one<br /> of her offspring. It happened but seldom,<br /> <br /> And of other papers, wherein her work some-<br /> times appeared, what shall I say ? and what of<br /> their sliding scale of payment?’ Possibly better<br /> nothing. Let us hope the scale had descended<br /> to its zero when a woman who was writing to live<br /> —still more, when a woman who was writing for<br /> art’s sake, was offered, and was driven to accept,<br /> five shillings for two thousand words, carefull<br /> wrought over, laboriously planned, delicately<br /> polished, till the whole satisfied her fastidions<br /> sense of style. Better had she sat stitching from<br /> morn ull night with other women, oppressed of<br /> the sweater. Better, far better, had she bought a<br /> broom and swept a crossing.<br /> <br /> “Tt’s simply a matt r of supply and demand,<br /> Miss Allen,” said the editor who proffered the<br /> five shillings, when she ventured to remonstrate.<br /> “We can get plenty of this sort of thing, and we<br /> can’t afford to pay you any more.”<br /> <br /> “Youcan afford to pay Mr. X. for the serial<br /> you are running just now,” Mary was bold enough<br /> to suggest ; she knew it was unwise to annoy an<br /> editor who would pay anything, but she doubted<br /> if her boots would hold together another week if<br /> they remained unmended.<br /> <br /> The editor smiled at her pityingly. “That sells<br /> the paper,” he responded, curtly. ‘Do you<br /> imagine this does P” with a contemptuous flick at<br /> her manuscript.<br /> <br /> “There is more careful work in that,” said<br /> Mary, driven to desperation by the thought of<br /> boots, “ than Mr. X. has put into his story, big<br /> man as he is. His is written anyhow; every<br /> paragraph contains a violation of style.”<br /> <br /> “ Oh, style be hanged,” said the editor. “‘ What<br /> do the public care about style? Take my advice<br /> and chuck over all that tommyrot.” There was<br /> not much style in his conversation ; but there is<br /> little in that of the average modern, and he was<br /> an excellent husband and father, besides being<br /> a capital man of business, “ Chuck it over; pile<br /> up your incident, start with a mystery, and be<br /> dramatic ; I don’t say- but you might make your<br /> way then. We can offer no more than five<br /> shillings for this, Miss Allen; you can take it or<br /> leave it.”<br /> <br /> And Mary took it. His advice she could not<br /> take ; she must live for Art. There are some men<br /> who must do this, and there are a few—a very few<br /> —women, of whom Mary was one. She must<br /> live for Art, or if she might not, then for Art she<br /> must die.<br /> <br /> By this time—I know not, but it may be—<br /> had she gone back to those editors whose lives<br /> <br /> she had erstwhile helped to burden, she might<br /> have met with recognition and encouragement;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> for hard practice had been perfecting her in the<br /> details of her craft. It might have been so, but<br /> she had tried so often she had grown to think it<br /> hopeless. Everything was hopeless; the penny<br /> papers could not afford to take her highly<br /> finished pictures; and to fling together crude<br /> reds and blues and yellows, such as their public<br /> loves to have dashed in its face, was to her an<br /> impossibility.<br /> <br /> The end had come, and she sat in her room and<br /> faced it. She could not pay for a roof to shelter<br /> her; she no longer possessed even what would<br /> purchase a loaf of bread to keep life in her. For<br /> Art she might not live, therefore for Art she<br /> must die.<br /> <br /> When dusk began to gather she went down-<br /> stairs, and knocked at her landlady’s door.<br /> <br /> “T am going now, Mrs. Smith,” she said.<br /> “Goodbye, and thank you. I have left my<br /> things ; they will not bring much—not as much<br /> as I owe you, I’m afraid.”<br /> <br /> “ Oh, Miss,” broke in the landlady, “I didn’t<br /> mean that! and you&#039;ll want them wherever you<br /> go.”<br /> <br /> “T shall not want them where I am going,”<br /> said Mary, calmly. ‘“ 4nd if a letter should come<br /> for me, will you open it? Perhaps there might<br /> be a postal order—will you take it ?”<br /> <br /> “Oh, Miss,” the landlady began again, and<br /> paused, as the postman’s knock was heard.<br /> <br /> A small bundle by book-post for Miss Allen.<br /> Mary held it in her hand and looked at it, as she<br /> stood by the fire.<br /> <br /> “There will be no letter or postal order,” she<br /> said. “I am sorry.’ And she dropped the<br /> bundle into the flames. ‘‘ Goodbye,” she added<br /> quickly ; then, turning, walked to the door, and<br /> out into the closing darkness.<br /> <br /> The landlady looked after her uneasily. “I<br /> don’t like it,” she said. ‘I don’t like it. But<br /> there, with Joe and the children, what was I to<br /> do? I did it for the best. Please God, I haven’t<br /> turned a decent girl on the streets.”<br /> <br /> There was a mist in the air, not thick enough<br /> to be designated fog by a Londoner ; but damp,<br /> clinging, chilling to the bone. The sireets had<br /> not reached the period of slush; they were still<br /> only slimy,and on the wood pavement the horses<br /> slipped and sometimes fell.<br /> <br /> Mary walked on; not hurriedly, there was no<br /> reason for haste: her goal would await her.<br /> She looked about as she went, vaguely and quite<br /> calmly; there was no more reason for anxiety<br /> than haste: she had got to the end. She would<br /> never write again; but, as she went along, she was<br /> noting and describing her surroundings ; she was<br /> even studying her own emotion, or lack of it;<br /> and once she drew her brows with slight annoy-<br /> <br /> AUTHOR.<br /> <br /> 349<br /> <br /> ance when she found she had embarked on an<br /> awkward and ill-balanced sentence. Why not?<br /> If aweman, whose motive power has been her-<br /> self, her own fair exterior, can spend her last<br /> moments “laying herself out’ in pale blue<br /> draperies, or whatever she may ¢ nsider her most<br /> becoming setting—as has teen done, why wonder<br /> if a woman, whose soul has been given to Art,<br /> should go quietly to death, her thoughts still<br /> penetrated and consumed by what has been the<br /> passion of her life? If the history of last<br /> thoughts could be written, how might not a con-<br /> ventional world, believing in the salvation of<br /> ‘“‘an editying end,” be amazed and shocked.<br /> <br /> Mary wandered on, always moving towards her<br /> goal, though not by the most direct ways. She<br /> was half-unconsciously putting in the Local<br /> Colour and the Atmosphere around that central<br /> figure of her story, the girl who was going to her<br /> death, and she turned along the Strand; she<br /> would paint in the noisy traffic, the surging<br /> humanity to be found here. She went not im<br /> any haste, and looked about her. Possibly for this<br /> reason there happened what had never happened<br /> to her before—for a girl who looks quietly<br /> respectable, and keeps her eyes in front of her,<br /> as though she knew her business and were going<br /> about it, can, strangely often go unmolested, in<br /> London—a man touched her on the arm, and<br /> offered her—life.<br /> <br /> Can you wonder if a girl who wants to live, if<br /> a girl who has the strong animal joy in life, the<br /> stronger animal fear of death—and the river is<br /> so cold, so black, so terrible a last refuge down<br /> there in the dark--can you wonder if she some-<br /> times lives P<br /> <br /> But this girl did not want to live ; life had<br /> no more to offer her; life without art was<br /> death.<br /> <br /> I suppose it is strange for a man—even if of<br /> the common vermin—to have eyes that have said<br /> farewell to life, that have looked full at death,<br /> and are going to meet it, turned on his. This<br /> man moved in recoil even before there fell from<br /> the girl’s lips tne words quietly spoken: “ You<br /> have made a mistake.” And it required the<br /> restorative tonic of raw brandy to make him<br /> again feel attractions in his nightly haunts.<br /> <br /> The incident roused Mary ; she left the Strand,<br /> and turned down towards the embankment. She<br /> had been startled out of her abstraction, and the<br /> half-mechanical working of her mind. But, as<br /> she came in sight of the river, the old habit<br /> re-asserted itself, and the word-painting began<br /> anew. The dark span of a bridge, faintly out-<br /> lined with spots of lamplight, the flickering<br /> yellow gleams upon the dusky water flowing<br /> between misty banks, with here and there a dim<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ao°<br /> <br /> suggestion of barge and boat upon it, were noted<br /> with the careful manner of long use.<br /> <br /> Nearer the scattered sickly light fell upon the<br /> broad, slimily glistening embankment she was<br /> approaching. It had to be crossed to reach the<br /> end. She paused on the kerb to let a waggon<br /> roll by, and then, her eyes still dreamily fixed on<br /> what lay beyond, and her mind moulding a<br /> sentence to its perfect form, she stepped into the<br /> road.<br /> <br /> A carriage, with rapidly driven horses, was<br /> drawing near; the girl went on unheeding, then<br /> stumbled on the slippery road and fell. The<br /> coachman shouted and made a futile effort to<br /> bring the horses to a sudden stand; but the<br /> carriage had passed on full ten yards before he<br /> pulled them on their haunches; and looked back<br /> at a motionless figure, which had never uttered a<br /> cry, lying in the road.<br /> <br /> A small crowd took form in the dusk, evolving<br /> itself out of what a moment before had seemed<br /> almost deserted space, rapidly as London crowds<br /> can. That it should contain the ubiquitous<br /> doctor and policeman was a matter of course.<br /> <br /> “Dead,” said the doctor, as he rose from<br /> bending over the woman.<br /> <br /> “No clue to identity,” added the policeman,<br /> examining a handkerchief marked “M. A.” he<br /> had taken from the pocket, which did not even<br /> contain “twopence halfpenny in bronze,” to be<br /> described by the also ubiquitous reporter.<br /> <br /> “A shop girl,” suggested the doctor.<br /> <br /> ‘‘ Not smart enough,” said the policeman.<br /> <br /> ‘Perhaps a servant,” hazarded an onlooker.<br /> <br /> “Too shabby,” responded the policeman.<br /> <br /> And it did not occur to anyone that she was a<br /> writer of stories.<br /> <br /> E. N. Leteu Fry.<br /> <br /> <br /> <br /> EL<br /> My Criric on toe HeEArrs.<br /> <br /> When I first heard of the Society of Authors,<br /> whose object is clearly to blend the “ wisdom of<br /> the serpent’? with the “harmlessness of the<br /> dove,” it reminded me of a certain happy incident,<br /> which occurred in my literary life, a few years ago.<br /> <br /> In a cosy little house, situated in that cheerful<br /> country on the outskirts of social Bohemia, we<br /> sat round the fire, one winter evening, a homely<br /> party of three.<br /> <br /> My critic filled his pipe.<br /> <br /> (He was not my<br /> critic then.<br /> <br /> That was the night on which he<br /> <br /> first entered upon his duties in that capacity.)<br /> He filled his pipe, and proposed that I should<br /> tell a story, while he smoked, and his wife, with<br /> fairy fingers, conjured into existence wonderful<br /> little garments for the sleeping babies upstairs.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> I had been disheartened lately. My fairy<br /> tales had been returned to me. They were too<br /> fanciful, too imaginative—always too something !<br /> I did not respond immediately to the request,<br /> but my knitting needles flew a little faster, for a<br /> minute or so, then subsided into my lap, while I<br /> told my story :<br /> <br /> “Once upon a time there was an old fairy<br /> called Fancy, and she had a hundred million<br /> grandchildren, She christened them all after her<br /> name, and sent them out into the wide world to<br /> seek their fortunes; but they could not find<br /> them.”<br /> <br /> I paused and resumed my knitting There<br /> was silence for a few minutes, not broken, but<br /> enhanced by the snoring of the Bohemian dog,<br /> the purring of the Bohemian cat, the click of<br /> knitting needles, and the flickering of the fire,<br /> <br /> Then my critic spoke:<br /> <br /> ‘Once upon a time there was an old wizard<br /> called Fact, and he had a great many grandsons,<br /> He christened them all after his own name, and<br /> sent them out into the wide world to seek their<br /> fortunes. Now certain of these, in the course of<br /> their wanderings, met some very pretty but for-<br /> lorn little princesses of the name of Fancy. So<br /> they married them, and they all made their<br /> fortunes immediately.”<br /> <br /> It was thus that the valuable institution of a<br /> Critic on the Hearth first came into existence,<br /> He undertook to criticise and verify my Facts,<br /> leaving me to perform the wedding ceremony<br /> with the poor little wandering Fancies, if I would<br /> submit my stories to his criticism.<br /> <br /> So I put on a moral skin, which I happened to<br /> have by me, as thick as that of any rhinoceros,<br /> and I read and showed him story after story,<br /> while he patiently considered and _ criticised,<br /> always to my very great benefit. The help which<br /> this has been, and still is, for critic continues to<br /> chirp occasionally, is beyond my calculation.<br /> <br /> I still have in my pos-ession an old cracked<br /> post-card, in my critic’s handwriting, containing<br /> the following satire on an expression he found in<br /> one of my stories, describing a man with “ sorrow-<br /> ful eyebrows.”<br /> <br /> ‘Yes, quite so,” runs the post-card, “and<br /> thus we find in ‘ Verity’s Characteristics of the<br /> British Monarchs’ that not only was Charles<br /> I. noted for his sorrowful eyebrows, but William<br /> I. for his patient nose. Richard II. for his<br /> singularly truthful neck. Elizabeth for her<br /> haughty teeth. Anne for her ill-tempered knees,<br /> &amp;e.”” .<br /> In this way I know I have been preserved from<br /> thrusting many an absurd expression, many a<br /> half-fledged fact before the public, and I cannot<br /> help thinking that authors would often be spared<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. a<br /> <br /> a smarting blow from that envenomed weapon<br /> the critic’s pen, if they would only keep a Critic<br /> on the Hearth to “smite them friendly and<br /> reprove them.” Such criticism is, as somebody<br /> once observed all criticism should be, not an<br /> “extinguisher’’ to put out the struggling spark,<br /> but a “pair of snuffers,” freemg it from all<br /> extraneous matter to make it burn and shine<br /> more brightly. SETT.<br /> <br /> MR. HAWLEY SMART.<br /> <br /> FTNHE late Mr. Bale Smart, Like many<br /> another prolific novelist, was not always at<br /> his best. But whereas it is usual for the<br /> <br /> public to disagree about the comparative merits<br /> <br /> of an author’s different works—not only to dis-<br /> <br /> agree among themselves, but to disagree very<br /> directly with critical opinion—in Mr. Hawley<br /> Smart’s case his best novel, according to his<br /> <br /> ceritics—the one, that is, to which he had obviously<br /> devoted the most care in structure and present-<br /> ment—has attained to by far the greatest<br /> popularity. ‘‘ Breezie Langton ” is a more finely<br /> conceived story than many of Whyte Melville’s<br /> —the author’s model—and in our opinion will<br /> hold its own with a goodly proportion of modern<br /> novels of the simpler and more popular style. It<br /> is, however, as an exclusively sporting novelist<br /> that Mr. Hawley Smart is best known, and in<br /> this limited field he has produced the best novel<br /> of its sort that has ever been written. ‘‘ Bound<br /> to Win” is an excellent story, and deals with<br /> the technicalities of racing and the mysterious<br /> intricacies of betting in a manner that makes<br /> these rather sordid subjects not only highly<br /> interesting (mystery might have done that for<br /> them), but perfectly intelligible. This book has<br /> received two very high compliments. Mr.<br /> Burnand re-wrote it for Punch, and ‘* What’s the<br /> Odds? or, the Dumb Jockey of Teddington,” is<br /> one of Mr. Burnand’s best parodies, and many<br /> people have since imitated it seriously, and have<br /> all failed to achieve any success. Of Mr. Hawley<br /> Smart’s other novels, ‘‘ Broken Bonds” is a very<br /> good example of the straightforward, rattling,<br /> sensational story, and contains an example of an<br /> escape from Portland Prison, that may he placed<br /> alongside of the remarkable evasions of MM. Le<br /> <br /> Duc de Beaufort and Le Comte de Monte<br /> Cristo. Without claiming for Mr. Hawley Smart<br /> <br /> any very exalted position in contemporary letters,<br /> we see that we have lost in him the author of at<br /> least one good book, the inventor of a not un-<br /> popular school of novel, and the teller of very<br /> many wholesome readable stories. :<br /> <br /> LABOUR&#039;S SUNDAY.<br /> <br /> Come toil-bowed Artisan, walk forth with me,<br /> And taste the blessings thou may’st still enjoy,<br /> It is the Sabbath—hallow it—be free !<br /> Let not thy labours all thy soul destroy.<br /> There’s something yet to live for: the fresh breeze<br /> That makes the dull blood rush along the veins ;<br /> The countless tiny spirits of the trees<br /> Hymning their gladness in more gladdening strains :<br /> Th’ eternal changes of the glorious sky,<br /> All glorious! Whether floating now in gold,<br /> Where thousand islets on its bosom lie,<br /> Each like a dream of Paradise of old.<br /> Or when hot-headed Lightning darting by<br /> Its slow-winged Herald Thunder flashes round<br /> Its sheets of flame upon the murky sky,<br /> Its blazing glimpses of the depths profound!<br /> Are these not blessings even unto thee ?<br /> Untaxed too, thank God, untaxable!<br /> Then forth, and let thy better parent see<br /> Thou art not thankless, thou dost love them well.<br /> For Nature is a parent. She can teach<br /> If thou with guileless heart will strive to learn<br /> Diviner duties than most churches preach ;<br /> She will not make thee but a living Urn<br /> To hold the ashes of the purest aims;<br /> Th’ impassioned yearnings for unworldly bliss ;<br /> The God-like faith that partial good disclaims ;<br /> The Love that greets the wide world with its kiss.<br /> Behold now Nature’s Church—yon airy downs !<br /> With murmurous sea, at giddy depths below ;<br /> Scenes of sublimity, that God’s hand crowns,<br /> And gently guides us, whither we should go.<br /> <br /> <br /> <br /> No verger’s itching palm appeareth here ;<br /> Vho, back to Choir, and open-handed greets<br /> The well dressed stranger. Then with brazen leer<br /> Directs the half-clad to the Pauper seats.<br /> Thing with a soul scarce breeches pocket high!<br /> Thou sayest right, we have no business there.<br /> Our lives have other aims than Vanity,<br /> Enough for us to sweat to make it’s gear.<br /> Patience! We bide our time. So come along.<br /> Lo, how our spirits mount, just like these hills !<br /> We gaze toward the future, and our song<br /> Glowing with rapture every hope fulfils.<br /> Take warning Despots, shades of mental night !<br /> See, daylight ‘ake man’s fast awaking mind ;<br /> Eternal day to know no future blight ;<br /> Nor leave of all your realms a wreck behind.<br /> Then shall man’s soul feel truly a New Birth:<br /> Nor longer grope all darkling through his life ;<br /> But walk erect, a demi-god of Earth,<br /> And claim his parentage from Love not Strife.<br /> No longer then shall man’s presumptuous speech<br /> Make God the creature of his idle dreams ;<br /> Or guiltier far, most impiously preach<br /> As ’twere from God, his selfish, wicked schemes.<br /> No longer then shall man dare say to man<br /> ‘I must be rich, and thou be ever poor;<br /> The idle lord, the hungry Artizan<br /> Are God’s decrees, so thou must still endure.”<br /> Saith Christ, Come unto me all ye that labour,<br /> All heavy laden, I will give you rest—<br /> Immortal blessings of Divinest savour<br /> To draw the poor, maimed, blind, unto My breast.<br /> <br /> <br />  <br /> <br /> 332 THE<br /> <br /> And Christians then shall understand Christ’s creed,<br /> Not one of names, or sects, or colour—clime ;<br /> Not one to hang men, or to make them bleed,<br /> For being famished—nurtured into crime.<br /> <br /> Oh, for a second holier Holy War,<br /> To drive these Christian Pagans from the shrine!<br /> These *‘ godly” men, who most God’s sweet world mar;<br /> Who, soulless, prate to Souls of things Divine.<br /> <br /> But Hope laughs out. The wilderness looks green.<br /> The seeds of human weal are budding fast ;<br /> By Martyrs sown, blood watered, they have been,<br /> And lo—the gladdening harvest waits at last.<br /> JOHN SAUNDERS.<br /> <br /> THE OUTPUT OF 1892.<br /> <br /> TJ NXE following is a classified ‘‘ Return of books<br /> for 1892,” furnished by the Publishers’<br /> Circular. It is a little thing to look at,<br /> <br /> but it involves an enormous amount of work. We<br /> owe a great debt of gratitude to this journal for<br /> this annual return. While we acknowledge the<br /> debt, might we suggest a little change in the classi-<br /> fication? It is to put together all the scientific<br /> books, not to place them with the books on Art,<br /> to take away Year Books altogether, and to<br /> sub-divide the Miscellaneous, separating the<br /> pamphlets.<br /> <br /> <br /> <br /> <br /> <br /> 1891. 1892.<br /> Divisions. Rae New New New<br /> Books. | Editions.! Books. Editions.<br /> <br /> Theology, Sermons, |<br /> <br /> <br /> <br /> Biblical, &amp;6).2.,... 3. o20 | 107) 528 145<br /> Educational, Classical, |<br /> and Philological ...... o8% 1-107 | 579 | lo<br /> Juvenile Works and | |<br /> Vales 2 348 | 99 292 | 53<br /> Novels, Tales, and other |<br /> Fiction................. | 896 | 320 | 1147 | 390<br /> Law, Jurisprudence, &amp;e. 61 | 48 36 29<br /> Political and Social | |<br /> Econonomy, Trade | |<br /> and Commerce......... | 105 | 3i 151 24<br /> Arts, Sciences, and | | |<br /> Illustrated Works ..| 85 | 31 | 147 62<br /> Voyages, Travels, Geo- | | |<br /> graphical Research... | 203 | 68 | 250 |} 86<br /> History, Biography, &amp;c. | 328 | 85 | 293 75<br /> Poetry and the Drama | 146 | 55 | 185 42<br /> Year-Books and Serials | | |<br /> in Volumes ............ |, 810 | 6 | 360 13<br /> Medicine, Surgery, &amp;.| 120 | 55 | 127 50<br /> Belles-Lettres, Essays, |<br /> Monographs, &amp;c....... | 131 | 123 107 | 32<br /> Miscellaneous, includ- | | | |<br /> ing Pamphlets, not | | |<br /> Sermons... 589 | 142 713 223<br /> 4429 | 1277 4915 1339<br /> | 4429 | | 4915<br /> | 5706 6254<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Let us consider this return. Figures may be<br /> made to mean anything. As they stand they<br /> seem to show an enormous activity in one or two<br /> directions. We, therefore, will inquire what this<br /> activity means. There is a grand total of 6254<br /> ‘books ” published during the year. But we note,<br /> first, that 373 of these are Year Books, which are, as<br /> Charles Lamb says, not books at all. Deducting<br /> these there are 5881 books. Again, there are<br /> 936 miscellaneous, including pamphlets, “ not<br /> sermons,” These, again, are not books. Deduc-<br /> ting these, we have 4945 books. There are 694<br /> educational books which concern colleges and<br /> schools. Remain 4251 books. There are 345<br /> books for children. Deduct these, remain 3906<br /> books. Law, Jurisprudence, Political Economy,<br /> Trade, Medicine, &amp;¢.—in fact, scientific and<br /> technical books 416. Deducting these, again,<br /> there remain 3496 books for the general reader,<br /> including Novels, Arts, Illustrated Works,<br /> Voyages and ‘Travels, History, Biography,<br /> Poetry, Belles Lettres, Monographs, and the<br /> Drama. Some of these, say 200, are by<br /> Americans. Remain 3290 books as the total in<br /> general literature, including all the above general<br /> divisions in a year. Since 601 are new editions,<br /> we have 2689 new books in general literature for<br /> the year 1891. Is that a very great amount for<br /> an Empire numbering sixty millions who read<br /> English under the British flag? Why, in ten<br /> year’s time—so fast does the habit of reading<br /> grow, so widely does it extend—we shall have an<br /> output of five times that amount. Let us not<br /> take the parochial view of literature generated by Mines<br /> a too exclusive contemplation of London. The ~<br /> empire is not all London. Literature goes beyond —<br /> Wimbledon. There are readers outside the clubs.<br /> But there are 1147 new novels. Terrible!<br /> Terrible! And how many have most of us<br /> us read during the year? Twenty at the most.<br /> For my own part I certainly did not read twenty<br /> new novels in the year 1892. Who reads, then,<br /> all the rest ? Well, there are a good many which<br /> are never read by any mortal man. Published at<br /> their authors’ expense, they fall flat and die<br /> before they are born. Mostly they cannot be<br /> said to be published at all, being vilely printed on<br /> villainous paper, about a hundred copies printed,<br /> which even the remainder-man refuses to buy.<br /> Others, again, well printed, at the author&#039;s”<br /> expense, in an edition of 350, have a few copies”<br /> taken by Mudie, and the rest sold to the<br /> remainder-man. They go to seaside circulatin<br /> libraries, where they are gradually read to pieces<br /> [tis a pity that such trash should go to the sea-<br /> side? True! But, after all, does it greatl<br /> matter what is read by idle girls at the seasid<br /> between talks about dress and flirtations? Wha<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> We must turn to the new<br /> In 1891 there<br /> were 320 new editions of novels; in 1892, 390,<br /> an ay er rage of 355 a year, of new editions. This<br /> includes what remains of all the fiction in<br /> English, or translated into English, since fiction<br /> began in this nation. Suppose we deduct roo for<br /> dead authors. There remain 255 living novelists<br /> whose works are good enough for a new edition.<br /> And that very nearly corre esponds with what we<br /> made out in a previous number of the Author.<br /> Surely there is room in this vast empire for 255<br /> novelists of some repute! We do not claim for<br /> them that all the world shall wish to read them all.<br /> They deal with different worlds—the world of<br /> sport, the world of fashion, the world of war, the<br /> world of letters, the world of sc ive he<br /> novelist gets the clientele which suits himself<br /> and his own special knowledge. There need be<br /> no outcries of horror over this immense and dread-<br /> fuloutput. Nor need we be in the least disturbed<br /> because a great many thousand people tried last<br /> year to capture the pub vic with works of fiction.<br /> ‘And why? Because it is understood that money<br /> may be made iv that way. In these times there is<br /> a frantic rush in ever y direction where money is to<br /> be made. Out of those who tried, 1147 succeeded<br /> <br /> far as to get printed, either at their own<br /> expense or not. How many succeeded in getting<br /> a single penny by their venture? Perhaps 400,<br /> counting the smaller works of fiction issued by<br /> the religious societies, for which they pay such<br /> tiny sums, and make such mighty profits, and set<br /> so Christian an example in mercy, charity, and<br /> justice to their lay brethren.<br /> <br /> about the rest?<br /> editions to answer that question.<br /> <br /> &gt;&lt;<br /> <br /> CORRESPONDENCE.<br /> <br /> SS<br /> <br /> i<br /> On Many Tunes.<br /> ETURNING to England, after an absence<br /> extending over several months, I found<br /> a pile of Authors awaiting me. I read<br /> the whole number through at a sitting, and send<br /> you a few brief reflections caused by them.<br /> <br /> The first impression I derived was that the<br /> writers in our journal seem, in nine cases out of<br /> ten, or ninety-nine, perhaps, out of a hundred, to<br /> be directing their attention only or mainly to<br /> novels. I should like to know what proportion<br /> novels, long or short, bear to the total literary<br /> output of the day.<br /> <br /> Secondly, I noticed the continual presence of<br /> the following idea, or something like it. Litera-<br /> <br /> AUTHOR.<br /> <br /> 335<br /> <br /> ture is a matter of supply and demand, like any<br /> other commodity. The reading public consists<br /> largely of people of a mean sort who like trash.<br /> There are a number of estimable people very<br /> capable of producing trash, and this product of<br /> theirs has a value more or less high. It is a chief<br /> part of the work of the Society of Authors to<br /> help them to get the true value for this commo-<br /> dity. I confess that this portion of the Society’s<br /> activities seems to me of little importance.<br /> <br /> The question of reviewing has aroused a good<br /> <br /> deal of discussion in our pages; it has been<br /> treated almost wh olly f ‘rom the novelist’s and espe-<br /> cially trash-writer’s point of view. To “slate” one<br /> <br /> piece of trash when the bulk of the stuffis passed<br /> over in silence must seem hard to the writer who<br /> depends for his living on that kind of product.<br /> But to writers of any other kind of book except<br /> novels the knowledge that there are rods in pickle<br /> is most helpful. Bad history, bad science, mac-<br /> curate observation, slip-shod description of little-<br /> visited countries, and other the like failures and<br /> shortcomings, are not negative faults—they are<br /> active poisons. A reviewer of a bad book of that<br /> kind has to try and stop the sale of the book, and<br /> if possible, to make it difficult for the writer to<br /> find a publisher to disseminate his future poisons<br /> through the world.<br /> <br /> I find that a good review in a prominent<br /> journal is considered a great help to the selling<br /> <br /> of a book. I find also that gratitude to a<br /> publisher is considered to indicate meanness in<br /> <br /> an author. I am the author of about a dozen<br /> volumes, whose history is briefly as follows. It<br /> affects my attitude towards the points in question.<br /> <br /> I wrote the first volume at college. It was a<br /> kind of a guide-book of a rather scientific sort.<br /> I paid a cheque on account of cost of produc-<br /> tion, and sales paid the rest. I got some of my<br /> money back, but, by an oversight, the book was<br /> sold just at cost price.<br /> <br /> A few years later, the half-crown volume was<br /> selling for a guinea second-hand (I afterwards<br /> found out that there were still ninety copies of the<br /> book in the hands of a French bookseller), so I<br /> published the thing again at ten shillings, and<br /> lett the monstrous price to do all the advertising<br /> the volume ever got. I sent it out freely for<br /> review, and all the reviewers held up holy hands<br /> of horror at the price, as I hoped—lI printed the<br /> price on the title-page for that reason—and the<br /> book sold excellently. ‘<br /> <br /> I wrote two books in succession on historical<br /> matters. They were full of research, and each<br /> involved some months’ travel on the Continent.<br /> They were printed at a publisher’s expense. The<br /> first, printed ten years ago, has sold about ten<br /> copies a year ever since; I was paid £25 for it.<br /> <br /> <br />  <br /> <br /> 334 THE<br /> <br /> The second, kindly taken by the same publisher,<br /> went off a little better, and still goes on selling<br /> at the annual rate of a dozen copies. I got £25<br /> for that book, too. Both books were reviewed at<br /> great length inthe Zimes, Saturday (whole page) :<br /> Atheneim (two long articles in consecutive<br /> weeks), Academy, Spectator, New York Nation,<br /> and the rest. If reviewing would sell unpopular,<br /> though not uninteresting, and not unreadable<br /> books, these would have sold. In both cases the<br /> publisher thought he was issuing a volume that<br /> would attain a fair popularity. In both cases he<br /> lost heavily.<br /> <br /> One popular book I did once attempt to write,<br /> and found no difficultv in selling the copyright<br /> of it toa publisher. He issued it with plenty of<br /> charming illustrations; it was praised beyond its<br /> merits in all manner of papers. It was a dead<br /> failure.<br /> <br /> The same publishers issued another book of<br /> mine about six years ago on the _half-profits<br /> system, they paying all costs. It also was excel-<br /> lently reviewed in France and Germany, as well<br /> as England and America. Ruskin, | remember,<br /> bought a noticeable fraction of the edition, had<br /> the books bound in a costly fashion, and gave<br /> them away right and left. The book continues<br /> to sell slowly, but not more than 600 copies have<br /> gone off yet.<br /> <br /> My other volumes tell the same story. On<br /> most of them publishers have lost money. The<br /> only profitable ones are those that deal with the<br /> same subject as the first mentioned, and I have<br /> always kept them in my own hands,<br /> <br /> I ask, then, are favourable reviews so powerful,<br /> and is gratitude towards a publisher so mean a<br /> sentiment ? In conclusion, let me add that for<br /> years I had to live by my pen, and I hope I<br /> should have preterred to starve rather than to<br /> supply any demand for ‘trash.’ I was hungry<br /> often enough, and those hungry hours of strug-<br /> gling youth are amongst my pleasantést remi-<br /> niscences. Cc. P. G,<br /> <br /> <br /> <br /> Answers to the Above.<br /> <br /> 1. Novels form nearly one-fourth of the<br /> literary output—see our paper (p. 332) on “The<br /> Output of 1892.” But “C. P. G.” need not be<br /> alarmed at their figures. He will not have to<br /> read them all.<br /> <br /> 2. Literature has its business side. “CO. P. G.”<br /> mixes up, as usual, the business side with the<br /> literary side. They are quite distinct. On the<br /> business side is the demand, the popularity, there-<br /> fore the commercial value of a book; on the<br /> other side is its literary or artistic value. The<br /> two are incommensurable ;<br /> <br /> when they exist<br /> <br /> AUTHOR.<br /> <br /> together, as sometimes they do, it speaks well for<br /> the national taste.<br /> <br /> 3. It is the first duty of the Society to define<br /> and maintain the property created by the book,<br /> it “C. P. G.” has no feeling of the importance of<br /> this duty he had better present his next book to<br /> his publisher. Then both sides will be happy.<br /> If he is not superior to the common desire to have<br /> his own property for himself, he would do well not<br /> to sneer at those who are working to protect hig<br /> preperty for him.<br /> <br /> 4. Gratitude to a publisher is nowhere in the<br /> Author taught to be meanness. One might ag<br /> well say that the Author teaches that gratitude to<br /> friends is meanness. What is mean, and degrad-<br /> ing, and deplorable, is the attitude of the literary<br /> man, hat in hand, humbly begging for another<br /> guinea, and crying out with admiration when<br /> another comes. Again, if ‘‘C. P. G.” prefers the<br /> attitude,let him by all means assume it. But we<br /> shall continue to think it mean.<br /> <br /> 5. The personal experiences are too vague to be<br /> of any use. For instance, take the two books on<br /> historical matters. They had, presumably, a first<br /> run of some hundreds—perhaps not miny—with<br /> ten years more at a dozen copies each year. One<br /> <br /> knows not the price or the size of the volame—_<br /> <br /> but this does not look like a “ heavy loss” Did<br /> “C. P. G.” audit the accounts ?<br /> <br /> We are, then, to understand that a publisher, for<br /> year after year, brought out books by ‘‘C. P. G.”—<br /> on which he lost every year. This isnot takinga<br /> <br /> risk; itis incurring a certain loss. If the thing<br /> is a fact, there must have been some special reason<br /> —a business reason—for the continued loss :<br /> there must have been something in the subject,<br /> or in the name and position of the author.<br /> wise the thing cannot be. One has only to con-<br /> sider the point from the common-sense point 0<br /> view. A few such continued losses and where<br /> will the income of the man of business be ?<br /> <br /> As to reviewing, no one in the Author has<br /> suggested that there should be no reviewing.<br /> What is maintained is, that the old bludgeon<br /> style of. ‘ slating”’ a writer is degrading to criti-<br /> cism and to the men who practise it. But we<br /> refer “C. P. G.” to Mr. Brander Matthews on<br /> this subject (see ‘‘ Notes and News,” p. 324).<br /> <br /> The time will come, one supposes, when such<br /> letters as the above will no longer be possible,<br /> But it has not yet arrived. There are evidently<br /> some writers still left to whom a publisher isa<br /> god of capricious mind, who sits on his money-<br /> bags, doles out his gold, produces all the books<br /> that nobody wants, and gets rich on his losses.<br /> <br /> <br /> <br /> <br /> <br /> Other- —<br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> districts of Mercia,<br /> <br /> <br /> <br /> THE<br /> <br /> EE:<br /> WESSEX.<br /> <br /> Can your correspondent possibly imagine that<br /> the word Wessex has been invented by, and<br /> reserved to the sole use of, Mr. Thomas Hardy?<br /> Any educated dweller in the district would tell<br /> your correspondent that the word is in common<br /> vogue among us. We talk of Wessex ways,<br /> Wessex speech, Wessex manners. Those of us<br /> who are humble students of Anglo-Saxon have<br /> taken care to learn the language from books<br /> which deal avowedly with the Wessex variant of<br /> the tongue; those who delight in tracing great<br /> similarities and small distinctions between peoples<br /> of different, yet neighbouring, races take a keen<br /> interest in the points of contact between the<br /> inhabitants of Wessex and those of the boundary<br /> Cornwall, &amp;. Are we never<br /> again to cill ourselves West Saxons because an<br /> author of great renown and power has taken a<br /> fancy to the word? Are we to be content with<br /> the smaller name-divisions of Berkshire, Dorset-<br /> shire, Wiltshire, when the comprehensive word<br /> Wessex indicates our imtimate relations, our<br /> mutual brotherhood? Perhaps your correspon-<br /> dent is living in ignorance of the great race-<br /> differences which exist between our peasant<br /> populations in the south of England. If this is<br /> the case, let him encourage in himself a study<br /> which will give him keener joy than almost any<br /> other, and will, moreover, enable him to perceive<br /> that the name “ Wessex ” is the property of no<br /> one man, but is the heritage of the happy people<br /> who can trace in themselves the ancient blood of<br /> those colonising West Saxons whose traditions<br /> still linger in some of our country districts—a<br /> race in a large degree unmixed, and uncontami-<br /> <br /> nated by foreign alliances from Mercia, East<br /> Anglia, or any other country.<br /> <br /> Tuer AutHor oF “ Dark.”<br /> <br /> [Yes. But the point is not that the author of<br /> Dark” used the word Wessex. Anybody can<br /> speak of Wessex. Our correspondent knew as<br /> well as the author of ‘“‘ Dark” all that 1s meant<br /> <br /> by Wessex. But can the author of “ Dark”<br /> show that anybody, except Thomas Hardy, calls<br /> Dorsetshire, South Wessex x; Berkshire, North<br /> <br /> Wessex; and Hants, Upper Wessex? And this<br /> point is not met by the author of “ Dark” at all.<br /> The thing is a case of minor morals. But<br /> certainly, if, as is suggested, Thomas Hardy<br /> invented these sub-divisions, it would be well to<br /> acknowledge their origin in adopting them.—Ep. |<br /> <br /> AUTHOR. So<br /> <br /> ou<br /> <br /> Lg.<br /> AUTHOR AND EpirTor.<br /> <br /> The following editorial letter, addressed to me<br /> in reply to a remonstrance respecting undue delay<br /> in pub lication of a contribution, may be of<br /> interest to your readers. I may mention that 1<br /> had eon »d out that in any case there could be<br /> no possible reason for postponement of payment<br /> pending production :<br /> <br /> ‘Dear Sir,—Herewith I beg leave to hand you<br /> a cheque for your contribution, with the edi tor’s<br /> compliments and regrets for the unfortunate<br /> delay in the appearance of the poem. He hopes<br /> to imsert if im an early number. I should<br /> explain that there are, to the editor’s regret,<br /> many authors who, lke yourself, have been<br /> waiting (and writing) for a period of years for<br /> the insertion of their respective articles and<br /> stories, but the exigencies of making up each<br /> monthly number of the magazine are greater than<br /> anyone outside the editor’s office can guess at.<br /> To deal with the old materials on hand; to yet<br /> keep up to date with new; to select the right<br /> variety for each number; to get all (including<br /> serials) into the circumscribed number of pages ;<br /> to pacify the (justly) impatient authors ; to please<br /> the general public taste, &amp;c., are all matters to be<br /> considered at one and the same time. Hence the<br /> difficulty with the great mass of material already<br /> accepted. Slam, we.<br /> <br /> To this, at all events courteous, explanation I<br /> rejoined with a suggestion that if an author were<br /> distinctly informed, on the acceptance of a con-<br /> tribution, that there might be considerable delay<br /> in publication, but that in any case he would be<br /> paid within, say, the next six months, the editor’s<br /> “ nacifying ” functions would be very considerably<br /> <br /> lightened. W.<br /> <br /> iV.<br /> Mr. Husert Hass’ Lerrer.<br /> <br /> He would have the Society undertake to help<br /> the unknown author. I fear if they held out the<br /> least inducement in that direction they would be<br /> swamped with oo And yet, as a<br /> would-be novelist, I fee fancy I do—what<br /> a boon it would be. But let us think a moment.<br /> The Society undertakes to read any work sub-<br /> mitted to them; and it seems likely to me that<br /> if a work of real excellence in matter and con-<br /> struction came before them, the writer would be<br /> put in the way of getting it published. Could<br /> the Society, judiciously, go farther than it now<br /> does? That seems to me an open question. As<br /> a writer [am gradually, I hope, getting over the<br /> crudeness of first attempts, and slowly learning<br /> <br /> <br /> <br /> <br />  <br /> <br /> 336<br /> <br /> by repeated failures. I have received the greatest<br /> assistance and encouragement from one of the<br /> society’s readers, who has seen two of these<br /> faulty attempts, and am beginning to see that it<br /> is as necessary to serve an apprenticeship to the<br /> art of fiction as to any other of the arts. And I<br /> believe that if ever I produce anything really<br /> good I shall not find it impossible to obtain a<br /> publisher. I may, however, not be the fortunate<br /> one out of ninety-nine failures, which, I take it,<br /> is about the percentage of success in these days<br /> of fierce competition. ALAN Oscar.<br /> <br /> <br /> <br /> Ve<br /> Prompt PAYMENT.<br /> <br /> Some little time ago one of your correspon-<br /> dents drew attention to the hardships incurred<br /> by young and struggling authors whose MSS. are<br /> only published (and consequently paid for)<br /> several months after they have been accepted.<br /> Thisis bad enough, but in my opinion still more<br /> suffering is caused to journalists by the incon-<br /> siderate system pursued by a large number of<br /> editors, of paying contributors at irregular inter-<br /> vals. Ihave the blessed privilege of writing for<br /> some three or four papers, only one of which<br /> appears to have any punctual system of payment.<br /> Surely contributions ought to be paid for within a<br /> month of their appearance, or at any rate upon<br /> some fixed date during the followmg month.<br /> A man naturally hesitates about dunning his<br /> editor, and yet, how, in the name of reason, is he<br /> to keep on pacific terms with his butcher and<br /> tailor, if his own cheques are constantly overdue ?<br /> Why should not all papers follow the example of<br /> the St. James’s Gazette, a model of prompt<br /> punctual payment, and pay their contributors on<br /> the first of each month D. J.<br /> <br /> <br /> <br /> VE<br /> Tue Lapy or Tire.<br /> <br /> I wish to break a lance in defence of the<br /> scribbling “lady of title,’ upon whom vials of<br /> wrath were outpoured in your last number. The<br /> aggrieved person, “ E. H.,”’ tells us that he does<br /> “ not wish to say a word against titled or wealthy<br /> ladies writing upon special subjects with which<br /> they are specially acquainted, and being paid<br /> for it if they choose; “but,” he asks, “why<br /> should they trade upon their name and title<br /> to do work which scores of women who<br /> write for a living would do equally well,<br /> <br /> if not better, for half the money they de-<br /> Why, indeed, Iecho? but the ques-<br /> The particular case cited by<br /> <br /> Pp?<br /> <br /> mand<br /> tion is, do they ?<br /> <br /> THE AUTHOR.<br /> <br /> “E. H.” in favour of his own argument is, I<br /> venture to think, very like the proverbial rara<br /> avis, and that its blackness, instead of being a<br /> merit, is quite the reverse. And it may be noted<br /> that the shabby endeavour was not successful,<br /> which so far goes to show that “ladies of title” are<br /> not pounced upon for the sake of their prefix quite<br /> so eagerly as “E. H.” seems to imagine. “ One<br /> swallow does not make a summer,’ neither can<br /> one black swan turn all the white ones its own<br /> colour, and I ask justice for the latter. Does<br /> “HE. H.” suppose for one moment that a handle<br /> to the name and money in the purse go of neces-<br /> sity together? If he does he is vastly mistaken,<br /> Speaking upon a “ subject with which I am<br /> specially acquainted” I can assure him that to<br /> many a “lady of title” the sum offered for and<br /> got by honest work is a matter of considerable<br /> importance, and that the “sums earned” by her<br /> brain and pen are not expended in “ robbing Peter<br /> to pay Paul,” but in settlmg such unavoidable<br /> items in daily life as butchers’ and bakers’ bills.<br /> Farr Pray.<br /> <br /> &lt;&lt;<br /> <br /> VIL.<br /> A RECOMMENDATION FROM THE SocrIeEry.<br /> <br /> Permit me tothoroughly and heartily indorse<br /> the valuable suggestion of Mr. Hubert Haes in<br /> the January issue: “That the Society form a<br /> medium of introduction between author and pub-<br /> lisher.” He has ably voiced what has long been<br /> my own desire, and, I am sure. that of many<br /> struggling authors. E. H.<br /> <br /> [Has the writer heard of the Authors’<br /> Syndicate ? What else could the Society do, if it<br /> were to take up this kind of work? Will “ E. H.”<br /> suggest any thing practical ?—Ep.]<br /> <br /> <br /> <br /> De<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> \<br /> <br /> <br /> <br /> R. JAMES BAKER, who is a journalist<br /> as well as author, has been acting at<br /> Sigmaringen as special correspondent<br /> <br /> for a syndicate of provincial papers, and<br /> <br /> also with Mr. F. Villiers for Black and<br /> <br /> White, and an article from his pen on the<br /> <br /> wedding will also appear in Fashions of<br /> <br /> To-day for February. Whilst at Sigmaringen<br /> <br /> the Duke of Edinburgh was pleased to accept<br /> <br /> from the author, as a wedding gift to<br /> <br /> Princess Marie, copies of first editions of two of<br /> <br /> his novels, “ Mark Tillotson ” and “ John<br /> <br /> Westacott.” The description of the Danube<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> » scenery in the latter has been so much praised<br /> | that it is by no means an inappropriate gift to the<br /> 9 Princess, whose future home will be so near the<br /> banks of the Danube, and whose wedding was<br /> solemnized on its banks. The author had conversa-<br /> | tions at Sigmaringen with the Prince of Hohen-<br /> » zollern, the Duke of Edinburgh, Tewfik Pasha, &amp;c.<br /> <br /> <br /> <br /> In a lecture on “ Novels and Novelists ” during<br /> {1 the last month, before the New Court Literary<br /> and Debating Society, at the Congregational<br /> Chapel, Tollmgton Park, Mr. Joseph Hatton<br /> enlightened North Londoners on the ar of novel-<br /> # writing, and gave some interesting reminiscences<br /> © of Charles Reade and Wilkie Collins, as well as<br /> @ many personal items touching the works of<br /> i Kipling, Barrie, Black, Besant, and other well-<br /> J known authors. Mr. Hatton’s lecture was rather<br /> * in the nature of a gossip than a discourse, and it<br /> * was interspersed with some capital _ stories.<br /> f Touching the oft-recurring question in fiction and<br /> / in real life as to what a poor man suddenly<br /> 7 becoming rich would do with his mon-y, Mr.<br /> 1 Hatton said that recently at a political meeting<br /> * near Chatsworth, the princely seat of the Duke<br /> 6 of Devonshire, he heard the other side of this<br /> = momentous question. Said one poor Derbyshire<br /> + fellow to another poorer than himself, *‘ What<br /> * would thou do if thou hadst Duke of Devon-<br /> shire’s income?” “Nay,” was the reply, we<br /> dinnat knoa; but what would Duke o’ Devon-<br /> shire do if he’d my income ?”’<br /> <br /> Notwithstanding the dicta of Mr. Clement<br /> Scott, the novelists appear to be coming to the<br /> front as dramatists. ‘lhis is a point gained for<br /> Mr. Archer, whose suggestion that novel writers<br /> should naturally possess the dramatic faculty was<br /> scoffed at, curiously enough, by certain critics<br /> who are out of sympathy with Mr. Archer almost<br /> as a matter of principle. Mr. Joseph Hatton’s<br /> two plays, ‘ John Needham’s Double” and “ The<br /> Scarlet Letter” (founded upon the sublime romance<br /> of that name), are both running successfully in<br /> the United States, the first with Mr. E. 8. Willard,<br /> the second with Mr. Richard Mansfield. Mr. J.<br /> M. Barrie has only written three pieces for the<br /> stage, all three successful, the third beg “The<br /> Professors’ Love Story,’ which seems to have<br /> made what the American chioniclers call “a<br /> phenomenal hit” for both author and actor. Mr.<br /> Willard appears to have astunished the critics<br /> with the subtlety of his comedy acting in Mr,<br /> Barrie’s play. ‘‘ Walker, London,” by Barrie, at<br /> Toole’s, is t» have a companion in “ Homburg,”<br /> a one act sketch by his contemporary novelist<br /> Hatton, who, report says, is likely to be heard of<br /> again next season in New York ina dramatisation<br /> of his ‘‘ Queen of Bohemia.”<br /> <br /> <br /> <br /> a<br /> <br /> x<br /> <br /> et IR OD ge At<br /> <br /> ST Ee: Fe Re<br /> <br /> SRE OR CL<br /> <br /> ee<br /> <br /> Fre<br /> <br /> ff<br /> <br /> *<br /> ra<br /> <br /> <br /> <br /> 337<br /> <br /> Two books, by My. R. H. Sherard, will be<br /> published in New York early in the sprmg. The<br /> tirst of these is entitled “‘Shearers and Shorn,”<br /> and deals with American society in the French<br /> capital. The second, for which the author has<br /> not yet selected a title, is a psychological study.<br /> The scene of it is also laid m Paris. Another<br /> story, by the same author, entitled “The Disap-<br /> pearance of Reginald Westcott,” is at present in<br /> course of publication in a serial form in New<br /> York.<br /> <br /> A “Songbook of the Soul,” by Marjory<br /> Kinloch (Kegan Paul, Triibner and Co.), stands<br /> out from the general run of collected verses by<br /> unknown poets. The book consists almost<br /> entirely of religious meditations, which seem to<br /> us to reach a very high level. They must not, at<br /> least, be classed with what we generally expect<br /> in religious verses. The writer is a Catholic.<br /> Our space does not allow us to quote the verses,<br /> but the book is full of promise, and there should<br /> be a future for the writer.<br /> <br /> The “History of a Church Mouse’’ is told by<br /> Mrs. Edmunds, and published by Laurence and.<br /> Bullen. The church is a Greek Church. The<br /> mouse, too, belongs to the Greek Church. It is<br /> quite a little book, and a pretty, witty, little book,<br /> with surprises in it. The story ought to be<br /> popular.<br /> <br /> “ Out of the Depths,’ by H. Dutton Durrard<br /> (Kegan Paul, Trench, and Co.), is a thoughtful<br /> little volume of verse which may be commended<br /> more for its attempt to express thought than for<br /> the music of its lines. But it is a book to be<br /> looked into.<br /> <br /> There should be an English edition of the<br /> charming volume of verse called ‘The Winter<br /> Hour, and other Poems,’ by Robert Underwood<br /> Johnson, the late secretary to the International<br /> Copyright League. Certainly the contention of<br /> many Americans that their minor poets are<br /> superior to our own, seems to be not without<br /> ground.<br /> <br /> “The Queen’s English (?) Up to Date,” by<br /> “ Anglophil” (Literary Revision Office, 342.<br /> Strand, price 2s.), has reached its second edition.<br /> As an exposition of prevailing errors in language<br /> and literature, it has attracted considerable atten-<br /> tion, and it may be safely consulted.<br /> <br /> ‘“‘Love’s Minstrel,” by H. C. Daniel (W. W.<br /> Morgan and Son, Hermes-hill, Pentonville Road).<br /> From the appearance of this book, it would seem<br /> to be intended for private circulation. The poems<br /> are young and immature. It would be a pity to<br /> subject them to public criticism; but there is<br /> distinct promise in them.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 338<br /> <br /> <br /> <br /> “ Pearla,” by Harrie Whyte, and other Tales.<br /> Published by J. W. Arrowsmith, of Bristol.<br /> Written for girls, by a girl, apparently. The<br /> stories are too slight to warrant any conclusion<br /> as to the author’s possible powers.<br /> <br /> “Basil the Iconoclast,’ by Mrs. Frederick<br /> Prideaux, author of ‘ Claudia,” ‘The Nine Days’<br /> Queen,” “ Philip Molesworth,” &amp;c. (David Nutt).<br /> This is a drama of modern Russia, that country<br /> where all the new dramas and stories seem to be<br /> laid. It is in three acts: the first in St. Peters-<br /> burg, the second in South Russia, and the third<br /> in a District Town. There is great power in this<br /> tragedy. It could not be acted without cutting<br /> out immense portions of the dialogue. It is<br /> therefore essentially a chamber drama.<br /> <br /> A new novel, entitled “A Born Player,’ by<br /> May West, is being published by Messrs. Mac-<br /> millan and Co. in England and America. It will<br /> also be taken for Messrs. Macmillan’s Colonial<br /> Library, which circulates in India and the British<br /> Colonies.<br /> <br /> A novel by Mr. Archer P. Crouch, author of<br /> “On a Surf-bound Coast,’ and ‘“ Glimpses of<br /> Feverland,” will shortly be published by Messrs.<br /> W. H. Allen and Co. It is called “ Captain<br /> Enderis, First West African Regiment.”<br /> <br /> “Weeds,” a story in seven chapters, by K.<br /> McK., recently published by J. W. Arrowsmith,<br /> of Bristol, is by Mr. Jerome K. Jerome.<br /> <br /> Miss Beatrice Whitby has recently issued<br /> <br /> (Hurst and Blackett) the followmg:—‘‘ One<br /> Reason Why,” new edition, 3s. 6d.; “ Part of<br /> the Property,” new edition, 3s. 6d.; “In the<br /> <br /> Suntime of Her Youth,” three vols.<br /> <br /> Mr. George Allen announces for Feb. 1 a new<br /> and cheap edition of Mr. Augustus Hare’s “Walks<br /> in Rome,” in handy form, similar to Baedeker’s<br /> Guides. The “Life of Lady Waterford,” by Mr.<br /> Hare, now in preparation, will contain, amongst<br /> other illustrations four steel engravings, two of<br /> them from the portraits of Lady Waterford, by<br /> Mr. G. F. Watts and Sir John Leslie. Mr.<br /> Allen is at present unable to say whether the<br /> book will contain any of Lady Waterford’s own<br /> drawings.<br /> <br /> A new edition of Miss Mary Rowsell’s “ Petro-<br /> nella’ has been issued. (Skeffington and Co.)<br /> This is the story which has been dramatised<br /> under the title of ‘‘ White Roses.” There will<br /> be presented at the Globe Theatre in February<br /> a copyright reading of a new and original five<br /> act drama written (in collaboration) by the same<br /> author.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> In the last number of the Author reference was<br /> made to the new edition of Mr. Alfred Hayes’<br /> volume of poems entitled “The March of Man<br /> and other Poems.” By a printer’s error this<br /> appeared as the March of Shem.<br /> <br /> Among the new books are ‘ Amethyst: the<br /> Story of a Beauty,’ by Christabel R. Coleridge, ©<br /> 2nd edit., 1 vol. (A. D. Times and Co.), 3s. 6d.; 7°<br /> “Max, Fritz, and Hob,’ by Christabell R © ~<br /> Coleridge (National Society), 35.; “A Pair of<br /> Old Shoes,’ by Christabel R. Coleridge (Wells<br /> Gardner, Darton, and Co.), 1s. 6d.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS. :<br /> <br /> Theology.<br /> Bromsy, Bishop. The Power of the Presence of God.<br /> Third edition. Skeffington.<br /> Drewnourst, E.M. Pleasant Fruits. Thoughts after Con-<br /> firmation. Skeffington and Son.<br /> <br /> Evans, W. Howey. Sermons for the Church’s Year, with<br /> a preface by the Bishop of St. Asaph. Skeffington and<br /> <br /> <br /> <br /> Son.<br /> <br /> Farrparrn, A. M.,D.D. Christ inthe Centuries, and other<br /> Sermons. Preachers of the Age Series. Sampson<br /> Low. 3s. 6d.<br /> <br /> Fry, J. H.,M.A. Tears. Ten Sermons, preached for the most<br /> part during Lent, 1892. Skeffington. :<br /> <br /> Jonzs, C. A. and Innes, Ruy. S. G. Stories on the ‘=|<br /> Collects. With Questions and Answers. In 2 vols. =i<br /> New edition. J. §. Virtue and Co. oo<br /> <br /> Lirrine, Rev. Gzorcr. Sins Worthily Lamented. A 4<br /> course of sermons or Church readings for each day in ©<br /> Lent. Skeffington.<br /> <br /> MacuarEN, ALEXANDER, D.D. The Gospel of St. Luke.<br /> Bible Class Expositions Series. 3s. 6d. Hodder and<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Stoughton.<br /> Max Miuer, F. Introduction of the Science of Religion.<br /> Lectures. New edition. Longmans. 3s. 6d.<br /> <br /> MonreEFriorE, C. G. The Hibbert Lectures, 1892, on the<br /> Origin and Growth of Religion as Illustrated by the<br /> Religion of the Ancient Hebrews. Williams and Nor-<br /> gate. 10s. 6d.<br /> <br /> Packman, Mrs. A. What the Prophetic Scriptures Teach<br /> concerning the Antichrist and the Second Advent.<br /> Partridge and Co., Paternoster-row. Papercovers. Is.<br /> <br /> Puriips, Rev. Forses. Some Mysteries of the Passion.<br /> <br /> Skeffington and Son.<br /> <br /> Rickerts, Martin H. Saved by His Life.<br /> the Work of Christ. Skeffington and Son.<br /> <br /> Ripeeway, Rey. C. J. The Inspiration of the Old Testa-<br /> ment Scriptures. Two sermons. Skeffington. Paper<br /> covers. 18.<br /> <br /> Ryir, H. E. The Cambridge Bible—Ezra and Nehemiah, ©<br /> with introduction, notes, and maps. Cambridge<br /> University Press. 4s. 6d. j<br /> <br /> SACRIFICE OF PRAISE, THE; The Communion Service, with |<br /> instructions and devotions for the use of communicants.<br /> <br /> Griffith, Farran. 2s.<br /> <br /> Thoughts on<br /> i<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> History and Biosraphy.<br /> <br /> Sir John Stevenson: A Biographical<br /> Sketch. T.R. Bumpus. Paper Covers. 3s. 6d.<br /> <br /> Barpiey-Wiumot, Sir J. E. A Famous Fox-hunter ;<br /> reminiscences of the late Thomas Assheton Smith.<br /> Fifth and cheaper edition, with portrait and illustra-<br /> tions. Sampson Low.<br /> <br /> Exvuis, Epwin J. and Yeats, W. B. The Works of<br /> William Blake, poetic, symbolic, and critical. Edited,<br /> with lithographs of the illustrated “prophetic books,”<br /> and a memoir and interpretation. 3 vols. Bernard<br /> Quaritch. Large paper, £4 14s. 6d.;-octavo, £3 33s.<br /> <br /> ExiwortsHy, F.T. Some Notes on the History of Welling-<br /> ton. Barnicott and Pearce, Taunton. Seventy-five<br /> copies only. tos. 6d. net.<br /> <br /> EMINENT PERsons _ Biographies reprinted from the Times.<br /> Vol. I. 1870-1875. Macmillan and Co. and the Times<br /> Office. 1s. 6d. limp cloth; 2s. cloth bound.<br /> <br /> Fuace, JARED B. The Life and Letters of Washington<br /> Allston. With reproductions from Allston’s pictures.<br /> Bentley.<br /> <br /> Fyrrr, C. A. A History of Modern Europe. With maps<br /> andillustrations. Vol. I., from 1792 to 1814; Vol. I1.,<br /> <br /> Bumpus, Joun S.<br /> <br /> from 1814 to 1843; Vol. IIL, from 1848 to 1878.<br /> Cassell. 7s. 6d. each.<br /> <br /> Gasquet, Francis A. 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Paper covers. Is.<br /> <br /> BaDDELEY, ST. CLarr. Queen Joanna I. of Naples, Sicily,<br /> and Jerusalem: an essay on her times. With illus-<br /> trations. Heinemann. 16s.<br /> <br /> BADMINTON LIBRARY: COURSING AND FAaLconry.<br /> Coursing, by Harding Cox; Falconry, by the Hon.<br /> Gerald Lascelles. Illustrated. Longmans.<br /> <br /> Barker, Epwarp H. Wanderings by Southern Waters :<br /> Eastern Aquitaine. With illustrations. Bentley.<br /> Barry, JoHN WARREN. Studies in Corsica: Sylvan and<br /> <br /> Social. Sampson Low and Co. 12s.<br /> <br /> Battie oF THE Nurses. Verbatim report of the pro-<br /> ceedings before the Privy Council on the application of<br /> the Royal British Nurses’ Association for a charter of<br /> incorporation. Scientific Press. Paper covers, Is.<br /> <br /> Bayer, Baron J. pre. The Industrial Arts of the Anglo-<br /> Saxons. With steel plates and text cuts. Translated<br /> <br /> by T. B. Harbottle. Swan Sonnenschein.<br /> Bennett, ArTHuR. The Dream of an Englishman.<br /> Simpkin Marshall. Paper covers. Is.<br /> <br /> Buake, J. F. Annals of British Geology, 1891 ; a digest of<br /> books and papers published during the year, with<br /> occasional notes. Dulau and Co.<br /> <br /> Boorn, Cuaries. Life and Labour of the People in<br /> <br /> London. Edited by. Vol. II., Streets and Population<br /> Classified. Macmillan and Co. 3s. 6d.<br /> Burpert, Henry C. Hospitals and Asylums of the<br /> <br /> World: Their Origin, History, Construction, Adminis-<br /> tration, Management, and Legislation. In 4 vols. and<br /> a Portfolio. Vol. 3.and4., with Portfolio. J. and A.<br /> Churchill, 11, New Burlington-street, W. £06. Price<br /> of complete work, £3 8s.<br /> <br /> Crry AND THE LAND, THE: a course of seven lectures<br /> upon the work of the Palestine Exploration Fund Society.<br /> Published for the committee of the fund by A. P. Watt,<br /> Paternoster-square, H.C.<br /> <br /> <br />  <br /> <br /> 340<br /> <br /> CONSTITUTIONAL YEAR-BOOK FOR 1893. Ninth year.<br /> Published for the Conservative Central Office by Black-<br /> wood. Paper covers, Is.<br /> <br /> County Councils and Municipal Corporations Companion<br /> for 1893. Compiled and edited by Sir J. R. Somers<br /> Vine. Waterlow and Sons.<br /> <br /> Daruineton, H.R. The Railway Rates and the Carriage<br /> of Merchandise by Railway: including the Provisional<br /> Orders of the Board of Trade as sanctioned by Parlia-<br /> ment, containing the classification of traffic and sche-<br /> dule of maximum rates and charges applicable to the<br /> railways of Great Britain and Ireland. Stevens and<br /> Sons.<br /> <br /> Davies, Hester. A Handbook of Plain Cookery.<br /> quodale and Co. Is.<br /> <br /> Derrizs, EstHer P. A Browning Primer.<br /> duction by Dr. F. J. Furnivall.<br /> and Co.<br /> <br /> Dewar, WituiAmM. The Cricket Annual, 1892.<br /> With illustrations. Simpkin Marshall. 2s.<br /> <br /> Dien, CHARLES. Excursions in Greece to recently ex-<br /> plored Sites of Classical Interest: a popular account of<br /> the result of recent excavations. Translated by Emma<br /> R. Perkins, with an introduction by Reginald Stuart<br /> Poole, LL.D. With plans and illustrations. Grevel<br /> and Co., King-street, Covent-garden. 7s. 6d.<br /> <br /> Directory oF Conrractors and Public Works Annual,<br /> <br /> 258.<br /> <br /> M‘Cor-<br /> <br /> With an intro-<br /> Swan Sonnenschein<br /> <br /> Edited by.<br /> <br /> 1893. Edited and compiled by William Biggar. Con-<br /> tractors’ Chronicle offices. 7s. 6d.<br /> Dove.as, James. Bombay and Western India. A series<br /> <br /> of stray papers. In two vols.<br /> net.<br /> <br /> Ep@ewortH, F. Y. The Economical Journal—the Journal<br /> of the British Economic Association.<br /> Vol. 2. Maemillan. 21s.<br /> <br /> ELLiot, Frances. 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An examina-<br /> tion of Mr. Herbert Spencer’s utterances on the Land<br /> Question, with some reference to his synthetic<br /> philosophy. Kegan Paul. 5s.<br /> <br /> Gracz, Rev. Dr. R. F. The Goal of the Human Race ; or,<br /> the Developmeut of Civilisation, its origins and issues.<br /> With prefatory note by Sir Monier Monier-Williams.<br /> Translated from the German by the Rev. J. G. Deimler<br /> and the Rev. W. St. Clair Tisdall, M.A. Simpkin,<br /> Marshall.<br /> <br /> Haven, F. Szymour.<br /> plea for legislation.<br /> covers, Is.<br /> <br /> Sampson Low. £2 2s.<br /> <br /> Edited by.<br /> <br /> Cremation an incentive to Crime: a<br /> Second edition. Stanford. Paper<br /> <br /> THE AUTHOR.<br /> <br /> Edited by.<br /> <br /> HANDBOOK OF THE MozAmMBIQUE ComPANY: Province of<br /> Manica-Solfala. Clowes.<br /> <br /> Hastines, CHARLES W. Photographs at the Pall Mall<br /> Exhibition 1892. Selected and described by. Photo-<br /> graphic Publishing Company, Shaftesbury-avenue.<br /> <br /> HAZELL’S ANNUAL FOR 1893 : a Cyclopedic Record of Men<br /> and Topics of the Day. Revised to Nov. 30, 1892.<br /> Eighth year of issue. Hazell, Watson, and Viney.<br /> 38. Od.<br /> <br /> Hevurcr, Dr. Henri Van. The Microscope: its Con-<br /> struction and Management. Including technique,<br /> photo-micography, and the past and future of the<br /> microscope. English edition. Re-edited and augmented<br /> by the author from the fourth French edition, and<br /> translated by Wynne E. Baxter. Illustrated. Crosby<br /> Lockwood and Son.<br /> <br /> HeEYwoop, Jupgx. The Annual County Courts Practice,<br /> 1893. 2 vols. Sweet and Maxwell. 253.<br /> <br /> Hitter, H. Crort. Against Dogma and Free-will.<br /> Williams and Norgate. 53.<br /> <br /> Huntine Maps (No. 8). Oxfordshire, Buckinghamshire,<br /> and Berkshire districts. A. H. 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Quaritch, Henry<br /> Frowde, and others.<br /> <br /> Lanp or ARARAT, THE; or, Up the Roof of the World.<br /> By a Special Correspondent. Eden, Remington. 6s.<br /> <br /> LaNnE-PooLe, STANLEY. Studies in a Mosque. Second<br /> edition, enlarged. Eden, Remington. 7s. 6d.<br /> <br /> Leg, Rey. J. W.,D.D. The Making of a Man. Hutchinson.<br /> 6s.<br /> <br /> Lonpon Statistics, 1891-1892. Returns printed by the<br /> London Council in the year 1891-1892, and a list of sta-<br /> tistics relating to London, printed in the Annual Reports<br /> of Vestries and District Boards and in Parliamentary<br /> papers of 1891. Vol. II. County Hall, Spring-gardens,<br /> S.W.<br /> <br /> en<br /> <br /> <br /> <br /> <br /> <br /> <br /> Manan, Capt. A. T. The Influence of Sea Power upon the © 2<br /> <br /> French Revolution and Empire, 1793-1812. 2 vols.<br /> Sampson Low.<br /> <br /> Marspren, Kate. On Sledge and Horseback to Outcast<br /> Siberian Lepers. 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448	https://historysoa.com/items/show/448	The Author, Vol. 03 Issue 10 (March 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+10+%28March+1893%29"><em>The Author</em>, Vol. 03 Issue 10 (March 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-03-01-The-Author-3-10					345–384																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-03-01">1893-03-01</a>							10			18930301	The Hutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> MARCH 1, 1893.<br /> <br /> <br /> <br /> Vot. [l—No. 10.]<br /> <br /> PAGE.<br /> Warnings ae oe ee eee eee aie es Seu wee B47<br /> How to Use the Society... ae sa 6 ie 205 «-. 348<br /> The Authors’ Syndicate... pee ae me sae ao wo. 348<br /> Notices... &amp; ie tat oe re awe ae Bae wes B49<br /> <br /> Literary Property—<br /> 1.—The Rights of the Nameless<br /> 2.—Copyright and Magazines<br /> 3.—In Bankruptcy :<br /> 4.—American Copyright see ee ae<br /> 5.—The French Society of Dramatic Authors<br /> 6.—Publishers’ Accounts eS oe ee<br /> 7.—The Output, 1800 and 1892<br /> 8.—A Case of Collaboration ...<br /> 9.—Is this Fair?... as<br /> 10.—A Tale of a Journal<br /> 11.—Lost MSS. ... aS<br /> 12.—Artistic Copyright...<br /> 13.—Title and Copyright<br /> Hardships of Publishing ... sue ae ons on<br /> An Omnium Gatherum for March. By J. M. Lely ...<br /> <br /> <br /> <br /> <br /> <br /> [PRicE SIXPENCE.<br /> <br /> What they Read<br /> Defoe and the Publishers<br /> A New Translation of Rabelais ee<br /> Notes from Paris. By Robert H. Sherard<br /> The Conveyance of a Gift ... ae as<br /> Notes and News. By the Editor...<br /> The Professor&#039;s Pheenix ... ne iF<br /> Carlyle on the Position of Literary Men<br /> Correspondence—<br /> 1.—A Register of Books Wanted<br /> 2.—Misstatements in Review... ties<br /> 3.—The Example of Richard Savage<br /> 4.—Inaccuracy in Fiction aS<br /> 5.—Unknown Writers ...<br /> 6.—Times of Payment ...<br /> 7.—Prompt Payments ... ise<br /> 8.—The Record Press Company Fe<br /> “At the Sign of the Author’s Head”’ ... a0 ate ak wee O16<br /> New Books and New Editions... ts nee eae aoe «we 88<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> 1, The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> <br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors.<br /> <br /> od<br /> <br /> (The Leadenhall Press.) 1s.<br /> <br /> The Report of three Meetings on<br /> <br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> the Society. Is.<br /> <br /> o ov Be<br /> <br /> Literature and the Pension List. By W. Morris CoLzzs, Barrister-at-Law. (Henry Glaisher,<br /> <br /> The History of the Sociéte des Gens de Lettres. By S. Squrrm Spricar, late Secretary to<br /> <br /> The Cost of Production. In this work specimens are given of the most important forms of type,<br /> <br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication.<br /> <br /> By S. Squrre SpriecE.<br /> <br /> In this work, compiled from the<br /> <br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> <br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> <br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> I J g<br /> <br /> Henry Glaisher, 95, Strand, W.C. 35.<br /> <br /> 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> <br /> ment.<br /> <br /> With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br /> <br /> and Spottiswoode. 1s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> 346 ADVERTISEMENTS.<br /> Che Society of Authors (Sncorporated),<br /> PRESIDENT.<br /> <br /> GHRORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> st<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Srr Epwin Arno.p, K.C.LE., C.S.1. OswaLpD CRAWFuRD, C.M.G. Lewis Morris.<br /> <br /> ALFRED AUSTIN. Tue Earu or Desart. Pror. Max Mi.urr.<br /> <br /> J. M. BARRIE. Austin Dosson. J. C. PARKINSON. ;<br /> <br /> A. W. A Becxert. A. W. Dusoure. THE Ear. OF PEMBROKE AND Mont- — =, ¢<br /> Rosert BaTeman. J. Eric Ericusen, F.R.S. GOMERY.<br /> <br /> Sir Henry Berane, K.C.M.G. Pror. MicHaru Foster, F.B.S. Siz FREDERICK PoLiock, Bart., LL.D. a<br /> WALTER BESANT. HERBERT GARDNER, M.P. Water Herrizs Poutock.<br /> <br /> AUGUSTINE BIRRELL, M.P. RicHAaRD GARNETT, LL.D. A. G. Ross.<br /> <br /> R. D. Buackmore. EpmunpD Gossz. GrorGe AuGausTUs SALA.<br /> <br /> Rev. Pror. Bonney, F.RB.S. H. Riper Hace@arp. W. BaprisTE Scoonss.<br /> <br /> Lord BRABOURNE. THomas Harpy. G. R. Sms.<br /> <br /> James Bryce, M.P. JEROME K. Jerome. S. Squrre SPRIGGE.<br /> <br /> Hatt Carne. Rupyarp Kipuine. J. J. STEVENSON.<br /> <br /> P. W. CLaYDEN. Pror. E. Ray LAnxester, F.R.S. Jas. SULLY.<br /> <br /> Epwarp Cropp. J. M. Leny. : WItiiAm Moy Tuomas. i<br /> W. Morris Couusgs. Rev. W. J. Lorrin, F.S.A. H. D. Traru, D.C.L. i<br /> Hon. JoHNn Couturier. Pror. J. M. D. MErKLEJoHN. Baron HENRY DE Worms, MP.,<br /> <br /> W. Martin Conway. Herman C. MERIVALE. F.RB.S.<br /> <br /> F. Marion CRAWFORD. Rev. C. H. Mippueron-Waxe F.L.S.| Epmunp Yates.<br /> <br /> <br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNpERDowy, Q.C.<br /> Solicitors—Messrs Fiznp, Roscoxz, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HERBERT THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portugat Street, Lincoun’s Inn Freups, W.C.<br /> <br /> aan<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT, 4<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGH HENRY JENNINGS.<br /> CONTENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions. | APPENDIx.—(A) Lists of the Parliaments of England and —<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br /> Morley. (B) Speakers of the House of Commons. :<br /> Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br /> clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties. 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> _ The work, which has long been held in high repute as a repertory | ‘It is a work that possesses both a practical and an historical<br /> of good things, is more than ever rich in doth instruction and amuse- value, and is altogether unique in character.&quot;—Kentish Observer.<br /> <br /> ment. ”—Scotsman. ‘* We can heartily recommend this work to the politician, whatever<br /> “Iti . . may be his party leanings.”—WNorthern Echo. 5<br /> <br /> seat tee get oa page aga Zc and in its | ‘‘Here we have the whole company of Parliamentary celebrities,<br /> <br /> : A i | past and present, reduced to puppets, so to speak, and made to<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or | repeat their best and most approved rhetorical performances for our<br /> <br /> }<br /> <br /> wio may have occasion to assist as speakers during the electoral leisurely entertainment, which is not less enjoyable from being allied<br /> vempaign, is incumparable.”—Sala’s Journal, | with edification.” —Ziverpool Courier.<br /> <br /> <br /> <br /> <br /> a Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> Che HMuthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 10.]<br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible.<br /> <br /> <br /> <br /> HE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post, and requests that all members not<br /> <br /> receiving an answer to important communications<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has been proved to have<br /> been committed, it is reasonab‘e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> Oe<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> Serian Ricuts.—In selling Serial Rights<br /> stipulate that you are selling simultaneous serial<br /> right only, otherwise you may find your work<br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> <br /> <br /> Stamp your AcreEMENTS.—Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> brought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> 10s. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> <br /> VOL. III.<br /> <br /> MARCH 1, 1893.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> fT<br /> <br /> ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.-<br /> Remember that an arrangement as to a joint<br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> <br /> <br /> Literary AceEnts.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as youragent. Remember that you place<br /> your property almost unreservedly in his hands.<br /> Your only safety is in consulting the Society, or<br /> some friend who has had personal experience of<br /> the agent.<br /> <br /> <br /> <br /> Reavers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> eight years’ workupon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Nevzr sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you have proved the<br /> figures.<br /> <br /> (2.) NEveRr enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> <br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) NevER accept any proposal of royalty<br /> until you have ascertained what the<br /> DD Z<br /> <br /> <br />  <br /> <br /> 348<br /> <br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) NevER accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. has been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights. Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher, unless for a substantial<br /> consideration. If the publisher insists,<br /> take away the MS. and offer it to another.<br /> <br /> (8.) NevER sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (io.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Porrueat Street, Lincoun’s Inn Frewps.<br /> <br /> _—_—_— oS Oe<br /> <br /> HOW TO USE THE SOCIETY,<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors, Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> THE AUTHOR.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what hag<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> SPECIAL report of the Authors’ Syndi-<br /> cate has been prepared, and will be issued<br /> to those members of the Society for whom<br /> <br /> the Syndicate has transacted business. The<br /> accounts of the Syndicate for 1891-92 have been<br /> audited by Messrs. Oscar Berry, and Carr. A<br /> transcript of every client’s account as audited<br /> and vouched, has been sent to that client.<br /> <br /> Members are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With,<br /> when necessary, the assistance of the legal advisers<br /> of the Society, it concludes agreements, collects<br /> royalties, examines and passes accounts, and<br /> generally relieves members of the trouble of<br /> managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndi-<br /> cate are defrayed entirely out of the commission<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> charged on rights placed through its intervention.<br /> This charge is reduced to the lowest possible<br /> amount compatible with efficiency. Meanwhile<br /> members will please accept this intimation that<br /> they are not entitled to the services of the Syndi-<br /> cate gratis, a misapprehension which appears to<br /> widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none<br /> but those members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That the business of the Syndicate is not to<br /> advise members of the Society, but to manage<br /> their affairs for them.<br /> <br /> 5. That the Syndicate can only undertake<br /> arrangements of any character on the distinct<br /> understanding that those arrangements are placed<br /> exclusively in its hands, and that all negotiations<br /> relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by<br /> appointment, and that, when possible, at least<br /> four days’ notice should be given. The work of<br /> the Syndicate is now so heavy, that only a limited<br /> number of interviews can be arranged.<br /> <br /> 7. That every attempt is made to deal with the<br /> correspondence promptly, but that owing to the<br /> enormous number of letters received, some delay<br /> is inevitable. That stamps should, in all cases,<br /> be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite<br /> MSS. without previous correspondence, and does<br /> not hold itself responsible for MSS. forwarded<br /> without notice.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> ee<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be of use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> 349<br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> <br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> <br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> <br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> —<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> <br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble o9f<br /> sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years P<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> <br /> <br /> 359<br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of “doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> Some remarks have been made upon the amount<br /> charged in the “Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> <br /> Tuer Ricuts or tHE NAMELESS.<br /> I.<br /> <br /> HE following letter appeared in the<br /> I Athenzxum of Feb. 11 :—<br /> <br /> A Warnine To AUTHORS.<br /> <br /> Please let me recount my experience of Messrs. Warne<br /> and Co., publishers.<br /> <br /> Sixteen years ago I wrote a semi-religious story for girls.<br /> It appeared in the Quiver in 1877, and was called “ Their<br /> Summer Day.” In 1883 I offered the copyright of it to<br /> Messrs. Warne. They bought it for £20 or £25. I stipn-<br /> lated that my name should not appear, orI should not, even<br /> then, have sold a story for sosmallasum. Mr. Warne, I<br /> think, did not send me proofs; he certainly altered the<br /> name to “Marie May; or, Changed Aims,” without con-<br /> sulting me. It was published by him in 1884 in a series of<br /> juvenile books by different authors. No name was printed<br /> on the title-page, only the titles of a few other early stories<br /> that had also been written for the Quiver.<br /> <br /> Yesterday, to my surprise, I came across this book for<br /> girls—published sixteen years ago in a religious magazine,<br /> and nine years ago in the manner I haye described, by<br /> Messrs. Warne themselves—got upin the guise of a new<br /> novel, with my name upon and in it, as well as those of<br /> <br /> AUTHOR.<br /> <br /> the works I have quite recently published. Moreover there<br /> is no date on the title page, so that unsuspecting editors<br /> may review, and innocent readers buy, as a new book this<br /> very old one.<br /> <br /> Iam aware that Messrs. Warne had a right to republish<br /> the story, but I feel that they have taken advantage of my<br /> foolishness in not having the clause about the book being<br /> anonymous put into the agreement; that I made the con-<br /> dition the title-page of the early edition shows. In regard<br /> to the story itself, I hope I may not be judged by it. Itis<br /> uninteresting and rather foolish, so that Messrs. Cassell (who<br /> were always very kind to me) gave me back the copyright,<br /> not caring themselves to reprint it. offered it to Messrs.<br /> Macmillan, who had just published my children’s book<br /> (m 1883); but though they are my intimate friends,<br /> they could not bring themselves to think this story good<br /> enough forthem. I therefore took it to Messrs. Warne ;<br /> but I should not have allowed them to publish it, except on<br /> the understanding I have stated. I think it was quite up to<br /> the average of the semi-juvenile series in which they first<br /> published it ; but I contend that it is most unjust to put<br /> it forth, with a dateless title-page, in a manner that shall<br /> make it pass as my recent work. :<br /> <br /> Lucy Cuirrorp (Mrs. W. K. Currrorp).<br /> <br /> II.<br /> The following appeared in reply, Feb. 18<br /> 1893 :—<br /> <br /> ?<br /> <br /> Chandos House, Bedford-street, Strand,<br /> Feb. 14, 1893.<br /> <br /> An ex parte statement having appeared in your columns<br /> from the pen of Mrs. W. K. Clifford, re her work “ Marie<br /> May,” you will please allow us to place your readers in pos-<br /> session of the facts by publishing this letter.<br /> <br /> Mrs. Clifford makes three statements :—<br /> <br /> 1. That we changed the title of the book without con-<br /> sulting her.<br /> <br /> 2. That the present edition is got up in the guise of a<br /> new novel.<br /> <br /> 3. That an understanding was given—not mentioned in<br /> the agreement—that the book should be issued anony-<br /> mously.<br /> <br /> Lastly, she complains of there being no date on the<br /> title-page.<br /> <br /> The first of these statements is untrue, as a proof of<br /> which we hold Mrs. Clifford’s duly completed receipt for<br /> £25, transferring the entire copyright to us under the title<br /> of “‘ Marie May,” distinctly.<br /> <br /> The second is wilfully misleading. The book is not got<br /> up in the guise of a new novel, but is issued in a series of<br /> cheap reprints, published in the usual form, at 2s. picture<br /> boards and 2s. 6d. cloth.<br /> <br /> Re the third. No condition whatever was made as to<br /> anonymous publication, and we are morally certain that the<br /> matter was never broached at all, The fact that the first<br /> edition was issued anonymously in no way proves the<br /> contrary,as the book was first placed in a series where a<br /> large proportion of volumes were issued in the same way.<br /> Further, the insertion of her name at that date would have<br /> been of no assistance to the sale of the book.<br /> <br /> Fourthly. Re the dateless title-page. Surely Mrs.<br /> Clifford puts herself altogether in the wrong on this point.<br /> <br /> If the title had borne the date 1893, both she and the public —<br /> <br /> might have had cause for complaint. The fact that it was<br /> not dated, and that the book was not sent for review (as she<br /> too eagerly concludes it was), proves our bona fides in the<br /> matter.<br /> <br /> In view of these facts, while expressing no opinion of<br /> the book itself, we maintain our perfect right—as holders<br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> of the copyright—to issue the volume in its present form,<br /> with any advantage that may accrue from Mrs. Clifford’s<br /> name having become better known to the public. At the<br /> same time we decline to take a lesson in just dealing from a<br /> lady whose principles may best be judged by the fact that<br /> she has been willing to sell a work—which she herself<br /> designates as “uninteresting and foolish’—for the sum<br /> of £25, and afterwards to decry it.<br /> <br /> Further, it appears to us a moot question whether a<br /> journal like the Athenewm should open its columns for<br /> ex parte statements of this nature without ascertaining if<br /> there is any justification for them.<br /> <br /> FREDERICK WARNE AND CoO.<br /> <br /> III.<br /> To this Mrs. Clifford makes rejoinder to the<br /> Author :—<br /> <br /> I did not give any receipt at all (for an obvious reason)<br /> till some time after the publication of the story. I could<br /> hardly have given it under any other title than that by<br /> which it had been published. If Messrs. Warne publish it<br /> now as a reprint or new edition, why do they not say so on<br /> cover or titlepage? There is no hint of it, nor of its being<br /> one of a series. And why is it announced in the Publishers’<br /> Circular for Jan. 28 and the Bookseller for February as a<br /> new book? If I did not make the anonymous condition<br /> why did Messrs. Warne not use my name? It was of no<br /> value in 1877 when this story was written; but it must<br /> have been worth something in 1883 when they republished<br /> it. For in 1881 Messrs. Wells, Gardner, and Darton had<br /> published a little book called “ Children Busy,” of which<br /> 31,000 copies were sold in the first year. The stories were<br /> known to be mine though they were not signed. In 18821<br /> published “ Anyhow Stories” with Messrs. Macmillan, so<br /> that my name must have had some value even then, and<br /> the inference is that Messrs. Warne would have used it had<br /> they been at liberty to do so. Lucy CLIFFORD.<br /> <br /> LY:<br /> <br /> The St. James’s Gazette and the Westminster<br /> Gazette comment upon the case as follows :—<br /> <br /> I.<br /> <br /> We referred only a month ago to a dispute Mr. Clark<br /> Russell had with Messrs. Kegan Paul and Co. as to their<br /> right, as assignees of copyrights purchased from Messrs.<br /> H. S. King and Co., to republish to-day, under Mr. Russell’s<br /> name, youthful work contributed years ago, under a pseu-<br /> donym, to the Liverpool Daily Post. The alleged right<br /> struck us, we confess, as wholly untenable. Mrs. W. K.<br /> Clifford has to complain of a similar and flagrant grievance<br /> against Messrs. Warne and Co.<br /> <br /> Il.<br /> <br /> A curious case in the ethics of publishing is raised by the<br /> treatment to which Mrs. W. K. Clifford has been subjected<br /> by a certain firs. In her early days, when her intellectual<br /> standpoint was very different from what it is now, she wrote<br /> some goody-goody but (if she will pardon us for saying it)<br /> somewhat dull stories for the Quiver. In 1883 she sold the<br /> copyright of one of them to the firm in question, stipulating<br /> that it should be published anonymously, though she<br /> neglected to put this stipulation in the agreement. In 1884<br /> the story was duly published in a series of religious books<br /> for young people.<br /> <br /> So far so good. But the other day, without a word to the<br /> authoress, the publishers re-issued the work, in the guise of<br /> a new novel, with the name of Mrs. Clifford on the title-<br /> page, to which they added the titles of her recent books<br /> (“* Mrs. Keith’s Crime,” “ Aunt Anne,” &amp;c.). In charity one<br /> <br /> AUTHOR.<br /> <br /> 351<br /> <br /> must suppose that the publishers meant no harm; but the<br /> effect is that an unsuspecting public will imagine this imma-<br /> ture story, written by Mrs. Clifford when she was a girl, to<br /> be a new book written in direct succession to ‘‘ Aunt Anne.”<br /> Doubtless the firm in question have acted entirely within<br /> their legal rights. But is the proceeding one which com-<br /> mends itself to the publishing conscience? When the<br /> Publishers’ Union is an accomplished fact perhaps we shall<br /> know. Meanwhile, what does the Society of Authors think<br /> of the case?<br /> <br /> v.<br /> <br /> These letters speak for themselves. The<br /> author says that there was the condition of<br /> anonymous publishing; that the title was<br /> <br /> changed without consulting her; that the new<br /> edition is presented as a new novel ; and that there<br /> is no date on the title-page. The publisher says<br /> that there were no conditions. Very well.<br /> There is, perhaps, no written agreement. But the<br /> book was published anonymously. Why? The<br /> publisher says that the insertion of the author’s<br /> name would not have helped the sale. Then are<br /> we to understand that a publisher is to please<br /> himself whether a name is to be given or not?<br /> In that case what becomes of reputation? How<br /> is a name to be made? If a book is anonymous,<br /> the world always understands that it isso ordered<br /> by the author.<br /> <br /> Such a case as this seems to us one that should<br /> be decided by the courts of law. It seems a<br /> simple thing. The point does not appear to<br /> have ever arisen and been decided at law, but<br /> it seems at least arguable that the publisher<br /> of an anonymous book buys the work, but not<br /> the name. Otherwise one may conceive of a<br /> great deal of mischief being done to a writer.<br /> We all have our beginnings; some of us have<br /> our necessities. When these are surmounted,<br /> the most serious injury might be done by reviving<br /> immature work for the sake of trading upon an<br /> honourable and popular name. Once more, the<br /> case is another warning for every writer.<br /> <br /> it<br /> CopyrigHt and MaGazines.<br /> <br /> With reference to the article appearing in your<br /> last issue, p. 313, on the subject of magazines and<br /> copyright, there is one point on which I would<br /> venture to differ from the opinion expressed by<br /> Mr. Hardy on sect. 18 of the Copyright Act, 1842.<br /> Mr. Hardy suggests three conditions which must<br /> be fulfilled before the proprietor can become<br /> entitled to the copyright in articles written for<br /> him by others. The second of these conditions<br /> is, ‘that the articles must be written on the<br /> terms that the copyright therein shall belong to<br /> the proprietor,” and in support of this contention<br /> he cites the case of Layland y. Stewart (4 Ch.<br /> <br /> <br />  <br /> <br /> 352 THE<br /> <br /> Div. 419) — but that case, I would submit,<br /> only shows that, where an author enters into an<br /> agreement for the publication of his work, no<br /> copyright will pass to the publisher without an<br /> assignment in writing, and that it does not<br /> govern a transaction in which the author has<br /> written an article which he was employed to write<br /> for his employer. Such a case, I submit, would<br /> be governed by the decision in Sweet v. Benning<br /> (24 L. J. 175, C. P.), where it was held that in<br /> order to give the proprietor of a periodical a<br /> copyright in articles composed for him by others,<br /> and paid for by him, under the 18th section of<br /> the Copyright Act (5 &amp; 6 Vict. ¢. 45), it is not<br /> necessary that there should be an express con-<br /> tract that he should have the property in the<br /> copyright. E. CuartEris.<br /> Temple, Feb. 7.<br /> <br /> Seen<br /> <br /> IIT.<br /> In Bankruptcy.<br /> <br /> A publisher who has agreed to produce an<br /> author’s book on royalty, becom-s bankrupt, and<br /> offers a composition of, say, 5s. inthe pound. The<br /> composition isaccepted. Hethen carries on his busi-<br /> ness as before, and sells a number of copies of the<br /> book in question. Upon these sales he proposes to<br /> pay one-quarter of the stipulated royalty. But<br /> the author says: “No; I consented to accept 5s.<br /> inthe pound on all debts due to me at the date<br /> of your composition. I did not consent to accept<br /> 5s in the pound on any debts that might be<br /> incurred afterwards. I want my royalty in full.”<br /> Which is right, author or publisher? Will<br /> some member, who is learned in the law, please<br /> answer, quoting the cases on which his opinion is<br /> based ? D.<br /> <br /> =e<br /> <br /> IV.<br /> AMERICAN COPYRIGHT.<br /> <br /> An author arranges to bring out a book on<br /> royalty in England, and also sells the American<br /> rights. The American firm who agree to buy<br /> are informed of the date when it will be pro-<br /> duced in England; but in spite of that fact, for<br /> reasons of their own, delay publication, and the<br /> American copyright is lost. As the book is thus<br /> rendered practically valueless to them they refuse<br /> to complete their contract. What is the author<br /> todo? If he were to sue in the American courts,<br /> I suppose his evidence could be taken upon com-<br /> mission; but even then would not the expense be<br /> enormous? Also upon what basis should he<br /> assess damages? It they were considered too<br /> <br /> <br /> <br /> high, would not he be mulcted in part of the<br /> The matter is important, as two cases of<br /> <br /> costs r<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> the sort have already occurred, and though in<br /> both the American firms involved have even tually<br /> paid, other cases are sure to crop up. In order<br /> to protect the interest of members, would not it<br /> be possible for the Society to co-operate with the<br /> American Association of Authors, a small addi.<br /> tional subscription being paid for this service ?<br /> Each subscriber would then practically become a<br /> member of the Association, and enjoy all the<br /> rights of membership. Of course, a similar<br /> privilege should be offered to all who belong to<br /> the American Association. It seems to me that<br /> some such arrangement would greatly benefit<br /> authors in both countries, D.<br /> <br /> <br /> <br /> Vv.<br /> THe Frencu Society or Dramatic AUTHORS.<br /> <br /> The French Society of Dramatic Authors, in<br /> their capacity as a syndicate, collected in 1890-91<br /> no less than £136,444 as authors’ rights for its<br /> members. Beaumarchais was the real originator<br /> of this society. Having given his first two pieces,<br /> The Enigma and The Two Friends, to the actors,<br /> free, gratis, for nothing, when it came to the<br /> Barber of Seville and its tremendous vogue, he<br /> claimed an author’s share of the profits. The<br /> comedians sent him 4500 livres, which would be<br /> some £450 to-day, but without any account or<br /> computation of the sum. Beaumarcbais brought<br /> the matter before the licenser of plays—then a<br /> gentleman of the King’s bed-chamber, the Due<br /> de Duras—who suggested to him to get the<br /> dramatic authors together, and draft a regulation<br /> for the future. Diderot, La Harpe, and others<br /> opposed Beaumarchais—these authors always<br /> will have a sylit—but he, in 1777, got together<br /> some twenty-three colleagues, and in 1780<br /> succeeded in fixing an author’s rights in his play<br /> at one-seventh of the net receipts. For the sixty-<br /> five first performances of the Marriage of Figaro,<br /> for example, Beaumarchais thus obtained 41,440<br /> livres, say, nowadays, some £4140. The National<br /> Assembly made the first legislative recognition of<br /> dramatic copyright in January, 1791, but Beau-<br /> marchais had to petition about this law in the<br /> following December. Out of this petition came<br /> another unsatisfactory law in 1792; but at length,<br /> on Sept. 1, 1793, the playwright was assimilated<br /> to any other writer in the ownership of his own<br /> works ; and ever since then—for just a hundred<br /> years—the Society that the indefatigable Beau-<br /> marchais started has gone on prospering, and<br /> earning their bread for all its members. ‘Lhe<br /> Revue de Belgique contains an article on the<br /> subject which is of interest to us all.<br /> <br /> J. O&#039;NEILL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> VE<br /> PusLIsHERS ACCOUNTS.<br /> <br /> The following judgment has been pronounced by<br /> the Court of Cassation in Paris on a case between<br /> publisher and author. The case is still pending,<br /> this decision being only a step im its progress.<br /> When it is finally settled we hope to report the<br /> whole :<br /> <br /> “ When, in the carrying out of a contract between<br /> publisher and author, the publisher, in order to<br /> increase his profits and reduce those of the<br /> author, renders accounts which dissimulate the<br /> real number of copies in the editions, and at the<br /> same time falsifies his books to make them agree<br /> with the accounts rendered, this combination of<br /> fraud and falsification presents the character of<br /> the crimes of forgery and of the employment of<br /> forged documents.”<br /> <br /> And the Court of Cassation has accordingly<br /> sent down the case anew to the “ Chambre des<br /> mises en accusation,’ or Court of Indictment, as<br /> it might be translated—being a sort of grand-<br /> jury of judges. If they now find a true bill,<br /> the case will then at length be tried by some<br /> Court of First Instance.<br /> <br /> VEL.<br /> Tux Output, 1800 AND 1892.<br /> <br /> The following is a classified list of new books<br /> for the year 1800. The population of the three<br /> kingdoms was then 15,000,000. It is now, counting<br /> English readers in the colonies and India, about<br /> four times as great. We have therefore placed in<br /> parallel columns what would be the output of to-<br /> day in the same proportion, and what is the actual<br /> <br /> <br /> <br /> output. The arrangement of the Publishers’<br /> Circular is followed.<br /> <br /> | 1800. | 1892 1893<br /> <br /> | (in same (actual).<br /> <br /> | | propor-<br /> <br /> | | tion).<br /> eae oe | Se |<br /> Theology and Sermons | 96 384 528<br /> Educational, Classical,<br /> <br /> Piilological .......:... | 56.31. 200 579<br /> ae... (2 | ie 1147<br /> Law, Jurisprudence, &amp;c. | Bio | Lee 61<br /> Political and Social |<br /> <br /> Economy, Trade, and |<br /> <br /> Commerce ............ | 137 |&lt; 048 151<br /> Arts, Sciences, and | |<br /> <br /> Tllustrated Works ...| 63 | 252 147<br /> Voyages and Travels ... | 20 80 250<br /> History and Biography | 52 | 208 293<br /> Poetry and the Drama | 110 440 185<br /> Medicine and Surgery... | 60 | 240 127<br /> <br /> The second and third columns show (1)<br /> VOL. III.<br /> <br /> ‘ accident.<br /> <br /> 3§3<br /> <br /> the increased proportion of readers to population,<br /> and (2) the changes which have taken place in<br /> their reading. Thus, without change, we should<br /> have had 384 new books on theology, we actually<br /> get 528. Now the people who read theological<br /> works certainly use the old standard books more<br /> than new ones. Educational books are multiplied<br /> by nearly three, which shows the immense spread<br /> of education. Novels are multiplied, in propor-<br /> tion, by five, but then a very large number of<br /> those which swell our numbers are stuff which no<br /> one will publish except at the author’s expense.<br /> Voyages and Travels are multiplied by three,<br /> History and Biography by one andahalf. Poetry<br /> and the Drama have decreased by from 446 to 146.<br /> Books on Medicine are diminished by one-half.<br /> Political and Social Economy, Trade and Com-<br /> merce, reduced from 548 to 105. The propor-<br /> tional increase is not so great as we might have<br /> expected, but it grows; in ten years’ time, one<br /> ventures to predict, the increase in educational<br /> books will be very great indeed ; there will be a<br /> great decrease in novels; there will be a large<br /> increase in poetry and the drama, and a decrease<br /> in voyages and travels. Lastly, the whole output<br /> of new books in 1892 in the same proportion to<br /> that of 1800, when it was 693, should have been<br /> 2772: instead, it was, excluding year books and<br /> serials, 4555, or nearly double. The number of<br /> those who read books is therefore doubled in<br /> proportion to the population. The case, how-<br /> ever, cannot be disposed of in this simple way,<br /> because the editions are now very much larger<br /> than they were formerly, and the apparent<br /> increase by no means represents the real increase.<br /> <br /> <br /> <br /> VALE.<br /> A Cask oF COLLABORATION.<br /> <br /> A lady translated a series of stories from the<br /> French, and arranged with a gentleman to super-<br /> vise the MS., and correct any errors that might<br /> occur. He was further to try and place the<br /> stories in magazines and other suitable periodicals.<br /> The financial arrangement was based on_ half<br /> profits. Under the circumstances, a fairly equi-<br /> table arrangement, though what advantage there<br /> was lay on the side of the man, the lady being a<br /> <br /> erson of some literary attainment and culture,<br /> and therefore needing in her MS. not much cor-<br /> rection. In due course a story was placed in<br /> a well-known weekly journal. No mention of the<br /> fact was made; the truth was discovered by<br /> The lady, who constantly met the<br /> gentleman in society, taxed him with it, and<br /> was informed that she should receive a cheque in<br /> due course, but the cheque never came, and a<br /> EE<br /> <br /> <br />  <br /> <br /> 354<br /> <br /> <br /> <br /> year has passed. Another story has been placed,<br /> and no cheque has as yet arrived. Under ordi-<br /> nary circumstances an action at law would be an<br /> easy way to awaken the male partner to a sense<br /> of duty and responsibility. Unfortunately the<br /> lady lives abroad, and this point is a safeguard<br /> to her partner. He knows the fact, and trades<br /> upon it.<br /> <br /> <br /> <br /> IX.<br /> Is tHis Farr?<br /> <br /> An editor of a certain journal or periodical<br /> happens to be also a member of the Society. In<br /> the information column of his journal he is asked<br /> several difficult questions concerning copyright,<br /> and various particulars about publishers. As a<br /> member of the Society he writes off to the<br /> Secretary, stating the complicated legal conun-<br /> drums, and asking advice generally as to the<br /> publishers referred to. The Secretary, in the<br /> innocence of his heart, writes him a full letter<br /> containing valuable information and critical ex-<br /> planations. In the next week’s issue of the<br /> periodical the correspondents are fully answered.<br /> Is this fair to the Society? A member who<br /> really had the work of the Society at heart ought<br /> to refer correspondents to the Secretary, and not<br /> suck the Secretary’s brains for his own aggran-<br /> disement, and to the detriment of the Society, or,<br /> at least, he might acknowledge the source of his<br /> information.<br /> <br /> <br /> <br /> X.<br /> A TALE oF a JOURNAL.<br /> <br /> The public life of third-rate journals and perio-<br /> dicals is full of interest, not only as showing the<br /> ingenuity of the human mind, but as setting<br /> forth the dangers attendant on MSS. forwarded<br /> for insertion in their columns. A limited liability<br /> company is generally the first step in the career of<br /> vice. In the memorandum of association powers<br /> are taken to publish a magazine, paper, book, or<br /> anything that may be printed. The paper is in<br /> due course floated. With the little money pro-<br /> duced from the sale of shares and collected from<br /> the gullible public, advertisements for MSS. are<br /> freely posted. In a short time quite a collection<br /> of literary wares is brought together, but the<br /> printer is left unpaid, and the landlord is clamour-<br /> ing for rent, and the contributors are wild for<br /> their small pittances. There is only one haven of<br /> rest—the bankruptcy court. Now is the editor’s<br /> or proprietor’s chance, the chance of the man who<br /> conceived the brilliant idea, the chance of the<br /> man who knew of its inevitable failure. All the<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> assets of the company are sold for the benefit of<br /> the creditors. The proprietor puts forward a<br /> nominee and buys them in at a small knock-down<br /> value. There is nothing for the creditor. The<br /> printer rages and the contributors are in tears,<br /> But the former proprietor, in a nice new office, is<br /> running a fresh and perhaps successful magazine<br /> of his own with this distinct advantage that for<br /> some time at least he has no contributors to pay.<br /> <br /> <br /> <br /> Xi.<br /> Lost MSS.<br /> <br /> It is curious to hear of the difficulties<br /> encountered in finding MSS., when the impatient<br /> owner, after long delay, at length clamours for<br /> their return. A few cases may suffice to put this<br /> before the minds of the readers of the Author.<br /> One publisher, in a case brought before us, could<br /> only discover an MS. when the irate author with<br /> his back to the door of the private office threatened<br /> personal violence, This is not every one’s chance,<br /> but this author was an accomplished athlete,<br /> Another writer, a lady of gentle and patient<br /> disposition, who could in no other way get her<br /> MS., took her lunch and a novel, and sat down<br /> in the office to wait, stating her readiness to wait<br /> all day and every day. Presently the MS. was<br /> handed to her from a shelf quite close to where<br /> she was sitting. In another case the address had<br /> been lost, and in another the author’s letter had<br /> been mislaid. Authors, however, are not without<br /> blame. They forward the MSS. recklessly.<br /> They give inadequate instructions as to their<br /> return, and they demand infallibility.<br /> <br /> <br /> <br /> XIi.<br /> Artistic CopyRiGcuHt.<br /> <br /> The society has been applied to recently by<br /> one or two artists for advice on questions of copy-<br /> right, and for help in the negotiation of terms<br /> with publishers and engravers. This is no doubt<br /> a wide field, but it is a field in which the society,<br /> through its knowledge of copyright, can be of<br /> great assistance to fellow workers. Many artists<br /> are, of course, also authors. Many, however, are<br /> not. One or two elections of artists have been<br /> made whose contracts are similar to those of<br /> authors and to whom the society’s experience<br /> may be of equal service.<br /> <br /> <br /> <br /> a<br /> a<br /> Af<br /> a<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> XIii.<br /> <br /> TirLE AND COPYRIGHT.<br /> <br /> A novel difficulty in regard to the law of copyright has<br /> just come under my notice. A retired naval officer wrote a<br /> nautical novel, and for some time before it was complete<br /> spent considerable sums in advertisements and “ prelimi-<br /> nary puffs.” Just as the work was on the eve of production<br /> another astute novelist brought outa book with the title<br /> which the first writer has been sedulously advertising. He<br /> thus appropriates a great part of the fruits of his rival’s<br /> expenditure. So far as I can see, the injured scribe has no<br /> redress; what is more, there appears to be no means by<br /> which an author desirous of advertising his work before pub-<br /> lication can guard against this form of piracy. The Society<br /> of Authors might well address themselves to the amendment<br /> of the law in this respect.<br /> <br /> The above is from 7ruth. It certainly seems<br /> a most flagrant case. But a similar case has<br /> has already been decided in the courts in Max-<br /> well v. Hogg and Hogg v. Maawell (15 L.T.<br /> 204).<br /> <br /> The whole question of title was dealt with at<br /> some length in our issue of December, 1892, and<br /> we would refer readers who are interested to that<br /> number for information.<br /> <br /> HARDSHIPS OF PUBLISHING.<br /> <br /> laa has been little of importance added<br /> <br /> <br /> <br /> to the talk in the Athenewn on_ the<br /> <br /> “Hardsbips of Publishing.” Mr. John<br /> Murray wrote (Jan. 28) to say that he has lost<br /> about £7000 by three books. We might very<br /> fairly contend that we were talking of dealings<br /> with authors, not of reference books. But as<br /> nobody ever supposed that Mr. Murray never<br /> takes risks, we are quite prepared to admit that<br /> Mr. Murray is one of the “few publishers who<br /> take risks.” The fact does not in the least alter<br /> our position. And Mr. Rudyard Kipling (Feb. 18)<br /> sends the following :-—<br /> <br /> At this distance I cannot quite see what in the world my<br /> private notes have to do with Mr. William Heinemann’s<br /> public scufflings. If he had told me that he wanted my<br /> views on the hardships of publishers for publication, I<br /> should have been most happy to have forwarded them,<br /> though I do not think that he would then have considered<br /> them of interest to your readers.<br /> <br /> What I wrote to him was an ordinary civil acknowledg-<br /> ment of his letter to the Atheneum. If I had imagined that<br /> he was going to give my letter to the public, I should<br /> not have been at such pains to dwell upon what seemed to<br /> me his one fair contention. Nor should I have confined my<br /> remarks to the justice on his side. My practice (for I have<br /> bought my experience in the market) is to deal with pub-<br /> lishers entirely through an agent. RupyARD KIPLING.<br /> <br /> VOL. III.<br /> <br /> AUTHOR.<br /> <br /> 355<br /> <br /> To this appears the following reply (Feb. 25) :<br /> <br /> 21, Bedford-street, W.C., Feb. 20, 1893.<br /> <br /> Mr. Rudyard Kipling’s letter to you has grieved and<br /> surprised me. Ihave written to him to express my regret.<br /> But I also remind him, and hope you will let me inform<br /> your readers, that my action was caused by a complete<br /> misunderstanding of his views. In the letter from which I<br /> made-the quotation for the Athenzwm, Mr. Kipling wrote,<br /> in reference to another controversial matter :<br /> <br /> “If you choose to quote anything I said that<br /> you think will do you good, of course I can’t stop it, and I<br /> shouldn’t kick at it. Your mistake lay in asking.”<br /> <br /> In the next paragraph there occurred the words I sent to<br /> you for publication. How could I know that what applied<br /> to Jack was not intended to apply to Jill?<br /> <br /> W. HEINEMANN.<br /> <br /> The “one fair contention” alluded to is the prac-<br /> tice, too common among authors, of attributing<br /> failure of their books to the publisher, whose<br /> interest it certainly is to do all he can to make<br /> them succeed.<br /> <br /> The result of the rather angry controversy is<br /> that nothing whatever has been done to shake our<br /> contention—based upon such an experience of<br /> publishing houses as no single person can have—<br /> that few publishers take risks; or that few risks<br /> are taken by publishers. This is not, of course,<br /> saying that no risks are ever taken. Next, that<br /> after asserting that the society, or any one con-<br /> nected with it, has ever called publishers “in a<br /> lump, thieves,” the accuser, to support his charge,<br /> has to interpret such an adjective “ widespread ”<br /> as “universal” ; and, lastly, that where an offer<br /> has been made, and been refused, to undertake<br /> work at the alleged “cost of production,” the<br /> refusal to accept that offer is virtuously inter-<br /> preted to be based on a desire not to sweat the<br /> poor printer. This is a very fine result of the<br /> last attack. Let us now await the next.<br /> <br /> <br /> <br /> Why do publishers, whenever they talk about<br /> risks, constantly assume that they are all carrying<br /> on business in the same way, with the same<br /> capital, and the same power of ineurring risks ?<br /> When some penniless clerk, backed by a little<br /> credit with a printer, startes publishing, what risk<br /> can he afford torun? The small amount of capital<br /> with which many publishing houses have to work<br /> for years, and until they ‘turn the corner,”<br /> absolutely precludes the possibility of taking<br /> risk. It is vitally necessary for them, not only<br /> that a book shall pay for its cost of production,<br /> but that it shall also pay some margin of profit. It<br /> is in order to secure this margim that so many<br /> frauds have been introduced—overcharge of<br /> printing, paper, binding, advertisements—getting<br /> large discounts on every item and pocketing the<br /> whole. In advertisements, for imstance. an<br /> <br /> EE 2<br /> <br /> <br /> 356<br /> <br /> advertising agent recently informed a member<br /> of this society that he does not take publishers’<br /> business because they want such large dis-<br /> counts. Some of them ask, he says, as much<br /> as 40 per cent. discount—not, of course, in the<br /> great papers, but in the smaller journals. Do<br /> any of these discounts appear in the accounts?<br /> Would it not be more dignified for the great<br /> Houses when they read our experience, embodied<br /> in the form of a perfectly true statement, such as<br /> “‘ Few publishers take risks,” or “ Few risks are<br /> aken by publishers,” to assume that everybody<br /> knows that they are of the “few”? For instance,<br /> when one says, which is perfectly true, that many<br /> solicitors are—what many solicitors’ certainly are<br /> <br /> we do not see our own friends, who are solicitors,<br /> writing to the papers to say that they are not—<br /> they really are not—such as these gentry. They<br /> take it for granted that the world knows them tou<br /> well to suppose that they are meant. Nor, if<br /> one mentions the word “ Quack”’ in the presence<br /> of a medical man, does our personal friend the<br /> doctor jump up with a red face and fiery eyes to<br /> explain that he himself.is a qualified practitioner<br /> and an M.D. of London. Besides, our statement<br /> <br /> about risks is in itself so plainly and manifestly<br /> true, to every one who has any real knowledge of<br /> <br /> the trade and its conditions, that it is wonderful<br /> to see publishers objecting to it. Why should they<br /> take risks when they can avoid risks? The<br /> small Houses have not the capital which would<br /> enable them to take risks. The large Houses<br /> alone, which can afford to wait, may at times<br /> take needless risks, and sometimes make money<br /> and sometimes lose it. They may also make<br /> mistakes. There is in most men of business<br /> a certain element of the gambler. Perhaps<br /> without a little speculation trade would be<br /> dull. Is it, again, quite dignified to announce<br /> the fact of these failures? We do not find<br /> other business men advertising their losses.<br /> Mistakes must be made, it is certain, when<br /> speculation is introduced; all that is claimed is<br /> (1) that there are, and should be, few mistakes in<br /> publishing, considering the reputation and the<br /> position of certain writers ; (2) that the majority<br /> of Houses, which include the hundreds outside<br /> the few generally placed in the first line, either<br /> cannot afford, or will not afford, to run any<br /> risk whatever, and if they publish a risky book<br /> they make the author pay. Therefore, to repeat<br /> again and again, few publishers take risks,<br /> or publishers take few risks. And again, by risk<br /> we mean the speedy recouping of the cost of<br /> production, which in most cases is not paid until<br /> the sales have covered it, so that there is no cost<br /> at all. But we do not mean the expectation of<br /> profit, which is another question altogether.<br /> <br /> THE AUTHOR.<br /> <br /> Here is an illustration of the curious attitude<br /> of mind which is assumed by many in arranging<br /> for the publication of a book. “I have just;<br /> left,” said a certain person to the Secretary the<br /> other day, “the office of Messrs. They<br /> showed me by their own accounts that they are<br /> always losing money by their books. It is quite<br /> wrong to say that they never take risks.’ Well,<br /> nobody says that they never take risks. But<br /> consider what this means. The partners of this<br /> firm live in great opulence; they have arrived at<br /> their present prosperity by the publication of<br /> successful books. Their success proves their per-<br /> ception of what is wanted ; it isa faculty of which<br /> they may be justly proud because it has made<br /> them rich; yet they are constantly pretending<br /> and professing that they lose money by publishing<br /> books. That they do sometimes lose a little is<br /> quite intelligible; that they ever knowingly pro-<br /> duce a book which will probably or certainly fail<br /> to pay expenses may be doubted—except for<br /> reasons which are not apparent to the world,<br /> Then why this pretence? Is there any other<br /> business in the world in which the principals<br /> live in great houses, and yet are always publicly<br /> wailing over their losses? And, of course, to say<br /> that they prove these losses to a visitor by afford.<br /> ing him a glimpse of accounts is perfectly ridicu-<br /> lous, and for this reason, An account, to prove<br /> anything, must be audited. And in auditing a<br /> book account, many things have to be examined, as,<br /> for instance, the vouchers and receipts of printers,<br /> paper makers, and binders. And it must be proved<br /> how much was actually paid, and to what papers,<br /> for advertisements. And, again in the case of<br /> advertisements, not what is the tariff price, but<br /> what discounts were allowed; and not what is<br /> the scale for such and such a magazine, but, was<br /> the advertisement an exchange? And what adver-<br /> tisements, if any, are charged for the House&#039;s<br /> own magazine? Imagine, if you can, one of the<br /> great drapers of Regent-street driving home in<br /> his carriage and pair to sit down and lament<br /> over his daily losses! Now, if the more consider-<br /> able houses, which chiefly concern us, will give<br /> over publicly protesting or suggesting that their<br /> business is entirely a gambling one, and that the<br /> more they publish the more they lose, and will<br /> acknowledge, what every man of common sense<br /> perfectly well knows, that they must, as men of<br /> business, do their very best to run as few risks<br /> as possible ; then the smaller fry will have to leave<br /> off too, and shall be able to discuss matters as<br /> reasonable beings. Meanwhile we have at least<br /> given to the world the figures which show what<br /> book publishing means.<br /> <br /> ———<br /> <br /> <br />  <br /> <br /> i<br /> <br /> i<br /> oa<br /> dl<br /> 4<br /> <br /> ia<br /> q<br /> <br /> <br /> <br /> til<br /> if<br /> t<br /> a<br /> cf<br /> Es]<br /> g<br /> $3<br /> ae<br /> iy<br /> <br /> Se SE<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> There are no fewer than 416 publishers in the<br /> London Trade Directory. A few more—religious<br /> societies—are not on the list. There are, there-<br /> fore, say, 420 houses which profess to call them-<br /> selves publishers. A rough division of this list<br /> shows that there are about twelve which may be<br /> called first-class houses, having regard to the<br /> class of literature they produce, their resources<br /> and history, and the general character they possess<br /> for integrity—but in this list we must be careful<br /> not to include all the firms which advertise long<br /> lists. Among those in the first rank are pub-<br /> lished most of the books--not at the author’s<br /> expense—which carry risk. Next to them stand<br /> some seventeen houses which we may fairly place<br /> in the second class; after them about sixteen of<br /> the third class. Then a few hangers-on in general<br /> literature ; chiefly, they publish the inferior<br /> novel. As for the rest they are American and<br /> foreign houses; religious houses; theological,<br /> scientific, legal, medical, geographical, and tech-<br /> nical houses; publishers of elementary educa-<br /> tional books; some printers who sometimes<br /> publish; some papers whose proprietors call<br /> themselves publishers; the producers of penny<br /> novelettes. For purposes of general literature<br /> there are between forty and fifty houses which<br /> need to be considered at all. And in some of<br /> these the unwary will most certainly be robbed,<br /> while in many of them he will be entrapped into<br /> aone-sided agreement Considering these things,<br /> writers, it cannot be too often repeated, should<br /> take the advice of the Society before sending<br /> MSS., and should, above all, seek the advice of<br /> the Society before signing agreements.<br /> <br /> <br /> <br /> spect<br /> <br /> AN OMNIUM GATHERUM FOR MARCH.<br /> <br /> <br /> <br /> Suggestions for Books or Articles.—A History<br /> of Publishing, with special reference to plural<br /> publication, as that of Chalmers’ “ British<br /> Essayists ” in 1823, in the publication of which<br /> fifty-seven publishers joined; The Force of<br /> Jealousy in Politics, Literature, and Art; The<br /> Duty of Delight; The Budgets of 1842, 1846,<br /> 1853, 1869, and 1892; The History of the three<br /> Reform Acts; The disadvantages of Civilisation ;<br /> The Rise and probably approaching Fall of<br /> Party Government in England; “ One Woman,<br /> Two-thirds of a Vote,” with special reference to<br /> Plato’s Republic, book v.<br /> <br /> A Publishers’ Union—The rumoured Pub-<br /> Jishers’ Union seems to have been given up.<br /> How sad! Authors have everything to gain and<br /> nothing to lose from such a Union.<br /> <br /> 3o/<br /> <br /> Prefaces—It is unfortunate that so little<br /> labour should frequently be bestowed on prefaces.<br /> In novels they are almost unknown. Why<br /> should this be? Wilkie Collins, I believe, never<br /> wrote a novel without a preface. Beyond doubt<br /> the preface assists the reviewer, and conduces to<br /> a favourable review.<br /> <br /> Dedications.—These, which used to be almost<br /> universal, seem to be dying out, which is rather<br /> a pity. They afford opportunity for a pretty<br /> compliment, but it is suggested that the author<br /> should not dedicate to a person much above him<br /> in social or literary position.<br /> <br /> Bedside Books.—As good “bedside books”<br /> for those who may suffer from sleeplessness, I<br /> would respectfully recommend “ Le Mie Prigioni,”<br /> of Silvio Pellico, Boswell’s “Life of Johnson,”<br /> and Burton’s “Anatomy of Melancholy.” For<br /> the first to take the desired effect, the reader<br /> should know enough Italian to enjoy it, but not<br /> so much as to dispense wi&#039; h an occasional puzzling<br /> over it.<br /> <br /> Copyright.—Is not the principal point of<br /> Copyright Law which requires amendment that<br /> clumsy 18th section of the Copyright Act of<br /> 1842, which irregulates (if such a word may be<br /> coined) the respective rights of the magazine<br /> proprietor and his contributors ? Is there a<br /> single human being who would oppose the<br /> amendment of it, suggested by the Royal Com-<br /> mission of 1878?<br /> <br /> Advertisements.—Should not an auth r exercise<br /> some control over the advertisements cof his<br /> books, so that, e.g., the favourable extracts from<br /> reviews should not be too profusely printed ?<br /> <br /> Books sent for Review.—Ought not a book<br /> sent for review and not reviewed to be returned<br /> to the sender? J. M. Lety.<br /> <br /> a<br /> <br /> WHAT THEY READ.<br /> <br /> ee<br /> <br /> OFTEN hear it asserted that the public<br /> read “what they like.” That is said with<br /> reference to circulating libraries, and the<br /> books which there “read best.’ It is said with<br /> reference to “ public libraries” formed under the<br /> new Act, and the works which “go out’? most<br /> often, It is said to authors — as an end of<br /> all controversy respecting why some books are<br /> successful and some are not. Certainly there is<br /> no person whom the point concerns more than<br /> the author.<br /> Now, I may be mistaken, but I believe that<br /> <br /> <br /> 358<br /> <br /> people do not read ‘“‘ what they like,” but what<br /> they can get.<br /> <br /> This is certainly the case at the new public<br /> libraries. People go, day after day, for weeks,<br /> hoping to secure some wished-for book. They<br /> look at the “indicator,” discover that the work<br /> which they wish to have is “out,” and take in-<br /> stead—what they can get. I believe that it<br /> would be no exaggeration to say that, at the<br /> public libraries, for one volume which people take<br /> from choice, they take ten others, because they<br /> cannot get what they want.<br /> <br /> At the circulating libraries the case is rather<br /> different. Itis very different at the headquarters<br /> of the great London libraries. There a good many<br /> people do get what they choose. But not all.<br /> Some folk are wonderfully easily persuaded to<br /> believe that new works are “at present out,’ and<br /> to read instead something which they are told<br /> “they are certain to like.” Nor does anyone get<br /> all he wishes. I have been asking for e ght<br /> weeks for a small French work out of print<br /> which I desire to see before a certain date.<br /> Some other man has had the only copy all<br /> the time. I suppose he is learning it by heart;<br /> for to read it through would take scarcely two<br /> hours.<br /> <br /> But all this applies to the great libraries in<br /> the metropolis. What is to be said about the<br /> country libraries? Do they always promise their<br /> customers the books they wish to see? The<br /> other day a country girl said to me, “Ifa book is<br /> at all popular we frequently cannot get it. If we<br /> ask for it as soon as we hear of it, we are told,<br /> ‘It has not yet been sent down.’ Next, ‘It is<br /> out. Afterwards, ‘It bas gone back to<br /> London.’” Did this lady read what she liked, or<br /> what she could get ¥<br /> <br /> Still, a book not out of print can always be<br /> bought. Can it? Is there no such thing asa<br /> prohibitive price? Is there no such case as its<br /> not being upon the bookstall when Belinda, who<br /> has resolved to read it in the train, asks for it ?<br /> Is the e no such thing as not having heard of a<br /> work? — It will be said that, at present, everthing<br /> possible is done to bring books under the notice<br /> of people whom they are likely to interest. That<br /> may be true. It is most important that it should<br /> be true. Even so, does anyone really believe that<br /> the persistent efforts of the publisher and of the<br /> bookseller to make the public buy, not what they<br /> would like to purchase, but what these tradesmen<br /> have to sell, are altogether without result? Of<br /> course they are not without result. The whole<br /> effect of these efforts of tradesmen, combined<br /> with the other circumstances mentioned above, is<br /> enormous. The reading public really peruses<br /> with a small proportion of works chosen by itself,<br /> <br /> THE AUTHOR.<br /> <br /> a vastly larger number of other works which are<br /> forced upon it by countless ingenious contrivances,<br /> E. K.<br /> <br /> DEFOE AND THE PUBLISHERS.<br /> <br /> N his preface to the “True Born English.<br /> man,” Defoe, in 1701, wrote that “No<br /> author is now capable of preserving the<br /> <br /> purity of his style—no, nor the native product of<br /> his thought—to posterity; since, after the first<br /> edition of his work has shown itself, and perhaps<br /> sinks into a few hands, piratic printers or hackney<br /> abridgers fill the world, the first with spurious<br /> and incorrect copies, and the latter with imper-<br /> fect and absurd representations, both in fact,<br /> style, and design.<br /> <br /> “The ‘True Born Englishman’ is a remark-<br /> able example. By it the author, though in it he<br /> eyed no profit, had he been to enjoy the profit of<br /> his own labour, had gained above a £1000... A<br /> book that, besides nine editions of the author, has<br /> been twelve times printed by other hands ; some<br /> of which have been sold for a penny, others for<br /> twopence, and others for sixpence. The author’s<br /> edition, being fairly printed and on good paper,<br /> could not be sold under a shilling ; 80,000 of the<br /> small ones have been sold in the streets for two-<br /> pence or at a penny; and the author, thus abused<br /> and discouraged, had no remedy but patience.<br /> And yet he had received no mortification at this,<br /> had his copy been transmitted fairly to the world.<br /> But the monstrous abuses of that kind are hardly<br /> credible. Twenty-five, and in some places sixty,<br /> lines were left out in a place; others were turned,<br /> spoiled, and so intolerably mangled that the<br /> parent of the brat could not know his own<br /> ehild.”’<br /> <br /> Authors were thus certainly worse off as<br /> regards their copyrights two centuries ago.<br /> Before two more come about perhaps they may<br /> hope to be in the full enjoyment of their own<br /> again.<br /> <br /> Later, in the “ True Collection” of his works,<br /> Defoe wrote that ‘A certain printer, whose practice<br /> that way is too well known to need a name,<br /> printed [1703] a spurious and erroneous copy of<br /> sundry things which he called mine, and intituled<br /> them a Collection of the Works of the Author of<br /> the ‘True Born Englishman.’”’ Among these<br /> was the “Shortest Way with the Dissenters” (of<br /> 1702), and “the most absurd and ridiculous mis-<br /> takes in the copies’’ (note this word. which then<br /> had the exact meaning that survives in ‘“‘ copy- —<br /> right”) ‘“ were such as rendered it a double<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> cheat, the author having in his first perusal of it,<br /> detected above 350 errors in the printing.<br /> <br /> “The author having expressed himself, though<br /> in decent terms, against the foulness of this<br /> practice, the printer (having no plea to the<br /> barbarity of the fact) justifies it, and says, ‘He<br /> will do the like by anything an author prints on<br /> his own account, since authors have no right to<br /> employ a printer, unless they have served their<br /> time to a bookseller.’ This ridiculous allegation<br /> seems to me [Defoe] to be as if, a man’s house<br /> being on fire, he had no right to get help for the<br /> quenching of it of anybody but the imsurer’s<br /> firemen.”<br /> <br /> Whence we may see that the publisher’s lien<br /> on the hapless author, body and brains, is no new<br /> thing, and that he has always boldly defended<br /> his spoils.<br /> <br /> J. O&#039;NEILL.<br /> <br /> De<br /> <br /> A NEW TRANSLATION OF RABELAIS.<br /> <br /> ———So<br /> <br /> HE appearance of a new translation of<br /> Rabelais, after that by Urquhart and<br /> Motteux has held the field unchallenged by<br /> <br /> any rival, is a literary event. Mr. W. F. Smith,<br /> Fellow and Lecturer of St. John’s, Cambridge,<br /> has achieved this task, one of amazing difficulty,<br /> and now sends it forth with learned notes, appen-<br /> dices, and introductions. Tbe work makes two<br /> large volumes of royal 8vo, of 600 pages each. It<br /> has been a work of love extending over many<br /> years. The notes seem to leave nothing unex-<br /> plained. They give the origines of incidents,<br /> phrases, and characters; they are as valuable for<br /> their Touraine folk lore as for their classical<br /> references. The first edition is limited to 750<br /> copies, of which 250 go to America.<br /> <br /> Urquhart’s translation, as Mr. Smith frankly<br /> acknowledges, is spirited from beginning to end,<br /> and written in idiomatic English. A slavish trans-<br /> lation of Rabelais would, in fact, be absurd. But<br /> Urquhart, and in amuch greater degree Motteux,<br /> amplified. He made use of Cotgrave’s French<br /> Dictionary, in which is embodied a remarkable<br /> glossary of Rabelaisian words often marked<br /> “Rab.” In translating a single word of French,<br /> Urquhart sometimes empties into his page every<br /> synonym that he finds in his dictionary. Motteux<br /> not only does this, but adds words out of his<br /> own varied English vocabulary; and when he<br /> lights upon a piece comic after the fashion of<br /> Rabelasian fun he plays with it, amplifies and<br /> adds to it.<br /> <br /> The new translator has so far recognised the<br /> merits of Urquhart that he has done his own work<br /> <br /> 309<br /> <br /> with Urquhart always open before him. He thus<br /> preserves something of the archaic style, which is<br /> one of the chief charms in Urquhart, and suits<br /> especially a writer of the age to which Rabelais<br /> belonged. A comparison of two passages taken<br /> almost at random will show the differences and<br /> the similarities of the two versions. The passage<br /> is from the famous Eulogy of Debt. The first is<br /> from Urquhart’s translation; the second from<br /> <br /> _M. W. F. Smith’s.<br /> <br /> 1. ‘ Yet doth it not lie in the power of every<br /> one to be a debtor. To acquire creditors is not<br /> at the disposure of each man’s arbitrament.<br /> You nevertheless would deprive me of this<br /> supreme felicity You ask me when I will be<br /> out of debt. Well, to go yet further on, and<br /> possibly worse in your conceit, may Saint Bablin,<br /> the good saint, snatch me if I have not all my<br /> lifetime held debt to be as an union or conjunc-<br /> tion of the Heavens with the Earth, and the<br /> whole cement whereby the race of mankind is<br /> kept together ; yea, of such virtue and efficacy,<br /> that I say the whole progeny of Adam would<br /> very suddenly perish without it. Therefore,<br /> perhaps, I do not think it amiss when I repute it<br /> to be the great soul of the universe, which<br /> according to the opinion of the academics<br /> vivifyeth all manner of things.”<br /> <br /> 2. “ Notwithstanding it is not every one who<br /> wishes that is a Debtor; it is not every one who<br /> wishes that mak~s Creditors. And yet you would<br /> deprive me of this sovereign felicity. You ask<br /> me when I shall be out of Debt.<br /> <br /> ‘And the Case is far worse than that. I give<br /> myself to Saint Babolin, the good saint, if<br /> have not all my life looked upon Debts as a<br /> Connection and Colligation of the Heavens and<br /> the Earth, the one single Mainstay of the Race<br /> of Mankind. I say, that without which all<br /> human Beings would soon perish—perhaps that<br /> is the great soul of the universe, which according<br /> to the academics, gives Life to ali things.”<br /> <br /> The latter version is shorter and quite as effec-<br /> tive. In fewer words it conveys the idea more<br /> clearly. But let us compare the two passages<br /> with the French.<br /> <br /> “Toutes foys, il n’est debteur qui veult; il ne<br /> faict crediteurs qui veult. Et vous me voulez<br /> debouter de ceste felicité soubeline, vous me de-<br /> mandez quand seray hors de debtes? Bien pis y<br /> ha, je me donne 4 Sainct Babolin, le bon sainct,<br /> en cas que toute ma vie je n’aye estimé debtes<br /> estre comme une connexion et colligence des<br /> cieulx et terre; ung entretenement unicque de<br /> Vhumain lignaige (je dy sans lequel bien tost tous<br /> humains periroyent) ; estre par adventure celle<br /> grande ame de l’univers, laquelle, selon les acade-<br /> micques, toutes choses vivifie.”’<br /> <br /> <br /> 360<br /> <br /> Similar comparisons made here and there show<br /> that the new translation, while it preserves the<br /> spirit, and even some of the style of Urquhart, is<br /> both closer to the original and stronger. It is to<br /> be hoped that this smail first edition will be<br /> speedily followed by a cheaper edition. Two or<br /> three chapters are left in the original. But, as<br /> everyone who has seriously read Rabelais knows,<br /> the common charge against him has been grossly<br /> exaggerated, and considering what things are<br /> suffered among our Elizabethans it seems super-<br /> fluous either to bring it at all or to defend it.<br /> Let it be acknowledged that he is a great sinner,<br /> and, that tribute paid to an age of cleaner<br /> exterior, let us pass on.<br /> <br /> NOTES FROM PARIS.<br /> <br /> EFORE the réprise of Musette at the<br /> Gymnase Theatre, de Maupassant’s friends<br /> thought to make the communication of<br /> <br /> the news that his successful piece was to be put<br /> on the stage again, a test of what intelligence<br /> and memory might remain in him. When the<br /> poor Master had heard the news he merely shook<br /> his head and said, ‘“‘ Ah, c’est bien mauvais.”<br /> <br /> Maupassant is neither better nor worse than he<br /> ever has been since his first attack. The mind has<br /> quite gone, but the body remains strong and<br /> vigorous. He spends his days in working hard<br /> in the garden of the maison de santé, and seems<br /> to take pleasure in tiring himself out. His<br /> appetite is good, and he looks better than he did<br /> in the old days, when he seemed constantly jaded<br /> and overwrought. I may also contradict the<br /> report that his financial affairs are so embarrassed<br /> that there has been some difficulty about the pay-<br /> ment of his pension at Doctor Blanche’s hospit-<br /> able house. No such difficulty has ever existed<br /> or would be allowed to exist.<br /> <br /> Zola has finished about a half of his new novel<br /> “Le Docteur Pascal,” and one-third of the<br /> manuscript is already in the hands of the pro-<br /> prietors of the Weekly Times and Echo, in which<br /> paper it is to appear as a serial, commencing in<br /> March. Zola told me that heis satisfied with the<br /> realisation of his conception, as far as it has<br /> gone. It certainly must be giving him very much<br /> less trouble than ‘‘ La Débacle.”’<br /> <br /> THE AUTHOR.<br /> <br /> Pierre Louys, who is one of the most remark-<br /> able poets of the young generation, has been<br /> discharged from the army as unfit for service,<br /> and is now back in Paris, where, in conjunction<br /> with Hérold, the grandson of the composer, he is<br /> engaged on a prose translation of certain of the<br /> librettos of Wagner’s operas, with the consent of<br /> Madame Wagner. He is also finishing his verse<br /> translation of Meleager.<br /> <br /> Taine is not expected to live very much longer.<br /> He himself seems to have abandoned all hope of<br /> life. Only a few days ago he wrote a pathetic<br /> note to the poet de Hérédia, who at last has made<br /> up his mind to publish his sonnets, begging him<br /> to send him the proofs of his book, as he did not<br /> expect to live until it should be published. It may<br /> earnestly be hoped that his mournful anticipa-<br /> tions will not be realised, as Taine is one of the<br /> most valuable men that France possesses. He is<br /> one of the few Frenchmen who know anything<br /> whatever of English literature.<br /> <br /> Taine always led a most healthy life, bemg a<br /> great believer in exercise, fresh air, and regular<br /> hours. He had a huge pair of dumb bells in the<br /> antechamber of his fine apartment in the Rue<br /> Cassette, and told me that he practised with them<br /> regularly every morning and every evening. He<br /> had also the English habit of the daily tub of<br /> cold water. When down at his country house he<br /> used to take long walks. He has always been a<br /> man of a very sober, temperate life, though an<br /> incessant smoker of cigarettes. One day I had<br /> an hour’s conversation with him, and during that<br /> period we emptied a box of Khedives between us.<br /> Taine is a kind-hearted, amiable man, but has<br /> very fixed opinions on matters in general and on<br /> literary affairs in particular. For instance, he<br /> would never hear of Zola as an Academician.<br /> <br /> Monsieur Berthelot, the savant, who was set<br /> up against Zola as candidate for Ernest Renan’s<br /> fauteuil at the Academy, told me yesterday that<br /> he was no longer a candidate, that it had<br /> amused his friends to put up his name, and that,<br /> no result having been obtained, he had now with-<br /> drawn. He shrugged his shoulders when speak-<br /> ing of the Academy, and said that people largely<br /> exaggerated its importance, and that personally<br /> he had no wishes or expectations on the subject.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> Tam rejoiced to see from the papers that my<br /> good friend H. E. the General Tcheng-ki-Tong<br /> has not only been discharged exonerated from all<br /> the charges brought against him of malpractices<br /> and so forth, but has been re-instated in office, and<br /> is now even more of a Mandarin than ever. It<br /> was not so very long ago that his friends in Paris<br /> understood that bastinado, decapitation, or worse,<br /> waited the spirituel Chinaman, and the regret<br /> was universal here. Tcheng-li-Tong was a model<br /> homme de lettres and a wonderfully well-informed<br /> man. He wrote several books about life in China,<br /> besides poems, novels, magazine articles, and so<br /> forth. He had quite caught the Parisian turn of<br /> thought and fashion of style, and held a high<br /> place in the esteem of his confréres. He was a<br /> good linguist. I once translated one of his books<br /> for Trischler and Co., and sent him the revised<br /> proofs. He pointed out to me about thirty errors<br /> which I had overlooked, and set me right on one<br /> or two points in which in writing I had not had<br /> my Lindley Murray before my eyes. He was a<br /> bright charming man, and his face was familiar<br /> in all the worlds of Paris from the highest to the<br /> lowest. And he had the most wonderful tea and<br /> tobacco that I have ever tasted. The tea was<br /> perfumed with dried Howers, and the tobacco was<br /> some which the young Emperor of China had<br /> sent him as a present, and which he himself had<br /> received from the Sultan of Turkey. We used to<br /> smoke it in Chinese pipes after the Chinese<br /> fashion, loading the pipe afresh for each whiff.<br /> <br /> <br /> <br /> Stéphane Mallarmé presided at the last dinner<br /> of La Plume. Verlaine was also p esent and in<br /> high spirits. Whistler had been expected, but<br /> was not able to come. We dined, about one<br /> hundred strong, at the Café du Palais, and the<br /> bill of fare was ornamented with an allegorical<br /> device in whih pigs and geese represented<br /> certain well-known critics. I sat next to Stuart<br /> Merrill, who is one of the most charming poets<br /> that I know. M. Léon Deschamps announced,<br /> after Mallarmé had read us a sonnet in guise of a<br /> speech, that Paul Verlaine would be our next<br /> President, an announcement which was loudly<br /> applauded. The evening after dinner was spent<br /> in the sous-sol of the Soleil d’Or, where various<br /> poets recited verses. Mallarmé’s, Verlaine’s, and<br /> Stuart Merrill’s verse was the favourite, and a<br /> young poet named De Maré¢s, who is considered<br /> very talented, also recited some verses of his own<br /> composition, which were greatly applauded. It<br /> was a novel experience, and very French. Much<br /> of the verse we heard was really of the first order,<br /> and the whole nature of the evening was highly<br /> interesting.<br /> <br /> VOL, III.<br /> <br /> AUTHOR. 361<br /> <br /> x<br /> <br /> Stuart Merrill is a young American of some<br /> fortune who has lived many years in France, and<br /> who has published a volume of poems, which are<br /> considered masterpieces in the world of letters.<br /> He is immensely liked by his confréres, and his<br /> Friday evenings at home in the Bohemian lodg-<br /> ings he has in the Rue de Seine are always<br /> crowded with literary men. Everybody of interest<br /> amongst the younger men may be met there. He<br /> is a singularly modest man, and this quality is<br /> the more to be appreciated that it is rather rare<br /> amongst the poets of the other side of the Seine,<br /> and that Merrill might really be very proud of<br /> what he has written. He is a great Wagnerian,<br /> and detests New York, but piously spends a certain<br /> number of months there each year for the sake<br /> of his family.<br /> <br /> <br /> <br /> Writing about Taine above, I said that the<br /> majority of Frenchmen are wofully ignorant of<br /> English literature. As an example of this igno-<br /> rance | may mention that a day or two ago one of<br /> the best known of our French Jlitterateurs asked<br /> me whether English poets rhymed their verses or<br /> not, his belief being that we used nothing but<br /> blank verse.<br /> <br /> Sa<br /> <br /> Alphonse Daudet receives his literary friends<br /> on Sunday mornings, and very interesting and<br /> agreeable the hours spent with him are. Daudet<br /> is a brillant talker, and there are always present<br /> people who are also worth listening to. The last<br /> time I was at his house there was present a very<br /> clever young man, whom, by the way, Daudet calls<br /> “mon fils,’ and says “thou” to, whom Daudet<br /> asked to relate what he had felt on the evening<br /> on which his play, which failed, was produced.<br /> The young man said that he had watched the<br /> performance from a stage box, and that all the<br /> time he had been thinking how singularly ugly<br /> was the director of the theatre. He afterwards<br /> added that what had most troubled him when his<br /> play was condemned was that he had made his<br /> wife come up from the country to assist at the<br /> premicre, and that he knew how disappointed she<br /> would be Daudet said that henever was present<br /> at any premiere, and that it was only from the<br /> demeanour of his concierge next morning that he<br /> knew whether his play had succeeded or not. If<br /> it had succeeded the concierge was abject, but, if<br /> not, her manners were those of pity blended with<br /> contempt. Daudet’s maxim is that every sin<br /> which a man commits on earth is punished during<br /> this life. I told him that Goethe had held the<br /> same views, and had, indeed, expressed them in<br /> the line. ‘Denn jede Schuld recht sich auf<br /> Erden,” and Daudet said that Goethe was quite<br /> <br /> FR<br /> 362<br /> <br /> right. “My fault,’ he added, “is that I have<br /> been too happy. I am paying for it now” he<br /> said raising the crutch with which he moves about<br /> the room.<br /> <br /> Rozsert H. SHEerarp.<br /> <br /> THE CONVEYANCE OF A GIFT.<br /> <br /> HE following letters speak for themselves :—<br /> <br /> Dear Bssant,<br /> <br /> It is with unusual pleasure that we have to<br /> announce to you to-day the desire of no fewer<br /> than 360 members of the Society of Authors<br /> (whose names are given on the enclosed list), that<br /> you will favour them by accepting the accom-<br /> panying service of plate as a very small expres-<br /> sion of their gratitude and attachment to you.<br /> <br /> This feeling, which all alike have expressed to<br /> us, is no new one on the part of the members of<br /> the Society, but your retirement from the chair-<br /> manship, a step which you have with difficulty<br /> persuaded your friends to permit you to take,<br /> seems to offer an apt occasion for a review of past<br /> services. In taking such a review, the members<br /> of the Society are at a loss to find words for their<br /> appreciation of your unselfish goodness and of the<br /> value of your powerful advocacy. They contem-<br /> plate the present flourishing state of the Society,<br /> and they are tempted to attribute nearly the whole<br /> of its success to you.<br /> <br /> Pray believe us to be, dear Besant,<br /> Yours very sincerely,<br /> <br /> (Signed) J. M. Barris.<br /> <br /> Epwarp CLopp.<br /> <br /> Epmunp Gossz.<br /> <br /> THomas Harpy.<br /> <br /> W. Houtman Hunt.<br /> <br /> Water Herries Poutock.<br /> Aurx. Gaut Ross.<br /> <br /> S. Squire SPRIGGE.<br /> <br /> 123, Chancery-lane, W.C.<br /> Feb. 4, 1893.<br /> <br /> My prEArR Ciopp,<br /> <br /> I received last night your letter of the 4th,<br /> together with the noble service of plate therein<br /> referred to.<br /> <br /> Your letter alone, signed as it is by the names<br /> of those who composed your committee, would be<br /> in itself, without the plate, a gift of priceless value<br /> to me. I beg that you will kindly convey to these<br /> gentlemen—my friends—my most sincere grati-<br /> <br /> THE AUTHOR.<br /> <br /> tude for this expression of appreciation of my<br /> humble labours.<br /> <br /> I should like you also, if you can, to thank all<br /> those members of the Society who have joined<br /> you in this generous gift. I value it especially,<br /> because, although I have never hoped to carry with<br /> me allour members in all my own views, it shows<br /> that in the essentials which constitute the strength<br /> of the Society we are all agreed.<br /> <br /> I am in great hopes that the initial difficulties<br /> of the Society have now been successfully over-<br /> come, and that so strong a feeling for the neces-<br /> sity of association and associated action has been<br /> created that the Society is on a stable basis, and<br /> will advance more and more every year in numbers,<br /> honour, and respect. As for me, I desire nothing<br /> more than to be permitted to serve the Society in<br /> any capacity in which I may be useful.<br /> <br /> I remain, my dear Clodd,<br /> Very sincerely yours,<br /> (Signed) Waurer Besant.<br /> Frognal End, N.W.<br /> Feb. 7, 1893.<br /> <br /> NOTES AND NEWS.<br /> <br /> EADERS are requested to consider the<br /> appeal made by Mr. Sherard. The secre-<br /> tary, Mr. Herbert Thring, will receive,<br /> <br /> acknowledge, and forward all contributions for<br /> this object.<br /> <br /> “The committee for the Baudelaire Memorial,<br /> which is presided over by M. Leconte de Lisle,<br /> being aware that the poet Baudelaire has<br /> numerous admirers in England, has asked me to<br /> see if any of these admirers would care to con-<br /> tribute a trifle to the fund which is being<br /> collected for the Baudelaire Memorial. The<br /> committee is formed of all the leading Litterateurs<br /> of France, including Paul Bourget, Francois<br /> Coppée, Stéphane Mallarmé, Paul Verlaine, and<br /> Emile Zola. Our own Master, Swinburne, is a<br /> member. The statue will be executed by<br /> Auguste Rodin in a manner worthy of the sub-<br /> ject. I should be glad to receive any subscrip-<br /> tions for this fund, and to transmit them to M.<br /> Léon Deschamps, the treasurer, who will acknow-<br /> ledge them in the magazine La Plume. I may<br /> add that money is needed for the completion of<br /> the work, and that the Philistines will exult if<br /> for want of funds the project cannot be realised.<br /> <br /> R. H. SHerarp.”<br /> <br /> —<br /> <br /> <br />  <br /> <br /> oot<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The following paragraphs are extracted from the<br /> Queen of Feb. 25:<br /> <br /> The Author is sent to me every month, and from no<br /> comic paper do I get so much enjoyment. Its delightful<br /> suggestions as to why editors should not be compelled to<br /> do this and publishers to do that are really too funny.<br /> <br /> By the way, the Author has a double function in<br /> journalism. It not only trots out the woes of authors and<br /> journalists, and the iniquities of publishers and editors, but<br /> it gives these last a hint or two. I, for example, know an<br /> editor who says he never knew how ridiculously he overpaid<br /> his contributors until he read in the Author the plaints of<br /> some of that unhappy class. May.<br /> <br /> The only reason why these little malignities,<br /> which do us no harm, are continually perpetrated<br /> must be that some person who ardently desires<br /> to rob and sweat writers has been either prevented<br /> or detected. The Author has certainly done good<br /> service both to publishers, editors, and writers<br /> alike, by ascertaining the law as it exists with<br /> regard to their contracts, and it will go on in<br /> the same course. The present relations of editor<br /> and contributor in all high-class journals, daily,<br /> weekly, or monthly, are apparently quite satis-<br /> factory, and it certainly is not the mtention or<br /> the desire of this journal to interfere with,<br /> or to disturb, these relations. As regards the<br /> treatment of certain writers by the humbler<br /> journals—the miserable pay, the delay in pay-<br /> ment, the refusal of payment—the Author will<br /> certainly not desist from the publication of these<br /> facts. The writer of the above paragraphs has a<br /> friend—they are probably kin spirits—who has<br /> found out from this paper how ridiculously he<br /> overpays his contributors. Very likely. There is<br /> everywhere a lower deep. The only figures pub-<br /> lished here have been those of the worst kind of<br /> sweaters. One can always, in sweating, “ go one<br /> better ” than the worst sweater on record. Yes;<br /> many a hint may be picked up from the Author<br /> by the sweater.<br /> <br /> <br /> <br /> <br /> <br /> I am asked by Mr. Colles to call attention to<br /> two or three points in connection with the<br /> Authors’ Syndicate. They are these: (1) That<br /> the report for the year 1892 has been prepared<br /> and is now ready; (2) that the accounts have<br /> been examined by professional auditors, Messrs.<br /> Oscar Berry and Carr, and that they certify to<br /> the effect that no moneys have been expended<br /> except on the necessary establishment, so that<br /> nobody makes any profit except the authors<br /> themselves. I should like to add that, to my<br /> certain knowledge, Mr. Colles has made very<br /> considerable pecuniary sacrifices in carrying on<br /> this work. Many difficulties were interposed at<br /> the outset. The more successful authors for the<br /> most part were already pledged to others or<br /> <br /> 363<br /> <br /> engaged a long way ahead. It was difflcult to<br /> persuade authors that this was not a scheme for<br /> personal plunder, even though the Syndicate<br /> sprang out of the Society itself. The difficulty<br /> now appears to be, that while authors accept the<br /> work done for them, they seem to think that it<br /> should be done for nothing. Well: but there are<br /> clerks to pay; rent, stationery, postage—the last<br /> item alone is about £5a month. Is Mr. Colles to<br /> give all this as well? This grumble is called for<br /> by the fact reported to me that some who have been<br /> greatly helped by the Syndicate—helped, I mean,<br /> to the extent of getting work placed where they<br /> could not by themselves have placed it—have<br /> resented the small charge which the Syndicate has<br /> imposed, There may, again, be some suspicion<br /> in the minds of members, that the so-called<br /> “advisory committee” have knowledge of the<br /> private and pecuniary affairs of those whose work<br /> goes to the Director. They may rest assured<br /> that this is not the case. The ‘advisory com-<br /> mittee” are only there in order to act as referees<br /> in case of dispute or misunderstanding. Its<br /> members are not informed of the transactions<br /> undertaken by the Director—who is sole Director<br /> —and they are not in any other way responsible<br /> for the conduct of the Syndicate.<br /> <br /> <br /> <br /> <br /> <br /> A correspondent, writing on the question of<br /> remuneration for articles and stories supplied to<br /> magazines, compares the writer who accepts a<br /> miserably small fee with a general practitioner<br /> who charges sixpence for advice with a bottle of<br /> physic. Such a man, he says, is deservedly held<br /> in contempt. Quite so. And an author who<br /> writes for a few shillings a column stands<br /> certainly in the same rank as_ the sixpenny<br /> “doctor,” and is entitled to all the contempt,<br /> whatever that may be, which poverty deserves.<br /> But our correspondent must note that the SIX-<br /> penny medical adviser cannot be got rid of. He<br /> is necessary. So—alas!—is the sixpenny author.<br /> Tt isa lamentable fact that men and women are<br /> found to write for next to nothing. Necessity<br /> compels them; the sweater is merciless. It 1s<br /> also lamentable that many magazines are simply<br /> not able to pay those who stand above the<br /> sixpenny author. “The only way,” says my<br /> correspondent, “to exact our just dues, is to com-<br /> bine—strike, boycott, or whatever else may be the<br /> best name for sticking up for our rights. Is it<br /> hopeless to expect this?” No, it is not hopeless.<br /> On the contrary, the combination of authors for<br /> any just and reasonable object is becoming<br /> distinctly possible and even visible. | But the<br /> possibility has not yet arrived. And it must be<br /> remembered that no hard and fast rule as to what<br /> 364<br /> <br /> is right pay for a contributor—no minimum—will<br /> ever be possible ; first, because there are so many<br /> magazines which are written for a limited circle<br /> only, e. g., the journal of the Royal Astronomical<br /> Society, a Law journal, a Cuneiform Literature<br /> journal—if there were one: and next, because so<br /> many exist which are quite poor, and are written<br /> by quite poor people, glad to take what may be<br /> offered.<br /> <br /> Ss<br /> <br /> In another column will be found the testimony<br /> of a member to the benefit he has reveived from<br /> the society. He also advocates, like Mr. Haes<br /> (Author, Jan. 1893), that the committee should<br /> do something to facilitate the publication of new<br /> books by new and unknown authors. It is one of<br /> the stock charges against us that we are helping<br /> to flood the market with new books. The exact<br /> contrary is, as our correspondent writes, the truth,<br /> that we do little or nothing for young authors.<br /> First of all, it is not part of our programme to<br /> do anything for them. We exist for the defence,<br /> not the creation, of literature. But, if we desired<br /> to help them, a thing greatly desired by many of<br /> us, what could we do? So faras I can see, nobody<br /> but himself can possibly help the young author.<br /> He often writes to me and asks for my “in.<br /> fluence”’ with editors. I know a great many<br /> editors, but there is not one with whom I have<br /> any such “influence.” Editors, strange to say, are<br /> guided solely by the interests of their papers.<br /> Nobody, therefore, can help the young author<br /> but his own wit and his own pen. At the same<br /> time, if our correspondents can suggest anything,<br /> the advice would be gratefully received. “It has<br /> been proposed that the Society should recommend<br /> works, and that publishers should accept their<br /> recommendations. Very good, and if I were a<br /> publisher I should give to the opinions furnished<br /> by the Society’s readers respectful considera-<br /> tion, but I,should still refer the MS. to my own<br /> reader.<br /> <br /> The Authors’ Club has its rooms at Whitehall<br /> Court nearly ready; the Club will take up its<br /> quarters in a week or two; the next monthly<br /> dinner will be held in the new rooms. The<br /> Directors invite all the members of the Society to<br /> inspect the rooms. The shares have been taken<br /> up very well so far; the original number, how-<br /> ever, is not yet allotted. The design of the<br /> Directors has been to provide a club which shall<br /> be simple in its fittings, good in everything<br /> provided, and extremely cheap. Every member<br /> will be supposed to know every other member; the<br /> situation is as central as can be desired. As a<br /> cheerful, but not a noisy, club, as a meeting-<br /> <br /> THE AUTHOR.<br /> <br /> place of men of letters, as a central place for<br /> lunch, dinner, or supper, or as a place for quiet<br /> work, it is hoped to make the club attractive and<br /> pleasant. The “ Uncut Leaves” will continue. The<br /> Chairman is Mr. Oswald Craufurd, C.MG. The<br /> Honorary Secretary is Mr. Douglas Sladen,<br /> <br /> Is marriage fit for literary men? The question<br /> is treated in a little volume published in the year<br /> 1769 by one P.H.M.D. It professes to be a trans-<br /> lation from the Italian of one Cocchi, formerly a<br /> physician, of Florence. The subject is treated from<br /> many points of view: that of passion; that of affec-<br /> tion; that of friendship; that of esteem ; that of<br /> the weakness and frivolity of women—our author<br /> is not polite to the other sex—and many others.<br /> The literary man, it appears from the book, is unfit<br /> for the state of marriage for many reasons. He<br /> cannot bear the ignorance and the folly of women,<br /> their love of fashion, their ungoverned tempers—<br /> the author was an Italian—the necessity of re-<br /> ducing a shrew to silence is “ most disagreeable<br /> to a thinking and literary man.’’ He cannot bear<br /> the expense and trouble of children. He does<br /> not want to be hampered with the new ties of his<br /> wife’s relations. Unless he marries a woman with<br /> money he increases that poverty which is the<br /> recognised accompaniment of the literary calling,<br /> “otherwise the poor devil of a husband, oppressed<br /> by grinding poverty, must be overwhelmed with<br /> want and misery; for a wretched man of genius,<br /> with a wretched wife and a group of wretched<br /> children, is a most shocking sight and a flagrant<br /> disgrace to literature.” Finally, the literary man<br /> must not allow his mind to be disturbed from his<br /> favourite occupations and concentrations by the<br /> light thoughts of love or the desire to pay court to<br /> a girl, or to find amusement for a wife. The<br /> question is so thoroughly and completely<br /> answered that there is not a word to be said<br /> on the other side, except, perhaps, that all the<br /> arguments apply with equal force to every pro-<br /> fession or vocation whatever. And in spite of<br /> this excellent and convincing body of argument,<br /> literary men have gone on marrying as much as<br /> any other men. Perhaps that is the chief cause<br /> of the inferior nature of modern literature.<br /> <br /> The Zimes, taking its figures from the ‘‘ News-<br /> paper Piess Directory,” points out that while in<br /> the year 1846 there were 551 journals—weekly<br /> or daily—published in Great Britain, there are<br /> now 2268; that while there were then only 14<br /> daily papers, there are now 192; that there are<br /> to-day 1961 magazines, mostly monthly, and that<br /> 456 of these are of a religious or sectarian<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> kind. The population of these islands was then<br /> 26,000,000. It is now 37,000,000. There was<br /> then one newspaper to every company of 47,000<br /> people ; there is now one for every company of<br /> 16,300; while, therefore, the population has<br /> increased by less than 50 per cent., the propor-<br /> tion of papers to population has increased. three-<br /> fold. But even this means little, unless we con-<br /> sider the increase in circulation as well as in the<br /> number of papers, and this has gone up in-<br /> credibly. Sixty years ago the Daily News, the<br /> Daily Telegraph, the Standard, the Daily<br /> Chronicle did not exist. The combined circula-<br /> tion of the London daily papers alone must now<br /> be three-quarters of a million. And we must con-<br /> sider the vast improvements in the provincial<br /> papers. Some of them are as well written, as<br /> ably supplied with news, as imperial or national<br /> in their character, as a great London daily.<br /> Where is the house in the whole country, removed<br /> by but one step from the working man’s house,<br /> which has not its morning paper? Inthe trains,<br /> in the omnibuses, in the trams, all the people are<br /> reading—when they are not reading the paper<br /> they are reading a magazine. It is difficult to<br /> realise this vast—this enormous—increase in the<br /> area of readers; we cannot understand that<br /> men hitherto thought hardly worth considering<br /> as factors of the national intelligence, whose<br /> vote we have granted grudgingly, and still regard<br /> the act with regret, actually read the same lead-<br /> ing articles, debates, speeches, arguments, and<br /> news, as ourselves. They are taught the same<br /> doctrines; they are led by the same considera-<br /> tions. Nothing of all the changes that a middle-<br /> aged man remembers is so extraordinary as this<br /> change of Great Britain and Ireland into a<br /> nation of readers. They do not, as yet, greatly<br /> desire books; but that will come; it is, indeed,<br /> fast coming. What the influence of the demand<br /> upon literature will be one hardly ventures to<br /> predict. Enormous popularity for a few writers,<br /> certainly. What writers? Purveyors of trash<br /> and garbage? I think not. The penny novelette ?<br /> This is the literature of the servant-maid and<br /> the factory girl. They will always be with us.<br /> <br /> Men will not read the penny novelette. What<br /> will they read? Fiction? Perhaps. But it<br /> will have to be dramatic. Trash? Not much.<br /> <br /> Poetry? I fear not. History, politics, socio-<br /> logy of the simpler kind, science of some kind—<br /> books on these subjects will, I believe, become in<br /> great demand. Life to the craftsman is a serious<br /> thing ; he will read, as he works, seriously. There<br /> will also be produced for the baser sort a litera-<br /> ture just as base as the law allows. Meantime,<br /> <br /> those who consider the revolution which is quietly<br /> going on, of which we unconsciously form a part,<br /> <br /> 365<br /> <br /> will do well to watch the popular journals, and<br /> above all, the popular magazines, which circulate,<br /> not by thousands like their respectable elder<br /> brothers, but by hundreds of thousands—and to<br /> inquire carefully into the characteristics of these<br /> magazines. For they indicate what this new<br /> nation of readers will want to read.<br /> <br /> ————$ &gt;<br /> <br /> We are going to make an attempt to carry into<br /> effect a proposal advanced in a nother column<br /> (p. 373) and to institute in the Author a Register<br /> of Books wanted. This paper circulates exclu-<br /> sively among men and women of letters, so, if they<br /> please to make known their wants in these<br /> columns, the fact will certainly become known<br /> among our friends the second-hand booksellers,<br /> who have at present, so far as is known by the<br /> writer, no means at all of knowing what their<br /> customers are looking for. We will begin with the<br /> nextnumber. Care will be taken that the booksellers<br /> shall learn what we are attempting. Most of us<br /> have friends among these benefactors of literary<br /> men and women, and would willingly oblige them<br /> if we can. Even by reading their catalogues it is<br /> impossible for us to ascertain if they have what<br /> we want, because a catalogue does not contain a<br /> tenth part of the books which form a large book-<br /> seller’s stock, And we have no time to go about<br /> from shop to shop inquiring what they have.<br /> <br /> What isto be done with those booksellers’ assis-<br /> tints who save themselves trouble, and injure<br /> their masters’ interests, by saying that a book is<br /> out of print? Theard the other day this anecdote<br /> of a certain bookseller’s assistant in a well-<br /> known watering place. A clergyman, either in<br /> a lecture or a sermon, invited his congregation<br /> to read a book belonging to Arrowsmith’s well-<br /> known Bristol Library. They therefore asked<br /> for it at the shop. “Out of print” was all<br /> the answer they could get. One of them asked<br /> me for information as to the cause of this eclipse<br /> of the book. I wrote to headquarters at once,<br /> and learned that, as I expected, the Bristol Library<br /> is very much alive indeed. Perhaps that young<br /> man somehow will hear of it.<br /> <br /> ————<br /> <br /> The Lady’s Pictorial announces that the<br /> Society of Authors “ will in future allow young<br /> poet members to read aloud their unpublished<br /> works at the Society’s festive gatherings!” The<br /> Society, unhappily, has no festive gatherings<br /> except the Annual Dinner, and the committee<br /> have not yet expressed their intention of having<br /> <br /> <br /> 366<br /> <br /> unpublished poems read at the Banquet; there-<br /> fore, the Lady’s Pictorial has been wrongly in-<br /> formed. The Authors’ Club has started the<br /> “Uncut Leaves” readings, but the Club is not<br /> the Society. The writer goes on to say that the<br /> poet is sure to read his things very badly, and<br /> gives reasons for this opinion. Alas! Theory<br /> and practice so often contradict each other!<br /> There is so much of independence even in a poet.<br /> So far, the poets have read their verses admirably.<br /> <br /> <br /> <br /> Should we—it has been suggested — hold<br /> memorial lectures on our deceased members ?<br /> Why not? We should have a Tennyson—a<br /> Browning—a Lowell—a Matthew Arnold—a<br /> Wilkie Collins—a Charles Reade — Memorial<br /> Lecture. Should it be held every year? And,<br /> if so, for how many years in succession? And<br /> who is to decide upon its continuation? Should<br /> it be a plébiscite of all the members? And<br /> who should deliver the lectures? The idea is<br /> interesting, but opens up many questions.<br /> <br /> <br /> <br /> Here is a case which seems to warrant us in<br /> asking assistance from our members. The lady<br /> is one of those who write stories for girls. Her<br /> stories are very good, and, I believe, popular. TI<br /> have submitted two of them to the criticism of<br /> the age for which they are written, and have<br /> obtained a review most laudatory. I have not<br /> myself read the books, because I am neither a<br /> maiden nor am I young. This lady was attacked<br /> by influenza last year; her chest was affected ;<br /> she could do no work for many months. The<br /> Royal Literary Fund found itself unable to help<br /> her. She has two young nieces or cousins<br /> to support ; she has no private means at all ; she<br /> is too weak to undertake any other kind of work.<br /> Indeed, she can do no other kind of work. She<br /> is now in debt to her doctor and to her landlady.<br /> Perhaps some of our readers will take pity on<br /> this poor lady, and send her something. If they<br /> will have confidence, so far, in me, I will receive<br /> and forward anything, and I will communicate the<br /> name and address of the lady to the donor.<br /> <br /> <br /> <br /> A libel case was recently heard before the courts<br /> in which a close relation to the author of a certain<br /> work had been callednames. The thing is new in<br /> criticism, and introduces quite a novel terror. We<br /> may shortly expect to see the parents, brothers,<br /> sisters, children, of an author, trembling lest the<br /> daily paper should bring them, too, into the scathing<br /> review of the new book. The case, otherwise, does<br /> not concern ourselves, except for a remark which<br /> <br /> THE AUTHOR.<br /> <br /> was made by the counsel for the plaintiff. He ig<br /> reported to have said, “ Authors must, of course,<br /> in these days expect harshand brutal criticism from<br /> the Press, and the law protects them with the shield<br /> of what is humorously called ‘ the doctrine of fair<br /> criticism.’”” The counsel for the defence did<br /> not repudiate this statement, nor did the judge<br /> object to it; the statement was accepted. Dowe,<br /> then, expect harsh and brutal criticism? Is the<br /> criticism of the Press always harsh and brutal ?<br /> Certainly not. We neither expect brutality, nor,<br /> as a rule, do we receive brutality. The bludgeon<br /> is, happily, going out of use; the laws of good<br /> manners are, for the most part, obeyed, even in<br /> criticism. But one notes the statement here as<br /> showing the popular estimation of criticism. Old<br /> habits of thought are very difficult to change.<br /> An author is still, in the mind of the world, a<br /> helpless, starving wretch ; a publisher is a man<br /> with a great bag of gold, which he distributes<br /> capriciously to needy authors, losing by all his<br /> books, and getting rich on the quantity ; a critic<br /> is still a man with a bludgeon. Little by little we<br /> may change these views. Meanwhile, they linger.<br /> <br /> <br /> <br /> A correspondent tells me that the Society for<br /> Promoting Christian Knowledge has adopted a<br /> new and uniform system in buying books. That<br /> is to say, they now pay £1 for every penny in the<br /> published price, or £30 for a 2s. 6d. book, £60 for<br /> a 5s. book and soon. I do not know if this infor-<br /> mation is correct, but let us see how it might work<br /> out. A 5s. book would presumably be less costly<br /> than a6s. book. Let us take off only 10 per cent.<br /> from our published estimate. Now, a 6s. book in<br /> small pica, of seventeen sheets, and about 258<br /> words to a page can be produced, according to our<br /> published estimates, for an edition of 3000 at less<br /> than £146. Let us therefore estimate £128 for<br /> the 5s. book, and let us grant £20 for advertising.<br /> We have, therefore, the following table :<br /> <br /> Cost :—<br /> <br /> &amp; s. d.<br /> <br /> Composition, Printing, Binding, Paper, Adver-<br /> Tsing ee 148 0 0<br /> Author a 60 0 0<br /> Totals Ge 208 0 0<br /> <br /> By Sales :—<br /> <br /> Baad<br /> 3000 copies at Be. 2... 450 0 0<br /> Profit to SPOCK oe 242 0 0<br /> Profit to Author... 60 0 0<br /> <br /> Now, I do not adopt my correspondent’s statement<br /> as true, but I put the case, and what it would<br /> mean, supposing it to be true. Observe that in<br /> all future editions, the whole profit would go to<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> the Society.<br /> in approaching the question from the equitable<br /> <br /> There are two. simple considerations<br /> <br /> or righteous or religious point of view. First,<br /> whether the wage paid to the author is a just<br /> and proper wage, with reference to the commercial<br /> value of the work, the time given to the work, the<br /> character of the work, the position of the work-<br /> man in the craft, and the necessities of life.<br /> Second, the proportion which the distributor of<br /> the work should receive for himself, and, therefore<br /> the proportion which the creator of the work<br /> should receive. With regard to the first, there<br /> are not many who could produce two good books<br /> of this kind ina year. To give, therefore, no<br /> more than £60 could only be defended on the<br /> ground of a very limited sale. To give only £60<br /> when the publisher knows that he is going to make<br /> four times—six times—ten times that amount<br /> is—what? Is it not, in the case of a religious<br /> society, to cumber the courts of the Temple with<br /> the stalls and tables of the money-makers? I<br /> shall be glad to hear that my correspondent has<br /> been misinformed.<br /> <br /> So<br /> <br /> At last—after all these years—there is to be a<br /> life of Douglas Jerrold, with his letters. It is<br /> very much to be regretted that, while there are<br /> still two or three authors living who remember<br /> that group of writers of which he was one, some<br /> account of the literary circles of the Forties and the<br /> Fiftics has not before this been written down.<br /> The life abovementioned will be written by Mr.<br /> Walter Jerrold.<br /> <br /> <br /> <br /> In every college and in every University, except<br /> Cambridge, there is a Professor of English<br /> Literature. But I have never heard that any single<br /> Professor in any college or university, English<br /> or American, has ever given a course of lectures<br /> on the History and Development of the Novel.<br /> Single lectures by professors and critics have<br /> undoubtedly been delivered. And we all know<br /> that when subjects are lacking, an article on the<br /> Decay of the Modern Novel by one who cannot<br /> write novels and never reads any ; or by one who<br /> has written novels and failed; can always be put<br /> into a magazine to fill up. But, so far, learned Pro-<br /> fessors have avoided the subject, being themselves,<br /> probably, under the illusion so beautifully ex-<br /> pressed by a recent lady writer in the Spectator<br /> that novels grow of their own accord, and that the<br /> novelist has only to sit down and write. Strange,<br /> that a Fine Art should have grown up all over<br /> the world in. the last two hundred years without<br /> the least recognition until recently—and even<br /> now only grudgingly—that it is one of the<br /> Fine Arts! Mr. Brander Matthews, Professor<br /> <br /> 367<br /> <br /> of English Literature in Columbia College,<br /> has been holding a course of lectures on the<br /> History of Fiction and the Development of the<br /> <br /> Modern Novel. He has up to the present<br /> reached the beginning of this century. He has<br /> sent me the enclosed examination paper. I pre-<br /> <br /> sume, from the date upon it, that the examina-<br /> tion was held on Feb. 7, so that no mischief will<br /> be done by publishing the paper for our readers.<br /> <br /> CoLumBIA COLLEGE IN THE City oF New YoRK.<br /> Mid-Year Examination.<br /> LITERATURE II.<br /> <br /> 1. Explain the successive stages of the development of<br /> the art of fiction from the Gesta Romanorum to Don<br /> Quixote.<br /> <br /> 2. Explain the distinction between the Rabelaisian tradi-<br /> tion and the Cervantine. Give the names of such writers<br /> of fiction as are followers of Rabelais. Give the names of<br /> such as are followers of Cervantes.<br /> <br /> 3. Explain what is meant by the sense of form. Mention<br /> several works of fiction having the merit of form; and give<br /> your reasons for crediting them with this quality.<br /> <br /> 4. Give a brief sketch of the life either of Cervantes or of<br /> Goldsmith.<br /> <br /> 5. Give a brief outline of the plot either of Clarissa<br /> Harlowe or of Pride and Prejudice.<br /> <br /> 6. Give a critical explanation for the abiding popularity<br /> of Robinson Crusoe and of Gulliver’s Travels.<br /> <br /> 7. Arrange the following in chronological sequence, giving<br /> the dates of publication and the full names of the authors :<br /> Sorrows of Werther, Tristram Shandy, Vicar of Wakefield,<br /> Humphrey Clinker, Tom Jones, Paul and Virginia, Castle<br /> Rackrent.<br /> <br /> 8. Why is the Castle of Otranto important in the history<br /> of fiction? Why is the Princess of Oleves? Why is Paul<br /> and Virginia? Why is Wilhelm Meister ?<br /> <br /> 9. Do women novelists regard life from a different point<br /> of view from men? Llustrate your answer from the novels<br /> of Madame de Lafayette, Miss Edgeworth, and Miss Austen,<br /> as compared with the novels by Le Sage, Fielding, and<br /> Goethe.<br /> <br /> 10. What benefit, if any, have you derived from this<br /> course P<br /> <br /> Tuesday, Feb. 7, 1893.<br /> <br /> oo<br /> <br /> What a fine field would be open to the Society<br /> if we could institute examinations for critics,<br /> so that no one should be allowed to criticise any-<br /> thing without our certificate! Imagine the wail-<br /> ing when the uncertificated critic should find him-<br /> self firmly put aside! For the examinations<br /> would have to be stiff. The dramatic critic would<br /> have to show that he knew the principles of<br /> dramatic art; that he had read and studied the<br /> plays of two countries at least ; and that he could<br /> himself construct a play—if not a great play, at<br /> least a play artistically constructed. And so with<br /> everything else. The Society could, as we said<br /> last month, confer those magic letters which are<br /> so ardently desired by the members of the Society<br /> mentioned below, though the Society of Authors<br /> will never, I fear, rise to the Greatness of a<br /> <br /> <br />  <br /> <br /> 368<br /> <br /> Gown and Hood, a Ring, and a Badge; the<br /> Badge, especially, we must regret.<br /> <br /> &lt;&lt;<br /> <br /> There exists—one is happy in making it. better<br /> known—an association known as the Society of<br /> Science, Letters, and Art, of London. The<br /> “International” Society of Literature and<br /> Science, under the management of the notorious<br /> Morgan, is immediately suggested by this title.<br /> There is, however, no connection between the two<br /> societies, and very little resemblance. Morgan’s<br /> association was a bogus: this is a real thing, é.e.,<br /> it actually does, as shall be shown, what it<br /> professes to do. You can:become a “ Fellow ” of<br /> the society, and you can call yourself F.8.Sc., by<br /> sending a trifling subscription of two guineas a<br /> year. Think of being an “ F.S.Sc.”—nothing<br /> short of that—for two guineas a year! There, as<br /> the advertisers say,is Value! If you can only<br /> afford a guinea, you can still be a Member. The<br /> following is a list of the splendid achievements<br /> of the society up to the present date :—First,<br /> they meet once a month, and, after passing<br /> minutes and electing more distinguished men,<br /> who want nothing but the F.S.Sc. to complete<br /> the glory of their career, they sing songs and<br /> listen to papers. Many of the Fellows have,<br /> it 1s stated—actually, many !—written books—<br /> actually, books !—in Science, Literature, and<br /> Art. The society has endeavoured to introduce<br /> Volapuk—a most useful attempt. The society<br /> has issued a register of American colleges, a step<br /> calculated to advance enormously the cause of<br /> Science, Literature, and Art in this country. The<br /> society has photographed a map. The society has<br /> given women a new occupation—that of cameo<br /> cutting. The society has sent papers to exhibi-<br /> tions. And the society has instituted a set of<br /> examinations called the Kensington Locals. In<br /> fact, the work of this society, except for its<br /> song-singing, reads exactly like a parody of<br /> that of the Society of Arts—local examinations<br /> and all. But, as was said above, it is manifest<br /> from the account of their work that this is<br /> no bogus society. The committee do what they<br /> profess to do. But is it not wonderful that<br /> 2000 people—they say there are 2000 members—<br /> should pay two guineas a year for the sake of<br /> calling themselves F.S.Sc.? And is it not more<br /> wonderful still that schools should be found to<br /> prefer the examinations of such a body to the<br /> examinations of Oxford and Cambridge? It is,<br /> however, stated, and this is so far satisfactory,<br /> that the accounts are duly laid before the<br /> members, and “ passed unanimously.” Humph<br /> <br /> <br /> <br /> —Yes—But—are they audited and published ?<br /> We must not forget to mention that the<br /> <br /> THE AUTHOR.<br /> <br /> Fellows are entitled to wear Gowns and Hoods,<br /> and to carry a gold or silver Badge, thus resem.<br /> bling a Master of Arts, a parish Beadle, and an<br /> omnibus Conductor all rolled into one. Think of<br /> the Glory of it! 4<br /> <br /> <br /> <br /> <br /> <br /> Atarecent meeting of the Society of American<br /> Authors (Colonet Thomas Wentworth Higginson,<br /> President) Mrs. Kate Tennant-Woods, among<br /> others, was elected a member. The importance<br /> of this election, over and above the adhesion of<br /> Mrs. Woods to the Society, lies in the fact that<br /> some years ago Mrs. Woods organised an associa-<br /> tion of ladies only, called the “ Guild of Authors,”<br /> and that by this election she acknowledges that<br /> all literary men and women should write and work<br /> together for the common object.<br /> <br /> <br /> <br /> An American magazine was so very good, the<br /> other day, as to expose the tricks, cajolements,<br /> and flatteries and arts by which autographs are<br /> procured, and persons whose autographs are<br /> desired, are induced to write letters. After this<br /> exposure, the following note may perhaps be<br /> regarded as suspicious:<br /> <br /> Dear Sir,<br /> <br /> Will you kindly tell me your opinion of Alphonse Daudet<br /> compared with Dickens as a novelist ?<br /> <br /> I see that a critic in one of our magazines says his<br /> <br /> “Sappho” is infinitely better than anything Dickens ever<br /> wrote.<br /> <br /> Tam personally unknown to you, but should like very<br /> much to know what you think of this, and trust, if your<br /> time permit, you will answer,—Very respectfully<br /> <br /> An AMERICAN ADMIRER OF YouRS.<br /> <br /> Then follows the name and address, at a “ whole-<br /> sale Dry Goods and Notions” establishment.<br /> The writer, bearing in mind the article referred<br /> to, must not take it unkindly if no answer should<br /> be sent.<br /> <br /> <br /> <br /> The book of the month is Mr. Walter Pater’s<br /> “Plato and Platonism” (Macmillan and Co.).<br /> Another book of the month is Mr. W. F. Smith’s<br /> Translation of Rabelais, noticed elsewhere. &#039;To<br /> this a third may be added in “Salome,” the<br /> forbidden play by Oscar Wilde.<br /> <br /> Watter Besant.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Ae<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE, AUTHOR. 369<br /> <br /> THE PROFESSOR’S PHENIX.<br /> <br /> <br /> <br /> o ATHER, couldn’t you make the story end<br /> <br /> -K there? It is such a pretty bit—it seems<br /> <br /> a pity to add anything more.”<br /> <br /> “No, no, my dear ; you don’t understand. The<br /> paragraph you want to suppress is the most<br /> important in the book. Are you ready ? Then<br /> let us proceed.”<br /> <br /> And the Professor resumed his slow tramp up<br /> anddown the room, his hands clasped bekind him,<br /> his eyes rolling “in fine frenzy” in spite of their<br /> restlessness, while he dictated certain ponderous<br /> sentences with the air of a man inspired.<br /> <br /> “There, Ihave done!” he cried at last. “‘ This,<br /> I think, should rouse the world. It will be<br /> forced to hear my voice now—though I stand on<br /> the threshold of the grave, I have strength<br /> enough left to drive the lesson home. The world<br /> must hear—must attend. This voice of mine will<br /> preach to it still when I myself have passed away ;<br /> this book will be as it were a Phcenix rising from<br /> my ashes—unique, beautiful, strong. Oh, glorious<br /> thought !”<br /> <br /> He threw himself into an arm-chair, resting<br /> his white head on his hands, and smiling to him-<br /> self; but presently he sighed.<br /> <br /> “ Ella, if this work is not recognised I think I<br /> shall die! But it cannot fa&#039;l—it is a beautiful<br /> story. You, even you, can see that it is a<br /> beautiful story.”<br /> <br /> “Yes, yes,” cried the girl eagerly ; “ it is a<br /> beautiful story—one of which I could never<br /> tire—”’<br /> <br /> “ Full of fancy and delicate feeling ¢<br /> <br /> “ Full of fancy and feeling.”<br /> <br /> “And then the style,’ went on the old man,<br /> leaning forward and speaking excitedly, “ culti-<br /> vated, polished, dignitied; every word giving<br /> evidence of erudition and research. As for the<br /> message which it is given to me to deliver, do I<br /> not trumpet it forth for all the universe to hear?<br /> Why, each page contains its lesson. Iam a<br /> teacher, Ella, a teacher before everything, and<br /> this book is, I may say, an epitome of all my<br /> other work ; it is the ripe and perfect fruit of all<br /> my wisdom and experience—it must succeed.”<br /> <br /> The girl rose, and, leaning over her father’s<br /> chair, drew him gently backwards so that his<br /> head rested on the cushions. Then she kissed<br /> his upturned face.<br /> <br /> “You must rest,” she said; “your work is<br /> done.”<br /> <br /> “Yes, yes,” he assented, “it is done, and I<br /> await the reward. Make a parcel of the manu-<br /> <br /> script quickly, dear; we must send it off at<br /> once.”<br /> <br /> ”<br /> <br /> Ella gathered up the papers, and left the room<br /> stifling a sigh. For well she knew what was<br /> likely to be the result of her father’s labours,<br /> All his life he had been fanciful, and imprac-<br /> ticable, and didactic. He could indeed conceive<br /> a charming story, rich in incident, full of delicacy<br /> and tenderness; but he invariably marred it m<br /> the telling. He must needs paint his lily; he<br /> must point his moral and adorn his tale. No<br /> simple everyday language was good enough to<br /> convey his meaning; he must wrap it round in<br /> a curious antiquated jargon of his own, illustrate<br /> it with a thousand flowery figures of speech,<br /> interlard it with cheap wisdom and secondhand<br /> philosophy. He had a passion for teaching, poor,<br /> good, simple old fellow! and having long ago<br /> resigned his Professorship, and being unable of<br /> late years, by reason of his blindness, even to<br /> take pupils, he had devoted himself to the task<br /> of instructing the world at large. Treatises,<br /> essays, tales — he composed them by the dozen,<br /> and Ella’s little fingers ached with writing them ;<br /> but as he was too poor to bring them out at his<br /> own expense, no publisher could be induced to<br /> produce them, and, indeed, it is doubtful if, even in<br /> the event of their seeing the light, anyone could<br /> have been persuaded to read them.<br /> <br /> “ Dear father,” Ella would say, half pleadingly,<br /> half impatiently, “if you would only let me write<br /> your stories as you tell them to me sometimes, as<br /> we piece them together by the fire, in—in plain<br /> words, I know they would be more successful.”<br /> <br /> “ Nonsense, child! What are you thinking<br /> of? I tell them to you in that way, to give you<br /> just an idea of them; but when I speak to the<br /> world I must use language of a different kind—<br /> language that readers of intellect and learning<br /> may not cavil at.’ And another overwhelming<br /> sentence would come booming out. It seemed to<br /> Ella in her despair that every remonstrance ot<br /> hers rendered his phraseology more bombastic,<br /> and whetted his appetite for words of five<br /> syllables.<br /> <br /> “ ] think his heart will break if this book fails<br /> too!” she thought as she mounted the stars.<br /> “ And yet of course it must. Poor dear! as he<br /> says, he has put all his wisdom, all his wisdom<br /> in it—all those dreadful little bits which ruined<br /> his other books, and those terrible long words<br /> which make one feel hot all over!”<br /> <br /> She had gained her room, now, and unlocking<br /> a drawer took out the remainder of the manu-<br /> script.<br /> <br /> « Let me see, though ; perhaps, after all it is i<br /> that am wrong in not sufficiently appreciating it.<br /> Let me try to imagine myself a publisher’s reader<br /> <br /> lancing through the work for the first time.”<br /> <br /> She sat down and read half a page with a<br /> <br /> A A OIE<br /> <br /> <br />  <br /> <br /> 37°<br /> <br /> most business-like expression on her small, bright<br /> <br /> face. She was small and bright altogether, this<br /> little eager creature—small and bright and<br /> brown. Her eyes were bright and brown, too,<br /> <br /> but large—the only Jarge things about her—and<br /> very alert and intelligent. She had little quick<br /> movements, and saucy ways, and occasional<br /> flashes of temper, such tiny flashes that people<br /> only laughed at them. Her father called her<br /> The Robin, and the name suited her.<br /> <br /> “Tt’s no use!’ she sighed presently, pushing<br /> away that MS. “Oh, my dear precious old<br /> father, why will you not do justice to yourself ? ”<br /> <br /> When the parcel came back—as was inevitable<br /> —from the publisher towhom Ella had entrusted<br /> it, it chanced that the Professor was unwell, and<br /> the girl, not liking to distress him, concealed the<br /> fact of the failure of his book from him. She<br /> undid the fastenings, and glanced mechanically<br /> through the: papers. The first two or three<br /> pages were slightly soiled indeed, but the<br /> remainder were painfully, ironically clean—a<br /> very little of the intellectual feast within had<br /> apparently sufficed to satiate the reader. And<br /> yet, as Ella turned overthe pages with a kind of<br /> ind&#039;gnant anguish, her eyes fell on the descrip-<br /> tion of what was really a pretty scene, deliberately<br /> imagined. The old man had in truth something<br /> to say if he did but know how to say it!<br /> <br /> Suddenly a thought struck the girl, so daring,<br /> so tremendous, that she reddened to the very<br /> roots of her hair, and her heart began to thump<br /> wildly.<br /> <br /> “Tl do it,’ she said. “It’s wicked, it’s de-<br /> ceitful ; it’s base in every way, but I’ll do it. He<br /> shan’t break his heart—his dear, kind old heart—<br /> he shan’t be disappointed again; his story shall<br /> be read!”<br /> <br /> She sat down then and there, and wrote out the<br /> first chapter of her father’s book in her own way<br /> and her own words. Those big eyes of hers were<br /> not -o wide open and intelligent for nothing, and<br /> those curly brown locks covered a very clever little<br /> head. Sbe had read much and appreciatively, and<br /> was, besides, endowed with a naturally acute<br /> literary sense, a nice perception of artistic pro-<br /> portion. As she went on the work interested<br /> her more and more; the characters became real<br /> to her ; and by-and-bye, not content with lopping,<br /> and paring, and reproducing, she began to develop<br /> and to create. After many days, the book was<br /> finished, and she read it through, startled at her<br /> own temerity, and yet triumphant at her success.<br /> The success was undeniable. The theme, always<br /> fascinating and now divested of its florid orna-<br /> mentation, proved itself to be a fine melody,<br /> <br /> appealing to the heart with direct and simple<br /> force.<br /> <br /> THE AUTHOR.<br /> <br /> Palpitating with anxiety Ella despatched the<br /> book once more, and one morning received a<br /> letter from the publisher announcing his willing-<br /> ness to produce it, and offering certain terms;<br /> not high ones, for it was a first book and in one<br /> volume, but fair. ;<br /> <br /> She went up to her father’s room to tell him<br /> the joyful news—joyful, but rather embarrassing<br /> too—how should she break. to him her share in<br /> the transaction ?<br /> <br /> He was still in bed, and looked very frail and<br /> feeble.<br /> <br /> “Father,” she began, hesitatingly, ““I—I have<br /> heard from the publisher, Mr. S<br /> <br /> “ Well, child, well? Don’t tell me he has sent<br /> back the book—don’t tell me! Iam not able to<br /> bear it.”<br /> <br /> “No, dear, no—it’s all right.<br /> keep it, he a<br /> <br /> “He wants to keep it!” cried the old man with<br /> a shout of triumph. ‘Oh God,I thank Thee!<br /> My life has not been without fruit afterall. I<br /> had a mission—you see, Ella, I was right! I<br /> knew I was right—and now it is fulfilled.”<br /> <br /> “Yes, but, dear father, I have not told you<br /> everything yet. There are—some drawbacks.<br /> The first publisher I sent it to—”<br /> <br /> “ There, Ella, I don’t wish to hear, Let me be<br /> happy for once—entirely happy! Don’t you<br /> know what a relief it is to make yourself heard<br /> when you have been calling a person for a long<br /> time? I have been calling, calling, calling, all<br /> these years, all my life, to a whole world full<br /> of people, and found no one to listen to me—<br /> not one! Think what it must be to know that<br /> my voice is heard at last. It isa relief and a<br /> joy; do not disturb the blessedness of it. Let<br /> me rest now; my work is done. I wish to hear<br /> nothing more until you place the book in my<br /> hand. I leave the management of all the minor<br /> details to you. Make what terms you like;<br /> correct the proofs. Ido not even want to know<br /> when they come, I might be tempted to alter<br /> and perhaps spoil my work, and it is perfect as it<br /> is. I must not change a word.”<br /> <br /> Ella’s intended confession died on her lips.<br /> How could she bring herself to wake her father<br /> from his dream of bliss? She wished now that<br /> she had not begun to practise this deception, but<br /> since, after all, it made him so happy, and since<br /> he was, alas! so easily deceived, why not carry it<br /> out to the end? Why need he ever know that<br /> this which he hugged to his bosom was not the<br /> child of his fancy, but a changeling? Nay, it<br /> was his child, after all—did it not owe its beg<br /> tohim? Ella had but dressed it in other clothes.<br /> So she said, trying to comfort herself and to<br /> quiet her conscience, for, as the days passed, she<br /> <br /> <br /> <br /> He wants to<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> found it mcre and more impossible to tell him<br /> the truth.<br /> <br /> When, however, at last she laid the little<br /> yolume in the Professor’s guileless hands, she<br /> acknowledged that it was worth while running<br /> any risks, and enduring any number of secret<br /> pangs to see the old man’s ecstacy. How he<br /> fondled the book! With what eager trembling<br /> fingers he examined paper and binding, with<br /> what a deep sigh of content be laid it down at<br /> last !<br /> <br /> “My Phenix, Ella!”<br /> <br /> Presently he requested her to sit down and<br /> read him the story from beginning to end, and<br /> 1etiring to a safe distance she proceeded to read<br /> the original manuscript with which she had<br /> thoughtfully provided herself, blushing fiercely<br /> with shame the while, and feeling a very monster<br /> of deceit. But the Professor had:no misgivings.<br /> He sat listening with a smile, rapturously happy.<br /> Now and then he would interrupt with an inter-<br /> jection of approval, or ask her to read a sentence<br /> or a paragraph again.<br /> <br /> “That will make a point, my dear,” he<br /> would say. “You&#039;ll see. The book will make<br /> a hit.”<br /> <br /> Curiously enough it did. This youthful render-<br /> ing of an old man’s fancy had a fresh, charm-<br /> ing, unusual flavour which suited the public<br /> taste. It went into a second edition almost<br /> immediately, and the reviews were unanimous in<br /> praise.<br /> <br /> Ella’s satisfaction, however, was not unmixed ;<br /> she lived in dread of her secret being discovered,<br /> though, thanks to the retired life led by her<br /> father, and to her judicious ‘ cooking” of the<br /> notices which she read to him, there did not seem<br /> much chance of his being enlightened.<br /> <br /> But was there ever a labyrinth of which some<br /> one did not solve the mystery? Did not the<br /> Serpent find his way even into the Garden of<br /> Eden? How could the Professor remain secure<br /> in his fool’s paradise? It happened that one of<br /> his former pupils—Bodersham by name, if that<br /> matters—a journalist and critic, but still in some<br /> ways quite human—chanced to find the name of<br /> his old tutor on the title-page of a book of which<br /> he and his brother reviewers approved, and was<br /> genuinely pleased. It seemed to him, indeed,<br /> that he could do no less than congratulate his<br /> friend in person, and accordingly one day he<br /> betook himself to the small house in the little<br /> suburb, where the old man had set up his house-<br /> hold Gods.<br /> <br /> Ella was out, but the Professor received him with<br /> pleasure, accepting his congratulations with entire<br /> satisfaction, enumerating the compliments be-<br /> stowed.on the work iv question, and speaking of<br /> <br /> AUTHOR. 371<br /> <br /> his publishers, his profits, his reviewers, with a<br /> gleeful sense of importance. “I agree with the<br /> Times,” remarked young Mr. Bodersham, presently,<br /> “the scene just before the parting of the lovers is<br /> the finest in the book. You ought to feel<br /> flattered—they have quoted nearly the whole of<br /> it.<br /> <br /> “Bh? Havethey? Let me see. Imust have<br /> missed that. I dont remember Ella reading it<br /> to me. Find it for me, that’s a good fellow.<br /> Here’s the book. Excuse the impatience of an<br /> author—a young author who has just brought<br /> out his first book! Eh? A young author of<br /> seventy-five !””<br /> <br /> He rubbed his hands and chuckled; preparing<br /> himself to listen, and already blushing with grati-<br /> tied vanity. But, as Bodersham read, the smile<br /> died out of his face, and a puzzled and startled<br /> look came there instead.<br /> <br /> “1 —T don’t remember that bit,” he said, as the<br /> young man ceased. “ What has happened to my<br /> book? I—cannot recollect—it is strange. Go<br /> on, go on—let me hear more.’<br /> <br /> Bodersham read on, but presently paused<br /> again.<br /> <br /> “ What an exquisite sentence!” he exclaimed.<br /> <br /> “ Exquisite perhaps, but not mine. I never<br /> wrote a word of it. Good God! Someone has<br /> been tampering with my book—that fool of a<br /> publisher, perhaps. Bodersham, for Heaven’s<br /> sake turn to the beginning of the chapter—does<br /> it open thus:—‘ There are sundry idiosyncracies<br /> easily recognisable in certain individuals, in whom<br /> an adept in pathognomy may readily detect<br /> infallible signs—— ’”’<br /> <br /> “No, nothing of the sort. It begins with a<br /> conversation—— ” and he read a few lines.<br /> <br /> “As I thought!” groaned the Professor.<br /> “Someone has been meddling with it—it is not<br /> my book at all—not mine, but so like it. Someone<br /> has stolen my ideas, and made another work of<br /> it. Yet then again! Taat little conversation<br /> was mine. What has happened? What shall I<br /> do? There is hideous wrong somewhere, and I<br /> am so helpless, so helpless, they can impose on Us<br /> as they like. But Ella, Ella should have<br /> known !”<br /> <br /> He fell back in his chair, panting, trembling,<br /> straining bis poor sightless eyes, and at this<br /> moment Ella walked in, rosy, fresh, smiling, and<br /> laden with packages. One glance told her what<br /> had happened, and, flinging down her purchases,<br /> she rushed to her father’s side. “It’s all your<br /> fault!” she cried, glancing furiously at the<br /> bewildered Bodersham, and immediately bursting<br /> into tears.<br /> <br /> “Qh Ella, Ella child—something dreadful has<br /> happened — something inconceivable! I have<br /> <br /> IEE<br /> <br /> <br />  <br /> <br /> 372<br /> <br /> been robbed—deceived! This is not my book—<br /> _you know it is not my book ?”<br /> <br /> “ Yes, dear, it is yours,” cried Ella, flmging her<br /> arms round his neck. “It is indeed yours—your<br /> story, and your beautiful idea, only—only a little<br /> altered and modernised. ’<br /> <br /> “Then you knew,” faltered the old man, feebly<br /> pushing her away from him. ‘ You knew—and<br /> you let them do it!”<br /> <br /> “Oh, dearest father, how shall I tell you? and<br /> yet you must know, since people will meddle so,”<br /> pausing to scowl through her tears at poor Mr.<br /> Bodersham. “It was I did it. I, Imyself! I wrote<br /> it out and changed it.”<br /> <br /> “You did it!” he repeated, almost in a<br /> whisper. ‘ You /—because I was blind!”<br /> <br /> It was the only reproach he made her, but it<br /> almost broke her heart. She threw herself on<br /> her knees beside him, kissing his hand, and<br /> gasping out her confession between her passion-<br /> ate sobs. He accepted her caresses passively at<br /> first, but, presently, moved by her distress, he<br /> stooped and kissed her.<br /> <br /> “Poor child,’ he said, “do not ery. You<br /> meant well, and of course my work was of no use.<br /> They would not have it. -But it would have been<br /> kinder not to have deceived me. Yet I should<br /> not reproach you, for I have been deceiving<br /> myself all these years I—I thought I was a<br /> venius, and I am only—a fool.”<br /> <br /> There was infinite pathos in words and tone—<br /> pathos, and a certain dignity for all their naiveté.<br /> Bodersham, standing by the table, miserable and<br /> awkward, felt a lump rising in his throat. The<br /> Professor presently addressed him :<br /> <br /> ‘“‘ Bodersham, will you be so good as to read<br /> <br /> the book to me from the beginning? It will not<br /> take you long, and I should be grateful.”<br /> _ The young man complied, his voice, somewhat<br /> husky at first but clearing and steadying itself<br /> as he went on. Ella, turning a pettish shoulder<br /> on him, curled herself up at her father’s feet, and<br /> buried her face in her hands. He listened for the<br /> most part in silence, though he interrupted<br /> now and then with a muttered commentary,<br /> There was a moment’s pause when the reading<br /> ceased, and then Ella, raising her head timidly,<br /> saw that his face was glowing, and working<br /> oddly.<br /> <br /> “My little girl,” he said, “it is beautiful. I<br /> am foolish and old . . . but I can see that.<br /> Though I should have thought,” he added, rub-<br /> bing his nose meditatively, ‘that it might have<br /> improved it to amplify a little now and then—but<br /> perhaps I am wrong. I have antiquated notions,<br /> Iknow. Ah,” he cried with sudden exultation,<br /> ‘my little bird can sing—my little bird can sing!<br /> You are a wonderful little woman. I think that<br /> <br /> THE AUTHOR.<br /> <br /> you—you—you—are my Phenix! Yes—yes—<br /> not my book at all—but you—you—you.”<br /> M. E. Francis,<br /> <br /> CARLYLE ON THE POSITION OF LITERARY<br /> MEN.<br /> <br /> <br /> <br /> HAT had Carlyle to say on the status and<br /> organisation of literary men? Take<br /> his ‘“‘ Hero as Man of Letters,” and<br /> <br /> much will be found on a subject which has<br /> received new interest and impetus from the death<br /> of the Poet Laureate. When “Hero Worship ”<br /> was written, Carlyle felt deeply on the then gene-<br /> rally disorganised condition of society:—<br /> “perhaps if we look at this of Books and the<br /> Writers of Books, we shall find here, as it were,<br /> the summary of all other disorganisations ; a<br /> sort of heart from which, and to which, all other<br /> confusion circulates in the world.” The sage<br /> dwells for pages upon the art of writing, upon<br /> the marvellous effect of writing, the revolutions<br /> it has created in thought, in art, in politics, in<br /> government, in education, in religion. It has<br /> made democracy inevitable, “it is the purest<br /> embodiment a thought of man can have. No<br /> wonder it is, in all ways, the activest and noblest.”<br /> Admitting all this, Carlyle then goes on to pro-<br /> phecy: “If men of letters are so incalculably<br /> influential, actually performing such work for us<br /> from age to age, and even from day to day, then<br /> I think we may conclude that men of letters will<br /> not always wander, like unrecognised, unregulated<br /> Ishmaelites, among us. Whatsoever thing has<br /> virtual unnoticed power will cast off its wrap-<br /> pages, bandages, and step forth one day with<br /> palpably articulated, universally visible power.<br /> That one man wear the clothes, and take the<br /> wages, of a function which is done by quite<br /> <br /> another: there can be no profit in this; this is_<br /> <br /> not right, it is wrong. And yet, alas! the making<br /> of it right,—what a business, for long times -to<br /> come. Sure enough this that we call Organisa-<br /> tion of the Literary Guild is still a great way off,<br /> encumbered with all manner of complexities. If<br /> you asked me what were the best possible orga-<br /> nisation for the Man of Letters in modern Society;<br /> the arrangement of furtherance and regulation,<br /> grounded the most accurately on the actual facts<br /> of their position and of the world’s position, I<br /> should beg to say that the problem far exceeded<br /> my faculty! It is not one man’s faculty; it is<br /> <br /> that of many successive men turned earnestly<br /> upon it, that will bring out alone an approximate<br /> solution, What the best arrangement were, none<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THe AUTHOR. 373:<br /> <br /> of us could say. But if you ask, which is the<br /> worst? I answer: This which we have now,<br /> that Chaos should sit umpire in it; this is the<br /> worst. To the best or any good one, there is yet<br /> a long way.”<br /> <br /> Thus wrote Carlylein 1840. He was convinced<br /> that the regulation of the literary life was coming.<br /> “This is a prophesy,” said he, “one can risk.<br /> For so soon as men g-t to discern the importance<br /> of a thing, they do infallibly set about arranging<br /> it, facilitating, forwarding it; and rest not till,<br /> in some approximate degree, they have accom-<br /> plished that ‘Literature will take<br /> care of itself,’ answered Pitt, when applied<br /> to for some help for Burns. ‘Yes,’ adds Mr.<br /> Southey, ‘it will take care of itself, and<br /> of you too, if you do not look to it?”<br /> Carlyle had in his mind, when he wrote these<br /> words, Jean Jacques Rousseau, driven to<br /> exasperation and lighting the torch of Revo-<br /> lution by his paradoxical writing ; and he might<br /> have added the name of Theobald Wolfe Tone,<br /> who, instead of fom-nting Irish revolution, might<br /> have been a British governor in some quarter of<br /> the Empire, had he been given employment by<br /> Pitt when he asked for it.<br /> <br /> But what would Carlyle have said to the reten-<br /> tion of the Laureateship? Generally he would<br /> have been in favour of it, if we may judge by his<br /> writings in these lectures on Hero worship. Not<br /> that he cared much, or at all. for money and<br /> rank. He even doubted whether there ought not<br /> to be literary men poor, to show whether they<br /> were genuine or not. But recognition of worth<br /> was what he craved for himself, and for all strong<br /> men born in the lower classes of life, ‘‘ who ought<br /> to stand elsewhere than there.’ He was con-<br /> vinced that it deeply concerned society “whether it<br /> will set its light on high places, to walk thereby ;<br /> or trample it under foot and scatter it in all ways<br /> of wild waste (not without conflagration) as here-<br /> tofere. Light (he continues) is the one thing<br /> wanted for the world. Put wisdom in the head<br /> of the world, the world will fight its battles vic-<br /> toriously, and be the best world man can make<br /> it.” If light is the one thing wanted for the<br /> world, we may well ask why hesitate to put it<br /> on a candlestick, that it may give light unto<br /> all who are in the House of Literature, and out-<br /> side it too? All that need be insisted on is that<br /> the best candle be placed in the candlestick. We<br /> must have the best illuminant in our Poetic<br /> Beacon. Po. B:<br /> <br /> eo<br /> <br /> CORRESPONDENCE.<br /> <br /> iE<br /> A RectsterR oF Books WANTED.<br /> <br /> PREGNANT thought arises out of the<br /> fact that the writer of these lines, in<br /> common, no doubt, with many other<br /> members of his club (which contains a fair<br /> number of literary men) is in the habit of<br /> receiving from dealers in second-hand books,<br /> not only in London but in some provincial<br /> towns, printed catalogues of the works they<br /> have to offer, comprising several hundreds in<br /> <br /> number, and alphabetically arranged as regards,<br /> <br /> the names of their authors. The compilation<br /> of these lists, including a short description of<br /> contents of each book and a statement of price,<br /> <br /> must be for certain a work involving very con-.<br /> <br /> siderable time and labour, and the revision of<br /> the proofs must require exceeding accuracy and<br /> care. It would be, perhaps, a safe guess to say<br /> that the mere cost price of each catalogue cannot<br /> be much under 2d., to say nothing of postage.<br /> How many of the receivers of these lists ever<br /> buy (if at all) or even peruse them, there is no<br /> means of knowing. The writer, indeed, does<br /> make a habit of glancing through them; and<br /> very occasionally he makes a purchase. Not<br /> having that amount of spare time or money<br /> <br /> which should make him wish to possess books. or-<br /> <br /> indeed a library wherein to place them, he is<br /> obliged to content himself with the large facili-<br /> ties for the reading of books offered by public<br /> libraries. Still he does want a book sometimes,<br /> but he is willing te give for it only a fair second-<br /> hand price. How can his want be met? He<br /> may collect these catalogues by the score or by<br /> the hundred, or. visit shop after shop in. a vain.<br /> search for it; and all the while it may be lying<br /> in some shop down a back street within a few<br /> yards of the ground over which he has just<br /> passed.<br /> <br /> It seems to me that the present plan inverts<br /> the whole process by which —as proved by<br /> Beecham, Pears, and others—the old adage has,<br /> been falsified, and now “Supply [er rather the<br /> advertisement of it] creates the demand.” Every<br /> one wants soap; millions want—or think they<br /> want—pills ; and the public buy. the article the<br /> name of which is stamped on their brain. But<br /> these puffers advertise one thing only; and the<br /> cost to them, when divided among the millions<br /> who read, who cannot help reading, is almost as<br /> a drop of water in the ocean. On the other<br /> hand, the booksellers spend, say, 2d. or 3d. in.<br /> sending-to a few individuals catalogues of several<br /> <br /> <br /> o14<br /> <br /> hundred books, of which the great majority need<br /> not one, and by chance a single person, here or<br /> there, may want one or two.<br /> <br /> What is required is a catalogue (or register) of<br /> “hooks wanted,” properly classified and arranged,<br /> the fee paid by the “ wanter” for imsertion being<br /> divided between him and the “supplier” on<br /> completion of the bargain. The scheme would<br /> require organisation, and, probably, in the end<br /> an office and a staff. I can only here indicate<br /> the bare outlines of such a scheme; but I enter-<br /> tain no shadow of a doubt that, if once properly<br /> started and supported by the hearty co-operation<br /> of the second-hand booksellers, they would save<br /> many thousands of pounds in the cost of all but<br /> useless catalogues, and gain many other thou-<br /> sands in the quicker and better sale of ‘ Books<br /> wanted,’ which now cumber their shelves and lie<br /> there year after year, representing so much sunk<br /> capital and a prey to dust, moth, damp, and the<br /> destructive habits of rats and mice.<br /> <br /> E. F. Wourerstan.<br /> <br /> +<br /> <br /> II.<br /> MissTaTEMENTS IN REVIEW.<br /> You have, I think, expressed the opinion in the<br /> <br /> Author, that the reviews written about a book<br /> influence to some extent its sale. If this is the<br /> case, it is the duty of a reviewer to be careful as<br /> to the accuracy of his statements; it is also, I<br /> venture to think, the duty of an editor to allow<br /> space to an author to correct any misstatements<br /> which have appeared in a review in his paper,<br /> always supposing that the nature of the paper in<br /> question admits of letters or explanatory para-<br /> graphs. The same publicity ought m common<br /> fairness to be given to the correction of a mis-<br /> statement as was given to the misstatement itself.<br /> This, unfortunately, does not appear to be the<br /> opinion of the editor of the Atheneum. Some<br /> weeks ago (Dec. 10, 1892) a notice of a book of<br /> mine—* Animal Coloration ’—was published in<br /> that review. The reviewer said that I bad not<br /> given “references” to the investigations of a<br /> certain physiologist, and expatiated upon this<br /> supposed omission to the extent of one-third of<br /> the whole notice, thereby perhaps giving the<br /> impression that my book was defective in an<br /> important particular. As a matter of fact, I had<br /> referred both to the name of the physiologist and<br /> to the journal where most of his papers were to<br /> be found. I accordingly wrote to the editor and<br /> pointed this out, in a perfectly civil way, begging<br /> him to correct the error. At first he declined to<br /> do anything, stating that the reviewer saw no<br /> reason for altering anything written, since I had<br /> <br /> THE AUTHOR.<br /> <br /> not given any account of the discoveries<br /> mentioned. I wrote again to the editor, suggesting<br /> that a reference to an author and his work and a<br /> discussion of his results were two very different<br /> things; finally he published (Feb. 3, 1893), not<br /> a letter stating the bare facts which I had sent<br /> him, but a paragraph grudgingly admitting that<br /> I had mentioned the name of the author in<br /> question, but omitting to mention the equally<br /> important fact that I had given a reference to<br /> the journa! where the author’s papers were pub-<br /> lished; in fact, having said in the notice that I<br /> had neglected a reference, he preferred to stick to<br /> that misstatement. Frank E. Bepparp.<br /> <br /> TI.<br /> Tur EXaMpLeE OF RICHARD SAVAGE.<br /> <br /> There is one aspect of the perennial author-<br /> publisher question which we might sometimes<br /> consider with ourselves. Just 150 years ago John-<br /> son sent forth his admirable “ Life of Savage,”<br /> which was republished in the still more admir-<br /> able “Lives of the Poets” some six-and-thirty<br /> <br /> ears later. Speakivg of Savage’s production<br /> “ The Wanderer,” he said :<br /> <br /> From a poem so diligently laboured, and so successfully<br /> finished, it might be reasonably expected that he should<br /> have gained considerable advantage; nor can it, without<br /> some degree of indignation and concern, be told that he sold<br /> the copy for ten guineas, of which he afterwards returned<br /> two, that the two last sheets of the work might be re-<br /> printed; of which he had, in his absence, intrusted the<br /> correction to a friend, who was too indolent to perform it<br /> with accuracy.<br /> <br /> That he sold so valuable a performance for so small a<br /> price was not to be imputed either to necessity (by which<br /> the learned and ingenious are often obliged to submit to<br /> very hard conditions), or to avarice (by which the book-<br /> sellers are frequently incited to oppress that genius by which<br /> they are supported), but to that intemperate desire of<br /> pleasure and habitual slavery to his passions which involved<br /> him [Savage] in many perplexities. He happened at that<br /> time to be engaged in the pursuit of some trifling gratifica-<br /> tion, and, being without money for the present occasion, sold<br /> his poem to the first bidder—and perhaps for the first price<br /> that was proposed—and would probably have been content<br /> with less, if less had been offered him.<br /> <br /> Authors have a great deal of human nature in<br /> them; so, indeed, have publishers, but it shows<br /> itself in a different aspect. Savage’s particular<br /> exhibition of human nature is perhaps incurable,<br /> ineradicable; but had he been in the habit of<br /> resorting to an Authors’ Syndicate, it is just<br /> possible that his feet would have turned quite<br /> naturally in that direction, and deposited the<br /> copy of “The Wanderer” in its safe custody ;<br /> finding there, too, perhaps—waiting for him from<br /> some such previous famous performance as “The<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 375<br /> <br /> Author to be Let ”’—the means for his “ trifling<br /> gratification.”<br /> <br /> And the mention of that last pamphlet, which<br /> Johnson said “ would do honour to the greatest<br /> names,” leads one to add the confession that we<br /> still have our Iscariot Hackneys with us, and<br /> that some of them do now attack the Society of<br /> Authors, and ring the changes, with ‘“ damned<br /> iterations ” unartful aid on the dull, short list of<br /> oft-refuted empty charges against it. Johnson<br /> sometimes used strong language, and he described<br /> Iscariot Hackney as “a prostitute scribbler.”<br /> <br /> ee<br /> <br /> LV:<br /> Tnaccuracy IN Fiction.<br /> <br /> If room could be found in the pages of the<br /> Author, it would be interesting to know what<br /> opinions some of our leading authors hold re-<br /> specting inaccuracy in fiction, and the duty of the<br /> novelist to be exact in his handling of circum-<br /> stances drawn from real life.<br /> <br /> Perhaps an instance should be cited. This one<br /> I read, not long since, in an exceedingly clever<br /> and successful tale. Two people rush to catch a<br /> certain train leaving a London terminus. A gate<br /> is slammed behind them so that a third person<br /> cannot follow. The time of the departure of the<br /> train has also been advanced ten minutes. These<br /> circumstances completely account for very impor-<br /> tant incidents which follow.<br /> <br /> But the time of the departure of important<br /> trains isnot advanced by ten minutes without great<br /> care being taken to inform the public of the fact,<br /> and here a man who made due inquiries at the<br /> terminus a few days before is ignorant of it, and,<br /> as a fact, no gate prevents access to the platform<br /> from which this train starts. I speak from expe-<br /> rience, haviog travelled by it.<br /> <br /> Now anyone who reads many novels will be<br /> able to think of similar instances of inaccuracy.<br /> <br /> It would be vastly convenient to be permitted<br /> to take such liberties, when the exigencies of the<br /> tale demanded them. Are they to be held legiti-<br /> mate?<br /> <br /> I can perfectly understand the man who says,<br /> “Tf the tale be a good tale, what do such trifles<br /> matter f”<br /> <br /> But I know others who assert that inaccuracies<br /> of this kind quite spoil their interest in a story.<br /> It was one such man that first pointed out to me<br /> Dickens’s mistake of putting red lights in front<br /> of a train (“ Dombey and Son,” chapter 55, not<br /> far from the end). A more striking inaccuracy<br /> oceurs in “ Oliver Twist” (chapter 46), where<br /> sunshine is, in the morning, reflected on the ceil-<br /> ing from blood spilled on the floor, in “‘ the faint<br /> <br /> light of breaking day.” The blood must have<br /> coagulated in less than half an hour—rather in a<br /> comparatively few minutes. If a novelist could<br /> keep blood liquid as long as he liked he could<br /> probably raise the dead.<br /> <br /> But how far does the novelist’s privilege of<br /> doing as he pleases extend ?<br /> <br /> Henry CrEssweLL.<br /> <br /> MG<br /> UnkNown WRITERS.<br /> <br /> I do not consider myself sufficiently experienced<br /> in literary matters to “suggest anything prac-<br /> tical” in the matter of authors and publishers to<br /> such a body as the Committee of the Society of<br /> Authors; but I still think that Mr. Haes’s sug-<br /> gestion that “some development and combination<br /> of work now performed by the Society, and the<br /> syndicate ” might be arranged that would facili-<br /> tate the publication of works by unknown but<br /> able writers.<br /> <br /> In every other respect save the one in question,<br /> the Society is doing immense service, and I<br /> gladly take this opportunity of bearing testi-<br /> mony to the valuable, and most cordial and<br /> kindly help it affords to young or struggling<br /> authors. Substantial help, as I hope the malig-<br /> nant critic of the Daily Chronicle will duly note,<br /> so far from “receiving no earthly advantage”<br /> from my guinea subscription, I have, taking only<br /> the past year, received back, through the inter-<br /> vention of the Society, that exact amount (as<br /> compensation for detention of MSS.), besides<br /> payment of a much larger sum which I should<br /> not otherwise have obtained without considerable<br /> trouble and expense. This in addition to the<br /> monthly copy of the Author, and valuable advice<br /> upon various matters connected with my work.<br /> <br /> As for ‘‘a share in the management,” every<br /> member has that, through the pages of the<br /> Author, and will have it so long as criticisms and<br /> suggestions receive the courteous consideration<br /> which they do at present, e.g., the valuable sug-<br /> gestions in Mr. J. M. Lely’s recent “ Omnium<br /> Gatherum,” which will doubtless bear fruit.—<br /> Hh.<br /> <br /> VI.<br /> Times oF PaYMENT.<br /> <br /> The question of the regular times of payment<br /> to writers in magazines has been broached in the<br /> Author, and one writer expresses a pious wish<br /> that all journals should pay ona recognised date.<br /> There is another similar question on which<br /> opinion might be expressed, and this is, the times<br /> <br /> <br />  <br /> <br /> 376<br /> <br /> of payment of accounts to authors of books.<br /> Usually, when a fixed time is mentioned, the<br /> publishers stipulate for payment every six months.<br /> This is often, it would seem, somewhat of a<br /> hardship on the author, especially if a beginner,<br /> and the book is successful. The publisher gets<br /> in his return, and holds the money. Why should<br /> not at least quarterly accounts be the rule?<br /> The difficulty of balancing accounts at least<br /> approximately quarterly should not prevent such<br /> an arrangement. Only rich men can well afford<br /> to wait six months. H.<br /> {Should not our correspondent consider the<br /> great trouble of making up accounts every three<br /> months? In cases where money is due to<br /> authors, many publishers of the first rank are<br /> constantly advancing sums on account.—Eb. |<br /> <br /> <br /> <br /> VII.<br /> Prompt PayMENTs.<br /> <br /> “W.” writes to point out certain journals<br /> which follow the good example set by most of<br /> the daily papers in promptitude of payment.<br /> He says that “we should discriminate and not<br /> class all together.” Certainly. But has anything<br /> been said which has led our readers to class all<br /> together? In that case great injustice would be<br /> committed. Surely, however, no one has been<br /> so foolish as to suppose that proprietors of<br /> great and important papers are accused of these<br /> injurious delays. The sinners are the small<br /> papers, very poor themselves, who not only have<br /> to pay little, but also seek to postpone or to avoid<br /> payment as long as possible.<br /> <br /> <br /> <br /> VIII.<br /> Tue Recorp Press Company.<br /> <br /> The manager of the “ Record Press Company,<br /> Limited,” 376, Strand, asks publicity for the fact<br /> that the company has no connection at all with<br /> the “ Literary Society,” now defunct. It appears<br /> that the Company is the third tenant of these<br /> offices since the lamented decease of that admir-<br /> able association. The “Society” has been<br /> exposed over and over again; it has been<br /> succeeded by publishing firms carrying on the<br /> <br /> same game—one, at least, still exists and still.<br /> <br /> attracts the credulous; it has been exposed in<br /> these pages, in the daily press, in every- way.<br /> Yet, says the manager of the Company, not a<br /> week passes without some one—chiefly ladies and<br /> country clergymen— applying for membership<br /> and forwarding postal orders. Why do they<br /> want to become members? Is it — like the<br /> <br /> THE AUTHOR.<br /> <br /> “ Fellows ”’ of the Society above mentioned—ijp<br /> order to wear a hood and gown and a badge? Ig<br /> it for some imaginary distinction? Is it to assist<br /> the imagination and to further the belief that the<br /> “member” is a literary person? We ought—<br /> we must, the nation demands it—we ought<br /> without any delay to create an order—a distinc.<br /> tion—for the undistinguished. It should consist<br /> of a hood and gown with a badge. Then every.<br /> body will be perfectly happy.<br /> <br /> oct<br /> <br /> “AT THE SIGN OF THE AUTHOR’S HEAD.”<br /> <br /> <br /> <br /> “ CYALOME. Drame in un Acte.<br /> Wilde.”’ The forbidden play is published<br /> at last. It appears in a first edition of<br /> <br /> 600, and-is produced by Messrs. Elkin Matthews,<br /> <br /> and John Lane (Vigo-street). There can be no<br /> <br /> doubt that the first edition will be run out in a<br /> <br /> few days, and very little doubt that copies will be<br /> <br /> at a premium a few days later. There the play<br /> is, and those who please may consider the Lord<br /> <br /> Chamberlain justified or not in his action.<br /> <br /> The poems of a young writer, whose poems are<br /> greatly extolled by those who know him and his<br /> work — Mr. John Gray — are also to be pro-<br /> <br /> duced by the same publishers in a very limited ~<br /> <br /> edition of 250 copies. The book will be called<br /> <br /> “ Silverpoints.”’<br /> <br /> Mr. James Ashcroft Noble, whose name is<br /> known in connection with good and delicate work,<br /> both in poetry and criticism, will immediately<br /> produce (also through Messrs. Matthews and<br /> Lane) a book of essays, called “‘The Sonnet in<br /> England.”<br /> <br /> The new Handbook (Murray) of Constanti-<br /> nople, “Brusa aud the Troad,” is edited by Col.<br /> Sir Charles Wilson, G.C.B.<br /> <br /> Mr. John Cordy Jeaffreson’s “ Victoria, Queen,<br /> and Empress” is now ready at Mr. Heinemann’s.<br /> <br /> Charles Leland’s translation of “ Heme” has<br /> now advanced to the 7th and 8th volumes.<br /> <br /> Messrs. Chatto and Windus have produced a<br /> separate edition of Charles Reade’s masterpiece,<br /> “The Cloister and the Hearth.” It is in four<br /> volumes, with an introduction by the editor of<br /> this paper.<br /> <br /> There is a new book by the author of ‘Some<br /> Emotions and a Moral.” It is called “ A Study<br /> <br /> in Temptations” (Fisher Unwin). -<br /> <br /> Mr. Andrew Lang’s new book ‘‘ Homer and the<br /> Epic,” is nearly ready.<br /> <br /> (Longmans. )<br /> <br /> Par Oscar<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> It is pleasant to notice the growing recognition<br /> of Mrs. Croker’s powers. The Times of Feb. 24<br /> selected it for a review of a column and a quarter<br /> in length of “ A Family Likeness.” Sucha review<br /> has been a turning-point on the road to popularity<br /> for many an author. “Her tales,” says the<br /> reviewer, “are buoyant, romantic, satirical, and,<br /> above all, picturesque.” Among other good<br /> novels of the season, Messrs. Chatto and Windus<br /> have this book of Mrs. Croker’s, Mrs, Hunger-<br /> ford’s “Lady Verner&#039;s Flight,’ Mr. Christie<br /> Murray’s ‘“‘Time’s Revenges,’ Bret Harte’s<br /> “ Susy,” and Grant Allen’s “ Blood Royal.”<br /> <br /> Miss Mary Angela Dickens has produced a new<br /> novel called “ A Mere Cipher.’ The publishers<br /> are Messrs. Macmillan and Co.)<br /> <br /> ‘Personal and Social Evolution, with the key<br /> of the Science of History in the Old and New<br /> World of Thought and Opinion, containing the<br /> Mental Development of a Modern Scientist ;<br /> Sociological Miniatures of the Great Religions of<br /> Mankind: the Pedigree, Periods, Products, and<br /> Prospects of the Leading Nations of the Old and<br /> New World; and a Review of the New Revelation<br /> of the Modern Sciences which has dispelled the<br /> hereditary survivals and superstitions of Primitive<br /> Culture.” This is rather a long title, but it is<br /> copied from the title-page, and it is here repro-<br /> duced in full, because the author—‘“a historical<br /> scientist ’’—evidently desires to convey in the<br /> title an abstract of the contents and scope<br /> of the book. It is cast in the form of<br /> dialogues, in which the topics promised m the<br /> title are all discussed. It is published by Fisher<br /> Unwin.<br /> <br /> “The Scientific Study of Theology ’’ is the title<br /> of a little book on a great subject. ‘The author is<br /> the Rev. W. L. Paige Cox; the publishers are<br /> Messrs. Skeffington and Son. The work treats<br /> of the Scientific Study (1) of the Nature of God ;<br /> (2) of the Future Life; (3) of Miracles; (4) of<br /> Worship. ‘There is nothing,” the author says,<br /> “of such profound importance to man as to know<br /> what his religious beliefs should be.” That is quite<br /> true. it is also quite true that the greater part<br /> of mankind have not the power of ascertaining<br /> what their religious beliefs should be—all they<br /> can do is to apply such limited knowledge as they<br /> possess to the examination of religious beliefs<br /> offered them. The book is written with the in-<br /> tention of clear.ng ther minds and stating the<br /> case before they apply that limited knowledge.<br /> That differences in religious belief must always<br /> remain is absolutely certain, even with all the<br /> knowledge that the greatest scholars can ever<br /> acquire, but it is well to know the conditions of<br /> the problem.<br /> <br /> |<br /> <br /> Mr. Joseph Skipsey has collected his songs and<br /> lyrics. They are published by Walter Scott.<br /> These verses, by a self-taught poet, have the true<br /> ring. Their flight is not very high nor is it very<br /> long; nor are the wings of the singer. very<br /> strong; but they are sweet and pure. Among<br /> the minor poets of the century Mr. Skipsey<br /> should find a place.<br /> <br /> The Descent of Charlotte Baroness Compton,<br /> daughter of James, fifth Earl of Northampton,<br /> and Elizabeth Shirley, Baroness Ferrers de<br /> Chartley, has been examined by Isabella G. C.<br /> Clifford, her great granddaughter (Methuen). It<br /> is more than a merely genaological study ; itis the<br /> history of a house which includes among its<br /> members the Cliffords, the Howards, the<br /> Devereux, and the Comptons, with stories of each.<br /> Genealogists, heralds, and family antiquaries are<br /> not found in great numbers, but this little book<br /> should please the few to whom it appeals.<br /> <br /> Mrs. Macquoid’s new novel—a tale of modern<br /> English country life—is named “Berris.”” It<br /> will be published immediately by Messrs. Ward<br /> and Downey in two volumes.<br /> <br /> Miss Eleanor Holmes’s new novel, “‘ Through<br /> Another Man’s Eyes,” in three volumes, is now<br /> ready. The publishers are Hurst and Blackett.<br /> <br /> Miss Iza Duffus Hardy has arranged with<br /> Messrs. F. V. White and Co. for the publication<br /> of her new novel (2 vols.), called “ A Woman&#039;s<br /> Loyalty.”” It has been running as a serial in<br /> Belgravia.<br /> <br /> The author of the “ Story of a Penitent Soul”<br /> is bringing out a new edition in one volume,<br /> with Messrs. Heinemann.<br /> <br /> Mr. Dykes Campbell has completed the Life<br /> of Coleridge. It will appear in an introduction<br /> to the new edition of Coleridge’s ‘Collected<br /> Poetical Works.” Tne Life contains a great<br /> deal that is quite new, or at least much more<br /> accurate than anything previously published.<br /> And there are many poems, fragments, &amp;c., pre-<br /> viously unpublished. ‘The book will be uniform<br /> with the Macmillan’s one volume editions of<br /> Tennyson, Shelley, and Wordsworth.<br /> <br /> A dinner at Edinburgh celebrated the com-<br /> pletion of “‘ Chambers’s Encyclopedia.” The con-<br /> tributors presented their photographs in an album<br /> to Mr. David Patrick, the editor.<br /> <br /> Mr. Joseph Hatton’s new novel, “ Under the<br /> Great Seal,” 3 vuls., will be published by<br /> Messrs. Hutchinson.<br /> <br /> A selection from the works of Jeremy Taylor<br /> has been made by Mr. John Dennis for Messrs.<br /> Innes and Co.<br /> <br /> <br /> 378<br /> <br /> Mr. John Underhill has been engaged for<br /> some time upon a new edition of Gay for “The<br /> Muses’ Library.” It is now nearly ready, and is<br /> announced for next month.<br /> <br /> Mr. Rudyard Kipling will shortly publish a<br /> new volume of verse.<br /> <br /> Mr. William Watson, who is reported to be<br /> much better, will produce immediately a volume<br /> called “ Excursions in Criticism.”<br /> <br /> Mr. Quiller Couch has issued a book of verses<br /> called “ Green Bays, Verses and Parodies, by Q.”<br /> (Methuen and Co.)<br /> <br /> spec:<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> Theology.<br /> <br /> A PLEA FoR TRUE Union between the Sister Churches in<br /> England and America by the joint issue of their<br /> “ Books of Common Prayer,” with the same Scripture<br /> references. Castle and Lamb, Salisbury-square. 6d.<br /> <br /> BricHt, James W. The Gospel of St. Luke, in Anglo-<br /> Saxon, edited from the manuscripts, with an introduc-<br /> tion, notes, and a glossary. Oxford, at the Clarendon<br /> Press; London, Henry Frowde. 5s.<br /> <br /> Byne, Hon. Mrs. Francis. Friends and Foes at the Cross<br /> of Jesus ;_a Good Friday Service of Song. Skeffington.<br /> <br /> CaiRD, Epwarp. The Evolution of Religion. The Gifford<br /> lectures delivered before the University of St. Andrews<br /> in sessions 1890-91 and 1891-92. 2 vols. Maclehose,<br /> Glasgow. 14s. net.<br /> <br /> CuurRcH BELLs— special part, containing the weekly<br /> numbers with Archdeacon Farrar’s course of sermons<br /> on the Lord’s Prayer, preached at Westminster Abbey.<br /> <br /> Church Bells Office, Southampton-street, Strand. Paper<br /> covers. Is. 6d.<br /> <br /> COLLINGRIDGE, Rev. C.F. 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The Greek text, with notes and vocabulary.<br /> Edited by. 2s. net. Percival and Co.<br /> <br /> IntincwortH, J. R., M.A. University and Cathedral<br /> Sermons. 5s. Macmillan.<br /> <br /> JoserH, Rev. Morris. The Ideal in Judaism, and other<br /> sermons. Preached during 1890-91-92. David Nutt.<br /> 58.<br /> <br /> THE AUTHOR.<br /> <br /> MactareEn, A., D.D. The Expositor’s Bible.<br /> Vol. I.—Psalms<br /> 78. 6d.<br /> <br /> Miuiiegan, WiLu1aM, D.D. Discussions on the Apocalypse.<br /> Macmillan. 55s.<br /> <br /> Pace Cox, W. L., M.A.—The Scientific Study of Theology.<br /> Skeffington.<br /> <br /> Rainy, Ropert, DD. The Epistle to the Philippians.<br /> Volume of the LExpositor’s Bible. Hodder and<br /> Stoughton. 7s. 6d.<br /> <br /> RANDALL, VERY Rev. R. W. Addresses and Meditations<br /> for a Retreat. With a preface by the Bishop of Lin-<br /> coln. Second edition. W.H. Allen.<br /> <br /> Rogers, Henry. The Superhuman Origin of the Bible,<br /> inferred from itself. With a memoir by R. W. Dale,<br /> LL.D. Eighth edition. Hodder and Stoughton. 5s.<br /> <br /> Sixes, Rev. THomas. England’s Prayer Book, a short and<br /> practical exposition of the services. Second edition,<br /> revised andenlarged. Skeffington.<br /> <br /> WAKEFORD, JoHN. Behold the Man!<br /> introduction by the<br /> Gardner, Darton. 2s.<br /> <br /> WAKEFORD, JoHN. The Athanasian Hymn, with notes of<br /> history and doctrine. And preface by the Dean of St.<br /> Panl’s. Paper covers. Wells, Darton, and Co. 4d.<br /> <br /> Witiink, ArtHurR. The World of the Unseen. An<br /> Essay on the relation of higher space to things<br /> eternal. Macmillan. 6s.<br /> <br /> The Psalms.<br /> i-xxxvili. Hodder and Stoughton.<br /> <br /> Addresses, with an<br /> Bishop of Chichester. Wells<br /> <br /> History and Biography.<br /> <br /> ANDERSON, Sir C. H. J. The Lincoln Pocket Guide;<br /> being a short account of the churches and antiquities<br /> of the county and of the minster. Third edition.<br /> Edited and revised by the Rev. A. R. Maddison, M.A.<br /> Edward Stanford.<br /> <br /> BLATHWAYT, RAYMOND. Interviews. With portraits and<br /> a preface by Grant Allen. A.W. Hall, Great Thoughts<br /> offi e, Hutton-street, E.C. 3s. 6d.<br /> <br /> CALENDAR OF THE PROCEEDINGS OF THE COMMITTEE<br /> FOR CoMPOUNDING, &amp;c., 1643-1660, preserved in the<br /> State Paper Department of the Public Record office;<br /> Cases, Jan. 1654—Dec., 1659, with introduction, ad-<br /> denda, and index. Edited by Mary Anne Everett<br /> Green. Eyre and Spottiswoode.<br /> <br /> CarRL WILHELM ScHEELE, Pharmacist and Chemist. A<br /> brief account of his life and work. Reprinted from<br /> the Pharmaceutical Journal. Pharmaceutical Society<br /> of Great Britain.<br /> <br /> Conver, C. BR. D.C.L. The Tell Amarna Tablets.<br /> Translated by. Published for the Committee of the<br /> Palestine Exploration Fund by A. P. Watt, Paternoster-<br /> square. 3s. 6d. (To non-subscribers, 5s.)<br /> <br /> Cox, HomersHam, M.A. The First Century of Christianity.<br /> Second edition, carefully revised. 2 vols. Griffith<br /> Farran. 2s 6d. each.<br /> <br /> Frovupr, James AnrHony. The Divorce of Catherine of<br /> Aragon, the story as told by the Imperial Ambassadors<br /> resident at the Court of Henry VIII. In Usum<br /> Laicorum. Being a supplementary volume to the<br /> author’s ‘‘ History of England.” Longmans. 6s.<br /> <br /> Gorpon, Hon. Sir ArrHur. The Earl of Aberdeen.<br /> “The Prime Ministers of Queen Victoria’”’ series.<br /> Sampson Low.<br /> <br /> Gorpon, J. E. Bernardin de St. Pierre, by Arvédne<br /> Barine. Translated by. With a preface by Augustine<br /> Birrell and portrait. Fisher Unwin. 3s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Hurcuinson, Jonn. Men of Kent and Kentishmen. 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Gordon Robins, of Lincoln’s-inn. 2 vols,<br /> Sweet and Maxwell. £3 ros.<br /> <br /> Manson, Epwarp. The Law Relating to Dogs. Clowes.<br /> 38. 6d.<br /> Mews, Joun. The Annual Digest of all the Reported<br /> Decisions of the Superior Courts. Sweet and<br /> <br /> Maxwell. 15s.<br /> <br /> SaFFORD, Frank. The Law of Merchandise Marks,<br /> ‘Waterlow and Sons, London-wall.<br /> Stewart, C. E. The Law of Wills.<br /> <br /> Effingham Wilson and Co.<br /> <br /> TRISTRAM, CHANCELLOR, Q.C. The Principal Judgments<br /> delivered in the Consistory Courts of London, Hereford,<br /> Ripon, and Wakefield. and in the Commissary Court of<br /> Canterbury, 1872 to 1890. Butterworth’s, Fleet-street.<br /> <br /> WuiTcomMBE, JoHN. Prideaux’s Precedents in Convey-<br /> ancing, with dissertations on its law and practice. 15th<br /> edition. 2vols. Stevens and Sons. £3 10s.<br /> <br /> Third edition.<br /> <br /> Educational.<br /> <br /> ARNOLD FostEr, H. 0. Things New and Old, or stories<br /> from English history, for the use of schools. Standards<br /> I. and II. Ilustrated. Cassell.<br /> <br /> Beu’s Stanparp Exocutionist. By D. C. Bell and<br /> Alexander Melville Bell. Enlarged edition, completing<br /> the 178th thousand. Hodder and Stoughton. 3s. 6d.<br /> <br /> Bonp, Francis, M.A. An Introduction to English<br /> Grammar and Analysis. Edward Arnold. ts. 6d.<br /> <br /> Dops, Pror. Marcus, D.D., and Wurtz, Rey. Augx-<br /> ANDER, D.D. Handbooks for Bible Classes and<br /> Private Students. Edited by.<br /> <br /> Loney, 8S. L. Mechanics and Hydrostatics for beginners.<br /> Cambridge University Press.<br /> <br /> M.A., and LL.B., Barristers-at-law. A New Guide to the<br /> Bar, containing the most recent regulations and exami-<br /> nation papers, and a critical essay on the present<br /> condition of the Bar of England. Sweetand Maxwell.<br /> <br /> Mex, Arruur, F.R.A.S. Observational Astronomy, a<br /> book for beginners, with a Memoir of the Rev. Preben-<br /> dary Webb, and an appendix. Illustrated. Daniel<br /> Owen and Co., Cardiff. 2s. od., post free.<br /> <br /> PREISINGER, H. A German Commercial Reader.<br /> and Co. 2s. nett.<br /> <br /> Ramsay, G. G., M.A. Latin Prose Composition, adapted<br /> for the Scotch Leaving Certificate and University Pre-<br /> liminary Examinations. Third edition, volume IL,<br /> containing passages of graduated difficulty for trans-<br /> <br /> Percival<br /> <br /> lation into Latin, together with an introduction on con- _<br /> <br /> tinuous prose. Oxford, at the Clarendon Press; London,<br /> Henry Frowde. 4s. 6d.<br /> <br /> Rern, Pror. W. Outlines of Pedagogics. Translated by —<br /> <br /> C. C.and Ida J. Van Liew, with notes by the former. —<br /> Swan Sonnenschein.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols,<br /> crown 8vo, cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD,<br /> <br /> i y<br /> <br /> tS owe eS PAY WN .<br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> <br /> ‘&#039;Mr. James Payn’s pleasant story contains a startling<br /> novelty. he leading actors are a group of<br /> undergraduates of Cambridge University. Mr. Payn’s<br /> picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘nice little college’ of<br /> St. Neot’s. Cambridge men will have little difficulty i in<br /> recognising this snug refuge of the ‘ploughed.’ .<br /> <br /> An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. The uxorious<br /> <br /> master of St. Neot&#039;s is chs armingly conceived. If only for<br /> his reminiscences of his deceased wives, ‘A Stumble on<br /> the Threshold’ deserves to be treasured. We<br /> <br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue.<br /> <br /> DAILY News<br /> <br /> ‘The dramatic story is told ah an excellent wit. It<br /> abounds in lively presentation of character and in shrewd<br /> sayings concerning life and manners. - That study of<br /> mankind which is ‘man’ has furnished a liberal educa-<br /> tion to this genial humorist. The men and women he<br /> pourtrays move before us, as do our friends and<br /> acquaintances, distinct individualities, yet each possessed<br /> of that reserve of mystery a touch of which in the<br /> delineation of human nature, is more convincing than<br /> pages of analysis. Needham, Fellow of St.<br /> Neot’s, Cambridge—simple, loyal, gently independent—is<br /> a beautiful study. The story alternates in its setting<br /> between Bournemouth, Cambridge, and some charming<br /> spots near the Thames. The description of life in the<br /> <br /> Alma Mater on the banks of the Cam gives Mr. Payn<br /> opportunities for humorous sketches of professors and<br /> students, and he shows himself in the light of an excellent<br /> raconteur. This part of the narrative furnishes some<br /> delightful reading; we seem to be listening to the best<br /> talk, incisive, racy, and to the point. Space will not<br /> allow us to quote some of the wise and witty sayings,<br /> tinged it may be with cynicism, which are the outcome of<br /> Mr. Payn’s philosophy of life, and which are not the least<br /> entertaining part of this attractive novel.”<br /> <br /> DAILY CHRONICLE:<br /> <br /> ‘‘Mr. James Payn is here quite at his usual level all<br /> through, and that level is quite high enough to please<br /> most people. . The character drawing is good.<br /> The story of the master sounds strangely like truth.<br /> <br /> A book to read distinctly.”<br /> DAILY GRAPHIC:<br /> . . . The dramatic unity of time, place, and cir-<br /> cumstance has never had a more novel setting.<br /> <br /> ‘6<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> <br /> ‘A very interesting story, and one that excels in clever<br /> <br /> contrast of character and close study of individualism.<br /> The characters make the impression of reality on<br /> the reader. . Extremely pleasant are the sketches<br /> of University life.”<br /> THE WORLD:<br /> <br /> ‘‘The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE:<br /> . . . Ingenious and original. Mr. Payn knows<br /> how to invent and lead up to a mystery.”<br /> LEEDS MERCURY:<br /> <br /> ‘Three more distinctive characters have, perhaps,<br /> never been drawn by Mr. James Payn than in Walter<br /> Blythe, Robert Grey, and George Needham, Cambridge<br /> undergraduates, who figure prominently in ‘A Stumble<br /> on the Threshold.’”<br /> <br /> GLASGOW HERALD:<br /> <br /> ee . Mr. Payn’s latest invention in sensational<br /> episode ; “put wild horses will not drag from us a<br /> statement of the mystery. It is new and thoroughly<br /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <br /> “<br /> <br /> BATLEY REPORTER:<br /> Is most attractive reading.”<br /> <br /> ir<br /> <br /> HAMPSHIRE TELEGRAPH AND CHRONICLE:<br /> <br /> ‘‘Mr. James Payn’s latest story, ‘A Stumble on the<br /> Threshold,’ which has been the chief attraction in the<br /> ‘ Queen’ during the last few months—where, by the way,<br /> it was most admirably illustrated—has just been issued<br /> in two handsome vols. by Mr. Horace Cox. The story is<br /> written in Mr. Payn’s happiest vein; it sparkles with wit,<br /> the characters are most unconventional. and the old, old<br /> theme is worked out on quite novel lines.’<br /> <br /> HEREFORD TIMES:<br /> <br /> ‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br /> would not be complete without the dread Nemesis,<br /> mysterious in operation, and casting suspicion for a<br /> time on every side but the right one. The novel is<br /> thoroughly attractive, and a credit to the practised hand<br /> <br /> which penned it.’<br /> <br /> <br /> <br /> THE OBSERVER:<br /> . Is a characteristic story, remarkably<br /> quietly told, always pleasing and satisfying, and pro-<br /> viding a startling incident at a moment when everything<br /> seems serene.’<br /> <br /> “<br /> <br /> <br /> <br /> London :<br /> <br /> HORACE COX, Windsor House,<br /> <br /> Bream’s Buildings, E.C.<br /> <br /> &quot;CHEAP JACK ZITA”<br /> <br /> NEW SERIAL STORY<br /> <br /> Be S&amp;S. SARIN G-<br /> <br /> ao U- ty. ,<br /> <br /> ENTITLED<br /> <br /> . CHEAP JACK ZITA,’<br /> <br /> Wi-h Illustrations by a Prominent Artist, commenced in the “<br /> <br /> Queen” on Jan. 7.<br /> <br /> <br /> 384<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extra carbon copies half price. 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GIirdq.<br /> TYPE-WRITING OFFICE,<br /> <br /> 35. LUDGATE HILL, E.C.<br /> <br /> (ESTABLISHED 1883.)<br /> rrr<br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;c., 1s. 3d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br /> <br /> Miss PATTEN,<br /> TYPIST.<br /> <br /> 44, Oakley Street Flats, Chelsea S.W.<br /> <br /> Authors’ MSS. carefully transcribed. References kindly permitted<br /> to George Augustus Sala, Esq., Justin Huntly McCarthy, Esq., and<br /> many other well-known Authors.<br /> <br /> Fire - Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> “T always stick in my ) TICKPHAST-<br /> scraps and papers with § PASTE. 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Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> HOF<br /> <br /> 1892<br /> <br /> Being a Statistical Book of Reference for Facts relating to the Clergy in England,<br /> Wales, Scotland, Ireland. and the Colonies,<br /> <br /> WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY EVER YET<br /> GIVEN TO THE PUBLIC.<br /> <br /> <br /> <br /> LONDON: HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> BY Tem LATE ME. SHRIBANT COX.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND).<br /> <br /> PRICE 7s. 6d.<br /> <br /> <br /> <br /> LONDON: HORACE COX,<br /> <br /> “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C,	https://historysoa.com/files/original/5/448/1893-03-01-The-Author-3-10.pdf	publications, The Author
449	https://historysoa.com/items/show/449	The Author, Vol. 03 Issue 11 (April 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+11+%28April+1893%29"><em>The Author</em>, Vol. 03 Issue 11 (April 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-04-01-The-Author-3-11					385–424																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-04-01">1893-04-01</a>							11			18930401	The Mutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. I11.—No. 11.]<br /> <br /> APRIL 1, 1893.<br /> <br /> CONTENTS.<br /> <br /> [Prick SIXPENCE.<br /> <br /> PAGE. | PAGE. |<br /> Warnings oe ae . 387 | Notesfrom Paris By Robert H. Sherard oe ere 402<br /> How to Use the Society 388 | Ballade of the Primrose Way. By Robert Richardson .. 404<br /> The Authors’ Syndicate... oe oes =e 388 Notes and News. By the Editor ... oe = wee 405<br /> Notices... ns aes 389 | Correspondence—<br /> From the Committee... 390 1.—Prompt Payment = 410<br /> Literary Property— | 2.—Justice from America ... 410<br /> LC echt ard Magazines 3.—For a Union... pe ee par 420<br /> ae ey ce oe Vi ee 4.—Misstatements in Review... ... 410<br /> ee nm Amencan 18 : ae - 5.—The Conceit of Amateurs... we 411<br /> 3.—The Rights of Copyright ... ae i 6.—The Paris Typist 411<br /> 4.—The United States Publishing Company yok Gepieter a eae Wild hoe<br /> 5.—An Old Author on Literary Property ... | Re Tent MSS. a Be 5 io eS 412<br /> The Hardships of Publishin, | 9. An Easy French Lesson . 412<br /> Attack and Defence... Les | From the Fapers—<br /> The Book of the Future | 1.—The Hardships of Publishing =: S18<br /> Books and Printing ... eee eee ave es | 2.—Authors at Home ... i eae woe 413<br /> Omnium Gatherum for April. By J. M. Lely 3.—The New Irish Literary Society wo | te B18 t<br /> The S.P.C0.K. again ... cB ae ssa “ At the Sign of the Author’s Head&quot;’ ... sa a Se wee 414 i<br /> The Authors’ Club The Book Exchange... oe AAT |<br /> The New York “ Nation”... New Books and New Editions . 418 ‘i<br /> pee s z ip<br /> Sa ae ae z : Abts see me u<br /> i<br /> PUBLICATIONS OF THE SOCIETY. B<br /> eee ee aeecenge reer rs<br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary. ‘<br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary i<br /> Property. Issued to all Members. f<br /> 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on ;<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4. Literature and the Pension List. By W. Morris Couuzs, Barrister-at-Law. (Henry Glaisher,<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres.<br /> , the Society. Is.<br /> 6. The Cost of Production. In this ‘work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Seurre Spricer. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> <br /> Henry Glaisher, 95, Strand, WC. | 36: |<br /> <br /> : Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br /> and Spottiswoode. 18. 6d.<br /> <br /> By S. Squire SPRIGGE, late Secretary to<br /> <br /> oo<br /> <br /> <br /> <br /> <br />  <br /> <br /> 386 ADVERTISEMENTS.<br /> <br /> The Society of<br /> <br /> Authors (Bncorporated), L<br /> <br /> PRESIDENT.<br /> <br /> GHEORGHE MERMDITEH.<br /> <br /> COUNCIL.<br /> <br /> OswaLp CRAWFuRD, C.M.G.<br /> <br /> THE Ear or Desarr.<br /> <br /> Austin Doxson.<br /> <br /> A. W. Dusovura.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> <br /> Pror. MicHart Fosrer, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHaRD GARNETT, LL.D.<br /> EpmuND Gossr.<br /> <br /> H. Riper Hacearp.<br /> <br /> Tuomas Harpy.<br /> <br /> Jerome K. Jerome.<br /> <br /> RupYARD KIPLina.<br /> Pror. E. Ray LANKeEstTER, F.R.S.<br /> J. M. Lety.<br /> <br /> Rev. W. J. Lorrir, F.S.A.<br /> <br /> Pror. J. M. D. MerxieJonn.<br /> HERMAN C. MERIVALE.<br /> <br /> Rev. C. H. Mippneron-WakeE F.L.S.<br /> <br /> Hon. Counsel—E. M. UnDERDOWN, Q.C.<br /> Solicitors—Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br /> <br /> <br /> <br /> <br /> <br /> Sir Epwin Arno;p, K.C.LE., C.S.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A Becxerr.<br /> <br /> Rosert BATEMAN.<br /> <br /> Str Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLACKMORE.<br /> <br /> Rev. Pror. Bonney, F.R.S.<br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Haut Carne.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLopp.<br /> <br /> W. Morris Couuxs.<br /> <br /> Hon. JoHn Conuier.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marton CRAWFORD.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max Mij.urr.<br /> <br /> J. C. PARKINSON.<br /> <br /> Tue Hart or PEMBROKE AND Monv- is<br /> GOMERY. :<br /> <br /> Sir FREDERICK POLLOCK, Bart., LL.D.<br /> <br /> WaLter Herries Potiocr.<br /> <br /> A. G. Ross.<br /> <br /> GroreEr AuGustus SALA.<br /> <br /> W. BarpristEe Scoonszs.<br /> <br /> G. R. Sms.<br /> <br /> S. Squire Spricee.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Wittiam Moy Tuomas.<br /> <br /> H. D. Train, D.C.L.<br /> <br /> Baron Henry bE Worms, M.P.,<br /> F.R.S.<br /> <br /> Epmunpb YATEs.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Secretary—C. Herpert Turina, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortuaaL Strext, Lincoun’s Inn Freups, W.C.<br /> <br /> <br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> ComMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGH HaNRY JHNNIN Ge.<br /> CONTENTS.<br /> <br /> <br /> <br /> Part J.—Riseand Progress of Parliamentary Institutions.<br /> <br /> Part IJ.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Parr IJJ.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> ApprrnpDix.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press<br /> <br /> ‘* The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ”—Scotsman.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”&quot;—Globve,<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> cempaign, is incumparable.”—Sala’s Journal.<br /> <br /> of the Present Edition.<br /> <br /> ‘It is a work that possesses both a practical and an historica<br /> value, and is altogether unique in character.”—Kentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo. .<br /> <br /> ‘Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> leisurely entertainment, which is not less enjoyable from being allied<br /> with edification.” —Liverpool Courier. :<br /> <br /> <br /> <br /> <br /> <br /> “a Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Che HMuthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vout. I1.—No. 11.]<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially sigued by G. Herbert<br /> Thring, sec.<br /> <br /> <br /> <br /> NHE Secretary of the Society begs to give<br /> notice that all remittances are acknow-<br /> ledged by return of post, and requests<br /> <br /> that all members not receiving an answer to<br /> important communications within two days will<br /> write to him without delay. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> &gt; eee<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS of the Author and members of<br /> <br /> R the Society are earnestly desired to make<br /> <br /> the following warnings as widely known<br /> <br /> as possible. They are based on the experience<br /> <br /> of eight years’ work by which the dangers to<br /> <br /> which literary property is especially exposed have<br /> been discovered :—<br /> <br /> 1. Ser1au Rieuts.—In selling Serial Rights<br /> stipulate that you are selling the Serial Right for<br /> one paper at a certain time, a simultaneous Serial<br /> Right only, otherwise you may find your work<br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> 2. Stamp your AGrEEMENTS.—Readers are<br /> most URGENTLY warned not to neglect stamping<br /> their agreements immediately after signature. If<br /> this precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be used<br /> as a legal document. In almost every case brought<br /> to the secretary the agreement, or the letter which<br /> <br /> VOL. III.<br /> <br /> <br /> <br /> serves for one, is forwarded without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> Ios. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.-<br /> Remember that an arrangement as to a joint<br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> 4. Lirerary Acrenrs.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. Remember that you place<br /> your property almost unreservedly in his hands.<br /> Your only safety is in consulting the Society, or<br /> some friend who has had personal experience of<br /> the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.—Never sign any<br /> agreement of which the alleged cost of pro-<br /> duction forms an integral part, until you have<br /> proved the figures.<br /> <br /> 6. Cuoice or Pusiisners.—Never enter into<br /> any correspondence with publishers, especially<br /> with those who advertise for MSS., who are<br /> not recommended by experienced friends or by this<br /> Society.<br /> <br /> 7. Fururs Work.—Never, on any account<br /> whatever, bind yourself down for future work<br /> to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of<br /> royalty until you have ascertained what the<br /> agreement, worked out on both a small and a<br /> large sale, will give to the author and what to the<br /> publisher.<br /> <br /> ac 2<br /> <br /> <br /> <br /> <br /> <br /> Staten<br />  <br /> <br /> 388<br /> <br /> g. Personan Risk.—Never accept any pecu-<br /> niary risk or responsibility whatever without<br /> advice.<br /> <br /> 10. Resectep MSS.—Never, when a MS. has<br /> been refused by respectable houses, pay others,<br /> whatever promises they may put forward, for the<br /> production of the work.<br /> <br /> 11. AmERicAN Rieurs.— Never sign away<br /> American rights. Keep them by special clause.<br /> Refuse to sign any agreement containing a clause<br /> which reserves them for the publisher, unless for<br /> a substantial consideration. If the publisher<br /> insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12, Cesston or Copyrriaut.—Never sign any<br /> paper, either agreement or receipt, which gives<br /> away copyright, without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the<br /> advertisements, if they affect your returns, by a<br /> clause in the agreement. Reserve a veto. If you<br /> are yourself ignorant of the subject, make the<br /> Society your adviser.<br /> <br /> 14. Never forget that publishing is a business,<br /> like any other business, totally unconnected with<br /> philanthropy, charity, or pure love of literature.<br /> You have to do with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :—<br /> <br /> 4, PortucaL Street, Lincoun’s Inn FIrevps.<br /> <br /> <br /> <br /> rr<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business. or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an o;inion from the<br /> Society’s solicitors. If the «as» is such that<br /> Counsel’s opinion is desirable, the Committee will<br /> obtain for him Counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> 2. Remember that questions connected with<br /> copyright and publishers’ agreements do not<br /> eenerally fall within the experience of ordinary<br /> solicitors, Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> <br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented, This is in order to ascertain what has<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as to a change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed document to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> SPECIAL report of the Authors’ Syndi-<br /> cate has been prepared, and will be issued<br /> to those members of the Society for whom<br /> <br /> the Syndicate has transacted business. The<br /> accounts of the Syndicate for 1891-92 have been<br /> audited by Messrs. Oscar Berry and Carr. A<br /> transcript of every client’s account as audited<br /> and vouched, has been sent to that client.<br /> <br /> Members are informed:<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With,<br /> when necessary, the assistance of the legal advisers<br /> of the Society, it concludes agreements, collects<br /> royalties, examines and passes accounts, and<br /> generally relieves members of the trouble of<br /> managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndi-<br /> cate are defrayed entirely out of the commission<br /> charged on rights placed through its intervention.<br /> This charge is reduced to the lowest possible<br /> amount compatible with efficiency. Meanwhile<br /> <br /> members will please accept this intimation that<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 389<br /> <br /> they are not entitled to the services of the Syndi-<br /> cate gratis, a misapprehension which appears to<br /> widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none<br /> but those members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That the business of the Syndicate is not to<br /> advise members of the Society, but to manage<br /> their affairs for them.<br /> <br /> 5. That the Syndicate can only undertake<br /> arrangements of any character on the distinct<br /> understanding that those arrangements are placed<br /> exclusively in its hands, and that all negotiations<br /> relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by<br /> appointment, and that, when possible, at least<br /> four days’ notice should be given. The work of<br /> the Syndicate is now so heavy, that only a limited<br /> number of interviews can be arranged.<br /> <br /> 7. That every attempt is made to deal with the<br /> correspondence promptly, but that owing to the<br /> enormous number of letters received, some delay<br /> is inevitable. That stamps should, in all cases,<br /> be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite<br /> MSS. without previous c¢ yrrespondence, and does<br /> not hold itself responsible for MSS. forwarded<br /> without notice.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> TYNHE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a_ very heavy<br /> <br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new<br /> premises, at 3, Whitehall-court, Charing Cross.<br /> Address the Secretary for information, rules of<br /> admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount, if still unpaid, or a banker’s order, it will<br /> greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> Those who possess the “Cost of Production ”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of “doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount<br /> charged in the ‘Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> <br /> <br /> 39°<br /> <br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> es<br /> <br /> FROM THE COMMITTEE.<br /> <br /> <br /> <br /> T a meeting of the committee held on<br /> Thursday, March 9g, the following resolu-<br /> tions, proposed by the chairman and<br /> <br /> seconded by Mr. J. M. Lely, were unanimously<br /> passed :<br /> <br /> “ That in the opinion of the committee—<br /> <br /> “1, The practice of issuing books and new<br /> editions without date is embarrassing to librarians<br /> and bibliographers, and may be injurious to<br /> authors and misleading to the public, and is there-<br /> fore to be deprecated.<br /> <br /> “2. The practice introduced by Messrs. Mac-<br /> millan and Co., of specifying in every issue of a<br /> book the date of all former issues, is highly con-<br /> venient, and its general adoption is desirable.<br /> <br /> “That copies of the foregoing resolutions be<br /> sent to the leading publishers.”<br /> <br /> An answer has been received from Messrs.<br /> Chapman and Hall showing that they have<br /> already adopted this system by printing the date<br /> and number of each edition published.<br /> <br /> Mr. Walter Besant and Mr. S. S. Sprigge have<br /> been elected delegates to represent the Society at<br /> the conference of authors to be held at Chicago<br /> on July 12, 1893.<br /> <br /> J. Hersert Turing, Secretary.<br /> <br /> ees<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> L<br /> CopyricHt AND Magazines.<br /> <br /> I.<br /> <br /> N reply to the criticism of Mr. Charteris in<br /> your last number I should like to explain.<br /> <br /> Mr. Charteris misunderstood me when he<br /> <br /> says that I cited the case of Layland v. Stewart<br /> (4 Ch. Div. 419) in support of my contention<br /> that the articles must be written on the terms<br /> that the copyright therein shall belong to the<br /> proprietor. The case was cited in reference to<br /> that portion of the paragraph immediately pre-<br /> <br /> THE AUTHOR.<br /> <br /> ceding it (on p. 313), and it was given merely ag<br /> an authority for the general rule that an assign.<br /> ment of copyright must be in writing. My<br /> suggestion was that the proprietor of a magazine<br /> does not acquire copyright by any other means<br /> than by such assignment, unless the conditions of<br /> sect. 18 have been so fulfilled as to bring the case<br /> within the operation of the section.<br /> <br /> The decision in Sweet v. Benning (16 C. B.<br /> 459) does not, as I submit, conflict with my view.<br /> The case decides that it is not necessary for the<br /> terms in question to be the subject of an express<br /> contract. In the absence of any express con-<br /> tract the court, no doubt, would hold that such<br /> terms are primd facie to be implied. Any<br /> evidence, however, rebutting such implication<br /> would, in my opinion, defeat the operation of the<br /> section ; so that the terms, whether arising from<br /> an express contract or implied, are nevertheless,<br /> I still submit, an essential condition to entitling<br /> the proprietor to copyright under sect. 18.<br /> <br /> Harouip Harpy.<br /> II.<br /> High Court of Justice.—Chancery Division —<br /> Before Mr. Justice North.<br /> Strahan v. Wilson.<br /> <br /> His Lordship this morning (March 22) gave<br /> judgment on this copyright motion. The hearing<br /> of the motion was reported in our impression of<br /> Nov. 14. The motion was treated as the trial.<br /> <br /> Mr. Justice North said: The plaintiff, who has<br /> brought this action to restrain an alleged infringe-<br /> ment of his copyright, is the author of a work<br /> published in the year 1892, called “ Marriage and<br /> Disease: a Study of Heredity and the more<br /> Important Family Degenerations.”’ Itis a work<br /> of considerable pretensions, extending over 300<br /> pages, and is, moreover, of great interest, rela-<br /> ting as it does to the mental and vital well-being<br /> of our race in successive generations; and, for the<br /> purpose of appreciating the complaint against the<br /> defendants I have read it more than once with<br /> much attention. The eighth, ninth, and tenth<br /> chapters are headed “ Marriage and Insanity.”<br /> “Marriage and Drunkenness,” and “ Marriage<br /> and Epilepsy,” and the 14th chapter is called<br /> “ Harly Marriages, their Effect upon the Children,”<br /> and they contain a great deal of wise and useful<br /> advice, though more likely, I fear, to be com-<br /> mended than followed. The defendants are the<br /> proprietor and publisher respectively of a paper<br /> called Health: « Weekly Journal of Domestic<br /> and Sanitary Science, and in the numbers of that<br /> journal published on March 18, April 22,<br /> June 18, and July 22 of last year there are four<br /> essays of about a page and a half each, with<br /> exactly the same headings as the plaintiff&#039;s<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 391<br /> <br /> chapters to which I have referred, except that the<br /> last essay is called “ Premature Marriage and its<br /> Infants,” and they deal with the same topics as<br /> the plaintiff had done in those chapters and other<br /> parts of his work, though much more succinctly.<br /> The plaintiff&#039;s treatise is there referred to three or<br /> four times, not without approval, and a few<br /> quotations are made from it, the source from<br /> which they came being stated. But the plaintiff’s<br /> complaint is that far more than these passages<br /> are appropriated from his work, the copying from<br /> which is, as he contends, much in excess of what<br /> can be justified as a fair and reasonable use of<br /> what he has published. Having given my careful<br /> consideration to the productions of both authors,<br /> I have come to the conclusion that I cannot<br /> grant the injunction asked. In many respects I<br /> find very great resemblance between the essays<br /> and the plaintiff&#039;s book, so much so that, if the<br /> subject were new and the ground untrodden, no<br /> one could doubt that the former were to a great<br /> extent taken from the latter. But the common<br /> subject is far from novel; many authors have<br /> written thereon before, and many of the<br /> passages in the two publications which<br /> were compared with one another, are mere<br /> statements of matters which are common pro-<br /> perty, with respect to which no writer, whether<br /> a medical man or not, has any monopoly. The<br /> plaintiff has not any exclusive right to discuss<br /> these subjects, and he has no copyright in mere<br /> theories and ideas. The topics discussed by him<br /> are open to discussion by others also; and there<br /> is no reason why the matters which he has treated<br /> very ably are to be wholly forbidden ground to<br /> other writers. With respect to these matters, of<br /> which both parties have made use, I find myself<br /> unable to say that the essays published by the<br /> defendants are not a fair exercise of a mental<br /> operation deserving the character of an original<br /> work; and this applies to a large number of the<br /> passages in the two productions which were made<br /> the subject of special comparison and criticism.<br /> There are other portions of the defendants’ essays<br /> which are specially complained of by the plaintiff ;<br /> for instance, quotations from other authors found<br /> in the plaintiff’s treatise which are also found in<br /> the defendants’ essays. With respect to these<br /> I am asked by the plaintiff to draw the inference<br /> that they are all copied by the defendants from<br /> the plaintiff without reference to the authorities<br /> quoted. I find myself unable to do so; the only<br /> evidence before me consists of the affidavits of<br /> the plaintiff and that of Mr. Hawkins, the writer<br /> of the essay in question, who has not been cross-<br /> examined. and I do not feel justified from this<br /> evidence in drawing the inference which the<br /> plaintiff invites me to do, and saying that the<br /> <br /> copying is proved. There are some of these with<br /> respect to which I cannot say that there are not<br /> grounds for suspicion ; but, upon the whole, Iam<br /> unable to hold that the plaintiff has given me<br /> sufficient proof, the onus of which is upon him,<br /> to decide iu his favour. There is also another<br /> subject of complaint ; there are certain instances<br /> given by the plaintiff by way of illustration which<br /> I believe that the writer of the essays has taken<br /> from him, though he does not admit it (his Lord-<br /> ship mentioned certain passages and continued) ;<br /> but I do not consider these and other like<br /> passages to be sufficiently substantial or material<br /> to furnish ground for my interfererce by in-<br /> junction with the publication of the defendauts’<br /> essays, especially when I find that the nature of<br /> the two publications is so different; that by the<br /> plaintiff being a standard work, while the defen-<br /> dant’s productions are merely short essays of<br /> ephemeral attraction in weekly newspapers, many<br /> months old, which cannot compete practically m<br /> any way with the treatise of the plaintiff, and<br /> would never, in my opinion, have prevented the<br /> sale of a single copy of it. Under these circum-<br /> stances, as I find myself unable to say that the<br /> defendants have infringed the plaintiffs copy-<br /> right, I must dismiss this action ; but, as I feel<br /> satisfied that the writer of the defendants’ essays<br /> has, in fact, made much greater use of the plain-<br /> tiff’s work than he states in his affidavit, I shall<br /> dismiss it without costs.<br /> <br /> Mr. M‘Swinney and Mr. Strahan were counsel<br /> for the plaintiff; Mr. Cozens-Hardy, Q.C., and<br /> Mr. Morten for the defendants.—From the<br /> Times.<br /> <br /> LE<br /> An American VIEW.<br /> <br /> Probably no one thing has caused more sus-<br /> picion and discontent among authors, or created<br /> more ill-feeling between authors and publishers,<br /> than the matter of returns of books sold when<br /> the contract between them is on the royalty<br /> plan.<br /> <br /> Not as many of the author’s books are sold as<br /> he expected; he suspects that full returns are<br /> not made; in some cases no doubt his suspicions<br /> are unfounded; in more, we believe, they are<br /> not. The discontent is widespread. In Rome,<br /> Signor Rossi, a distinguished Italian author and<br /> savant, told us that this was the great grievance<br /> of Italian authors, and that they would gladly<br /> engage in any movement that promised a remedy.<br /> In Paris we were informed that a committee of<br /> La Societie des Gens de Lettres is considering a<br /> plan for attaining this object. In Great Britain<br /> <br /> <br /> <br /> <br />  <br /> <br /> 392 THE<br /> <br /> your powerful Society of Authors seeks to ac-<br /> complish the same end by appointing auditors<br /> to examine the publisher’s books in behalf of its<br /> members. In the United States one of the first<br /> acts of the newly-formed association of American<br /> Authors was to appoint a committee to draft a<br /> plan for securing this object.<br /> <br /> If a plan for remedying this universal evil at<br /> once simple, practical, and effective, could be de-<br /> vised, its benefits must be apparent. Such a plan is<br /> believed to have been devised, and the writer has<br /> been invited by the Author to call the attention<br /> of British men of letters to it in the columns of<br /> this paper.<br /> <br /> But first a word as to the plan of auditing the<br /> publisher’s books. In America we find these<br /> objections to its adoption. It is expensive, it is<br /> not effective; the publisher can write up his<br /> books to suit himself, and it subjects the author<br /> to the ill-will of the publisher; for on such a<br /> request being made the latter assumes an injured<br /> air, asks if the author suspects he is being<br /> cheated ; and, although he may grant the request,<br /> it is at the expense of the entente cordiale that<br /> formerly existed between them. Now, it is a<br /> truism among American literary men that it is<br /> suicidal to quarrel with your publisher; very few<br /> even of the greatest and most popular have the<br /> nerve to attempt it. How improbable it is,<br /> therefore, that the average author will engage in<br /> one by demanding an account from his pub-<br /> lisher! The plan reported by the committee of<br /> the American Authors above referred to was in<br /> brief as follows: The author to prepare a stamp<br /> bearing his autograph, and to furnish the pub-<br /> lisher with as many as there are copies in the<br /> edition. The publisher to affix a stamp to each<br /> volume sold or given away, and to make up his<br /> quarterly or semi-annual returns on the basis of<br /> the stamps sold. Presence of an unstamped book<br /> on the market to be accounted primd facie evi-<br /> dence of default. This plan, on being submitted<br /> to several leading American publishers, was con-<br /> demned by them. They objected to the extra<br /> labour of affixing the stamps. They said further,<br /> that the plan would not be effective; that the<br /> dishonest publisher would either counterfeit the<br /> stamps or fail to affix them; that tue stamps<br /> would come off, &amp;c. :<br /> <br /> To meet these objections the following plan<br /> has been proposed :<br /> <br /> That the present copyright law be so amended<br /> as to provide that imstead of the usual printed<br /> form—copyright 18 , by Richard Doe, &amp;c.—it<br /> <br /> shall be the duty of the author of every book<br /> seeking copyright to provide a stamp bearing the<br /> above words with his autograph. That instead<br /> of the printed page the publisher shall affix one<br /> <br /> AUTHOR.<br /> <br /> of said stamps to the book under pain of the<br /> usual penalties.<br /> <br /> In his contract the author to stipulate that the<br /> stamps should be used as a basis for making<br /> returns of books sold, or given away.<br /> <br /> We confess we can see but one objection to<br /> this plan—that it will entail some expense on the<br /> author; in that case half the expense of the<br /> stamps might be borne by the publisher. The<br /> stamps must be placed on the book, or there is no<br /> copyright. They could be counterfeited, but that<br /> would be a serious crime. The cost of affixing<br /> the stamp would be little more than that of<br /> setting up, plating, and printing a page; and it<br /> would (und r any royalty system) do away<br /> with the necessity of keeping any books between<br /> publisher and author—the former in making<br /> up his returns would simply count his stock-<br /> in-trade, adding to it the books sent out on<br /> sale, if any ; and by substracting the total from<br /> the number of stamps received from the author<br /> could get the actual sales for which he would<br /> account. As for the author, he would be abso-<br /> lutely sure—unless the stamps were counterfeited,<br /> in which case the rogue could easily be detected—<br /> that he was getting accurate returns of books<br /> sold. Were it a part of the copyright law, no<br /> publisher could complain that it was sought to<br /> cast a stigma upon him, and no author need fear<br /> incurring the resentment of his publisher. We<br /> think this plan would be accepted by all honest<br /> publishers, who admit that the present business<br /> relations between authors and publishers are<br /> most unsatisfactory—and that by concerted action<br /> it might be made a part of the copyright law of<br /> all countries included in the present International<br /> Copyright Law.<br /> <br /> CuaRLes Burr Topp,<br /> Secretary, Association of American Authors.<br /> <br /> <br /> <br /> IT.<br /> Tue Rieuts oF CoPpyRicHt.<br /> <br /> If an author sells the copyright of the manu-<br /> script of a proposed book to a publisher, has the<br /> publisher a right to publish the book anony-<br /> mously ? Such is the question propounded in the<br /> March number of the Author, in which the<br /> opinion is expressed that the publisher has ‘no<br /> such right. The reputation of an author is, it is<br /> contended, of so much value to him that the<br /> publisher must be taken to have impliedly con-<br /> tracted not to smother that reputation by not<br /> publishing the author’s name. We cannot accept<br /> that as sound law. It seems to us that what the<br /> author sells to the publisher, at common law, is<br /> the right of reproduction, but with no correspond-<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ing obligation on the publisher to reproduce. If<br /> this be the law (and we cannot say that the ques-<br /> tion is free from doubt) all the more necessary is<br /> it that authors should part with their copyrights<br /> only by full and carefully expressed agreements,<br /> and not be content with mere undertakings to<br /> pay the purchase money. The law, we may<br /> observe, would be different in case a book were<br /> published with such alterations as to damage the<br /> reputation of an author. In that case the author<br /> would seem to have a clear right of action, but<br /> in tort only, and not on any implied contract.—<br /> Law Times.<br /> <br /> <br /> <br /> TV:<br /> Tae Unitep Srates PusitisHine Company.<br /> <br /> The smash of the United States Publishing<br /> Company is a disaster which had been foreseen<br /> by some. It has been stated that the cause of<br /> the failure was the granting of royalties larger<br /> than could be safely paid. This is rubbish. The<br /> royalties granted were seldom, if ever, more than<br /> would be represented by a bond fide half-profit<br /> agreement, and in some cases, as in some English<br /> houses, were far less. A writerin the Sketch states<br /> that 10 per cent.is “a royalty which the best houses<br /> accept as safe.” This is simply not the case with<br /> writers of standing and houses of repute, as is<br /> known to the Society “from information received.”<br /> The same writer warns English authors against<br /> expecting too much from America. That is a very<br /> ‘wise and judicious counsel. A few novelists will<br /> largely increase their incomes, but very few. A<br /> few writers of educational books will double their<br /> incomes by the American copyright, but very few.<br /> ‘And a few historical writers will find the value of<br /> their work increased.<br /> <br /> <br /> <br /> V.<br /> An Outp Auruor on Literary PROPERTY.<br /> <br /> The following is printed from an autograph<br /> letter written by G. P. R. James in the year 1846.<br /> It illustrates the condition of literature in the<br /> Forties. It isnot known whether it was ever sent<br /> round among publishers :<br /> <br /> “The treaty regarding international copyright<br /> between England and Russia, and the probability<br /> that all the other States of the German Customs<br /> Union will adhere to the same, and that France<br /> will sooner or later conclude a treaty of a similar<br /> kind, afford great opportunities for the extension<br /> <br /> of the English book trade; but, to render the<br /> <br /> opportunities available, it is absolutely necessary<br /> <br /> that English publishers should exert themselves<br /> <br /> energetically to take advantage of the position in<br /> VOL. III,<br /> <br /> AUTHOR. 303<br /> <br /> which they are placed; and, in order to do so<br /> effectually, they have to consider and decide upon<br /> the best means of meeting the new circumstances<br /> which surround them. You will forgive me for<br /> saying that the great body of the trade neglected<br /> most lamentably the opportunity afforded by the<br /> exclusion of the American piracies from our<br /> colonies, and this induces me to press the subject<br /> upon your attention at the present.<br /> <br /> T know that several difficulties embarrass the<br /> whole question and render the English publishers<br /> timid in action; but these difficulties cannot be<br /> got over without taking ¢ general view of the<br /> position in which they stand. This I shall<br /> endeavour to give, although I may omit several<br /> particulars, which your greater experience will<br /> suggest.<br /> <br /> The English publisher about four or five years<br /> ago was only possessed of the English market,<br /> and that not altogether without competition. It<br /> usually afforded a safe and profiab e business ;<br /> but he as well as the author thought it hard that<br /> foreign publishers should be allowed to make use<br /> of the produce of an Englishman’s mind without<br /> giving him any compensation ; and representa-<br /> tions were made to Government which induced<br /> Ministers to support a Bill which excluded<br /> piracies from our colonies, and to negotiate with<br /> foreign powers for a reciprocal recognition of<br /> copyright. Thus the colonies, the whole of the<br /> Prussian dominions certainly, the whole of the<br /> Zoll-Verein probably, and France possibly, are<br /> added to the market of the English book trade.<br /> <br /> It seems to me, under the circumstances, not<br /> only to be politic, but to be an absolute duty, to<br /> afford to our colonists and foreigners a constant<br /> supply of English literature on terms which they<br /> can accept. You are well aware that before the<br /> changes were effected an enormous number of<br /> the American cheap reprints were sold in our<br /> colonies and in India, and that very large editions<br /> reprinted by Herr Tauchnitz and M. Baudry were<br /> disposed of on the Continent ; but the whole condi-<br /> tions, on which these large sales were obtained,<br /> was cheapness. Neither the Colonies or the<br /> foreigner is willing or able to give a high price<br /> for English works. They must be very low or he<br /> will not read them, Thus, if the colonial and<br /> foreign sale is to be preserved, cheap editions of<br /> English works must be published for the Colonies<br /> and the Continent. Three or four difficulties,<br /> however, present themselves to the mind of the<br /> English publisher. It is said, if we send out<br /> cheap editions, they will be returned on the<br /> English market and interfere with the more hand-<br /> some and expensive editions, which we are vbliged<br /> to print for England, where we have great outs<br /> lays to incur in advertising, &amp;c. It is also said<br /> <br /> HH<br /> <br /> yaa<br /> <br /> gona tS!<br /> <br /> <br /> <br /> <br />  <br /> <br /> 394<br /> <br /> that returns from such editions would be very<br /> uncertain from the difficulty of establishing<br /> colonial agencies, the want of solidity im the<br /> booksellmg houses of the Colonies, and various<br /> other {causes ; and, again, it is objected that there<br /> are obstructions, regarding transmission which<br /> would increase the price.<br /> <br /> In regard to the first difficulty vou are aware<br /> that I have always believed a reduction must be<br /> made in the price of books in England, and that<br /> I once made a great sacrifice to effect it. But<br /> setting that point aside for the present, as I find<br /> the great majority of gentlemen engaged in the<br /> book trade are opposed to immediate reduction, I<br /> think the difficulty can be obviated in regard té<br /> lighter literature, such as romances, &amp;c., at least<br /> by a delay in the transmission of the cheaper<br /> edition to the Colonies and the Continent of two<br /> or three months. These will not operate un-<br /> favourably on the sale of the cheaper editions, as<br /> such a work is more likely to havea rapid and<br /> extensive sale in the Colonies, after it has obtained<br /> a reputation and has been noticed in reviews, &amp;c.<br /> Nor will it admit of return on the English<br /> market ; for, supposing that the delay be three<br /> months, the time consumed in the passage to and<br /> from the colonies and in making arrangements<br /> would in addition be sufficient to secure to the<br /> English publisher the sales which an ordinary<br /> work of light literature usually commands. If<br /> the work by accident were to prove extremely<br /> popular, it would become requisite for him to<br /> publish a cheap second edition for England also ;<br /> and he might charge a price considerably higher<br /> even for that than for the colonial edition, which<br /> would still be as low as the returned books would<br /> be sold for, with the addition of freight and other<br /> incidental expenses.<br /> <br /> You will allow me here, however, to remark<br /> that it is my belief that a complete reorganisation<br /> of the book trade must soon take place : that the<br /> trade allowances are enormous, and must be<br /> diminished ; and that they have been created by,<br /> and have fostered in return, a false and most<br /> prejudicial system of doing business. You and<br /> I know, that with one deduction or another, the<br /> trade allowances and agencies do not amount in<br /> general to less than forty per cent.; but what<br /> would the public say if they were informed that<br /> out of the total proceeds of an edition of 1500<br /> copies of an ordinary romance, supposing all sold,<br /> no less than the enormous sum of nine hundred<br /> and forty-five pounds goes into the pockets of<br /> persons who have had nothing to do with the<br /> production of the work, either as author or<br /> publisher? The heads of the trade should meet<br /> and bind themselves to set their faces against<br /> such a system.<br /> <br /> THE AUTHOR.<br /> <br /> In regard to the second difficulty, it must be<br /> met by some means. No one will persuade me,<br /> that in a great commercial country like England.<br /> it is impossible in the book-trade to arrive at the<br /> same degree of certainty which is obtained in<br /> other mercantile transactions. Some risk must<br /> always be incurred; but either by offering to<br /> supply the colonial booksellers with the number<br /> they calculate they may require of the cheap<br /> edition, only by the condition of providing them-<br /> selves with an agent in England empowered to<br /> accept your bills for the amount, by requiring<br /> prompt paymene at a discount, or by some of the<br /> usual courses adopted by firms having dealings<br /> with the colonies in other articles, this end may be<br /> arrived at. In regard to our North American<br /> colonies, there are many most respectable houses<br /> in the United States which would, I doubt not,<br /> readily undertake to be your agents for supplying<br /> them ; and the edition being published in London<br /> would be admitted in the colony. I throw these<br /> suggestlons out merely as hints, for this part of<br /> the subject is more within your competence than<br /> mine; but of one thing be assured, the matter<br /> requires immediate decision, for things can no<br /> longer go on as they have hitherto done, or you<br /> will have a change in the law which will be very<br /> detrimeutal.<br /> <br /> In regard to the difficulties of transmission I<br /> am not fully informed in what they consist in,<br /> but Mr. Murray once told me that they did exist,<br /> and that they lay in a considerable degree with<br /> our Government. Freight, however, to all our<br /> colonies is not very high, and if the small weight<br /> and bulk of a book are considered, it would make<br /> but a trifling addition to the price.<br /> <br /> In the above observations I have principally<br /> considered the colonies, but some part of what I<br /> have said refers also to the trade with those<br /> countries which have entered, or may enter into<br /> treaties with ourselves. No difficulties of trans-<br /> mission will here arise, and little difficulty in regard<br /> to agency and to payment. The question of the<br /> speedy return of the cheap editions upon the English<br /> market is the great one for us to consider, and<br /> how such a return may be obviated unless you<br /> find by experiment that the increased sale wil<br /> justify you in reducing the price of books in<br /> England so far as with the duty and the expenses<br /> of freight here may render the return unprofitable.<br /> The only means that suggests itself to my mind<br /> is the delay I have mentioned printing the cheap<br /> edition. However, I must inform you that Herr<br /> Tauchnitz, the Leipzig publisher, came to Baden<br /> some weeks ago to confer with me on the sub-<br /> ject, and, after a careful examination of the<br /> treaty, which has also been agreed to by his own<br /> country, Saxony (though it has not yet been<br /> <br /> iii<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR. 39<br /> <br /> ratified), we drew up several questions, which<br /> I inclose separate, for a legal opinion upon the<br /> construction of some of thearticles. Herr Tauch-<br /> nitz is a highly respectable man, and I should<br /> wish to give him every advantage in republishing<br /> my works in Germany, consistent with my own<br /> security, and, if that cannot be done, grant him<br /> the agency for the sale.<br /> <br /> On considering all these points, I have<br /> sketched out a plan for myself in a very vague<br /> manner for supplying our Colonies and foreign<br /> countries, in which, together, at a very low price,<br /> there were formerly sold not less at Jeast than<br /> 20,000 copies, and I now submit it to you for<br /> observation and amendment. On looking over<br /> one of Herr Tauchnitz’s volumes, I find that the<br /> height of his page (I mean the printing without<br /> the margin) is precisely the same as that adopted<br /> in your edition of “ Heidelburg.” Now what I<br /> propose for you to do is this: to ascertain pre-<br /> cisely what would be the expense, when printing<br /> a new work of mine after the treaty comes into<br /> operation, of overrunning the whole so as to<br /> have thirty or thirty-one lines in a page (this<br /> would be done by merely taking out the leaves),<br /> to ascertain precisely what would be the expense<br /> of a cheap paper, not better or heavier than that<br /> of Herr Tauchnitz’s edition (of which I inclose a<br /> page) in the form necessary for the double sheet<br /> of thirty-two pages. In Germany this would be<br /> done, that is to say, the slight overrunning, the<br /> printing of four reams by machine, and the pur-<br /> chase of four reams of paper for £3 12s., or even<br /> less. If you find that it can be done at the<br /> same price in England, by putting thirty-one<br /> lines in a page, we might, out of the three volume<br /> romance make two volumes of eleven or twelve<br /> double sheets, each at the expense of £43 45.<br /> per volume in an edition of two thousand—say<br /> that the expense of stitching in wrappers made<br /> it £50—and we might afford to sell the work in<br /> the Colonies and foreign countries at 1s. 6d.<br /> the volume, or 3s. the whole work. The<br /> profit would be but small, it is true; but<br /> it is my belief that at that price, if we did<br /> not regain the whole sale which the Americans<br /> had in the colonies, and retain the sale on the<br /> Continent, we should still ultimately command a<br /> sale of five or six thousand at the least, when the<br /> profit would be considerable. Will you, then,<br /> have the calculation made of the very lowest sum,<br /> at which an edition of two thousand copies could<br /> be produced, and let me know the result as soon<br /> as possible. Will you also ascertain what would<br /> be the cost of stereotyping such a page? I have<br /> not been able to ascertain what it is here, but in<br /> Belgium a large page costs one franc.<br /> <br /> When the exact expenses are calculated I<br /> <br /> VOL, II.<br /> <br /> qn<br /> <br /> propose to send a circular letter, of which I<br /> enclose a copy, to booksellers to Montreal,<br /> Quebec, Toronto, Jamaica, Sydney, the Cape,<br /> Mauritius, Bombay, Madras, and Calcutta, as<br /> well as to write to Mr. Tauchnitz, and, if by the<br /> replies we find a sufficient sale ensured, we can<br /> print accordingly, stereotyping if justified. You<br /> must endeavour to find me the names of the<br /> most respectable colonial firms, which I think can<br /> be done easily in London. If you like to make the<br /> experiment with the “ Castle of Ebrenbreitstein,;” I<br /> will resign to you the proceeds of an edition of<br /> two thousand. Should a greater sale be obtained<br /> we will divide the surplus profits, as I lose in the<br /> first instance the sum usually paid me by Mr.<br /> Tauchnitz. If you do not like to make the<br /> experiment, I will. G. P. R. JameEs.<br /> <br /> Baden Baden, Aug. 22, 1846.<br /> <br /> Be ge<br /> <br /> THE HARDSHIPS OF PUBLISHING.<br /> <br /> <br /> <br /> volume his own papers and others which<br /> <br /> have recently appeared on this subject.<br /> So far as we are concerned, little need be said.<br /> The bitterness which is shown against the Society<br /> finds vent in an attack upon the figures given in<br /> the “Cost of Productions.” Our answer to that<br /> is complete. A certain publisher, as was stated<br /> m&lt;our letter to the Athenzum, received an offer<br /> for all his printing on our terms, and declined<br /> to take it. We have not stated the name of the<br /> publisher, but the fact will not be denied. Mr.<br /> Heinemann, fully answered on this point in the<br /> Atheneum, resumes his attack in the Bookman.<br /> In’ spite, however, of the flourish and parade<br /> about the figures, there they are and -there<br /> they will remain until the printers themselves<br /> show cause for their alteration. This is quite<br /> possible. Since the first edition of our book,<br /> composition has risen 15 per cent. ; and since<br /> the third edition, binding has risen 15 per cent.,<br /> as readers of the Author have been informed<br /> every month for the past six months. Mr.<br /> Heinemann complains about the item for adver-<br /> tising. This, as Mr. Spriggs carefully explained<br /> in the Introduction, is inserted so as to recognise<br /> that it is an integral part of cost of production.<br /> The sum of £20 was set down because it is an<br /> average sum for an average book. If Mr. Heine-<br /> mann reads it to mean that he should not, by the<br /> agreement, be allowed to spend more than £20<br /> on a novel, he is indeed a simple person. But, of<br /> course, it cannot carry that meaning.<br /> <br /> M- HEINEMANN has collected in a<br /> <br /> HH 2<br /> <br /> Spenco:<br /> <br /> STS EES OSL I EET<br /> <br /> <br />  <br /> <br /> 396<br /> <br /> Here is a word of explanation especially for<br /> those authors who complain that they are not<br /> advertised enough. The majority of books have,<br /> necessarily, a limited sale. An experienced pub-<br /> lisher can make a guess at a maximum as well as<br /> a minimum—not perhaps a young publisher, but<br /> an experienced publisher. This estimate rules<br /> the advertising. The book will not ‘‘ bear” more<br /> than a certain amount. For instance, let us take<br /> a 6s, book—perhaps a volume of essays of which<br /> the sale of a whole edition of 1000 copies is quite<br /> as much as may be hoped for.<br /> <br /> The copies (see ‘Cost of Production,” p. 27)<br /> cost for composition, printing, and paper, according<br /> to these figures, £47 12s. Add binding (increased<br /> by 15 per cent.) since those figures were obtained,<br /> £15 16s. 8d.,.in all, say, £64. The sale of 1000,<br /> less fifty for presentation copies, brings us at the<br /> rate of 3s. 4d. a copy, say, £150. Itis found by<br /> experience that to advertise more than a certain<br /> sum upon the book is waste. If this sum is £20,<br /> the amount of profit is about £65, reckoning<br /> profit as it is reckoned in every other business<br /> under the sun, as the difference between the<br /> amount realised and the amount spent.<br /> <br /> But there is another way of considering it.<br /> Let Mr. Heinemann frankly agree with the<br /> author that he is to spend a certain sum; and<br /> let the royalties be calculated on that sum. For<br /> instance, 1f £50 instead of £20 be spent in adver-<br /> tising a book, which the publisher thinks will<br /> bear that amount, it means an increased cost of<br /> production of about 23d. on each volume of a first<br /> edition of 3000. Everything is to be arranged<br /> when two honest men lay their heads together.<br /> The real question between Mr. Heinemann and<br /> his author is this: The expense being actually<br /> this or that; the advertising being so much,<br /> actually paid out of pocket, not the tariff charge ;<br /> how in equity are the returns to be shared? If<br /> Mr. Heinemann will help us in arriving at an<br /> answer to the question he will be serving both<br /> his own cause and ours.<br /> <br /> At the bottom of all this windy warfare lies<br /> the necessity of a common understanding. As<br /> for the proposed Union of Publishers, that<br /> appears to be as far off as ever. Mr. Murray<br /> plainly expresses his opinion that no good pur-<br /> pose would be gained by discussion of the rela-<br /> tion between author and publisher. This is<br /> disheartening. Perhaps we may before long<br /> illustrate the exact contrary. Mr. Frederick<br /> <br /> Macmillan complains of the tone adopted by the<br /> Author—but he does not give his grounds of<br /> complaint, and, since the tone of the Author has<br /> always been highly respectful to honourable<br /> houses, his ground of complaint is not apparent—<br /> and says that ‘“ they,” whoever “they” may be,<br /> <br /> THE AUTHOR.<br /> <br /> would probably call a Publishers’ Union a<br /> “Band of Robbers.” On the contrary; it hag<br /> been maintained in these columns that such an<br /> union would be an excellent thing simply because<br /> it would separate and designate the black sheep—<br /> honourable men could not unite for any but<br /> honourable motives. And secondly,. because,<br /> though it is very certain that some publishers are<br /> hostile to our society, the society is in no way<br /> hostile to publishers. If it were, nothing could<br /> more readily show it than the attempt which<br /> would certainly be made if that were the case to<br /> create our own machinery.<br /> <br /> The unsigned paper which concludes Mr.<br /> Hememann’s volume, taken from the Publisher’s<br /> Weekly may be welcomed, and acknowledged as<br /> a very fair and reasonable statement of the case<br /> from the publisher’s point of view. It is here<br /> reproduced in full in order that our readers may<br /> see all that can be said on both sides.<br /> <br /> One thing may be added—one of the writers<br /> advances the proposition that “ office expenses ’<br /> form part of cost of production. He gives no<br /> reasons. I, for my part, state that the author’s<br /> “‘ office expenses’? may equally well be claimed as<br /> forming part of cost of production. Mr. Heine-<br /> mann states that the former has ‘“ conclusively<br /> proved” his case. He has proved nothing. He<br /> has only advanced a claim. The point, with<br /> many others, may be arguable, but certainly it<br /> has not been determined.<br /> <br /> PUBLISHERS AND AUTHORS.<br /> (From the Publisher&#039;s Weekly.)<br /> <br /> Another controversy is afoot in England between pub-<br /> lisher and author, started by the recent difference of<br /> opinion between Mr. Heinemann and ‘“‘ Ouida,” in which,<br /> as usual, everybody seems anxious to take a hand, with the<br /> usual result—a large waste of paper and print, and no<br /> settlement of the question at issue. In this, as in previous<br /> similar controversies, both sides are apt to take extreme<br /> positions, forgetting that the truth of the matter generally<br /> lies between the two. The author, or rather some authors,<br /> take it for granted that the publisher gets hold of the<br /> biggest and most advantageous part of the handle of the<br /> contract, while some publishers—we have reference now<br /> only to the present discussion—assume that the authors<br /> ought to accept their statements without question.<br /> Clearly both of these positions are equally preposterous.<br /> Both parties have rights which must be respected, and both<br /> are in a position to have these rights clearly defined and<br /> secured.<br /> <br /> The publisher does not run his establishment as a philan-<br /> thropic institution, and therefore will endeavour to secure<br /> himself in every way possible from suffering loss. He is at<br /> liberty to accept or reject manuscripts from whomever<br /> presents them for his consideration. He cannot be coerced<br /> or cajoled into accepting a manuscript, and therefore is as<br /> much at liberty to act as a free agent as any other mer-<br /> chant. In deciding upon publishing a manuscript the pub-<br /> lisher considers the quality of the work if by an unknown<br /> author, or the value of the reputation of a known author in<br /> connection with the new work. It occurs probably as fre-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 307<br /> <br /> quently that publishers hesitate to entertain a new manu-<br /> script by a well-known author as they feel constrained to<br /> refuse the work of a new or less known one. Having<br /> accepted it, however, the publisher computes the cost of<br /> making the book, including the price of composition,<br /> making plates, press-work, paper and binding, and the<br /> incidentals connected with distributing the book, including<br /> rent, travellers’ expenses, advertising, postage, editor’s<br /> copies, interest on capital invested, and such other expenses<br /> as legitimately belong to the work under consideration.<br /> Besides these he allows for a percentage of profit to himself<br /> and the author. He places at the author’s disposal his<br /> machinery and experience, and for the use of these demands<br /> a compensation. And right here we might add that the<br /> publisher more frequently than one would think earns a<br /> large slice of his profit by attending to minutiz in pre-<br /> paring and working out contracts, in the preparation of<br /> the author’s copy, pnd in attending to details that pro-<br /> perly belong to the author. An elaboration of the<br /> necessity of the author educating himself in all that<br /> pertains to the business of negotiating for manuscript, and<br /> upon the importance of properly preparing his copy and<br /> its relation to the economical production of his book, will<br /> be found in Mr. Cody’s communication to the New York<br /> Sun of the 8th inst., part of which is reprinted in this<br /> issue.<br /> <br /> The author, on the other hand, is also a free agent, and<br /> may accept the publisher’s proposals or seek to obtain<br /> better terms elsewhere. No one can force him to entrust<br /> his work to this, that, or any other publisher. He has de-<br /> yoted months or years of his life to his work, and is justified<br /> in obtaining the highest remuneration possible for his<br /> labour. If he cannot obtain what he considers his due<br /> from a publisher, and has faith enough in his work, and<br /> capital enough to make his book, and talent enough to dis-<br /> pose of it, there is no law in any land to prevent his taking<br /> this course.<br /> <br /> If he consents of his own free will to the terms proposed<br /> by a publisher he has still a right to insist upon the strict<br /> fulfilment of them in every particular, and he will, unless<br /> he has had the misfortune to deal with a rogue, find no<br /> difficulty in obtaining as fair an accounting of the trans-<br /> action connected with his work as he would from the<br /> architect building his house.<br /> <br /> He may not obtain in the end a fair remuneration for the<br /> labour he has put into his book, but this may then be due<br /> to other causes than the dishonesty of his publisher. He<br /> may, for instance, have had the misfortune of entrusting<br /> his work to the care of an incompetent man, who may yet<br /> be honest. So he might entrust his good cloth to the<br /> tender mercies of a botch of a tailor. In both cases he<br /> would have to pay for an error of judgment. Or, his work,<br /> notwithstanding his own and his publisher’s expectations,<br /> may not have filled a demand. In that case his publisher,<br /> quite as much as himself, would have to pay for his error of<br /> judgment.<br /> <br /> This argument rests upon the supposition that the pub-<br /> lisher assumes all risk of publication. Where an author<br /> assumes this risk he becomes practically a partner in the<br /> business speculation. and so may insist beforehand upon<br /> certain privileges in the matter of accounting that would<br /> reasonably secure him against fraud on the part of<br /> sharpers.<br /> <br /> However, we do not think we go very wide of the mark<br /> in claiming that the publisher is as anxious for the success<br /> of a book as the author may be, without regard to the<br /> arrangements upon which he produces the book. He is in<br /> business to make money fully as much as to distribute<br /> literature. Asa good-selling book means a good profit to<br /> <br /> him, it is his interest to endeavour to make each of his<br /> <br /> ventures as profitable as lies in his power. In such pro-<br /> sperity the author deserves to share, and should any ques-<br /> tion arise the publisher must stand ready at all reasonable<br /> times to give a full and unequivocal report as to the status<br /> of the book that may be in dispute. We believe that such<br /> is the practice among publishers of standing and repute in<br /> all countries, and that these fear combinations of authors,<br /> under whatever name they may associate, as little as the<br /> author need have misgivings as to the honesty of the<br /> large class of reputable publishing houses all over the<br /> world.<br /> <br /> eS<br /> <br /> ATTACK AND DEFENCE.<br /> <br /> <br /> <br /> HE following letter and reply have been<br /> sent to us for publication. They speak<br /> for themselves. Which is right—Author<br /> <br /> or critic ?<br /> Mrs. Grunpy aT Home.<br /> [To the Editor of the National Observer. |<br /> London, March 6, 1893.<br /> <br /> Sir—In your current issue you are good enough to<br /> review my book, Mrs. Grundy at Home.<br /> <br /> That review contains five distinct mis-statements of fact:<br /> <br /> 1. The Archdeacon, your reviewer says, gets drunk every<br /> night.—The Archdeacon never gets drunk at all.<br /> <br /> &gt;, All the inhabitants of Drizzlington, according to the<br /> same authority, die of consumption.—The book contains no<br /> such statement.<br /> <br /> 3. The Squire, your Reviewer tells the public, gets gout<br /> because the postal authorities paint the letter box in his<br /> park gates red.—Such a thing is nowhere affirmed in Mrs.<br /> Grundy.<br /> <br /> 4. The Vicar’s wife is, according to your Reviewer,<br /> absurdly young for her husband.—The Vicar’s wife is not<br /> mentioned at all.<br /> <br /> 5. Cyril Eade’s wife, says your Reviewer, is a “ ten years<br /> Iunatic.”—Cyril Fade’s wife is perfectly sane.<br /> <br /> Whether this intelligent style of reviewing is thought<br /> humorous, or thought smart, or thought brilliantly up-to-<br /> date, I do not know; but, in the circumstances, I must ask<br /> you to be good enough to give the foregoing brief denial of<br /> your Reviewer&#039;s statements a prominence equal to that<br /> afforded to his mis-statements.—I am, &amp;c.,<br /> <br /> CHARLES T. C. JAMES.<br /> <br /> | Note.—_1. Drunkenness is, no doubt, relative; as also is<br /> insanity (see answer to No. 5). Mr. James unquestionably<br /> pictures his character as taking glass after glass of Bur-<br /> gundy; thereafter talking gibberish, and gabbling the<br /> family prayers. Vide (among many others) pages 67, 97,<br /> 137, 138, 140, 171, 215, 216, 217, 249, 250, 252, 253, 254,<br /> 255, 277, 278, 300.<br /> <br /> 2. Vide pages 41, 42.<br /> <br /> “I’m a being took myself—consumption,” said the melan-<br /> choly youth, with resignation.<br /> <br /> “ All of our family ’asit.” . . .<br /> <br /> “Most of ’em coughs up their lungs, and ’as it in these<br /> parts.”<br /> <br /> 3. Vide pages 62, 63, 216, 217, &amp;c.<br /> <br /> “Those horrid Post-office people have been irritating<br /> him now. They will insist upon painting the letter box he<br /> induced them to put in the lodge wall for his convenience,<br /> a bright red.”<br /> <br /> “ Poor Sir Frederick is suffering from the gout in conse-<br /> <br /> sierra<br /> <br /> <br />  <br /> <br /> 398<br /> <br /> quence of the irritation they [the postal authorities] are<br /> causing him!”<br /> <br /> 4. Vide page 65: Following after a paragraph about the<br /> Vicar, ‘“‘Mrs. Bull was there, too,” Marcia said . . .<br /> “looking shamefully young for her age” . . .<br /> <br /> ‘“* Well, I do call it shameful to look so young when her<br /> husband’s seventy-one.”’<br /> <br /> It turns out that this unimportant character is not the<br /> vicar’s wife, but another’s. This is, however, quite imma-<br /> terial to the plot, if any, of the book.<br /> <br /> 5. Vide page 25: “‘ When his wife confined her drinking to<br /> three or four brief intoxications in the course of the day,<br /> Cyril Eade bore with her; but when the habit nothing<br /> could check, developed (sic) into a mere daily procession of<br /> instantaneous ether-intoxication, he pronounced marriage a<br /> failure.”’]<br /> <br /> ee<br /> <br /> THE BOOK OF THE FUTURE.<br /> <br /> <br /> <br /> HIS is the title of a lecture recently de-<br /> livered by Mr. Henry Blackburn at the<br /> London Institution. It is certain to be<br /> <br /> published; meanwhile, we have to thank Mr.<br /> Blackburn for allowing us to read the lecture as<br /> he delivered it. The author presents an entirely<br /> new idea to the world ; he laments the monotony<br /> of the printed page and the absence of personal<br /> distinction in the poets and authors of the day :<br /> <br /> Clothed in a degrading, characterless costume which takes<br /> all appearance of manliness and suppleness from his figure,<br /> living in houses and in cities in which nearly everything<br /> ornate or beautiful has been stolen, borrowed, or copied<br /> from another country or period, he is found engaged in the<br /> production of books in which, as far as the mechanical parts<br /> are concerned, nearly everything is a sham.<br /> <br /> These shams are the reproduction by machinery<br /> of the old letters, which were the work of*<br /> patience, skill, and art; the reproduction by<br /> photography of pictures which appear to be<br /> engravings and are not; the manufacture by<br /> machinery of so-called “hand-made” paper,<br /> with rough edges and coarse texture ; the binding<br /> in “vellum” which is made of pulp and rags;<br /> and the gold illuminations which are no longer<br /> gold.<br /> <br /> How, then, should the author stamp upon his<br /> work his own individuality ?<br /> <br /> Here comes the idea. It is this, that an<br /> author should first learn some system of short-<br /> hand, for rapid notes, and should then study a<br /> style of handwriting worthy of expressing his<br /> thoughts; that he should then write his book<br /> on a page, chosen for form and size, in this beau-<br /> tiful handwriting ; and that the work should be<br /> presented to the world as a photographic fac-<br /> simile. We shall then have the author himself.<br /> We must not proceed to show how this thought<br /> is developed. It is a fine thought, worthy of an<br /> artist. How far it is practicable is open to dis-<br /> <br /> THE AUTHOR.<br /> <br /> cussion. It must not be forgotten that hand-<br /> writing of the day is poor and mean, general]<br /> <br /> because those who write are unable to draw—<br /> cannot create for themselves a beautiful hand,<br /> and could not, under any circumstances. At the<br /> same time, the arts overlap; there is generally<br /> some latent ability with pen and pencil in the<br /> poet and the novelist. Readers must await the<br /> publication of the lecture. It is not quitea<br /> case in point, but it may be mentioned that<br /> Quilter’s edition (Swan Sonnenschein) of Geo.<br /> Meredith’s “Jumping Jane” is all written by<br /> the artist who drew the extremely clever pic-<br /> tures. This is not the handwriting, however, of<br /> the poet.<br /> <br /> pecs<br /> <br /> BOOKS AND PRINTING.<br /> <br /> <br /> <br /> E have received from the Chiswick Press<br /> (Whittingham and Co., Took’s-court,<br /> Chancery-lane) a copy of a book called<br /> <br /> “Some Notes on Books and Printing : a Guide<br /> for Authors and Others,” by Charles T. Jacobi,<br /> manager of the Chiswick Press, and Examiner in<br /> Typography to the City and Guilds of London<br /> Institute. Perhaps the Society will before long<br /> see its way to publishing its own Handbook<br /> for Authors, including, among other things, the<br /> more important part of this little book. Mean-<br /> time, those who desire to make themselves<br /> acquainted with the mechanical part of their<br /> work—the various types, the form, the headings,<br /> divisions, indexing, &amp;c , are strongly recommended<br /> to buy this, and no other. Above all, the reader<br /> shouid note what is said on the subject of correc-<br /> tions. It is, in fact, a lesson in the art of correct-<br /> ing for the press, and a warning to do all the<br /> corrections in the MS. The various kinds of type<br /> are all shown; the different sizes of books are<br /> given; and there is a good deal of interesting<br /> talk about binding.<br /> <br /> In one point, the most important of all, there<br /> is complete silence. Not a word is said as to the<br /> Cost of Production. This, of course, makes the<br /> work incomplete. Now it is certain that a<br /> printer’s bill is an elastic thing, and that wages<br /> go up and down. But could there not be laid<br /> down some kind of average, in order to guide the<br /> reader? ‘This applies to everything—printing,<br /> paper, corrections, composition, and binding. We<br /> may know all that this book tells us and yet be<br /> in no way protected or advanced unless we know<br /> the cost of production. Therefore the book can<br /> only be recommended under protest, and with a<br /> warning that it is incomplete.<br /> <br /> The remarks about publishers are vague, but<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 399<br /> <br /> they show some recognition of certain points<br /> which, a few years ago, would not have. been<br /> allowed for a moment. Thus, the writer says, “ It<br /> is strongly advised that only well-known pub-<br /> lishers be approached.” We should like to see<br /> added, ‘The Society of Authors is the only insti-<br /> tution which knows the character and standing of<br /> all publishers.” And, again, we read, ‘It is of<br /> the utmost importance that any agreement entered<br /> into should be thoroughly understood.” Quite so.<br /> But we should like to see added, “and that the<br /> author should know what such agreement gives<br /> him, and what he gives to the publisher.” These<br /> points will, we doubt not, be added in the next<br /> edition.<br /> <br /> pee<br /> <br /> OMNIUM : GATHERUM FOR APRIL.<br /> <br /> <br /> <br /> Suggestions for Books or Articles.—A_ short<br /> life of Dandolo, the ninety-year-old doge ;—an<br /> Anglo-Irish Tunnel ;—a Dictionary of Six Lan-<br /> guages, after the model of the Universal<br /> Dictionary published by Trowitzsch, of Berlin<br /> (without a date alas! and anonymously), but<br /> having Greek and Latin, as well as English,<br /> French, German, and Italian words, and each<br /> language printed in a differently coloured type ;—<br /> the antipathies of Croker and Macaulay ;—the<br /> theological objections (if any) to cremation, with<br /> special references to the views of the late Bishop<br /> of Lincoln on the subject ;—the folly of profes-<br /> sional overwork ;—the wickedness of a marriage<br /> between May and December ;—the desirability of<br /> making Easter ap immovable feast.<br /> <br /> Correction of Proofs—-The mode of proof<br /> correction is pretty nearly settled ; indeed, there<br /> is atable of recognised corrections in Whitaker’s<br /> Almanac. But the different kinds of type (which<br /> might be symbolised by 1, 2, 3, and so on) have<br /> still to be distinguished. Could not a complete<br /> table of corrections be settled with the leading<br /> printers and printed in the Author ?<br /> <br /> Addenda.—Is there any use in these? Hardly<br /> anybody sees them. Any addition or correc-<br /> tion of real importance can be effected by a<br /> cancel.<br /> <br /> Prices and Dates of Books.—It is of importance<br /> to the reviewer (who should mention the price in<br /> his review) that the price of a book should be<br /> stated on the cover, and of the utmost import-<br /> ance to everybody that the date should be printed<br /> on the title page. It is suggested that the<br /> author has a right to insist upon a date on the<br /> title page, and that he should always exercise this<br /> right.<br /> <br /> Dates of Editions —It is of importance to<br /> future readers that the dates of past editions<br /> should be stated, and it is suggested that the<br /> best place for stating these dates is on the back<br /> of the title page and on the page facing the<br /> preface.<br /> <br /> Author’s Corrections—In most agreements it<br /> is stipulated that the author shall pay for<br /> corrections (except of printer’s errors) beyond a<br /> certain amount, which is quite fair. But in<br /> order, if necessary, to check the amount charged<br /> for these corrections, it is suggested that either<br /> the printers should be requested to keep the<br /> proofs till the printing bill is sent in, or that the<br /> author should copy the corrections on to the proof<br /> duplicates.<br /> <br /> The mention of one newspaper by another.—Is<br /> it not high time that the foolish practice (fol-<br /> lowed, I fear, by all newspaper editors except<br /> about seventeen) of one newspaper describing<br /> another as “our contemporary,” instead of<br /> speaking of ‘“ Wednesday’s Standard,’ “last<br /> week’s Literary World,’ or as the case may be,<br /> should be utterly abandoned? Is it not also<br /> ridiculous that any newspaper should ignore a<br /> subject of general interest to the public merely<br /> on the ground that that subject was first brought<br /> into prominence by another newspaper ?<br /> <br /> J. M. Lety.<br /> <br /> <br /> <br /> ee<br /> <br /> THE S.P.C.K. AGAIN.<br /> <br /> <br /> <br /> HE following letter reopens the controversy<br /> of 1891:<br /> <br /> I have never written for the S.P.C.K., nor quarrelled<br /> with them, but I have heard much from both sides of the<br /> disputed questions from those more nearly concerned. It<br /> appears to me that the S.P.C.K. pay the average market<br /> price for the work supplied to them. Would the same<br /> books be likely to obtain more from other publishers? If<br /> they paid young or mediocre authors according to their<br /> enormous sales, which are owing to the Society’s reputation,<br /> and not to that of the author, they would force the market<br /> for the small religious tale, and give it a factitious value quite<br /> out of proportion to other kinds of literary work. That<br /> would be a very good thing for some of us, but would it be<br /> desirable in itself ?<br /> <br /> It may be said that such high pay would attract superior<br /> work, but, with certain almost obvious exceptions, it would<br /> hardly attract work much more useful and suitable for the<br /> purposes required. There may be other grievances, but it<br /> does not appear to me that this one offers a just ground of<br /> complaint. MrMBER OF SocrETY OF AUTHORS.<br /> <br /> The writer advances, first of all, the opinion<br /> that the 8.P.C.K. pay the “average market price<br /> for the work supplied to them.” Dothey? Then<br /> what about that lady who had written for them<br /> <br /> <br />  <br /> <br /> 400<br /> <br /> for years, and went to another religious society,<br /> which gave her at once what she had previously<br /> received as payment in full from the 8.P.C.K.<br /> and a royalty as well? Or, what about that<br /> historical work for which they gave £12, with a<br /> promise of more if it succeeded, and sold 7000<br /> copies, and then refused to give any more? This<br /> opinion, from the prices which I have seen, can-<br /> not be accepted. But if it were, is it the way to<br /> defend a religious society—a society whose whole<br /> aim is to advance religion, which should demand,<br /> one would suppose, from others, and should<br /> illustrate in itself, the highest possible standard<br /> of morals and principles in conduct—by saying<br /> that it only does what others do ?<br /> <br /> Again, the writer does not seem to know that<br /> there is any kind of equity in dealing with<br /> literary property. It matters nothing, in speak-<br /> ing of commercial value and the rights of pro-<br /> perty—nothing at all—whether a writer is good<br /> or bad; it matters only, from this point of view,<br /> whether he is in demand or no. The committee<br /> are to blame if they try to run a had writer; the<br /> taste of the public is to blame if they buy a bad<br /> writer’s works. The standing fact is that a<br /> writer, good or bad, for whose work there is a<br /> sale, creates a new property with every new MS.<br /> which is his until he parts with it. If any<br /> publisher buys out that writer, trading on his<br /> ignorance or his necessities, for a trifle, he is a<br /> sweater. I should, myself, use another word,<br /> but that will do.<br /> <br /> The thing is perfectly simple. I take once<br /> more—see ‘The Literary Handmaid of the<br /> Church ”’—the Archbishop of Canterbury’s own<br /> definition of sweating. He calls it “a rate of<br /> wages inadequate to the necessities of the worker,<br /> and disproportionate to the work done.”<br /> <br /> This is a very good definition, and one which<br /> enables us to find out what sweating means applied<br /> to literary property.<br /> <br /> A woman who writes popular stories can pro-<br /> duce at her best not more than three in two years<br /> —say, even two ina year. She is paid £30 apiece,<br /> we will say, for them, 7.e, she can make 60a<br /> year. This is a most miserable income for a<br /> gentlewoman to live upon. But, it may be<br /> objected, her books do not fetch enough to give<br /> her more. Then nothing more can be said: she is<br /> a failure. Should, however, the Society or House<br /> for which she writes know very well beforehand<br /> that they will sell many thousands, and that they<br /> will make a profit out of any one book by her of<br /> six times, ten times, what they gave her, then<br /> that Society, or that House, is, by the Archbishop<br /> of Canterbury’s own definition, a sweater.<br /> <br /> For, first, their wages are inadequate to the<br /> necessities of the worker; and, next, they are<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> disproportionate to the work done! 7.e., to the<br /> monetary value of that work. As for the con-<br /> tention that the House makes the sale, or<br /> creates the demand, that is absurd. Why do<br /> not Messrs. Longmans tell their authors that,<br /> because they are such a great House with so great,<br /> a name, they must beat them down and take all<br /> the profits to themselves? They do exactly the<br /> reverse. Anyone sees at once the absurdity of<br /> such a thing, yet people continue to repeat this<br /> absurdity concerning a religious society when<br /> they know it to be absurd when said of a House<br /> publishing for its partners.<br /> <br /> Apply the method to another kind of business.<br /> Suppose a cabinet-maker were to say to a<br /> working man ‘‘ The kind of desk you can make is<br /> very much in demand. Partly through the fact<br /> of my having shops everywhere I can sell as<br /> many as you can make. But because I don’t<br /> think it is a very artistic desk, I shall only pay<br /> you one-tenth or one-fifth of the money your desks<br /> bring in, instead of what is considered a fair<br /> price by other shops.” That is exactly the con-<br /> tention of our correspondent. The confusion in<br /> her mind is that so often noticed in these columns<br /> a feeling that inferior work ought not to be<br /> popular. But there is not always—alas !—the<br /> harmony between literary excellence and popu-<br /> larity that there ought to be; the two things are<br /> never, and never will be, commeusurable. If, in<br /> short, the §.P.C.K. should regard the equity of<br /> the case and should fall to considering their<br /> president’s definition of sweating, many gentle-<br /> women who are now pinched and poverty-stricken<br /> would blossom out into anincome. Because they<br /> are great writers? Not at all. But because their<br /> books would be on the 8.P.C.K. list, and because<br /> they would be treated with due regard to their<br /> rights and their own property, and because they<br /> would be working for a firm where equity was<br /> recognised as the true basis of all business<br /> dealings.<br /> <br /> <br /> <br /> spect<br /> <br /> THE AUTHORS’ CLUB.<br /> <br /> <br /> <br /> HE club has at last removed into its own<br /> premises. These contain a suite of eight<br /> or ten rooms at No. 3, Whitehall-court.<br /> <br /> There are reading and writing rooms, dining and<br /> luncheon rooms, a billiard room, and everything<br /> required for a first-class and most comfortable<br /> club. The subscription is very moderate—only<br /> four guineas a year. The situation is exactly<br /> central; it is impossible to desire a more con-<br /> venient situation, and the club is intended to be<br /> run as cheaply as is consistent with reasonable<br /> <br /> <br />  <br /> <br /> THE | AUTHOR.<br /> <br /> comfort. Thus it is proposed to have a shilling<br /> luncheon, consisting of joint or chop with veget-<br /> ables and cheese. A small reference library is<br /> forming, and in three quiet writing rooms members<br /> may do their work undisturbed. The position,<br /> besides being perfectly central, is extremely quiet.<br /> There will be a club dinner once a month, and a<br /> house dinner oncea week. Ladies will be admitted<br /> to tea on Wednesday afternoons. The “‘ Uncut<br /> Leaves” will probably be continued every month<br /> during the season. This new feature of the club<br /> hasso far been entirely and wonderfully successful.<br /> At the last meeting unpublished papers were read<br /> by Mr. Morley Roberts, Mr. Symon, and Mr. Barry<br /> Pain. Mr. Douglas Sladen takes charge of the<br /> “Uncut Leaves.”<br /> <br /> ec<br /> <br /> THE NEW YORK “NATION.”<br /> <br /> <br /> <br /> T is rather late in the day to call attention to<br /> a newspaper article of Jan. 2. The excuse<br /> is that it is an American article, and that I<br /> have only just read it through. The article in<br /> question occurred in the New York Nation of<br /> that date. It professed to contain an account of,<br /> and a criticism on, my Address of Dec. 17. As<br /> it had no copy to go by, the remarks must have<br /> been made upon the brief report in some London<br /> Daily. I now reprint all the paragraphs in<br /> succession, leaving out the first, which points out<br /> what is, I hope, and am sure is, true, a belief on<br /> the part of the New York Nation that my resig-<br /> nation of the post of chairman was a gain to the<br /> Society.<br /> <br /> He looks upon literature as a sort of fairyland, in which<br /> he, as the good fairy, with a wave of his wand, would make<br /> every book published an inexhaustible gold mine.<br /> <br /> T wonder what this means, and to what it refers.<br /> Eyery book an inexhaustible gold mine? Really,<br /> this is indeed interesting. Every book! But<br /> what foolish utterances of mine can the writer<br /> have in his mind<br /> <br /> There are to-day, he says, 200,000,000 English-speaking<br /> people ; in fifty years there will be 400,000,000, all wanting<br /> <br /> to read, and, moreover, all wanting to read only good<br /> literature.<br /> <br /> What says the Address ?<br /> <br /> By the passing of the American International Copyright<br /> Act a writer of importance now addresses an audience<br /> drawn from a hundred million of English-speaking people.<br /> : Every day makes it plainer and clearer that we<br /> have arrived ata time when the whole of this multitude,<br /> which in fifty years time will be two hundred million, will<br /> very soon be reading books. What kind of books? All kinds,<br /> good and bad, but mostly good; they will prefer good books<br /> to bad. Even now the direct road to popularity is by<br /> dramatic strength, clear vision, clear dialogue, whether a<br /> man write a play, a poem, a history, or a novel.<br /> <br /> VOL. III.<br /> <br /> 401<br /> <br /> So, you see, I did not say what this writer<br /> sets down as regards numbers, nor did I say what<br /> he sets down about “ good” literature, except<br /> that one is very certain that people will prefer<br /> good books to bad, meaning by good what I have<br /> laid down—“ dramatic strength,” &amp;c.—as above.<br /> <br /> The people, he declares, care only for what is good; for<br /> an example of the truth of this, look at the unprecedented<br /> (in England) success of the Strand Magazine. Now, this is<br /> a publication which has sent up its circulation chiefly by<br /> publishing portraits at all ages of the notorieties of the day,<br /> and articles on the Queen’s dolls or pages from her journal<br /> written in her own royal Hindustani—the devices of the<br /> cheapest journalism. Whena man seriously points to such<br /> a periodical as a proof of the people’s literary instincts,<br /> there is absolutely nothing to be said.<br /> <br /> Now let us see what was said about the Strand.<br /> First, it is absolutely false that the vast circula-<br /> tion of the Strand was created by portraits of<br /> notorieties, and articles on the Queen’s dolls.<br /> The circulation of the Strand had gone up to<br /> 330,000 before the articles on the Queen’s dolls.<br /> Why, then, according to my Address, has the<br /> Strand gone up so enormously ? “ By giving<br /> dramatic work—stories which hold and interest<br /> people—essays which speak clearly—work that<br /> somehow seems to have message,” not quite the<br /> contemptible thing invented and put into my<br /> mouth by this truthful writer.<br /> <br /> In the meantime, what Mr. Besant hopes may be brought<br /> about by the society is (1) its enlargement to ten times its<br /> present numbers, as though there were not enough indiffe-<br /> rent or worse writers already flooding the world with trash ;<br /> (2) an institute or headquarters for authors ; (3) a pension<br /> fund from which every one would receive a pension of right,<br /> not of charity; and (4) an academy of letters.<br /> <br /> The writer of the article apparently supposes<br /> that the word “author” applies solely to those<br /> who write fiction. There have been published in<br /> Great Britain and Ireland during the last eight<br /> or ten years, an average of about 5000 new books<br /> a year—say 50,000 new books in all—of every<br /> kind, scientific, educational, theological, poetical,<br /> artistic, historical, technical, imaginative, &amp;c.<br /> How many authors does this number represent ?<br /> Ten thousand? A great many more. The<br /> Society would like to include every one, good or<br /> bad, who ventures into the field of Letters, just<br /> as the Inns of Court include every one who<br /> ventures into the field of the Bar:<br /> <br /> Mr. Besant also had sometbing to say about the Authors’<br /> Conference to be held in Chicago during the Exposition.<br /> It is his opinion that by it the future interests of English<br /> authors may be largely influenced.<br /> <br /> I said nothing about the “future interests of<br /> English authors.” I said “ the future of our<br /> <br /> calling’? — the calling of Letters — which is<br /> American as well as English :<br /> But Americans should realise that Mr. Besant, despite<br /> his boundless enthusiasm, can hardly be said to represent<br /> tz<br /> <br /> <br />  <br /> <br /> 402<br /> <br /> the most intelligent ideas and opinions of the English lite-<br /> rary world ; nor is Mrs. Walford, who seems to be accepted<br /> as an authority, a better qualified representative.<br /> <br /> That is the whole of it. Not a word about the<br /> aims of the Society, or the achievements of the<br /> Society, or the demands of tbe Society. Here we<br /> have, in what is called the leading literary paper<br /> of America, an account of this History of the<br /> English Society of Authors so garbled as to falsify<br /> it from beginning to end; the total suppression of<br /> the important part, ¢.c., the facts in the case; and<br /> the representation of the Society as a one man<br /> business, and of that one man as something worse<br /> than a fool. The reference to Mrs. Walford is<br /> obscure. As for my representing “ intelligent<br /> ideas,” the facts in the address and the History<br /> of the Society show how far the “intelligent<br /> ideas”’ of the English literary world go with the<br /> committee, while my own opinions were submitted,<br /> at the end of the Address, as my own, my indi-<br /> vidual own, and claiming to be nothing more. The<br /> question arises why the Nation, a literary paper,<br /> should go out of its way to make this attack upon<br /> the Society under the guise of an attack upon<br /> myself.<br /> <br /> es<br /> <br /> NOTES FROM PARIS.<br /> <br /> <br /> <br /> ‘J HAD the pleasure of meeting Maeterlinck<br /> I at a déjeuner given to him in Paris last week<br /> <br /> by the young poets of the Symbolist school,<br /> and, in common with all who saw him for the first<br /> time, was delighted with the manners and modesty<br /> of this wonderful youth. He looked like a nice<br /> Oxford lad, neatly dressed in a serge suit, with a<br /> bunch of violets at his button-hole. There was<br /> not a vestige of side or pose about him. It seemed<br /> to surprise him to the point of inconvenience that<br /> we all thought him such a great man, and he had<br /> little deprecating gestures in answer to our com-<br /> pliments that were very pretty to behold. A new<br /> play of his is shortly to be produced at the<br /> ‘ Theatre d’ Art, and a new volume of poems, entitled<br /> “La Quenouille et la Besace” from his pen is<br /> shortly to appear. Ihave heard certain of the<br /> poems which it contains, and they are not to<br /> be described otherwise than as masterpieces,<br /> Maeterlinck appears to me to be the man of<br /> <br /> letters of the last decade of the nineteenth<br /> century.<br /> <br /> <br /> <br /> An indefatigable worker is M. Camille Flam-<br /> marion, the astronomer. He is engaged on a<br /> huge astronomical encyclopedia, which won’t be<br /> finished for another eight years, but, besides this,<br /> he is a constant contributor to the Press, Articles<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> on astronomical subjects from his pen are to be<br /> seen in the New York Herald and other<br /> American papers almost every month. He is a<br /> constant contributor to the New Times of Peters-<br /> burg, to which he contributes a_ scientific<br /> feulleton. He also writes novels, and has just<br /> arranged for the publication of a new tale,<br /> entitled “The End of a World,’ in Scribner&#039;s.<br /> His first success was made at the age of nineteen<br /> with his “ Plurality of Inhabited Worlds,” which<br /> is now inits thirty-fifth edition The book of his<br /> which has sold best is, however, his “ Popular<br /> Astronomy,” from which he has already received<br /> 100,000 francs, at the rate of 1 franc a copy.<br /> Doubtless his publisher, his brother, of the firm of<br /> Marpon and Flammarion, has made a good deal<br /> more out of the book, but Camille Flammarion<br /> does not seem to care for money. His wife, who<br /> also writes under the nom de plume of Sylvie<br /> Hugo, and who acts as his secretary, says that<br /> but for her interference they would never have a<br /> penny put by. Yet he gets fair prices for his<br /> work. The Herald pays him 100 dollars per<br /> letter, the Novoie Vremia 100 roubles, and his<br /> books, especially “ Urania,’ which has been an<br /> immense success, must bring him in large royal-<br /> ties. He is also editor of a review called<br /> LI’ Astronomie, which he founded, but which he<br /> says does not pay its way. He lives ina fifth-<br /> floor apartment in the Rue Cassini, near the Obser-<br /> vatory, from which he overlooks all Paris. He<br /> is very proud of the fact that he is the only<br /> Parisian who has never changed his address,<br /> having remained in the Rue Cassini since the<br /> war. I think, however, that Jules Simon has even<br /> a longerrecord, and has never changed his address<br /> from the Place de la Madeleine for over thirty<br /> years.<br /> <br /> <br /> <br /> Gaston Tissandier, editor of La Nature, is<br /> another most interesting man of letters in con-<br /> temporary Paris. He has the biggest record for<br /> balloon ascensions, many of the most exciting<br /> kind, of any man in Europe—a most charming<br /> gentleman, whom it is a pleasure to meet. He<br /> lives on a fifth-floor in the Rue Chateaudun, and<br /> his apartment is stored with curiosities referring<br /> to ballooning. Amongst his papers is a proclama-<br /> tion made by the Government, at the time of<br /> Montgolfier’s first ascensions, to explain to the<br /> population that there is no reason for them to act<br /> on the offensive, with pitchforks or otherwise,<br /> against balloons and balloonists, and giving a<br /> rough description of the apparatus. He also<br /> possesses a letter written by Franklin to Sir<br /> Joseph Banks, describing at great length the<br /> first balloon ascension ever made in Paris, which<br /> the writer visited from the little house in Passy,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 1<br /> }<br /> j<br /> }<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> where he was then residing. Camille Flammarion,<br /> by the way, was also a great ascensionist in former<br /> days, and it was.in a balloon which travelled from<br /> Paris to Spa that he and his wife spent the ninth<br /> day of their honeymoon.<br /> <br /> <br /> <br /> Most Londoners have no doubt heard of a poet<br /> called the Marquis de Leuville. I believe that<br /> his poetry is not held in very high esteem, and<br /> that things are said about the poet. It cannot,<br /> however, be contested that a recent poem of his,<br /> entitled “The Scapegoat,” about poor old de<br /> Lesseps has been very successful. Madame de<br /> Tesseps showed it to me the other day when I<br /> was down at La Chesnaye, and the whole family<br /> seemed very pleased with it. Madame de Lesseps<br /> told me that she had received copies of it from all<br /> parts of Europe. But the chief reason for which<br /> the poet should be pleased with his work is tbat<br /> it gave very sincere pleasure to a charming<br /> family, most cruelly persecuted, and most bitterly<br /> suffering.<br /> <br /> I never suffered such emotion, I think, in the<br /> course of a somewhat checkered life, as when I<br /> recently saw de Lesseps again at La Chesnaye.<br /> He was sitting, a crushed old man, idly turning<br /> over the leaves of his ‘“ Souvenirs of Forty Years,”<br /> written in happier years, and dedicated to his<br /> children. He did not recognise me. In fact, he<br /> recognises nobody. His eyelids droop, and there<br /> is no light in his eyes save when he raises them<br /> to his wife’s face. And the last time before then<br /> that I saw him he was the personification of<br /> energy, vitality, intelligence, and strength. His<br /> eyes literally flared with light, and now the night<br /> has come and a death in life. It is very sad.<br /> <br /> <br /> <br /> Young Léon Daudet may be considered with<br /> young Barres, the two hopes of French literature<br /> in the future. Daudet has already published a<br /> remarkable book, and has another just ready.<br /> He lives in good style with his wife, née Hugo,<br /> in the Avenue de Alma, and has some of the<br /> best claret in Paris. It will be interesting here-<br /> after to compare his career to that of his father,<br /> Alphonse Daudet. It will show whether it is<br /> better, as some say, for a man of letters to<br /> have to fight his way, like the elder Daudet, or<br /> like Zola, for instance, or to launch out on the<br /> sea with the ballast of a couple of millions of<br /> francs.<br /> <br /> <br /> <br /> Daudet has told me that he spent three years<br /> of utter penury in Paris, with tattered boots, and<br /> often no socks, and many days where there was<br /> nothing to eat.<br /> <br /> But what made him suffer<br /> <br /> 403<br /> <br /> most, he says, was that, being a handsome lad and<br /> much run after by the fair, he was often forced<br /> to keep away from sweet trysts because his linen<br /> was in such a dreadful state that Cupid would<br /> have been seared. Zola for months lived on dry<br /> bread. The days when he could a penn orth of<br /> pork to the bread were feast-days with the present<br /> millionaire.<br /> <br /> Those who are interested in modern French<br /> literature, and who want to be au courant with<br /> what the young poets of France are doing and<br /> saying, should read La Plume, a magazine con-<br /> tributed to by all the poets of modern France.<br /> It is edited by M. Léon Deschamps, and is not a<br /> commercial speculation. If it were, I should not<br /> speak about it here.<br /> <br /> <br /> <br /> I see that Mr. George Moore has been cari-<br /> caturing the interviewer in a recent play. Why<br /> do people represent the interviewer as a shabby-<br /> looking individual with a note-book in his hand ?<br /> He is nothing of the sort. He is a person who<br /> goes to another person and has a conversation<br /> with him, rendering service to the person and<br /> the public alike—to the person by giving him an<br /> easy way of communicating his ideas to the<br /> public, and to the public in informing it what<br /> so-and-so thinks about such-and-such a question.<br /> He performs the function of a telephone between<br /> the wide wide world and Mr. A., B., or C. But<br /> he is more than a telephone wire because he does<br /> not only transmit the sounds ejaculated by<br /> A. B. G., but arranges them so that they shall be<br /> pleasant to the ear at the receiver, while strictly<br /> representing the ideas of the person consulted.<br /> And as no gentleman would care to use such a<br /> piece of trade properties as a note-book, he has to<br /> depend on his memory when reproducing what<br /> has been said.<br /> <br /> <br /> <br /> The psychology of interviewing has yet to be<br /> written, and would make a capital study. But of<br /> more practical utility would be “ The Interviewer’s<br /> Complete Handbook” for beginners. Perhaps<br /> some day I will write one. A chapter would be<br /> devoted to the skirmishing in the antechamber,<br /> with practical hints how to get round the foot-<br /> men. Some have to be bluffed, some to be<br /> wheedled, some are even open to corruption. I<br /> have always considered the battle won once I have<br /> crossed the doormat. Another chapter would be<br /> devoted to the arts by which a man who has made<br /> up his “ mind to say nothing” can be got to talk<br /> in spite of himself, of which there are many, and<br /> to the methods of conveying a leading question<br /> so as to extract an answer from an unwilling<br /> subject. The interviewer, to be a useful one, has<br /> <br /> <br />  <br /> <br /> 404<br /> <br /> <br /> <br /> to be as good a cross-examiner as any Q.C. in<br /> London, minus his authority and wig, and to get<br /> by wheedling and guile what the other gets by<br /> bluster and menace. He is a curious modern<br /> type, and wants studying, and should not be<br /> written about by those who know nothing about<br /> him nor his work. In any case he deserves<br /> immense sympathy, be he ever so little a nervous<br /> man. For such to present himself before an<br /> utter stranger is a great trial, and I know certain<br /> who will spend an hour dawdling about in the street<br /> of the subject trying to work up courage enough to<br /> ring at the door-bell. Some take brandy, others<br /> take runs, like jumpers. I myself always go at<br /> it with my head down like a hen facing a fox.<br /> <br /> <br /> <br /> Jules Verne is, I am glad to say, much better<br /> again. His son, Michel Jules Verne, has resumed<br /> his pen, after a period of commercial activity in<br /> the manufacture of patent stoves and improved<br /> bicycles, and will contribute a number of scientific<br /> articles to the American magazines. He is a<br /> smart young man, and should make his way.<br /> <br /> <br /> <br /> Madame Taine has writted to protest most<br /> strongly against the recent publication in the<br /> Figaro of a series of sonnets written by her hus-<br /> band, declaring that in his will he expressly en-<br /> joimed upon his family to keep from the public<br /> any of his writings which were in any way con-<br /> nected with his private life. Taine was always<br /> very particular on the point of his privacy, and it<br /> was doubtless with this feeling that he so rarély<br /> allowed himself to be photographed. I say<br /> “rarely,” for, although it has been said since his<br /> death that he never was photographed, I know of two<br /> negatives in existence in Paris. I once went to see<br /> him,-accompanied by a leading Parisian artist, who<br /> was to take a sketch of him in his workroom, and<br /> he nearly fired us downstairs. He would only<br /> allow the artist to be present at our conversation<br /> on his passing his word not to make any use what-<br /> ever of his visit.<br /> <br /> <br /> <br /> I heard some young poets, all very well known<br /> in Paris, discussing profits the other day. A<br /> certain publisher’s name was being mentioned,<br /> and it transpired that in the opinion of the<br /> brotherhood he was the most liberal man in<br /> Paris. It also transpired that he had paid a<br /> certain young master as much as 200 frances for<br /> a volume of poems which I believe sold fairly<br /> well,<br /> <br /> <br /> <br /> When a man is thinking of starting a paper<br /> either in London or New York you hear him<br /> figuring up the cost of paper, composition, and<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> machining. In Paris his first thought is about<br /> the cost of his literary staff, the other incidental<br /> expenses being looked upon as minor considera-<br /> tions. This gives in brief a very fair idea of the<br /> relative position of letters in the three countries,<br /> Again, the London newspaper proprietor and his<br /> American confrére when they have to boast of<br /> their enterprises do so about their machines,<br /> their speed, their ink, and the amount of white<br /> paper consumed in their offices in a week. The<br /> French editor boasts about the men who write<br /> for him, and the sums he pays them.<br /> <br /> oo<br /> <br /> I hear that the so-called décadents have<br /> decided to revolt against the appellation, and<br /> that each of the school will in future consider it<br /> an insult to be styled by this name. As a matter<br /> of fact a finer set of young men than Stuart<br /> Merrill, Maurice Maeterlinck, Vielé-Griffin, Jean<br /> Carrére, Adolphe Retté, the athletic Christian<br /> could not wish to see. The word décadent sug-<br /> gests a dismal, greenish, pimply youth, with<br /> shabby clothes and frowsy hair. All the déca-<br /> dents that I have seen are just the reverse.<br /> They would be a credit to Hyde Park on a Sun-<br /> day afternoon.<br /> <br /> Paris, March 19. Rosert H. SHerarp.<br /> <br /> ees<br /> <br /> BALLADE OF THE PRIMROSE WAY.<br /> <br /> ——<br /> <br /> Our life is but an empty show,<br /> A passing shadow frail and fleet ;<br /> Earth’s joys are dross, and end in woe,<br /> For stumbling men they are not meet:<br /> Pleasure, the siren’s voice, is sweet,<br /> But death is in her kiss and glance ;<br /> Then follow not with foolish feet<br /> The Primrose path of Dalliance.<br /> Thus the sad preacher, grave and slow,<br /> In balanced phrase precise and neat;<br /> Alack! and is it really so ?<br /> Well, from the toil, the dust, the heat<br /> Of life’s rough highway, some retreat<br /> I fain would find—I’d take my chance,<br /> And follow, e’en with foolish feet,<br /> The Primrose path of Dalliance.<br /> <br /> T know the ways where wild thorns grow,<br /> <br /> I’ve reaped well-nigh more tares than wheat ;<br /> I know life’s ruts, some bourne I’d know<br /> <br /> With violet and rose replete,<br /> <br /> Where all fair sights and sounds compete<br /> The charméd fancy to entrance ;<br /> <br /> I&#039;d follow with whatever feet<br /> The Primrose path of Dalliance.<br /> <br /> Envot.<br /> <br /> Change places, Florizel, heigho !<br /> <br /> You&#039;re sick of “ three-pile,” song, and dance ;<br /> Let me play Prince awhile, and go<br /> <br /> The Primrose path of Dalliance.<br /> <br /> RoBerRT RICHARDSON.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 405<br /> <br /> NOTES AND NEWS.<br /> <br /> HIS is personal. In Punch for April 1<br /> a4 there is a statement quoted from some-<br /> where—it is not said where. This is the<br /> statement: “In the pages of the Author Mr.<br /> Besant suggests that the Society of Authors<br /> should undertake the examination of journalists.”<br /> Some verses follow, naturally in ridicule of the<br /> proposal. It is needless to say here that the state-<br /> ment is absolutely baseless. Perhaps, however, my<br /> brother journalists will kindly help me to give<br /> publicity to this protest. I have never suggested,<br /> or thought of suggesting, any such thing. The<br /> only possible foundation for the fabrication<br /> appears in the March number, where, at p. 367,<br /> after quoting Prof. Matthews’ examination paper<br /> on “The History and Art of Fiction,’ I went on,<br /> venturing on a Flight into the Impossible, to<br /> say, ‘“ What a fine field would be open to the<br /> Society if we could institute examinations for<br /> critics!” Then followed certain words meant in<br /> my little, feeble way to be playful.<br /> <br /> <br /> <br /> <br /> <br /> The time appears to have now arrived when<br /> an attempt, at least, may be made towards an<br /> understanding with the leading publishing<br /> houses as to the creation of some recognised<br /> and accepted principles, which should guide and<br /> govern the relations of author and publisher.<br /> Sir Frederick Pollock, chairman of the committee<br /> of management, in his opening remarks at the<br /> general meeting of Dec. 17th, clearly fore-<br /> shadowed such an attempt. He said ( Times,<br /> Dec. 18): ‘‘ That the society of Authors had been<br /> described asthe enemy of publishers at large. In<br /> point of fact, they were the enemy of nothing but<br /> unbusinesslike habits, slovenly dealing, and<br /> fraudulent practices. They were on the side of<br /> any publisher who would help them to put such<br /> things down. As for the suggested union among<br /> the publishers, he thought that it would materi-<br /> ally improve the chances of a better understanding<br /> between them and authors.” He said, further,<br /> that he could not understand that there was no<br /> way of arriving at a cordial understanding between<br /> honourable men of both sides.<br /> <br /> <br /> <br /> This is clearly a most desirable thing to attempt,<br /> and, if possible, to achieve, But the first thing<br /> necessary is to have a clear understanding of the<br /> points which will be discussed With this object,<br /> and in order to help myself in the papers which<br /> I have to take over to Chicago, I have drawn up<br /> a paper which I invite all our members to read<br /> and to give their own opinions. They need not<br /> <br /> consider it as imposing any opinions upon them.<br /> The facts, however, are those which have been<br /> ascertained by the Society, and cannot be dis-<br /> puted. But it may be very helpful if every one<br /> will consider the problem by the light of the<br /> facts, and if possible come to some conclusion.<br /> <br /> <br /> <br /> Se<br /> <br /> On p. 417 will be found the first beginning of<br /> what it is hoped may develop into a great thing<br /> —the exchange and sale of books carried on by<br /> the intermediary, without profit, of the Author.<br /> All those who want to buy books; all those who<br /> have books to exchange; all those who have<br /> books to sell; may send their lists directed to the<br /> “Book Exchange Column.” Their address must<br /> be sent, of course. The journal will not pay<br /> postage expenses, and when the thing has<br /> developed it may be necessary to make a small<br /> charge for printing the list at so much a line.<br /> The list will be sent to a selection of second-hand<br /> London and country booksellers. We shall be<br /> very pleased if we can in this way assist a body of<br /> men so useful to us as the second-hand book-<br /> sellers.<br /> <br /> I beg correspondents, of whom one rejoices to<br /> observe an increasing number, to notice the short<br /> articles that are published in the Author. Many<br /> of the letters sent up would produce a much<br /> better effect if they were short articles instead of<br /> letters. For the publication of a grievance or a<br /> trick, a letter is perhaps better; but, for the<br /> advocacy of a measure of reform, or for the<br /> advancement of a principle, a short article is much<br /> the best form of stating the subject.<br /> <br /> <br /> <br /> The death of Professor Minto, a member of<br /> our council, was totally unexpected. He was<br /> apparently a strong and healthy man, who might<br /> have lived to a great age. He caught a cold ;<br /> influenza followed; and he died at the age of<br /> forty-seven. As an editor, a writer, and a<br /> professor of philosophy, he worked well and did<br /> well. There were few men more wide-minded<br /> than Professor Minto.<br /> <br /> Lanes<br /> <br /> I hope everybody will read and ponder over<br /> the remarks made in our corresnondence columns<br /> by “Onward” (p.410). They area plea for unionof<br /> authors. We area society, but are we yet a union ?<br /> We must not think of an ordinary trades union, a<br /> company banded together for the raising of wages.<br /> The union that our correspondent contemplates,<br /> and our Society can perhaps achieve, 1s one which<br /> will raise the status of literature by removing it<br /> from mendicancy and dependence. The material<br /> side of literature must no longer depend on the<br /> <br /> seen<br /> <br /> <br />  <br /> <br /> 406<br /> <br /> whim and “ generosity ”—they still go on talking<br /> about “generosity ”»—but onr ecognised principles<br /> and methods of agreement. There must be an esta-<br /> blished etiquette between editor and contributor,<br /> by which the latter can be in some measure pro-<br /> tected from the scurvy treatment he too often<br /> receives at the hands of scurvy editors and scurvy<br /> journals, There are difficulties in the way, but<br /> surely those who lead the world, teach the world,<br /> preach to the world, amuse the world, should be<br /> the first to see that association is the only way to<br /> remove the evils under which they now labour.<br /> <br /> <br /> <br /> It is reported that attempts are again being<br /> made in certain quarters to persuade the credulous<br /> author into committing the stupendous folly of<br /> binding himself down for all future work to one<br /> publisher! It is difficult to find words with<br /> which to stigmatize this madness. Whatever<br /> mismanagement—whatever quarrels—might arise<br /> —the luckless author would always remain the<br /> slave of the publisher to whom he had bound<br /> and chained himself. Consider, if you can, what<br /> would be thought of a man who should go to a<br /> firm of solicitors and should promise them the<br /> management of all his estates for the future,<br /> whatever their management might turn out !<br /> <br /> <br /> <br /> A correspondent very sensibly suggests that,<br /> as much of the ill-feeling that sometimes follows<br /> a publishing transaction is caused by the author’s<br /> complete ignorance upon all points connected<br /> with printing, &amp;c., it would be a very good plan<br /> if publishers would send out with the first proofs<br /> a plain statement on the subject of corrections.<br /> Thus, it is ridiculous to state, as is done in many<br /> agreements, that all corrections above so many<br /> “shillings” will have to be paid for by the<br /> author. How is the author to know the connec-<br /> tion between shillings and corrections? What<br /> he wants is to be told what corrections he can<br /> make without cost, and what he will. have to pay<br /> for extra corrections. He sometimes wants,<br /> besides, a hint as to the best way of making his<br /> corrections. My correspondent adds: ‘“ With<br /> some proofs that I received last October from<br /> Messrs. G. Putnam’s Sons, of New York, there<br /> came a printed paper of full instructions for<br /> ‘correcting, and also a full explanation of the<br /> cost of adding additional material.” This is an<br /> example that deserves imitation.<br /> <br /> <br /> <br /> Here is a case of conscience. The editor of a<br /> certain scientific journal sends to the publisher of<br /> a certain work on some parts of our social system a<br /> request for a copy of the book for review.<br /> <br /> THE AUTHOR.<br /> <br /> Observe that it is not the practice of this paper<br /> to review books on such subjects at all. The<br /> publishers accede to the request and send the<br /> book. The notice which appears is contained in<br /> twenty-two lines, of which two are occupied by a<br /> quotation in verse. - It is not a review; that is to<br /> say, the readers of the journal in question could<br /> not gather from the paragraph the contents or<br /> the scope of the book, except in very general<br /> terms; and the tone of the notice is contemp-<br /> tuous and flippant. The author very fairly asks<br /> why, if this sort of thing was intended, did the<br /> editor send for a copy? It is a case of con-<br /> science. The editor was not asked to give a<br /> review ; he offered one. He received a copy of<br /> the book in return for the tacit understanding<br /> that there would follow a serious review ; he does<br /> not give a review at all, but an irresponsible and<br /> slighting “notice.” Is this justifiable ?<br /> <br /> <br /> <br /> The following passages appeared in T&#039;ruth.<br /> One or the other is a very remarkable specimen<br /> of the Reviewer’s Art. On Thursday, March 14,<br /> a certain new book was reviewed in two leading<br /> journals, with the following result :—<br /> <br /> It is not interesting, it is<br /> not amusing, it is, in fact,<br /> one of the most negligible<br /> works we have recently en-<br /> countered. The compulsory<br /> reading of these volumes<br /> will afford as humiliating a<br /> discipline as the Penitential<br /> Psalms.<br /> <br /> These are most interest-<br /> ing, valuable, and attractive<br /> volumes, and their perusal<br /> is as delightful as it is in-<br /> structive. . From<br /> whichever point of view this<br /> book be considered, it is<br /> deserving of the highest<br /> praise.<br /> <br /> <br /> <br /> The lamented death of Taine has brought<br /> forth many tributes to his genius and his personal<br /> <br /> character. The best and noblest seems to me<br /> that which appeared in the Atheneum of<br /> March 18. It is signed “ M. D.”—initials which<br /> <br /> it is not difficult to connect with the remaining<br /> letters of the writer’s name. The following is an<br /> extract on Taine’s attitude towards the new<br /> religious ideas of the time, for those who have<br /> not seen this admirable paper :<br /> <br /> Never was a freethinker more respectful of religion or<br /> more appreciative of the vast and necessary moral force<br /> embodied in all religions. In abstaining from affirming he<br /> did not deny; and now that the pendulum of time has —<br /> swung back to the hope beyond reason, the love of mystery,<br /> the renewal of faith, which marked the third decade of our<br /> century, none watched the modern movement with a kinder —<br /> spirit than M. Taine. I remember how astonished I was to<br /> find him so warmly, so unaffectedly interested in the pro-<br /> ceedings of the Society for Psychical Research, in the<br /> hypnotic studies of a recent school of medicine, and other<br /> manifestations little calculated, I had thought, to appeal to<br /> a philosopher of pure reason. But his large spirit saw a<br /> greatness in these attempts to verify suprasensible things by<br /> a scientific method. He felt no rancour, but a curious inte-<br /> <br /> <br /> ;<br /> |<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 407<br /> <br /> rest, in the eager spirits who would fain explore the track<br /> he had defined as unexplorable. Among the younger gene-<br /> ration he had few closer friends than the Vicomte de Vogiié,<br /> the Chateaubriand of modern.France. Mystics, reformers,<br /> apostles, men of action, they were none of them beyond the<br /> sympathies of our sage ; for none so well as he was aware of<br /> the necessity of a moral order in the world, and of the need<br /> of a continua] renewing and reforming of that moral order.<br /> And none more than he was conscious of the impenetrable<br /> mystery which lies thick and dark behind all our systems<br /> and all our philosophies, which, if it answers to no religion,<br /> likewise refutes none either. Only a month ago he spoke<br /> with us of the Eleusinian Mysteries, and of that shadowy<br /> underworld where men see the roots and not the flowers of<br /> things. And he sighed, and said: “In all there is still an<br /> Eleusinian Mystery.”<br /> <br /> <br /> <br /> Here is a difficulty.<br /> <br /> A. sends a MS. poem to B. for publication in<br /> his journal.<br /> <br /> B. says he will take the poem, but that he<br /> cannot pay for it.<br /> <br /> A. accepts the proposition.<br /> <br /> Time passes. A. waits. At last he writes. B.<br /> replies by post-card—‘ Your poem was returned<br /> to you in August last.” He has never received it.<br /> <br /> Has it been lost in the post? Did the editor<br /> send it back?<br /> <br /> Answer.—Probably the editor gave orders for<br /> its return, and the order has not been carried<br /> out.<br /> <br /> <br /> <br /> Here is a case of coincidence. In the Author<br /> of last month appeared a story of a daughter<br /> bringing by her own efforts and genius success to<br /> the father who could not command it. It was a<br /> literary success. In June of last year there<br /> appeared in the Eastern and Western Gazette,<br /> a story by Mrs. Edmonds called “The Painter&#039;s<br /> Daughter,” in which the daughter gives secretly<br /> <br /> to her father’s picture the touches and the colour<br /> <br /> which transform it from a failure to a success.<br /> The treatment of the two stories is different;<br /> there is nothing similar except the motif, and<br /> that -is the same in both. The author of the<br /> “ Painter’s Daughter” is anxious to say that she<br /> does not for one moment insinuate or suspect<br /> any plagiarism. It is a coincidence, and, as such,<br /> it deserves to be recorded.<br /> <br /> <br /> <br /> Miss Florence Nevill, a member of our Society<br /> and the founder of the Braille Book Society,<br /> wishes me to mention the latter. Perhaps<br /> readers do not know what a Braille book is. It<br /> is a book in raised type for the blind. Writers<br /> give permission for an edition in Braille type,<br /> which is then given to institutes and schools for<br /> the blind. Miss Nevill sends me a letter from<br /> the “grateful blind children of St. Raphael’s,<br /> Montenotte, Cork,” in which they say, “ We are<br /> <br /> sure it will please you better than anything we<br /> could say, when we tell you that your books are a<br /> source of the greatest pleasure to us. We wish<br /> you could see even the little ones of all, how eager<br /> they are to read every one of them.” Those who<br /> wish to assist the blind in this way may place<br /> themselves in communication with Miss Nevill<br /> (editor of the Braille Book Society), 3, Victoria-<br /> mansions, Grand Avenue, Brighton.<br /> <br /> <br /> <br /> The Editor has received a very indignant letter<br /> from a member of the association called the<br /> “Society of Science, Letters, and Art,” whose<br /> existence and valuable work we have made known<br /> to an admiring world. He asks if the remarks<br /> made in this journal on that Society were based on<br /> personal knowledge or on hearsay ? On neither ;<br /> but on the reports and official papers of the<br /> Society. He asks what right we have to com-<br /> plain of people who choose to join a Society in<br /> order to write F.S.Sc. after their name? Well,<br /> but the little article in these columns did not<br /> complain of them. Not at all. No one has a<br /> right to complain of persons who are presumably<br /> harmless, do not obstruct the traffic, create a<br /> nuisance, or frighten the horses. Meantime if<br /> our correspondent, who concludes with a demand<br /> to have his letter printed in the Author, will<br /> kindly send us a pbalance-sheet of the Society,<br /> showing what becomes of all the money—are<br /> there not 2000 members?—that balance-sheet<br /> shall be printed here. Surely that is a reasonable<br /> offer.<br /> <br /> <br /> <br /> Mrs. W. K Clifford writes to say that, with the<br /> exception of Messrs.- Warne, publishers have<br /> always treated her with the greatest kindness and<br /> consideration. For instance, Messrs. Cassell having<br /> bought the copyright of a story that appeared in<br /> the Quiver when she was a girl, paid her, in 1881,<br /> more than the original sum before they reprinted<br /> it with lengthy additions as a book. Of course<br /> she was wholly in their hands, and the copyright<br /> was theirs, and she was quite an unknown writer<br /> at the time of her husband’s death. The other<br /> story is this: Messrs. Wells Gardner and Darton<br /> bought, for what was a very fair payment to her<br /> in those days, the stories published in a little<br /> book called “ Children Busy.” They proved an<br /> enormous success, and were translated into many<br /> languages. The publishers sent her, of their own<br /> accord, a most pleasant letter, thanking her for<br /> her stories, and asking her to accept a handsome<br /> cheque in token of their appreciation of them.<br /> <br /> <br /> <br /> We learn from the Green Bag that (among<br /> other schools of Western law) a school of English<br /> <br /> <br />  <br /> <br /> 408<br /> <br /> law flourishes in Japan. For the use of the<br /> students who can read English text-books “a<br /> number of books were cheaply reprinted and sold<br /> at a price within the means of the students.”<br /> The list includes the works of two living English<br /> authors, as to one of whom we are certain, and as<br /> to the other, we believe, that he was not con-<br /> sulted in any way or even informed of this pro-<br /> ceeding. Japan, we believe, is not a party to the<br /> Convention of Bern. It would seem that if our<br /> Japanese brethren learn some law from England,<br /> they have preferred to take their literary morality<br /> from America—as it was before the Copyright<br /> Act of 1891.<br /> <br /> <br /> <br /> There is a magazine which frankly throws open<br /> its pages to all those writers who will subscribe<br /> for so many copies. The number asked for, in<br /> the form presented to us, is unfortunately left<br /> blank. The author is informed that the copies<br /> can be sent to his bookseller, who will sell them<br /> for his benefit. Will he, indeed? How very<br /> accommodating! And who will buy them? The<br /> firm, whose name appears in the circular con-<br /> taining this offer, is one which habitually offers<br /> ‘exceptional terms” in naming the amount, paid<br /> down, for which they will print an author’s—any<br /> author’s—work—any work. One wonders how<br /> many copies of the magazine the writer of —_say—<br /> a serial has to subscribe for insertion. Would it<br /> be 500 copies—1o0o0 copies—10,000 copies? And<br /> how satisfactory to be at once the author and the<br /> readers !<br /> <br /> <br /> <br /> The following, for instance, is the reply of the<br /> editor of that journal to an author forwarding<br /> a MS.:<br /> <br /> Dear Sir,—I have your paper. It would do very well<br /> indeed, but I am very crowded indeed.<br /> <br /> Do you feel disposed to aid us in promoting the circula-<br /> tion by subscribing for some copies of the number contain-<br /> ing your essay if we makeroom forit? Please read over the<br /> enclosed circulars, and inform us whether you can co-<br /> operate in the way therein indicated ?<br /> <br /> In future correspondence please send me stamped and<br /> addressed envelope as my time is very much engrossed.”<br /> <br /> The author failing to be caught by the tempt-<br /> ing bait of having to subscribe for copies, the<br /> MS. was returned.<br /> <br /> Mr. Hubert Haes sends a suggestion which<br /> may be found practical; but, I think, not yet, for<br /> certain reasons.<br /> <br /> He points out that every publisher has now his<br /> readers: or literary advisers, by whose report upon<br /> a MS. he is guided in his decision; that an<br /> author may be condemned by one“and approved by<br /> another. In any case, the fate of a young writer is<br /> decided by literary men working for publishers.<br /> <br /> THE AUTHOR.<br /> <br /> He further points out that a young writer<br /> frequently goes from house to house seeking<br /> acceptance ; that the same work is consequently<br /> read by many persons; and that this involves<br /> much waste of time and money.<br /> <br /> He would have, therefore, a permanent com-<br /> mittee of readers attached to the Society, to whom<br /> all new works might be submitted, and whose<br /> judgment would be accepted by publishers.<br /> <br /> Such is the scheme suggested by Mr. Hubert<br /> Haes. Publishers would certainly save a great<br /> deal of money by such an arrangement. But who<br /> is to support this committee? Reading MSS. is a<br /> laborious—-a very laborious—kind of work. As it<br /> is, our readers are paid—and very poorly paid—<br /> by the author’s guinea fee. We cannot, however,<br /> ask authors for a larger fee. Will every author<br /> be obliged to pay that guinea on Mr. Haes’<br /> plan? Moreover, our readers are asked to<br /> give an opinion which shall be instructive, and this<br /> is not quite what the publisher wants. And, again,<br /> while 60 per cent. of the MSS. submitted can be<br /> rejected in a few minutes, there remains a<br /> certain percentage on the border line, which a<br /> reader is afraid to recommend, as being risky, and<br /> yet afraid to condemn as presenting points of<br /> interest and merit. Such MSS., and those which<br /> the reader is disposed to recommend, should be<br /> read by more than one member of that committee.<br /> The idea, however, of a central committee of critics<br /> and readers to consider MSS. and to report upon<br /> their contents, their literary value, and their com-<br /> mercial prospects (the last not always depending<br /> on the second) seems one worth noting and<br /> remembering. It may be taken up in the good<br /> time coming, when the honourable houses leave off<br /> assuming as meant for themselves remarks, warn-<br /> ings, and exposures designed for the baser sort.<br /> Let us have patience. That time is coming. But<br /> even when that good time comes, we might have,<br /> as I suggested last month, a publisher receiving<br /> the opinion of the Society’s committee with con-<br /> sideration, and then putting on his own reader.<br /> <br /> <br /> <br /> One of my correspondents complains of the<br /> prize composition system now so much in vogue.<br /> He points out that the favourite prize is a guinea,<br /> and that the prize composition commonly covers<br /> from four to five columns ; thus, he says, depriv-<br /> ing regular contributors of so much a page, which<br /> is filled at a very low rate. To this I have<br /> <br /> replied that, (1) an editor, in his own interests,<br /> must fill his paper with what will prove most<br /> attractive ; that (2) perhaps he thinks that the<br /> winners of prize compositions are certain to be<br /> fresh and bright; and that (3) the prize toa<br /> young writer is very much more than a guinea,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 409<br /> <br /> it is the first step, the first proof of capacity, the<br /> first publicity of his name; and (4) that even if<br /> it does fill up his columns at a low rate, since the<br /> prize winner is delighted and the interest of his<br /> paper is served, no one has any right of inter-<br /> ference. I hope that [ am the last person in the<br /> world to underrate or minimise the rights of<br /> authors, but this is how the question seems to<br /> me. Perhaps readers who cannot agree with this<br /> view would like to state their opinions.<br /> <br /> ————— =<br /> <br /> There is one paper called Hearth and Home,<br /> where there is a literary competition every week.<br /> The prizes are offered to outsiders only-—not to<br /> those who make money regularly by writing. The<br /> editor of this department adds short criticisms on<br /> the MSS. sent in to him. These little notes seem<br /> both instructive and useful. Perhaps they are too<br /> encouraging. The real question seems to me, not<br /> whether the prize is great or small, but whether<br /> this plan is or is not calculated to encourage<br /> mediocrity into the field of letters. It ought to<br /> produce just the opposite result. The competi-<br /> tion is so enormous even in this, the first begin-<br /> nings, as to discourage most. Other discourage-<br /> ments sometimes come too late, when the candi-<br /> date has already burned his boats and cannot<br /> turn back.<br /> <br /> <br /> <br /> A correspondent calls attention on the endless<br /> review—not criticism—question ; and to the fact<br /> that he is himself alternately praised and blamed<br /> by the same paper, and this not in one paper only<br /> but in many; so that it is quite impossible to know<br /> beforehand whether the qualities which pleased in<br /> one work will not be found the subject of derision<br /> and contempt in the next. All this is part of<br /> the system adopted in some journals. It 1s abso-<br /> lutely impossible, when the rapid reviewing (?) of<br /> books in short paragraphs is a source of income,<br /> to read adequately—or at all—the books that<br /> one has to review. Nobody can afford it. I<br /> have already mentioned the case in which the<br /> reviewer (?) was expected to review eight, ten,<br /> er a dozen novels, in a single column, for a<br /> guinea. That is, to read all these three volume<br /> novels, and to write an opinion upon them at the<br /> rate of rs.gd. anovel!! And this is not an isolated<br /> case. Now I have always thought that a book<br /> should deserve a review, 2.e., a certain proportion<br /> of the books which come out are either trivial books<br /> or bad books, which will perish immediately, and<br /> no more deserve notice than the performance of<br /> a man who plays a cornet before a public-house.<br /> It should be a distinct honour for a book to have<br /> a review; there are not more books which deserve<br /> review than would fill the literary columns of a<br /> <br /> <br /> <br /> journal. Why not go back to this rule? And<br /> as for the other books, a current list might be<br /> kept of them, explaining the meaning, scope, and<br /> intention of the author in every case. This<br /> would be an unpaid advertisement of every<br /> book, quite enough for most, and better than a<br /> “slating” among the reviews, while it would<br /> leave the way clear for long and serious reviews,<br /> such as make the reputation of an author and<br /> advance the demand of a good book. The short<br /> notices of current books in the Westminster<br /> Gazette are examples of the method which I<br /> should like to see followed everywhere. That is,<br /> a serious review where the work is serious, and<br /> just a brief statement of its contents and aims<br /> where it is not thought worthy of a review.<br /> eee Se<br /> <br /> Professor Brander Mathews writes, with regard<br /> to his examination in the History and Art of<br /> Fiction, that thirty men took the paper and only<br /> one failed. I think this speaks volumes for the<br /> Professor as well as the students, and I hope his.<br /> example will be followed in this country.<br /> <br /> <br /> <br /> The University Extension lecturers are already<br /> beginning to leave the beaten tracks. At one of<br /> their branches the subject has been the History of<br /> London, and Ihave the honour of examining that<br /> branch in this new subject of study. For my<br /> own part 1 have learned so much concerning the<br /> history of England from the study of London,<br /> that I cannot but hope that it will be taken up<br /> extensively. But books alone will not do. One<br /> must master the map; one must know where<br /> places stood; one must fill the streets with<br /> history and associations.<br /> <br /> I have to acknowledge a very generous response<br /> to my appeal on behalf of a distressed author.<br /> The lady herself wishes to convey her best thanks<br /> to everyone who has kindly helped her. The<br /> following is a list of the donors. Their names<br /> are suppressed, in accordance with the wishes of<br /> most, and the list is closed.<br /> <br /> <br /> <br /> <br /> <br /> eB e, a. 2 sg. a.<br /> <br /> 1 o 0O| Rev. Canon B. a3)<br /> <br /> L020 i i.0<br /> <br /> iL 0;.0 Jt. 0<br /> <br /> I Loo I L3G<br /> <br /> Go 18 22°20<br /> <br /> O° 5-0 r 1 0<br /> <br /> . Oo 5 Oo<br /> <br /> Napoleon) ...... O16. 0) re Bek bet<br /> Tieut.-Col, Ce 065 6.0 “Old. dn oW ss Ee as CO SO<br /> Wiliams... 2 2.0\R ME .....y 1.6. 6<br /> Mrs. 8. a LO} —_————<br /> ANON vipers 019 6| Total .......-... 22°19 6<br /> <br /> The above sums have been transmitted by me<br /> to the lady for whom they were designed.<br /> <br /> <br /> THE<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> L<br /> Promrr PayMeEnt.<br /> <br /> LETTER signed “H.” calls attention to<br /> <br /> the fact that a certain Church paper sends<br /> <br /> out cheques with the proofs; and that<br /> certain daily papers do not keep their people<br /> waiting. Of course not; but it is rather super-<br /> fluous to assure the world that the great papers<br /> are ready with their payments.—Ep.<br /> <br /> <br /> <br /> AY,<br /> JUSTICE FROM AMERICA.<br /> <br /> Be it placed on record that an American firm of<br /> publishers have behaved with justice to an English<br /> author. The matter being rare may be worth<br /> recounting. About ten years ago I published,<br /> in two vols. “The Life and Adventures of Peg<br /> Woffington;” later, a cheap edition in one vol. was<br /> issued. The book was unprotected in the United<br /> States. Towards the end of last year Messrs.<br /> Dodd, Mead, and Co. brought out an edition of<br /> the book in two handsome vols., illustrated.<br /> Seeing it reviewed in the American papers, I put<br /> forth my claims for compensation. In answer I<br /> received an account of sales with a cheque for<br /> royalties, FirzGeratp Moutoy.<br /> <br /> <br /> <br /> TL. fe<br /> For a Union.<br /> <br /> The ripe tradition that writers should wait in<br /> every cold passage is well supported by the nation.<br /> First, by a niggardly Pension List, and, secondly,<br /> by what, with some self-exultation, is called a<br /> Bounty Fund. Private enterprise at times throws<br /> ina marble monument or two. But present honour<br /> and present flesh-pots are what most men barter<br /> their health and strength for. These things<br /> literary men will never get with dull acquiescence<br /> —with a thankful acceptance of small mercies.<br /> If a union is required in any profession, it is<br /> required in literature. No profession is so pro-<br /> vocative of gibes, for chaos reigns completely.<br /> An editor, however low, can pick and choose from<br /> a literary army. He can take what he likes,<br /> refuse what he likes, and pay what he likes. To<br /> which may be added, he can pay when he likes.<br /> No wonder the editorial We is pitched in a bene-<br /> ficent key.<br /> <br /> No union could make an editor take what he<br /> didn’t want. But this no union would wish.<br /> <br /> Ordinary unions neither force on the employer<br /> <br /> ~ experience with the Atheneum.<br /> <br /> <br /> <br /> AUTHOR,<br /> <br /> unsuitable labour or excess of labour.<br /> <br /> The<br /> merely compel that labour to be carried on undae<br /> <br /> . fair conditions. Employers of ordinary labour,<br /> and editors and publishers come under the same<br /> head, with this advantage to the literary labourer.<br /> If circumstances permit, he can transmit hig<br /> <br /> wares direct to the public. He always has at his<br /> tail co-operative publishing. To him editors and<br /> publishers are middle-men. He can do without<br /> them ; they can’t possibly do without him. Surely<br /> this is argument enough. Surely there is no<br /> need to write down the stale, commonplace truth,<br /> that organised labour is, without any exception,<br /> better treated than that which is disorganised.<br /> If there are any readers of the Author who see<br /> any vital objections to a union, I should like to<br /> hear what they are. Onwarp.<br /> <br /> <br /> <br /> IV.<br /> MissTaATEMENTS IN REVIEW.<br /> <br /> I see a statement in the last issue of the Author<br /> by Mr. Frank E. Beddard relative to a misstate-<br /> ment made in the Atheneum in areview of a work<br /> of his, and the editor’s refusal to insert a<br /> correction. This is such a common occurrence in<br /> papers and periodicals that itis (one would think)<br /> time that it was made obligatory upon editors to<br /> give space for the correction of a misstatement<br /> of fact. It happens that I had recently the same<br /> In a review of<br /> my “Life of John Linnell,” I was accused of<br /> error in two important particulars. In a letter<br /> to the editor I pomted out where his reviewer had<br /> fallen into error, and adduced proof, but he<br /> declined to insert the correction. I do not<br /> wonder ; space would probably not permit of the<br /> insertion of the correction of all such misstate-<br /> ments. There is only one way to set these<br /> matters right—a legal obligation on editors to<br /> allow of a correction of proved misstatements.<br /> But we need to have the principle of signed<br /> reviewers extended ; without it reviewing may he,<br /> and often is, worse than piracy.<br /> <br /> Aurrep T. Srory.<br /> <br /> 13, Bramerton-street, Chelsea.<br /> <br /> [But how does our correspondent propose to<br /> make it obligatory? By Act of Parliament?<br /> Nothing .short of an Act would do. Would it<br /> not be a better way of procedure, without troubling<br /> our legislators, if editors demanded exact veracity<br /> from their reviewers as the very first and necessary<br /> feature in their work ?—Ep. |<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. All<br /> <br /> N.<br /> Tue Concert or AMATEURS.<br /> <br /> If this subject has not been dropped, may I<br /> add my word ?<br /> <br /> A few days ago an acquaintance—a man well<br /> known throughout England as the one authority<br /> on his own subject—told me he was going to<br /> publish a shilling book (on his own subject of<br /> course).<br /> <br /> Naturally I made the remark to be expected<br /> under the circumstances concerning my hopes for<br /> a big success. “Oh, that’s all right!” he<br /> answered cheerily ; ‘‘ my name on the cover will<br /> sell the book.” A statement which I knew to be<br /> true. I happened to know also that this was his<br /> first production in book form, and so I ventured<br /> to express a hope that, “ under those circum-<br /> stances, he was getting good terms from the<br /> publisher.” “‘ Pretty well,” he returned sweetly ;<br /> “T pay eighty pounds, and they give me half<br /> profits.” Then I get mad, and he looks mildly<br /> surprised, until I explain, and he sees there is a<br /> righteous foundation for my anger.<br /> <br /> The next day I saw him again. He had inter-<br /> viewed the publisher in the meantime, and that<br /> gentleman had lowered his demands by one half.<br /> Further than this I could not move him.<br /> <br /> “ But think of the trouble,” he remarked plain-<br /> tively, when I suggested another publisher.<br /> “« And, afterall, I don’t want to make money, you<br /> know—I want to see my name on the book.”<br /> <br /> Then I get mad again, whereupon «What<br /> does it matter to you?” cries this aspirant for<br /> literary honours; “I don’t write your sort of<br /> books.’ He could not grasp the fact that I was<br /> fighting for a principle rather than from motives<br /> of personal interest.<br /> <br /> Now, publishers cannot undertake more than a<br /> certain amount of work; and—apart from the<br /> works of really popular authors —they would<br /> almost certainly accept a work at the author’s<br /> risk before one at their own. It follows, therefore,<br /> that every book published in this way, for the<br /> eratification of a rich man’s vanity, crowds out<br /> another written, probably, with a far more serious<br /> purpose—to clothe the naked and feed the<br /> hungry. If the two classes of writers met one<br /> another on equal terms, and stood or fell by<br /> their merits alone, we should have no right to<br /> grumble. Let the best man win, whoever or<br /> whatever he may be. _It is this new practice of<br /> buying out the publishers which seems to me to<br /> form one real ground of complaint. It is a<br /> species of underselling, and underselling is a<br /> practice no fair-minded man countenances, no<br /> matter what his calling or station.<br /> <br /> Ciara LEMORE.<br /> <br /> VE.<br /> THe Paris Typist.<br /> <br /> The type-writing trouble in Paris is somewhat<br /> on a par with the servant girl trouble in our<br /> Australian colonies.<br /> <br /> The typist “ anxious to get work,” is about as<br /> eager to accept that work when it offers as the<br /> fine lady servant of the South, who inquires after<br /> a “place” im a satin gown and ostrich feathers.<br /> She is willing to accommodate her would-be<br /> employer, provided he or she be willing to pay<br /> according to her notions of what she ought to<br /> receive; but ask her to lower her charge, and it<br /> “don’t suit.”<br /> <br /> The following is my experience, and probably<br /> the experience of other struggling authors and<br /> correspondents desirous of securing the services<br /> of a typist without the inconvenience of for-<br /> warding MSS. to London:<br /> <br /> Not long since I made inquiries 10 several<br /> directions about typists in Paris. After some<br /> trouble, I obtained the address of a lady who was<br /> “on the look-out for work.” I wrote, inquiring<br /> her terms, and inclosing stamp for reply. The<br /> reply came—to the effect that she would put my<br /> work through on payment of 2 frs. 50 cent. per<br /> thousand words. The charge did not suit me.<br /> Further inquiries brought to light a second<br /> typist “out of practice ;” whilst a third was<br /> “waiting for work.” The terms of typist No. 3<br /> were also 2 frs. 50 cent. per thousand. But in this<br /> case, as I had heard the typist was really anxious<br /> to obtain employment, I wrote again and told<br /> her frankly that I believed the Paris typist could<br /> obtain regular employment by reducing her charges<br /> to the advertised London ones. Further, I made<br /> an offer to pay a little above the London rates,<br /> besides mentioning that, in a short time, I should<br /> have ready a much longer work. No notice was<br /> taken of this offer.<br /> <br /> T would not undertake to advise any girl to<br /> come abroad on the chance of making a living<br /> by type-writing. But I believe that there ¢s a<br /> good opening for some earnest worker with what<br /> a Dutch friend of mine was wont to designate a<br /> little “puss” in her. Two sisters anxious to<br /> cling together whilst one of them was pursuing<br /> her art studies here, might increase their income<br /> in this way, and obtain, through the Author, the<br /> names of authors and correspondents, who would<br /> promise to employ the typist whenever they had<br /> work to do, provided she did the work satisfac-<br /> torily. Mapame Asa L’ORME.<br /> <br /> Paris, March 13, 1893.<br /> <br /> <br />  <br /> <br /> 412<br /> <br /> <br /> <br /> VII.<br /> A Register or Booxs WANTED.<br /> <br /> I have read with interest the letter of E. F.<br /> Wolferstan, and your note on the same, in the<br /> current number of the Author.<br /> <br /> In July, 1891, I sent a letter. dealing with the<br /> same subject, to most of the London morning<br /> papers. It was published in the Daily Chronicle<br /> and Morning Advertiser of the 15th and 17th<br /> inst. respectively, and I send you herewith a copy<br /> of the same.<br /> <br /> As you will see, my proposal was a central<br /> office or exchange to be maintained by subscrip-<br /> tions from the second-hand booksellers. They<br /> were to write to this exchange for any book that<br /> had been inquired for, and which they had not<br /> and did not know where to get, and from this<br /> central exchange was to be sent out every day, or<br /> any other period fixed upon, to every subscribing<br /> bookseller a list of the books wanted. Any one<br /> of them who had it or could get it would then<br /> write to the one wanting it, or he might reply to<br /> the exchange, and the latter be informed from<br /> there about it.<br /> <br /> Such an organisation would be very easy to<br /> establish and inexpensive to maintain, and, if<br /> properly arranged, would cover the entire ground.<br /> <br /> Tam very reluctant to discourage any scheme<br /> which shall tend to simplify matters, but I do<br /> not think that the one that you intend to start is<br /> the best that can be proposed, nor do I think that<br /> it will be of any general benefit.<br /> <br /> Unless it be universally recognised as the<br /> medium for obtaining second-hand books it must<br /> fail in its object, and the first thing a person who<br /> wants a book would do wculd not be to advertise<br /> for it inthe Author. One is justified in assuming<br /> this, for not every one knows of the paper, and<br /> besides there are older established papers with<br /> a larger circulation having a similar column, and<br /> yet they fail to cover the ground.<br /> <br /> The first thing that any person who wants a<br /> second-hand book would do would be to inquire<br /> for it at a second-hand bookseller’s, and the only<br /> means by which this want can be made known<br /> over the whole country is some organisation<br /> belonging to the second-hand booksellers them-<br /> selves, such ag this exchange, so that no matter<br /> in which shop in the United Kingdom a book<br /> were asked for, it should be equivalent to asking<br /> for it in every one of them.<br /> <br /> Husert Hass.<br /> <br /> 28, Bassett-road, North Kensington,<br /> <br /> London, W.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> VIII.<br /> Lost MSS.<br /> <br /> Apropos of your paragraph under the above<br /> heading in last month’s Author, may T state a<br /> rather curious experience? More than seven<br /> years ago I sent to the editor of a popular maga-<br /> zine two short articles. One of these (a) was<br /> promptly returned, as an article on the same sub-<br /> ject had just appeared in that magazine. Six<br /> months later I wrote to ask if I might consider<br /> the other article (8) :ccepted ; and was informed<br /> in reply that it had been returned to me at the<br /> same time as the article a. I quoted extracts<br /> from correspondence proving the contrary, but no<br /> further notice was taken of my letters. Last<br /> autumn I received, to my great astonishment, the<br /> proof of article B, which, believing the original<br /> MS. to be irretrievably lost, I had re-written in<br /> much better form, and was about to submit to<br /> another editor. Thus, not only was I kept wait-<br /> ing seven years for my fee, but I had actually<br /> written two articles for it.<br /> <br /> Another editor, who more than three months<br /> ago promised to give ‘his earliest possible atten-<br /> tion” to an article submitted to him, has not yet<br /> vouchsafed his decision. Should he now decline<br /> it, or delay its publication, I should be compelled<br /> to defer the publication of a book on the same<br /> subject which I have now almost ready for press.<br /> <br /> X.Y. @.<br /> <br /> <br /> <br /> IX.<br /> An Easy Frencu Lesson.<br /> <br /> The late Félix Pyat agreed to write a 25,000-<br /> line sensational story for a Paris paper, the<br /> Radical. When the tale, which he called “ The<br /> Ragman” (Le Chiffonier), had reached 17,000<br /> lines, he asked to be allowed to make a wind-up of<br /> it, and, being permitted so to do, disposed of his<br /> despairing hero by sending him off at nightfall to<br /> the parapet of one of the Seine bridges, thus sug-<br /> <br /> gesting to every practical novel-reader the usual<br /> <br /> “hole in the water,” and adding the fateful<br /> “Finis.” Nothing of the sort had happened,<br /> however, and some time afterwards Pyat ran the<br /> rest of his ragman’s adventures, under the title<br /> of “Epilogue of the Chiffonier,” in another<br /> popular journal, Le Cri du Peuple.<br /> Unfortunately, the author had stated in a pre-<br /> face to his first part that it would be the whole<br /> life of the hero, and that his biographer was<br /> above making two brews out of the same malt.<br /> Upon the strength of this, the first journal laid<br /> its action against the second and the executors of<br /> Pyat, and claimed £1000 damages. The courts<br /> <br /> have just decided that “the interruption of the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> novel in the course of its serial publication in one<br /> paper, followed by its transfer to another having<br /> an analogous class of readers,’ was a matter for<br /> damages, and condemned the heirs of Pyat to<br /> pay £120 to the Radical.<br /> <br /> Whence — quite apart from the “ honour<br /> bright” view of the case—romancers may see<br /> how very chary indeed they should be of their<br /> prefaces—and their fin ises.<br /> <br /> <br /> <br /> 21<br /> <br /> <br /> <br /> FROM THE PAPERS.<br /> <br /> <br /> <br /> L<br /> THs Harpsuirs oF PUBLISHING.<br /> <br /> a” | EVER has the hapless lot of the publisher<br /> <br /> been set forth more pathetically than by<br /> <br /> Mr. Heinemann in the last number of the<br /> Atheneun. He is at present suffering trom a most<br /> extraordinary combination of hardships andadverse<br /> circumstances. First, there is the “ manufacture<br /> clause” in the American Copyright Act, of which<br /> the best that can be said is that it has not harmed<br /> the English publisher so much as was feared.<br /> Then there are the printers’ unions, which have<br /> caused wages to be “ increased steadily for years<br /> past,” and in addition the fact that “‘ the public<br /> are more fastidious now with regard to print,”<br /> and are protesting against “the horrible stuff that<br /> they used to buy under the good-natured genera-<br /> lization of ‘ books.’”? On topof all has come the<br /> Authors’ Union in the shape of the English<br /> Authors’ Society, further to oppress and outrage<br /> the publisher. Shocking demands for increased<br /> royalties, sometimes reaching as high as 25 per<br /> cent., are now frequently made in the Society’s<br /> name, and all this, combined with the rapacity of<br /> booksellers, who insist upon 50 per cent. reduction<br /> on list prices, has brought the publishing business<br /> to a point where it must “ grapple with the danger<br /> before it is too late.” Mr. Heinemann’s remedy<br /> is a publishers’ union, to resist the aggressions of<br /> the powerful author. He calls it, to be sure, “a<br /> brotherly band,” but beneath this velvet name<br /> appears the cold iron of a real union, with hard-<br /> and-fast rules, secret passwords, walking dele-<br /> gates, and all. Such an organization could<br /> doubtless compel the overbearing author to dis-<br /> gorge a part of his swollen gains, and aid the<br /> distressed publisher to resume the custom of three<br /> mealsa day.—The New York Nation, Dee. 15.<br /> <br /> ————— &gt;<br /> <br /> 413<br /> <br /> EL,<br /> Avuruors aT Home.<br /> <br /> The attention of the Society of Authors may<br /> be directed to a statement now made public—a<br /> statement to the effect that the editor of a<br /> literary monthly is about to publish a handbook,<br /> one feature of which will be a list of English<br /> authors, with their private addresses. There are<br /> to be similar lists, it seems, of publishers and<br /> booksellers, but to these there ca1 be no objec-<br /> tion Publishers and booksellers appeal directly<br /> to the public, and like everybody to know where<br /> they can be found. They sell over the counter,<br /> and it is well, therefore, to know where the<br /> counter is situated. Not so with the unhappy<br /> author. If we gauge his feelings accurately, he<br /> has no desire whatever to be tracked to his lair.<br /> He has no counter to sell over. He sells his<br /> produce to publishers and editors only, and they<br /> know where to find him. Moreover, they are the<br /> only people that he wants to hear from. A vain<br /> poet here and there may like to receive incense<br /> from his worshippers, if he has any; but the<br /> author by profession wishes for no such palling<br /> and appalling sweets. He desires to he left<br /> alone to do his work. But what will happen if<br /> his private address is divulged to all and sundry ?<br /> One sees it all at a glance. First of all will<br /> come the requests for autographs, and then the<br /> demands for pecuniary assistance. Admiring<br /> readers will ask for an explanation of this or that<br /> passage ; some will ask for a copy «f the book<br /> most admired. The youthful student will write<br /> for advice about ‘‘a course of reading,’ and the<br /> embryo author will solicit patronage and recom-<br /> mendation. Probably in extreme cases the<br /> miserable author will literally be bearded in his<br /> den, and will hear every knock or ring at the<br /> door with apprehension. It is a fearful prospect.<br /> Tf that Directory ever comes out, the British<br /> author will have to emigrate en masse.— Globe.<br /> <br /> <br /> <br /> LTT,<br /> Tue New Inisa Lirerary Socrery.<br /> <br /> At the first meeting of the Irish Literary Society,<br /> the Rey. A. Stopford Brooke delivered an address,<br /> in the course of which he said : “ The main work<br /> of the society was to get Irish literature well and<br /> statelily afloat, like a noble ship, on the world-<br /> wide ocean of the English language, so that it may<br /> be known and loved and admired wherever the<br /> English language goes. That part of our litera-<br /> ture written in the Irish tongue it will be our<br /> business to put into English. The ground is<br /> prepared for new work. There should be cheap<br /> <br /> <br />  <br /> <br /> 414 THE<br /> <br /> <br /> <br /> editions of translations of the great stories. We<br /> have a vague hope that some of the rich Irish<br /> landlords may give a new value to their land, a<br /> value no Land League can diminish, and lay up<br /> treasures in which neither mist nor rust can cor-<br /> rupt, by subscribing to the publishing fund of<br /> this society. What an opulent literature that of<br /> Ireland is! A few societies like the Royal Irish<br /> Academy, and a few scholars know its astonishing<br /> extent, but the general public only began to<br /> understand this when the Catholic University,<br /> under the direction of John Henry Newman, placed<br /> O’Curry in the Chair of Irish Literature. Then<br /> we heard that there was buried in piles of manu-<br /> script, both in Irelandand England, and elsewhere,<br /> a new world of imaginative work, of myths, tales,<br /> legends, faerie romance, lyric and epic poems,<br /> Pagan and Christian thought, first uninfluenced<br /> by Latin literature, and then inffuenced by it—a<br /> two-fold position, which makes this part of it<br /> unique in Europe. The new society will not<br /> touch that part of this vast mass which is not lite-<br /> rature. The Norse tales will soon be drained dry for<br /> a time, and, though they have a powerful<br /> humanity, they have no love of nature. We<br /> have been even forced of late to go to India for<br /> our subjects. We have rummaged through all<br /> the great cycles of romantic listory. But the<br /> Irish stories are, as yet, untouched. Irishmen in<br /> Ireland who can talk Irish should collect the<br /> folk-tales of Ireland from the lips of the old<br /> peasants, who still hold them in their native<br /> tongue, and who have received them by oral<br /> tradition. The whole of Ireland is alive with<br /> beings who are as interesting as the Nymphs<br /> and Oreads, as Pan and all his crew. The young<br /> have fled from Ireland; the old who remember<br /> their language and have kept their folk-stories<br /> are dying out rapidly. In twenty years it will be<br /> too late to do this. By this means,’ conclnded<br /> Mr. Brooke, “by all the work on which I have<br /> dwelt, and by the cataloguing and collection of<br /> all that has been already done for Irish literature,<br /> whether in prose or poerry, into libraries con-<br /> nected with branches of this society, we ought to<br /> be able to impress on the whole of Treland the<br /> sense of a full and noble literary past which all<br /> Irishmen should honour, and which they should<br /> all work together to expand into a literature of<br /> the future. A new national literature, such as<br /> we hope hereafter to create, needs, if it can<br /> have it, a long-continued traditionary literature<br /> as a part of its foundation. Iveland need not<br /> fall back on England. She has her own past,<br /> her own poetry and prose, and she can create a<br /> future literature, full of her own traditions, instinct<br /> with her own life, using her own elements, and<br /> representing her own nationality, in the English<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> tongue. It is the only thing she need borrow, [va<br /> <br /> and she could not borrow a better vehicle.—From<br /> the Westminster Gazette.<br /> <br /> eee<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> A new serial story, entitled “The Die of<br /> <br /> Destiny,” by Mr. Fitzgerald Molloy, begins its<br /> course through Cassell’s Saturday Journal this<br /> first week of April.<br /> <br /> Another story by Mr. Molloy will, about the |<br /> same time, run through Messrs. Tillotson’s syndi- |).<br /> cate. The original title of this novel, “A Pauper |;<br /> <br /> eve<br /> <br /> MAS<br /> <br /> <br /> <br /> Peer,” has been abandoned, in deference to the a<br /> wishes of several of Messrs. Tillotson’s “clients of | -<br /> <br /> Conservative tendencies,” and will be now called i<br /> <br /> “On Wheels of Fire.”<br /> <br /> Early this month (April) Messrs. Hutchinson ‘<br /> <br /> and Co. will publish a novel in 3 vols., by Mr.<br /> <br /> Fitzgerald Molloy, entitled “ His Wife’s Soul.”<br /> Whispers (A Magazine for Surrey Folk) is<br /> <br /> announced for immediate publication.<br /> <br /> <br /> <br /> It will fe<br /> <br /> deal with Surrey archeology, Surrey history, and<br /> movements of importance to the county will be ole<br /> <br /> discussed under the heading “ County Gossip.”<br /> Literature, Art, and the Drama will be reviewed,<br /> and “ Notes and Queries ” of especial interest to<br /> Surrey folk will be solicited from correspondents<br /> throughout the county. Stories will be given as<br /> space permits. The new magazine, which will be<br /> published monthly, is conducted by Mr. Henry<br /> Libby and Mr. William Thomas Horton. The<br /> publishing offices are at 67, Station-road, Red-<br /> hill.<br /> <br /> “Countess Pharamond,” “ Rita’s’’ new novel,<br /> is published this month by F. V. White and Co. It<br /> <br /> is a sequel to her popular novel “ Sheba,” and, as<br /> <br /> stated in the preface, has been written owing to<br /> numerous requests from all parts of the world for<br /> an ending to the heroine’s fate in the former<br /> book.<br /> <br /> Mr. Carlton Dawe, author of “ Mount Desola-<br /> tion,” has two new novels in the press, entitled<br /> “The Emu’s Head,” 2 vols., and “The Confes-<br /> sions of a Currency Girl,” 3 vols. The former<br /> will be issued immediately. Messrs. Ward and<br /> Downey are the publishers.<br /> <br /> Dr. Karl Lentzner, well known in this country<br /> by his writings, has been appointed by the<br /> University of Oxford a University extension<br /> lecturer. His lectures will chiefly treat of modern<br /> <br /> foreign literature, especially German and Spanish.<br /> Dr. Lentzner has recently delivered, at Somerville<br /> <br /> <br /> <br /> <br />  <br /> <br /> 4 Sepet<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> we<br /> <br /> te<br /> ,<br /> ‘<br /> ea<br /> 24<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 415<br /> <br /> Hall, Oxford, before the delegates of the Oxford<br /> University Extension, a lecture, on the Evolution<br /> of the German Novel.<br /> <br /> Mrs. Florence Henderson’s book, entitled “Was<br /> She Right,’ has been published by Messrs.<br /> Masters and Co., price 3s. 6d.<br /> <br /> The Rev. Frederick Langbridge’s story of<br /> Trish life, ‘“Miss Honoria,’’ will be published<br /> immediately by Messrs. F. Warne and Co. Mr.<br /> Langbridge has nearly completed a tale of adven-<br /> ture for Messrs. Methuen. He is also contributing<br /> a series of legendary and other poems to Great<br /> Thoughts, and a short series of popular ballads<br /> to the Church Monthly.<br /> <br /> Mr. W. H. Besant, Sc.D., F.R.S., has just<br /> published (Bell and Son) ‘‘ Solutions of Examples<br /> in Elementary Hydrostatics.” These examples<br /> are in accordance with the latest edition, the<br /> fifteenth, of the author’s treatise on Elementary<br /> Hydrostatics.<br /> <br /> The same author is engaged upon a new edition<br /> of his treatise on Dynamics, which will be com-<br /> pleted very shortly.<br /> <br /> Mr Lewis Carroll has finished the second part<br /> of “ Sylvie and Bruno.”<br /> <br /> Mr. Henry Wheatley’s new book on ‘ Literary<br /> Blunders,” contains the ‘“ Blunders of Authors.”<br /> Yet they say that it is a little book!<br /> <br /> Sir Morell Mackenzie’s Essays have been<br /> collected by his brother and are to be published<br /> by Sampson Low and Co.<br /> <br /> Mr. Richard le Gallienne is writing a book<br /> called “The Religion of a Literary Man.” A<br /> good many literary men have written on their<br /> religious beliefs—Addison, Johnson, Coulting,<br /> Coleridge, Carlyle, Froude, Francis Newman,<br /> Jefferies. How religion appears toa layman who is<br /> endowed with intellectual activity, scholarship,<br /> and the poetic insight, is always a most interesting<br /> subject.<br /> <br /> Mrs. Clifford is bringing out a new story, “A<br /> Wild Proxy,” through Messrs. Hutchinson.<br /> <br /> Mr. Clark Russell’s new story has also gone to<br /> these publishers.<br /> <br /> A new and revised edition of “ Ball’s Alpine<br /> Guide” is preparing, and is reported to be almost<br /> ready.<br /> <br /> Prof. Masson has been appointed Historio-<br /> grapher of Scotland, an office of great antiquity.<br /> <br /> _ Mr. Wheatley’s new edition of “ Pepys’ Diary”<br /> is so far ready that the first volume will be pub-<br /> lished immediately. It is to be far more com-<br /> plete than any previous edition.<br /> <br /> o<br /> <br /> Tolstoi’s “Archbishop and the Three Old<br /> Men,” a translation of which, by Rosamund<br /> Venning, first appeared in the Daily Chronicle,<br /> is now published in separate form ; it is, indeed,<br /> well worth the trouble which the translator took<br /> over it, and, though short, is full of matter for<br /> thought.<br /> <br /> During the last year Messrs. Chatto and<br /> Windus received 663 MSS. and accepted 44. Let<br /> candidates for literary honours consider this fact.<br /> Out of the 44 how many will succeed ? Perhaps<br /> all will attain a measure of success—but enough<br /> to encourage the author to goon? The number<br /> accepted is nearly 7 per cent.<br /> <br /> Mr. B. L. Farjeon has a new story called<br /> “ Something Occurred” quite ready.<br /> <br /> Mr. J. Passmore Edwards has sent a gift of<br /> <br /> 2000 books to the Southwark Borough Poly-<br /> technic. How many thousand volumes has this<br /> creat giver of books bestowed upon the London<br /> libraries and polytechnics ?<br /> <br /> Mr. George Meredith is going to sit to Mr.<br /> G. F. Watts.<br /> <br /> The Atheneum informs us that the Dean of<br /> Westminster has appointed Mr. R. E. Prothero<br /> as his collaborateur in writing the “ Life of Dean<br /> Stanley.<br /> <br /> The Rev. H. R. Haweis has written a “ Life of<br /> Sir Morell Mackenzie,” which is to be published<br /> by Allen and Co.<br /> <br /> The English Illustrated has been transferred<br /> ftom Messrs. Macmillan’s t» Mr. Edward Arnold.<br /> We may venture to prophesy a change in the<br /> price. At one shilling it might have some chance<br /> of rivalling the American illustrated monthlies.<br /> At sixpence it cannot even attempt it, and it<br /> has in the field’ the sixpenny weeklies — the<br /> Tllustrated London News, the Graphic, the<br /> Queen, Black and White, the Sketch, all good<br /> magazines, as well as good journals.<br /> <br /> Sir Mountstuart Grant Duff is engaged ona<br /> life of Renan.<br /> <br /> Mr. William Hazlitt, son of William Hazlitt<br /> (without the Mr.), is dead. He was a literary<br /> man of considerable activity.<br /> <br /> Rider Haggard’s new novel, “ Montezuma’s<br /> Daughter,” will be issued by Messrs. Longmans.<br /> <br /> It is reported that Dr. Conan Doyle has written<br /> a piece for Mr. Henry Irving, which is accepted.<br /> <br /> Those who watch American publishing houses<br /> <br /> may note that the firms of Effingkam, Maynard,<br /> <br /> and Co. and Charles C. Merrell and Co. have<br /> amalgamated.<br />  <br /> <br /> 416<br /> <br /> Mr. F. J. Snell (Clarendon Press) is about to<br /> publish a “ Primer of Italian Literature.”<br /> <br /> Lady Burdett Coutts is editing a volume, which<br /> will be published by Sampson Low and Co.,<br /> dealing with the philanthropic work of English<br /> women.<br /> <br /> The Duke of Argyle, who has recently issued<br /> his “Unseen Foundations of Society,” has<br /> another work ready, called ‘Irish Nationalism:<br /> An Appeal to History.” His publisher will be<br /> Mr. John Murray.<br /> <br /> Dr. Flugel is producing, through the Clarendon<br /> Press, the “Life and Letters of Sir Philip<br /> Sidney.”<br /> <br /> Those who are ambitious of writing a success-<br /> ful work may consider the topograhical kind of<br /> book. For instance, Mr. John Lloyd Warden<br /> Page has in the press the third edition of his<br /> ‘“‘ Exmoor,” the third edition of his ‘‘ Dartmoor,”<br /> and is producing the first edition of the “ Rivers<br /> of Devon from Source to Sea” (Seeley and Co.).<br /> Let the young man of ambition go and do like-<br /> wise. To be sure he must first qualify, by<br /> acquiring an accurate knowledge of every foot<br /> of ground with all the historical associations,<br /> architecture, monuments, ancient ruins, traditions,<br /> dialect, legends, and topography of the district.<br /> This is a very large collections of requisites.<br /> Therefore, the true topographical writer will ever<br /> remain a rare creature. Mr. Warden Page is<br /> also the author of ‘‘ Okehampton, the Castle, and<br /> the Surrounding Country.<br /> <br /> By way of an antidote to the shilling Shocker<br /> Mr. I. Zangwill has written a shilling Soother,<br /> entitled “Merely Mary Ann,” which Messrs.<br /> Raphael Tuck and Sons have published as the<br /> first volume of a new series of shilling novels<br /> entitled “The Breezy Library.” ‘“ Merely Mary<br /> Ann” is reported by those who have read it,in<br /> advance to be a remarkable story, and likely to<br /> cause a sensation, whether a soothing sensation<br /> or not remains to be seen.<br /> <br /> “Work and Play in India and Kashmir” is a<br /> book whose title explains its character. It is a<br /> collection of chapters on life in India by Mr. J. D.<br /> Gordon, who has been for many years a barrister<br /> practising there. The book is put together in<br /> somewhat amateurish fashion, which ought to<br /> have been attended to by publisher or printer.<br /> There are queer headings ; for instance, in the<br /> middle of chapters. The writing is rough, and<br /> of style there is none. Yet it is an interesting<br /> book.<br /> <br /> We have received “Not on Calvary Alone,”<br /> called also a “‘ Layman’s Plea for Vindication in<br /> the Temptation in the Wilderness.” One hesi-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> tates in these columns to speak of a theological<br /> work at all. Let us only note that it is a<br /> thoughtful little book, and written, apparently,<br /> by an American. It is published by Eden,<br /> Remington, and Co.<br /> <br /> “Broad Norfolk” is a collection of papers<br /> originally published in the Eastern Daily Press<br /> (Norfolk News Co., Norwich). There is no part<br /> of England which possesses so many provincial-<br /> isms as Norfolk, though they are fast disap-<br /> pearing. If a stranger listens to two rustics<br /> talking their own language he thinks it is a<br /> foreign tongue. This little book preserves a great<br /> many specimens of Broad Norfolk. It is a pity<br /> that there are no songs or literature in this<br /> language.<br /> <br /> Mr. Campbell Rae-Brown has produced a<br /> humorous story, which is called “That Awful<br /> Baby.” It is published by Eden, Remington,<br /> and Co.<br /> <br /> A new sixpenny magazine, entitled The Strat-<br /> <br /> fordian, is about to be published by King Edward<br /> <br /> VI. School, Stratford-on-Avon, the school at which<br /> Shakespeare was educated. The head master’s<br /> wife, Mrs. R. 8S. De Courcy Laffan (known to the<br /> reading public as Mrs. Leith-Adams) will con-<br /> tribute a serial story for boys entitled “ St.<br /> Kilda’s ; or the Gift of God,” a fact that will lift<br /> the magazine out of the common run of school<br /> periodicals, and give it a general interest. The<br /> editor of the new venture is Mr. A. J. Williams,<br /> The School House, Stratford-on-Avon.<br /> <br /> Messrs. Jarrold and Jarrold have in the<br /> press cheap editions of “Louis Draycott,” and<br /> of “ Bonnie Kate,’ by Mrs. Leith-Adams, hoth<br /> books which were very highly noticed by the press<br /> in their first (3 vol.) editions.<br /> <br /> Those who pine for the freedom of the French<br /> novelist may order Mr. Hubert Crackanthorpe’s<br /> “ Wreckage,’ where he will find as much freedom<br /> as he can desire in some studies of women. The<br /> book is published by Heinemann.<br /> <br /> A new tale by Eleanor Stredder, “ Alutch, a<br /> story of the Chinese Hills,” is in the press.<br /> drawn from life, and gives a faithful picture of<br /> <br /> the miseries arising from the opium traffic from ©<br /> <br /> the Chinese point of view.<br /> <br /> Mr. Ruskin has at last sanctioned the compila-<br /> tion of “Selections” from his writings, which<br /> Mr. George Allen will issue in two volumes, with<br /> <br /> two portraits of the author at different ages. The _<br /> <br /> first volume—to be ready for publication in May<br /> —will deal with the following subjects :—Scenes<br /> <br /> of Travel, Characteristics of Nature, Pa<br /> eo<br /> <br /> and Sculpture, Ethical and Didactic.<br /> <br /> second volume will most probably be ready m<br /> <br /> <br /> <br /> Itis —<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> June. Besides the ordinary edition, there will be<br /> a limited one on Arnold’s unbleached hand-made<br /> paper.<br /> <br /> Mr. Arthur Severn’s “ Recollections of Ruskin”<br /> are proceeding apace, and will contain, amongst<br /> other interesting illustrations, several of incidents<br /> in Mr. Ruskin’s home life and coaching<br /> experiences, besides an important portrait never<br /> previously used.<br /> <br /> With regard to Mr. Augustus Hare’s ‘ Life of<br /> Lady Waterford,” Mr. Allen announces that the<br /> discovery of MSS. of peculiar interest will<br /> further delay the publication of the work, Mr.<br /> Hare having decided to incorporate with it the<br /> reminiscences of Lady Waterford’s no less gifted<br /> sister, Lady Canning, as well as a memoir of<br /> their mother, Lady Stewart, whose position at<br /> the court of Charles X. and intimate friendship<br /> with the Duchesse d’Augouleme gave her unique<br /> opportunities for throwing light upon an eventful<br /> period of French history. Lady Canning’s con-<br /> nection with the English court at the time of the<br /> Indian Mutiny is another element which will be<br /> contributory of matter interesting to the general<br /> public. The book will contain eight engravings<br /> from the various portraits of the personages<br /> mentioned, besides numerous other illustrations.<br /> <br /> Mr. Philip H. Bagenal, author of “The American<br /> Trish and their Influence on Irish Politics,” has<br /> written a book, which will be produced with the<br /> shortest possible delay, on the “ Priest in Politics.”<br /> It is to be published by Hutchinson and Co.<br /> <br /> <br /> <br /> spect<br /> <br /> <br /> <br /> THE AUTHOR&#039;S BOOK EXCHANGE.<br /> <br /> (Names of books wanted, books for sale, and books for exchange,<br /> to be sent to the ‘‘ Book Eachange,” Society of Authors,<br /> 4, Portugal-street. All correspondence on this subject to<br /> be addressed in the same way.)<br /> <br /> <br /> <br /> Books Wanted.<br /> <br /> (The price, post free, and the condition of the book to be<br /> named in reply.)<br /> <br /> Meredith, George : Rhoda Fleming ; Henry Richmond.<br /> <br /> Arundell’s Historical Reminiscences of the City of London.<br /> <br /> Rowlandson’s Adventures of Johnny Newcome in the Navy,<br /> 1818 ; Military Adventures of Johnny Newcome, 1818.<br /> <br /> Shadwell’s Dramatic Works, 4 vols., 1720.<br /> <br /> Alexander’s History of Women.<br /> <br /> Freeman, E. A.’s Life of William Rufus.<br /> <br /> Hazlitt’s Liber Amoris, 1823.<br /> <br /> Spencer, Herbert’s First Principles.<br /> <br /> The World: any vols., 1753, et seq.<br /> <br /> Appeal to the Men of Great Britain in behalf of Women,<br /> 1798.<br /> <br /> @apper’s Port and Trade of London, 1862.<br /> <br /> 417<br /> <br /> Bissett, Andrew’s Notes on the Anti-Corn Law Struggle,<br /> 1884.<br /> Barnes’s New Discovery of Pigmies.<br /> Bligh’s Voyage to the South Sea in H.M.S. Bounty, 1792.<br /> Beloe’s Sexagenarian, Ist edition, 1817.<br /> Miss Berry’s Correspondence, 1783-1852, 1865.<br /> Hackluyt’s Voyages.<br /> Kit Kat Club, Memoirs of, with the portraits, 1821.<br /> Strutt’s Sports and Pastimes, Hone’s edition, 1845.<br /> Tavern Anecdotes, 1825.<br /> Davis’s Memorials of Knightsbridge, 1859.<br /> Murray’s Chronicles of St. Dunstan’s in the East, 1859.<br /> Memorials of Fleet-street. By a Barrister.<br /> Meiner’s History of the Female Sex, 1808.<br /> Reader’s Handbook of Illusions, &amp;c. By Dr. Brewer.<br /> Windsor’s Ethica, 1840.<br /> Newgate Calendar, 1783-1815, 6 vols.<br /> Urquhart’s Tracts.<br /> Mitchell’s Christian Mythology.<br /> Cunningham’s Story of Nell Gwynne.<br /> Dunton’s Young Student’s Library.<br /> Howell’s Epistole, 1688.<br /> Sharpe’s Coventry Pageants.<br /> Stirling’s Old Drury-lane.<br /> Grosley’s Tour to London, 2 vols., 1772.<br /> Hogarth’s Frolic (any edition).<br /> Painter’s Palace of Pleasure.<br /> Rabelais: W. F. Smith’s New Translation.<br /> —Office of the Author.<br /> <br /> Beckford’s Vathek.<br /> Somerville’s The Chase.<br /> Tusher’s Five Hundred Points of Good Husbandry.<br /> _J. E. Tayuer, Leavesden, Herts.<br /> <br /> Larwood’s History of Signboards.<br /> Andrew’s Old Times Punishments.<br /> Any Works of Cobbett.<br /> _B. Wo.rFerstan, Arts Club, Hanover-square.<br /> <br /> History of Paddington.<br /> Dr. Syntax: Life of Napoleon.<br /> __J. Batcoms, 14, Paddington-green.<br /> <br /> Captain Conyngham’s Services of the Irish Brigade in the<br /> Great American War. j<br /> —_Hrnry Brown, 4, Lorn-road, Brixton. {<br /> <br /> Books Offered.<br /> <br /> Sinclair: a novel. By Mrs. Pilkington, 4 vols., published<br /> 1809.<br /> <br /> The Family Estate; or Lost and Won.<br /> 8 vols., 1815.<br /> <br /> Ellesmere. By Mrs. Meeke, 4 vols., 1799.<br /> Leadenhall-street.<br /> <br /> Fitzroy. By Maria Hunter, 2, vols., 1792. Minerva Press, {<br /> Leadenhall-street.<br /> <br /> Lord Walford. By L. L., Esq., 2 vols., 1789.<br /> <br /> Chesterfield Letters. 2 vols., calf, 1777.<br /> mall.<br /> <br /> Oakwood Hall. 3 vols. A novel by Catherine Hutton, i<br /> including description of the Lakes.<br /> <br /> Hugh Trevor. By Thomas Holeroft, 2 vols., 1794.<br /> <br /> By Mrs. Ross,<br /> <br /> Minerva Press,<br /> <br /> Dodsley, Pall-<br /> <br /> <br />  <br /> <br /> <br /> <br /> 418<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> Theology.<br /> <br /> Farrparrn, A. M., D.D. The Place of Christ in Modern<br /> Theology. Hodder and Stoughton. 12s.<br /> <br /> Farrar, ARCHDEACON. The First Book of Kings. Vol.<br /> of the Expositors’ Bible. Hodder and Stoughton.<br /> 7s. 6d,<br /> <br /> Hermon, Rey. G. E. Son, Remember! Plain warnings<br /> and counsels in eleven sermons. Skeffington.<br /> <br /> Hunter-Dunn, Rieut Rev. A.—Holy Thoughts for Quiet<br /> <br /> Moments. Brief meditations arranged for every day<br /> foramonth. Second edition. Sutton and Co., Ludgate-<br /> hill. 1s.<br /> <br /> Lerroy, Wituiam, D.D. Agoniw Christi, sermons on the<br /> sufferings of Christ, with others on His nature and<br /> work. ‘Preachers of the Age” series. Sampson<br /> Low.<br /> <br /> Macmintan, Hueu, D.D. The Mystery of Grace and<br /> other sermons. Hodder and Stoughton. 6s.<br /> Pierson, A. T.,D.D. The Key Words of the Bible.<br /> <br /> edition. Hodder and Stoughton. 2s. 6d.<br /> <br /> ScHLEIERMACHER, F. On Religion. Speeches to its cul-<br /> tured despisers. Translated with introduction by John<br /> Oman, B.D. Kegan Paul. 7s. 6d.<br /> <br /> SmrrH, GkEorcE Apam. The Preaching of the Old Testa-<br /> ment to the Age. Hodder and Stoughton. 1s.<br /> <br /> Spuraxon, C.H. The Gospel of the Kingdom, a popular<br /> exposition of the Gospel according to Matthew. With<br /> introductory note by Mrs. C. H. Spurgeon. Passmore<br /> and Alabaster, Paternoster-buildings. 6s.<br /> <br /> Watkinson, Rev. W. L. The Transfigured Sackcloth<br /> and other sermons. “ Preachers of the Age” series.<br /> Sampson Low. 3s. 6d.<br /> <br /> New<br /> <br /> History and Biography.<br /> <br /> Appis, W. E., M.A. Christianity and the Roman Empire.<br /> Manuals of Early Christian History series. B. C. Hare,<br /> Essex-street, Strand. 3s. 6d.<br /> <br /> Brown, Horatio F. Venice: an Historical Sketch of<br /> the Republic. With maps and plan. Percival and Co.<br /> 16s.<br /> <br /> Buper, E. A. Wauuis, F.S.A. Some account of the Col-<br /> lection of Egyptian Antiquities in the possession of<br /> Lady Meux, of Theobald’s Park, Waltham Cross.<br /> Harrison and Sons, St. Martin’s-lane. 200 copies only.<br /> <br /> Cannine, Hon. A. S. G. Words on Existing Religions :<br /> an historical sketch. W. H. Allen.<br /> <br /> CasseLu’s History or ENGLAND, the Jubilee edition,<br /> vol. VI., from the death of Sir Robert Peel to the illness<br /> of the Prince of Wales.<br /> <br /> CHENNELLS, Enuen. Recollections of an Egyptian<br /> Princess. By her English Governess. A record of<br /> five years’ residence at the Court of Ismail Pasha,<br /> Khedive. 2vols. Blackwood.<br /> <br /> ConneLL, ArTHUR K. The Irish Union, before and after,<br /> a popular treatise on the political history of Ireland<br /> <br /> during the last two centuries. Cassell. Paper covers,<br /> Is.<br /> <br /> Denison, G. ANTHONY. Supplement to “Notes of my<br /> Life,” 1879, and “Mr. Gladstone,” 1886. James<br /> Parker and Co., Oxford and London.<br /> <br /> Drayton, Micuarn. The Battle of Agincourt. With<br /> <br /> introduction and notes by Richard Garnett. C. Whit-<br /> tingham and Co., the Chiswick Press. 7s. 6d. net (450<br /> <br /> copies only), 50 copies on Japanese vellum, 15s. net.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> HMINENT PERSONS. Biographies reprinted from the Times.<br /> Vol. III., 1882-1886. Macmillan and the Times Office.<br /> 3s. 6d. ;<br /> <br /> Forses-Ropinson, Epwarp. The Early History of<br /> Coffee-houses in England, with some account of the<br /> first use of coffee and a bibliography of the subject.<br /> With illustrations. Kegan Paul. 6s. :<br /> <br /> Fowter, Tuomas, D.D. The History of Corpus Christi<br /> College, with lists of its members. Printed for the<br /> Oxford Historical Society at the Clarendon Press.<br /> <br /> Gasquet, F. Arpan, D.D. Henry VII. and the English<br /> Monasteries. New edition. Part XI. John Hodges,<br /> Agar-street. Paper covers, 1s.<br /> <br /> Hunter, Sir W. W. The Indian Empire: its Peoples,<br /> History, and Products. New and revised edition (the<br /> third). W.H. Allen.<br /> <br /> JouNstTon’s ILLUSTRATED HisToRIes OF THE ScorTrtisH<br /> Reaiments. By Lieutenant-Colonel Percy Groves.<br /> Illustrated by Harry Payne. Book I. 1st Battalion,<br /> The Black Watch (Royal Highlanders), 42nd Foot.<br /> W.and A. K. Johnston. 3s. net.<br /> <br /> Ler, Rawpon B. A History and Description of Modern<br /> Dogs (sporting division) of Great Britain and Ireland.<br /> With illustrations by Arthur Wardle. Horace Cox,<br /> Freld Office, E.C.<br /> <br /> MauuetT, CuHarLes Epwarp.<br /> One of the University Extension Manuals.<br /> Murray.<br /> <br /> Morris, MowsBray.<br /> with an introduction and notes.<br /> Maemillan. 3s. 6d.<br /> <br /> Ouvry, M. A. A Lady’s Diary, before and during the:<br /> Indian Mutiny. C. T. King, Lymington. 3s. 6d.<br /> PayNE, JOHN ORLEBAR. St. Paul’s Cathedral in the time<br /> <br /> of Edward VI.: a short account of its treasures from<br /> <br /> The French Revolution.<br /> John<br /> <br /> Boswell’s Life of Johnson. Edited<br /> The Globe edition.<br /> <br /> a document in the Public Record Office. Edited by.<br /> Burns and Oates.<br /> Ramsay, W. M., M.A. The Church in the Roman<br /> <br /> Empire, before a.p. 170 (Mansfield College Lectures,<br /> 1892). With maps and illustrations. Hodder and<br /> Stoughton. 12s.<br /> <br /> Ritcure, J. Ewrne. East Anglia. Personal Recollec-<br /> tions and Historical Associations. Second edition,.<br /> revised and enlarged. Jarrold and Sons, Paternoster-<br /> buildings. 7s. 6d.<br /> <br /> RosBERTson, JoHN Ropert. The Princely Chandos, a<br /> Memoir of James Brydges, Paymaster-General to the<br /> Forces abroad during the most brilliant part of the<br /> Duke of Marlborough’s Military Career, 1705-1711,.<br /> afterwards the first Duke of Chandos. Illustrated.<br /> Sampson Low.<br /> <br /> Roztnson, G. C., M.A. A Catechism, chiefly Historical and<br /> Rubrical, on the Book of Common Prayer. Griffith,<br /> Farran.<br /> <br /> Roprinson, Port. The Poets and Nature. Reptiles, Fishes,<br /> and Insects. Chatto and Windus. 6s. ‘<br /> <br /> Rop, Epouarp. The Private Life of an eminent Politi-<br /> cian (rendered into English from La Vie Privée de<br /> Michel Teisser). 2 vols. W.H. Allen.<br /> <br /> Roprs, Jonn Copman. The Campaign of Waterloo. A<br /> military history. G. P. Putnam’s Sons.<br /> <br /> SerGEantT, ADELINE. The Story of a Penitent Soul, being’<br /> the private papers of Mr. Stephen Dart. Popular<br /> edition. Heinemann. 3s. 6d. .<br /> <br /> Trempug, A. G., F.S.A. Reproductions from the Loan.<br /> Exhibition of Pictures at Guildhall, 1892, by the collo-.<br /> type process, with descriptive and biographical letter-<br /> press. Blades, Hast, and Blades, Fine Art Printers to:<br /> the Corporation, Abchurch-lane, E.C. To subscribers,<br /> £2 2s. ; to others, £3 3s. }<br /> <br /> <br /> THE AUTHOR.<br /> <br /> Tar Famity Lire or Heinrich Hxrne. Illustrated by<br /> hitherto unpublished letters addressed by him to<br /> members of his family. Edited by his nephew, Baron<br /> Ludwig von Embden, and translated by Charles God-<br /> frey Leland. With portraits. Heinemann. 12s. 6d.<br /> <br /> Vernon, W. Frep. History of Freemasonry in the Pro-<br /> vince of Roxburgh, Peebles, and Selkirk Shires from<br /> 1674 to the present time. With an introduction by<br /> W. J. Hughan. George Kenning, Great Queen-street,<br /> W.C.<br /> <br /> Wart, JAMES CRABB.<br /> of Scotland. A memoir.<br /> Edinburgh.<br /> <br /> Woo.tteicHt, H.H. History of the 57th (West Middle-<br /> sex) Regiment of Foot, 1755-1881, compiled from<br /> official and other sources. With maps and illustra-<br /> tions.<br /> <br /> John Inglis, Lord Justice-General<br /> William Green and Sons,<br /> <br /> General Literature.<br /> <br /> Barnaby, Str N., K.C.B. Christmas, 1892, in Connaught.<br /> A Study of the Irish Question, by an English Noncon-<br /> formist, with résumé of the Home Rule Bill, 1893. E.<br /> Marlborough and Co., London. Paper covers, 6d.<br /> <br /> Bxsant, WALTER. The Society of Authors, a record of its<br /> action from its foundation. 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Edited by.<br /> <br /> Profit-Sharing and the Labour Question.<br /> Methuen and<br /> <br /> Bourne’s Handy Assurance Manual,<br /> George Philip, Fleet-street. 1s. 6d.<br /> CuarK, D. Kinnear. The Steam Engine. A treatise on<br /> steam engines and boilers. 2 vols. Blackie and Son.<br /> CLAssicaAL PicruRE GALLERY, Part ILI. H. Grevel,<br /> King-street, Covent Garden. ls.<br /> <br /> Ciorron, W. A Cackle about Trees. F. and K. Stoneham,<br /> Cheapside. 1s. 6d.<br /> Cotomsp, Vick-Apm. P. H.<br /> <br /> W. H. Allen.<br /> C.S.8. Reminiscences of a Midshipman’s Life, from 1850-<br /> <br /> Essays on Naval Defence.<br /> <br /> 1856. 2vols. Eden, Remington. 25s.<br /> Durr, E. Gorpon. Information for Pilgrims unto the<br /> Holy Land. Lawrence and Bullen. 10s. 6d. net. 350<br /> <br /> copies only.<br /> <br /> Duxes, Davin, M.R.C.S.<br /> with charts. 1s. 6d.<br /> <br /> Eruetmer, Eviis. Woman Free.<br /> Women’s Emancipation Union. 5s.<br /> <br /> Gassott, E.R. 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The leading actors are a group of<br /> undergraduates of Cambridge University. Mr. Payn’s<br /> picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘nice little college’ of<br /> St. Neot’s. Cambridge men will have little difficulty in<br /> recognising this snug refuge of the ‘ ploughed.’ ee<br /> An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. The uxorious<br /> master of St. Nept’s is charmingly conceived. If only for<br /> his reminiscences of his deceased wives, *A Stumble on<br /> the Threshold’ deserves to be treasured. . . . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue. . . .”<br /> <br /> DarLy NEWS:<br /> <br /> “The dramatic story is told with an excellent wit. It<br /> abounds in lively presentation of character and in shrewd<br /> sayings concerning life and manners. That study of<br /> mankind which is ‘man’ has furnished a liberal educa-<br /> tion to this genial humorist. The men and women he<br /> pourtrays move before us, as do our friends and<br /> acquaintances, distinct individualities, yet each possessed<br /> <br /> <br /> <br /> of that reserve of mystery a touch of which in the |<br /> | original, and worthy of the ingenuity of the loser of Sir<br /> <br /> delineation of human nature, is more convincing than<br /> pages of analysis. .<br /> Neot’s, Cambridge—simple, loyal, gently independent—is<br /> a beautiful study.<br /> between Bournemouth, Cambridge, and some charming<br /> spots near the Thames.<br /> <br /> Needham, Fellow of St. |<br /> The story alternates in its setting |<br /> <br /> The description of life in the}<br /> <br /> Alma Mater on the banks of the Cam gives Mr. Payn |<br /> <br /> <br /> <br /> opportunities for humorous ketches of professors and<br /> students, and he shows himself in the light of an excellent<br /> raconteur. This part of the narrative furnishes some<br /> delightful reading; we seem to be listening to the best<br /> talk, incisive, racy, and to the point. Space will not<br /> allow us to quote some of the wise and witty sayings,<br /> tinged it may be with cynicism, which are the outcome of<br /> Mr. Payn’s philosophy of life, and which are not the least<br /> entertaining part of this attractive novel.”<br /> <br /> DAILY CHRONICLE:<br /> <br /> ‘Mr. James Payn is here quite at his usual level all<br /> through, and that level is quite high enough to please<br /> most people. The character drawing is good.<br /> The story of the master sounds strangely like truth.<br /> <br /> : A book to read distinctly.”<br /> <br /> DAILY GRAPHIC:<br /> <br /> “ . | | The dramatic unity of time, place, and cir-<br /> <br /> cumstance has never had a more novel setting. . - a<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> <br /> ‘A very interesting story, and one that excels in clever<br /> contrast of character and close study of individualism.<br /> Sts The characters make the impression of reality on<br /> the reader. Extremely pleasant are the sketches<br /> of University life.”<br /> <br /> <br /> <br /> THe WORLD:<br /> <br /> “The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’ 3<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE:<br /> <br /> “ : Ingenious and original. Mr. Payn knows<br /> <br /> how to invent and lead up to a mystery.”<br /> LEEDS MERCURY:<br /> <br /> “Three more distinctive characters have, perhaps,<br /> never been drawn by Mr. James Payn than in Walter<br /> Blythe, Robert Grey, and George Needham, Cambridge<br /> undergraduates, who figure prominently in ‘A Stumble<br /> on the Threshold.’”<br /> <br /> Guasgow HERALD:<br /> <br /> “| |. Mr. Payn’s latest invention in sensational<br /> episode; but wild horses will not drag from us a<br /> statement of the mystery. It is new and thoroughly<br /> <br /> <br /> <br /> Massingberd.”<br /> BATLEY REPORTER:<br /> Is most attractive reading.”<br /> <br /> HAMPSHIRE TELEGRAPH AND CHRONICLE:<br /> <br /> “Mr. James Payn’s latest story, ‘A Stumble on the<br /> Threshold,’ which has been the chief attraction in the<br /> ‘ Queen’ during the last few months—where, by the way,<br /> it was most admirably illustrated—has just been issued<br /> in two handsome vols. by Mr. Horace Cox. The story is<br /> written in Mr. Payn’s happiest vein: it sparkles with wit,<br /> the characters are most unconventional. and the old, old<br /> theme is worked out on quite novel lines.”<br /> <br /> HEREFORD TIMES<br /> ‘&lt; With all their sparkle and gaiety, Mr. Payn’s novels<br /> would not be complete without the dread Nemesis,<br /> mysterious in operation, and casting suspicion for a<br /> time on every side but the right one. The novel is<br /> thoroughly attractive, and a credit to the practised hand<br /> which penned it.”<br /> <br /> <br /> <br /> THE OBSERVER:<br /> <br /> « . . , Is a characteristic story, remarkably<br /> <br /> quietly told, always pleasing and satisfying, and pro-<br /> <br /> viding a startling incident at a moment when everything<br /> seems serene.”<br /> <br /> <br /> <br /> London: HORACE<br /> <br /> COX, Windsor<br /> <br /> House, Bream’s Buildings, E.C.<br /> <br /> “CHEAP JACK ZITA”<br /> <br /> WEW SERIAL STORY<br /> <br /> — 2 BARING -GOoOvULD.,<br /> <br /> ENTITLED<br /> <br /> ‘““CHEAP JACK ZITA.”<br /> <br /> With Illustrations by a Prominent Artist, commenced in the ‘‘Queen” on Jan. 7.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 424 ADVERTISEMENTS.<br /> MESDAMES BRETT &amp; BOWSER, MRS. GiInik,<br /> <br /> TYPISTS g LU! 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450	https://historysoa.com/items/show/450	The Author, Vol. 03 Issue 12 (May 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+12+%28May+1893%29"><em>The Author</em>, Vol. 03 Issue 12 (May 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-05-01-The-Author-3-12					425–464																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-05-01">1893-05-01</a>							12			18930501	Che<br /> <br /> Fluthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. III.—No. 12.]<br /> <br /> Agreements<br /> <br /> Warnings ves ee<br /> How to Use the Society<br /> The Authors’ Syndicate<br /> Notices... oe cs<br /> Literary Property—<br /> <br /> MAY 1, 1893.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> CONTENTS.<br /> <br /> PAGE. PAGE<br /> wee 427 Libraries—New and Old... ak os os ce eee .-. 444<br /> we 427 An Author&#039;s Experiences ... ec oe ae aes ae .. 446<br /> --» 428 Correspondence—<br /> <br /> . 428 1.—New Writers Re ee eae se ou is .. 449<br /> . 429 : Attack and Defence Sey en Se See Me ae 450<br /> <br /> <br /> <br /> 3.—A Coincidence ca oe Ge a is nay wee 450<br /> 4.—Prompt Payment<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 1<br /> i<br /> |<br /> |<br /> }<br /> <br /> <br /> <br /> 1.—Magazines and Copyright : ee ae<br /> 2.—On Stamping Agreements 5.—Value of Criticism to Beginners : see a 3 451<br /> 3.—The Right of Translation 6.—How to Help Young Writers... es ie te ae<br /> <br /> 4.—Half Price and Half Royalty 7.—Dreams a ee ge fe 451<br /> <br /> 5.—A Fair Agreement ... From the Fapers—<br /> <br /> 6—Titles. =... ae ee 1.—Literature at the Chicago Exhibition. From the Chicago<br /> The Cost of Production aes can ee ox Dial and the New York Critic oe ee Se are sce 452 i<br /> Omnium Gatherum for May. By J. M. Lély ... 2.—The Rolled MS. From the New York Critic a i AOS |<br /> The Royal Literary Fund Dinner wa 3.—An American Paternoster Row... as cy oe 488 ie<br /> ‘The Theft.” By F. B. Doveton... 4.—Dedications ... ote gis ise See ee ae 5. 454<br /> Notes and News. By the Editor... sea oe 5.—Filing Copyright ... ao aS oes aes ae ... 454<br /> + Augustine.” By the Rev. Canon Bell, D.D.... he pea ae 6.—The Current Adjective... ous Ne a ea a abs<br /> Feuilleton.—The People of the Pages .By the Countess Galletti... 7.—Alas! Poor Yorick! a &lt;n ae os See se D8<br /> Goodbye to April. By Lewis Brockman fe ae Ga “ At the Sign of the Author&#039;s Head” ... cae ea ee = 4b5<br /> Psychological Sentiments ... ane ies ee The Book Exchange... ul ous oie xe a ie on SBT<br /> Reminiscences of Taine. By Winifrede Wyse | New Books and New Editions Bs ne ae ae oe -.. 468<br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> a<br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary. tH<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of ‘Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4 Literature and the Pension List. By W. Morris CoLLes, Barrister-at-Law. (Henry Glaisher,<br /> gs, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Sociéte des Gens de Lettres.<br /> the Society. 1s.<br /> <br /> 6. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> 7. The Various Methods of Publication. By S. Squire Spriace. In this work, compiled from the<br /> <br /> pepers in the Society’s offices, the various forms of agreements proposed by Publishers to MI<br /> <br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 35.<br /> <br /> : Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix i<br /> <br /> | containing the Berne Convention and the American Copyright Bill. By J. M. Levy. Hyre a<br /> <br /> i and Spottiswoode. Is. 6d. &#039;<br /> <br /> By S§. Squire SpriageE, late Secretary to<br /> <br /> <br /> <br /> o<br /> <br /> a ad<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 426 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> The Society of Authors (Sncorporated),<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHEORGHE MEREDITEH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arno, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barris.<br /> <br /> A. W. A Broxerv.<br /> <br /> Rogert Bateman.<br /> <br /> Sir Henry Berenz, K.C.M.G.<br /> WALTER BEsAnrt.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLackmoreE.<br /> <br /> Rev. Pror. Bonney, F.B.S.<br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Haut Carne.<br /> <br /> P. W. CLaypen.<br /> <br /> Epwakp CLopp.<br /> <br /> W. Morris Couugs.<br /> <br /> Hon. JoHn Courier.<br /> <br /> W. Martin Conway.<br /> <br /> F. 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Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IT1.—No. 12.]<br /> <br /> MAY 1, 1893.<br /> <br /> [PRricz SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or parda-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, sec.<br /> <br /> <br /> <br /> notice that all remittances are acknow-<br /> <br /> ledged by return of post, and requests<br /> that all members not receiving an answer to<br /> important communications within two days will<br /> write to him without delay. 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Cost OF Propucrion.—Never sign any<br /> agreement of which the alleged cost of pro-<br /> duction forms an integral part, until you have<br /> proved the figures.<br /> <br /> KK 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> 428<br /> <br /> <br /> <br /> 6. Cuorcr oF PuBLisuERs.—Never enter into<br /> any correspondence with publishers, especially<br /> with those who advertise for MSS., who are<br /> not recommended by experienced friends or by this<br /> Society.<br /> <br /> 7. Futur—E Worx.—Never, on any account<br /> whatever, bind yourself down for future work<br /> to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of<br /> royalty until you have ascertained what the<br /> agreement, worked out on both a small and a<br /> large sale, will give to the author and what to the<br /> publisher.<br /> <br /> g. Personat Risx.—Never accept any pecu-<br /> niary risk or responsibility whatever without<br /> advice.<br /> <br /> 10. Resectep MSS.—Never, when a MS. has<br /> been refused by respectable houses, pay others,<br /> whatever promises they may put forward, for the<br /> production of the work.<br /> <br /> 11. American Ricurs.— Never sign away<br /> American rights. Keep them by special clause.<br /> Refuse to sign any agreement containing a clause<br /> which reserves them for the publisher, unless for<br /> a substantial consideration. If the publisher<br /> insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. Cession or Copyrieur.—Never sign any<br /> paper, either agreement or receipt, which gives<br /> away copyright, without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the<br /> advertisements, if they affect your returns, by a<br /> clause in the agreement. Reserve a veto. If you<br /> are yourself ignorant of the subject, make the<br /> Society your adviser.<br /> <br /> 14. Never forget that publishing is a business,<br /> like any other business, totally unconnected with<br /> philanthropy, charity, or pure love of literature.<br /> You have to do with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :—<br /> 4, Portuean Street, Lincotn’s Inn Freips.<br /> <br /> OO<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> <br /> THE AUTHOR.<br /> <br /> Society’s solicitors. If the case is such that<br /> Counsel’s opinion is desirable, the Committee will<br /> obtain for him Counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> z. Remember that questions connected with<br /> copyright and publishers’ agreements do not<br /> generally fall within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have .<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed document to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> oc<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> SPECIAL report of the Authors’ Syndi-<br /> <br /> cate has been prepared and issued to<br /> <br /> those members of the Society for whom<br /> the Syndicate has transacted business.<br /> <br /> Members are informed:<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With,<br /> <br /> when necessary, the assistance of the legal advisers<br /> of the Society, it concludes agreements, collects<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 429<br /> <br /> royalties, examines and passes accounts, and<br /> generally relieves members of the trouble of<br /> managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndi-<br /> cate are defrayed entirely out of the commission<br /> charged on rights placed through its intervention.<br /> This charge is reduced to the lowest possible<br /> amount compatible with efficiency. Meanwhile<br /> members will please accept this intimation that<br /> they are not entitled to the services of the Syndi-<br /> cate gratis, a misapprehension which appears to<br /> widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none<br /> but those members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That the business of the Syndicate is not to<br /> advise members of the Society, but to manage<br /> their affairs for them.<br /> <br /> 5. That the Syndicate can only undertake<br /> arrangements of any character on the distinct<br /> understanding that those arrangements are placed<br /> exclusively in its hands, and that all negotiations<br /> relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by<br /> appointment, and that, when possible, at least<br /> four days’ notice should be given. The work of<br /> the Syndicate is now so heavy, that only a limited<br /> number of interviews can be arranged.<br /> <br /> 7. That every attempt is made to deal with the<br /> correspondence promptly, but that owing to the<br /> enormous number of letters received, some delay<br /> is inevitable. That stamps should, in all cases,<br /> be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite<br /> MSS. without previous correspondence, and does<br /> not hold itself responsible for MSS. forwarded<br /> without notice.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> De<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to nid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new<br /> premises, at 3, Whitehall-court, Charing Cross.<br /> ‘Address the Secretary for information, rules of<br /> admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount, if still unpaid, or a banker’s order, it will<br /> greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of ‘doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> <br /> are as near the exact truth as can be procured :<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br />  <br /> <br /> 430<br /> <br /> Some remarks have been made upon the amvunt<br /> charged in the “Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> — ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> MaGaZINES AND COPYRIGHT.<br /> <br /> AM pleased that my letter, signed ‘ P.,”<br /> inserted in December, has been thought of<br /> sufficient interest and importance to call<br /> <br /> forth valuable remarks in every subsequent num-<br /> ber, and I may now try to sum up the knowledge<br /> we have gained thereby.<br /> <br /> The essence of the provision in the Act is as<br /> follows :—<br /> <br /> When any proprietor shall employ any person to compose<br /> articles on the terms that the copyright therein shall belong<br /> to such proprietor, and such articles shall be paid for by<br /> such proprietor, the copyright shall be the property of<br /> such proprietor.<br /> <br /> Here, as Mr. Harold Hardy (p. 313) points<br /> out, in order that the proprietor shall be entitled<br /> to the copyright, three conditions must be<br /> fulfilled :—<br /> <br /> (1) Employment.—The writer must have been employed<br /> to write the article.<br /> <br /> (2) Terms.—The article must be written on the terms<br /> that the copyright therein shall belong to the proprietor.<br /> <br /> (3) Payment.—The writer of the article must be paid for<br /> it by the proprietor.<br /> <br /> Now let us put a few cases to see how this will<br /> work,<br /> <br /> A.—Suppose I write an article according to my<br /> own fancy, and send it to a magazine. It is<br /> inserted and paid for, but nothing is said about<br /> copyright by either party.<br /> <br /> There clearly the conditions 1 and 2 are absent,<br /> and the copyright, by the general Act, should be<br /> wholly mine.<br /> <br /> Mr. Armstrong (p. 277) mentions an obiter<br /> dictum of the Vice-Chancellor to this effect, that<br /> “the payment is evidence of a thing at least<br /> tantamount to the employment,” but this cannot<br /> <br /> THE AUTHOR.<br /> <br /> reasonably apply here, as the Act is so very<br /> explicit in requiring not only payment, but<br /> distinct and positive employment under specified<br /> terms.<br /> <br /> B.—But suppose the proprietor or editor of a<br /> cyclopedia or review sequests me to write an<br /> article for him on a given subject; this is after-<br /> wards paid for, but still nothing has been said<br /> about copyright.<br /> <br /> Here we have distinct employment, and there-<br /> fore conditions 1 and 3 are fulfilled. But how<br /> about condition 2? By the hypothesis it is<br /> assumed to be wanting, but it may be argued<br /> that my acceptance of the duty involves my con-<br /> forming to the usual practice of the periodical,<br /> which may be to retain the copyrights. And<br /> here, I fancy, the case of Sweet v. Benning, cited<br /> by Mr. Hardy and Mr. Charteris, might come in,<br /> it being held that an express contract was not<br /> necessary, if the “terms” might primd facie be<br /> implied.<br /> <br /> It would seem, therefore, that here the owner-<br /> ship of the copyright may depend on the special<br /> circumstances of the case.<br /> <br /> C.—Finally, suppose that in the first instance<br /> I write to the editor, and ask him if he would<br /> like me to send him an article on a subject<br /> named? He answers me in the affirmative, and<br /> the article is sent, inserted, and paid for.<br /> <br /> Does this constitute “ employment?” I should<br /> think not; for the position of the author is<br /> essentially different. In case B., he is a servant,<br /> paid for his work ; here he is a volunteer, and his<br /> work may be thrown away by the rejection of what<br /> he sends.<br /> <br /> All these three cases are of frequent occur-<br /> rence—in A. and C., the author&#039;s ownership<br /> seems clear, in B. it may be uncertain.<br /> <br /> There is, I believe, a common impression that<br /> the copyright in magazine articles belongs jointly<br /> to the proprietor and the author, and, as“ J.”<br /> has said, it is frequently assumed, as a matter of<br /> courtesy, that both parties should concur in<br /> allowing a reprint. But such an impression can-<br /> not over-ride the Act of Parliament, when the<br /> latter clearly gives the property to the author.<br /> <br /> It is also worthy of notice that, even when the<br /> copyright rests with the proprietor, he cannot<br /> publish the article separately without the<br /> author’s consent; and after twenty-eight years<br /> the full right of such separate publication<br /> “reverts”? to the author. So that, unless the full<br /> copyright is specially transterred, an important<br /> control by him over the publication is always<br /> maintained.<br /> <br /> Witiiam Pote.<br /> <br /> Atheneum Club.<br /> <br /> April 17, 1893.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 431<br /> <br /> EL<br /> On Srampinec AGREEMENTS.<br /> <br /> Readers are constantly warned, in _ these<br /> columns, not to neglect the stamping of their<br /> agreements. An ordinary agreement, under hand,<br /> for the publication of a book is liable to the duty<br /> of 6d. If the contract is im duplicate, one part<br /> to be held by the publisher, the other by the<br /> author, both must be stamped with 6d. Ifa 6d.<br /> adhesive stamp—the ordinary 6d. postage stamp<br /> —is used, it should be affixed to the document<br /> before signing, and the signature written across it,<br /> and the date, say 1-4-93, should also be written on<br /> <br /> the stamp, thus:<br /> |<br /> <br /> J 3. Jone&#039;s.<br /> 1-4-93<br /> <br /> You will then have complied with the strict<br /> requirements of the law as to stamping and can-<br /> cellation of the stamp. Remember that it is useless<br /> to stick a 6d. adhesive stamp on to the agreement<br /> after it has been signed by the party who first<br /> signs it; the law requires that the adhesive<br /> stamp shall be cancelled by the person who first<br /> executes the agreement.<br /> <br /> If the contract is contained in a_ series of<br /> letters, a stamp on any one of them will suffice ;<br /> but it will be most convenient to stamp the letter<br /> from the publisher containing the acceptance of<br /> terms, and in that case the stamp should be a 6d.<br /> impressed stamp, obtainable at Somerset House<br /> within fourteen days from the date of the letter.<br /> <br /> If the agreement inter partes has been signed<br /> without a stamp, take your part to Somerset<br /> House (No. 25, Inland Revenue), or send it to<br /> the Comptroller of Stamps and Stores, with six-<br /> pence in stamps, and a request to get it stamped,<br /> so that it may be stamped with an impressive 6d.<br /> stamp within fourteen days from the date ; the<br /> actual date not counting as one of the fourteen<br /> days. But Sundays and holidays count, @.e., if<br /> the fourteenth day falls on a Sunday, you will be<br /> “out of time’? onthe Monday.<br /> <br /> The maximum penalty for stamping an agree-<br /> ment under hand after the fourteen days is £10.<br /> But the authorities usually mitigate this consi-<br /> derably, unless stamping 1s sought in contempla-<br /> tion of legal proceedings, or in the course of pro-<br /> ceedings already commenced. If the document<br /> is produced unstamped in court you will have to<br /> pay £11 os. 6d. (£10 penalty, &amp; fee, 6d. duty)<br /> before it can be used in evidence. Anagreement<br /> of this kind under seal, which is rare, is liable to<br /> a duty of at least 10s. as a “deed” at least, and<br /> may be liable to further duty according to its terms.<br /> <br /> The time for stamping a deed is thirty days from<br /> date of first execution. Other remarks apply.<br /> <br /> ——<br /> <br /> EL<br /> Tur Riegut oF TRANSLATION.<br /> <br /> Under Article V. of the Berne Convention, it<br /> is provided that an author shall have the exclu-<br /> sive right of translation until the expiration of<br /> ten years from publication of the original work ;<br /> but when we turn to the International Copyright<br /> Act, 1886, we find it provided (clause 5 (1) ) that<br /> he shall have the same right of preventing un-<br /> authorised translations which he has of prevent-<br /> ing piracy of the original work. The only lmi-<br /> tation I can find is that, in the next sub-division<br /> of the clause, it is provided that, if after ten<br /> years no authorised translation has been produced,<br /> the author&#039;s right to forbid unauthorised trans-<br /> lations shall cease.<br /> <br /> In other words, the author’s right in respect of<br /> translation appears, by the Berne Convention, to<br /> be absolute for ten years; whereas by the Inter-<br /> national Copyright Act it seems to be extended<br /> to the full term of literary copyright on the sole<br /> condition that an authorised translation shall be<br /> published within ten years.<br /> <br /> T observe that the Order in Council (Nov. 28,<br /> 1887), by which Great Britain was made a party<br /> to the Berne Convention, provides (sect. 8), that<br /> this order shall be construed as if it formed part<br /> of the International Copyright Act, 1886.<br /> <br /> I should be glad if someone more learned in<br /> these matters would explain to me how these<br /> different provisions can be reconciled. F. T.<br /> <br /> <br /> <br /> TY.<br /> Tur “Har Price” CLavse.<br /> <br /> We have spoken already of a certain “ half<br /> price ”’ clause, and what it means. As our obser-<br /> vations were not quite understood, the following<br /> figures will help to explain. The clause, in sub-<br /> stance, though the wording is sometimes different,<br /> runs as follows: ‘ But if the publisher thinks fit<br /> to sell the book under half the advertised price<br /> the above royalty of so much per cent. shall be<br /> reduced by one half.”<br /> <br /> This seems plausible. The author ignorantly<br /> thinks that if the publisher halves his price the<br /> royalty ought also in justice to be halved, so he<br /> signs.<br /> <br /> Let us illustrate the clause by taking a two-<br /> volume novel, nominally 21s. price, subject to a<br /> royalty of 15 per cent. It is really sold at about<br /> irs. to the libraries (sometimes for less), t.€., S1X-<br /> pence over half price. It costs about 4s. a copy<br /> for an edition of 500.<br /> <br /> os<br /> <br /> <br />  <br /> <br /> 432<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> If the bovk is sold at its. the case stands<br /> thus : s. d.<br /> Author gets for each copy sold... 3 «14<br /> Publisher gets’<br /> Less cost Se<br /> Author ... 3 414 7 14<br /> oe 77 3 105<br /> But if he sells at 1os., which is just under half<br /> price. s. dd.<br /> The author gets only per copy... I 625<br /> Publisher... 4, 4, 10 6<br /> Less cost re<br /> Author ... ro 68.<br /> 5 8%<br /> 4 570<br /> <br /> So that it is to the publisher’s interest, by<br /> 6%d., per volume to sell at ros. rather than rts.<br /> That is to say he pockets close upon 7d. a copy<br /> more by the second arrangement than by the<br /> first. This was pointed out to a certain publisher<br /> in a certain case. He explained that he did not<br /> know that such would be the result.<br /> <br /> <br /> <br /> V.<br /> A Farr AGREEMENT.<br /> <br /> A pleasing agreement has been brought to light<br /> in which the author agreed to cede the whole of his<br /> rights ina book, whatever they should prove to<br /> be, not for half profits, or for two-thirds profits ;<br /> not for a royalty of 20 per cent., or 25 per cent.<br /> on the advertised price, but for 124 per cent. on the<br /> amount realised by the sale of the work. To<br /> make it look pretty it was called a “ royalty ”—a<br /> royalty of 124 per cent. on the amount realised<br /> by the sale of the work. Suppose, to put this<br /> neat little job into figures, the whole edition of<br /> 1000 copies of a book under such an agreement<br /> —taking, as usual, a 6s. book—had gone off, the<br /> net proceeds would have been £175. (See “ Cost<br /> of Production.”) The author’s share would have<br /> been £23. The publisher’s profit would have<br /> been £52. Suppose another edition of 3000<br /> copies had gone, the proceeds would have been<br /> £575. The author’s share would have been<br /> £72. The profits would be £355, and the pub-<br /> lisher’s share £283. Now this is no invention of<br /> something that might have happened. It is an<br /> agreement actually drawn up and signed.<br /> <br /> <br /> <br /> VI.<br /> TITLEs.<br /> <br /> Such a newspaper title as The Journal is<br /> of so general a class as scarcely to afford pro-<br /> mise of a leading case, if dispute arose. How-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> ever, the company which has since July, 1892,<br /> run the large Paris daily sheet called Le Journal<br /> has recently had to defend an action brought (for<br /> £2000 damages and a penalty of £8 a day) by<br /> one Gregori, who on Feb, 4th, 1886, had regis-<br /> tered the title, and who, between then and April,<br /> 1892, had published at irregular dates five<br /> numbers of his paper. Then, when the other<br /> Journal was announced, he made a spurt with a<br /> few more numbers.<br /> <br /> The Commercial Court has now decided that<br /> Gregori’s publication was neither daily, weekly,<br /> monthly, nor in any sense periodical; ani,<br /> further, that the mere registration of a title (in<br /> this dog-in-the-manger fashion, as one might say)<br /> without giving practical and current effect and<br /> consequence to the act, does not in equity confer<br /> an exclusive right to the title. And so Gregori<br /> has “carried coals” for nothing, and may now<br /> “bite his thumb.”<br /> <br /> THE COST OF PRODUCTION.<br /> <br /> <br /> <br /> HE statement lately made by Mr. Heinemann,<br /> that he could not get work done at the<br /> same terms as those quoted in the “Cost<br /> <br /> of Production ”’ has made it desirable, despite the<br /> great care with which those figures were obtained<br /> and published, to submit, once more, the figures<br /> there given to other printers. The firm to whom<br /> they have been referred is one which is certainly<br /> above all suspicion of being a sweating house ; at<br /> the same time, its work is quite in the first line,<br /> as would be acknowledged by anyone, were it<br /> possible to give their name.<br /> <br /> It appears, from an examination made by this<br /> firm, that the figures-are perfectly trustworthy,<br /> viz., that, although a printer’s estimate is<br /> necessarily an elastic document, work offered on<br /> our terms would be accepted not only by that<br /> firm, but, as the manager frankly stated, by<br /> dozens of other firms.<br /> <br /> Note, however, that th figures represent net<br /> prices, not the prices off which heavy discounts<br /> are taken.<br /> <br /> On page 19 of the ‘‘ Cost of Production ”’ there is<br /> an estimate for an edition—5oo copies only—of a<br /> one-volume novel. “The total,” said the printer,<br /> “of £166 10s. is about what we should charge,<br /> deducting the amount set down for binding and<br /> advertising ; but instead of 5s. 6d. for printing,<br /> we should want 6s. 6d.” That is a trifling<br /> <br /> difference, because few respectable publishers<br /> would care to produce a one-volume novel of which<br /> only 500 copies would be printed, the number not<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 433<br /> <br /> being sufficient to pay the initial cost. This<br /> estimate, in fact, might as well be struck out,<br /> unless we consider the case of a writer paying to<br /> produce his own work regardless of pecuniary<br /> success. Again, the figures; given for very small<br /> editions of three-volume novels could only be<br /> accepted, according to this authority, in cases<br /> where the publisher gives a good deal of work to<br /> a printing firm. But, then, respectable firms do<br /> not often bring out a three-volume novel in an<br /> edition of 350 copies and no more. Such a book<br /> is not worth bringing out. Again, this estimate<br /> is practically useful only to those who pay for their<br /> own work. They ought not to be encouraged in<br /> so foolish a practice, and the estimates might very<br /> well disappear. Yet, in the case of a firm sending<br /> in a great deal of work, the figures would stand.<br /> <br /> The sum of the matter is this :—<br /> <br /> Under modifications of numbers, work can be<br /> done by a firm of first-class printers at the prices<br /> quoted for printing in the “ Cost of Production.”<br /> <br /> In other words, private persons and small<br /> publishers, who have little work to give out,<br /> would probably have to pay somewhat higher<br /> rates. But the “Cost of Production” does not<br /> pretend to represent either private persons or<br /> small publishers.<br /> <br /> It may be added to the above that a private<br /> person, publishing a short time ago a book at his<br /> own expense and risk, took it, by the advice of<br /> the secretary, to a certain London firm—a very<br /> high-class firm—and that their estimate and their<br /> bill proved to be actually less than the estimate<br /> given in the “ Cost of Production” for the same<br /> form of book.<br /> <br /> The following may also be added. It is a story<br /> now four or five years old. A. B., bringing out a<br /> little book on commission, was informed by the<br /> publisher to whom he offered it that it would<br /> cost £120 to print and bind. He then obtained<br /> an estimate for himself from a firm of c&gt;untry<br /> printers whom he knew, and found that it would<br /> cost no more than £60. He informed the pub-<br /> lisher of the difference, but was told that if the<br /> house did not have the conduct of the printing they<br /> could not publish the book. In other words,<br /> <br /> <br /> <br /> OMNIUM GATHERUM FOR MAY.<br /> <br /> <br /> <br /> Suggestions for Books or Articles.—The dangers<br /> to every combination from the rivalry of its<br /> leaders ;—The extension of the principle of the<br /> Directors’ Liability Act of 1890 to unpaid presi-<br /> dents of distinction, and to directors Jaineant ;<br /> _Jreland as a holiday resort, with special refe-<br /> <br /> VOL. III.<br /> <br /> rence to the attractions of Portrush, Bray,<br /> Killarney, and Maam ;— Altruism in railway<br /> travelling ;—The functions of an Editor (by<br /> one);—The cultivation of the Quince ; — The<br /> legitimation of children born before marriage,<br /> with special reference to the Scotch and Conti-<br /> nental law of the subject, the “nolunt leges<br /> Angliz mutare” of the Lords at Merton when the<br /> Bishops ‘ instanted ” them, and Mr. McLaren’s<br /> Bill now before Parliament ;—The use and abuse<br /> of Patent Medicines (with a few words on the<br /> dangers and expense of rouge and other cos-<br /> metics) ;—Librarianship as a profession.<br /> <br /> Demurrage.—It is submitted as possible that<br /> demurrage might be contracted for in respect of<br /> MSS. held over for more than a reasonable time,<br /> and not used.<br /> <br /> Index.—It is submitted as possible that a short<br /> table of contents, printed on a paper or cloth<br /> label, pasted on the back of a binding, may<br /> serve many of the purposes of an index in the<br /> case of thick books of reference.<br /> <br /> Prefaces. — Prefaces should be always two<br /> pages long, neither more nor less; more being<br /> tiresome, and less being uncomplimentary.<br /> There should be a careful division into para-<br /> graphs, and the last paragraph of the first page<br /> should run over into the second, otherwise the<br /> reader may lose your best bits.<br /> <br /> Dedications.—These, which I touched on in<br /> March, are exhaustively dealt with in the Lite-<br /> rary World column of the St. James’s Gazette of<br /> April 8, at p. 12. As to quality, the two best of<br /> recent times—that of Tennyson’s Idylls, and that<br /> of Mill on Liberty—were to memories of the<br /> dead. As to quantity, I counted seven in a row<br /> of twenty-six quite new books the other day, but<br /> T think I must then have hit upon a dedicated lot,<br /> for in another similar row of about forty, I could<br /> only find four ; and, looking to the difficulties of<br /> the thing, perhaps the lesser average may be the<br /> more desirable one.<br /> <br /> Interview with the Printer.—If it be possible,<br /> have an interview with the head printer in charge<br /> of your book as soon as you have read through<br /> the first proof. See that each proof and proof<br /> duplicate is dated, and ascertain generally to what<br /> extent corrections may be made without “ running<br /> over.” I believe the expense of marginal notes<br /> has caused their disuse across the Atlantic. In<br /> many cases, but not all, the cheaper “ inlet ”’<br /> will serve the purpose of the marginal note<br /> <br /> equally well.<br /> <br /> <br /> <br /> Reviewing. — A reviewer should always be<br /> anonymous ; a review should never be solicited ;<br /> the desirability of universal machine-cutting of<br /> <br /> it<br /> <br /> eee<br /> <br /> en<br /> <br /> aa<br /> <br /> <br />  <br /> <br /> 434 THE<br /> <br /> <br /> <br /> pages is in no ease so self-evident as in the case<br /> of a book sent for review.<br /> <br /> Advertisements—The disguise of advertise-<br /> ments as literary matter, and the interfusion of<br /> advertisements with magazine stories, are surely<br /> being carried too far. The object of the advertiser<br /> is no doubt to force the advertisement upon the<br /> notice of the reader, who, however, is more<br /> likely to be repelled than not from the pills of X<br /> by their ill-judged intrusion into the novelette of Z.<br /> <br /> Copyright.—The 18th section of the Copyright<br /> Act of 1842 is a disgrace to civilisation.<br /> <br /> J. M. Lety.<br /> <br /> THE ROYAL LITERARY FUND DINNER.<br /> <br /> <br /> <br /> HIS dinner was held on April 25, the chair<br /> being taken by Mr. Arthur Balfour,<br /> Among the men of letters present were<br /> <br /> Sir Frederick Pollock, Sir Theodore Martin,<br /> Professor Jebb, Canon Ainger, Mr. F. Locker<br /> Lampson, Mr, Austin Dobson, Mr. Thomas<br /> Hardy, Mr. J. M. Barrie, Mr. W. J. Courthope,<br /> Mr. Edward Dicey, Mr. Edmund Yates, Mr. J.<br /> C. Parkinson, Mr. Henry Arthur Jones, and<br /> Professor Norman Lockyer. The following, as<br /> reported in the Times, is that part of Mr.<br /> Balfour’s address which was concerned with<br /> literature :—<br /> <br /> “But I fear that on the present occasion I<br /> have dealt too long with this special topic.<br /> My business is rather to talk to you, not of the<br /> political future of the country, but of matters<br /> connected with literature—of matters, in other<br /> words, which those who belong to this Society<br /> may be supposed to take an especial interest<br /> in and have especially under their charge. I do<br /> not know that I have anything to say which<br /> may interest you on this topic. We have all felt<br /> that the great names which rendered illustrious<br /> the early years of the great Victorian epoch are<br /> one by one dropping away, and now perhaps but<br /> few are left. I do not know that any of us can<br /> see around us the men springing up who are to<br /> occupy the thrones thus left vacant. I should<br /> not venture to say—and indeed I do not think—<br /> that we live in an age barren of literature. But<br /> none of us will deny that, at all events at the<br /> present moment, we do not seea rising generation<br /> of men of letters likely to rival those of old<br /> times. (Hear, hear.) I was born, I suppose, too<br /> late to join in the full enthusiasm which I have<br /> known expressed for the writers whose best works<br /> were produced before 1860 or 1870. Pergon-<br /> ally I have known many who found in the<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> writings of —whom shall I say? — Carlyle,<br /> Tennyson, Browning, and George Eliot every-<br /> thing that they could imagine or desire, either in<br /> the way of artistic excellence, or ethical instruc.<br /> tion, or literary delight. I have not myself ever<br /> been able to surrender myself so absolutely to<br /> the charm and the greatness of these great and<br /> charming writers. I have sometimes thought<br /> that the age of which [ speak may perhaps have<br /> been inclined unduly to exalt itself in comparison<br /> with that despised century, the eighteenth.<br /> (Cheers.) Whoever may be right or wrong in<br /> these matters, at all events the fact remains that<br /> the authors to whom I have alluded would have<br /> rendered any reign illustrious; that they have<br /> departed ; and that we do not at present see<br /> among us their successors. (Hear, hear.) It is<br /> a most interesting situation, because I am not<br /> prepared to admit that we live in an age which<br /> bears upon it the marks of decadence. (Hear,<br /> hear.) Undoubtedly there is more knowledge of<br /> literature, more command of literary technique,<br /> both in prose and poetry, at the present moment,<br /> than has been often the case, or perhaps ever the<br /> case before. You will find a true literary instinct<br /> pervading the whole enormous and even over-<br /> whelming mass of contemporary literature.<br /> Therefore it certainly is not from ignorance nor<br /> indifference that the present age fails, if, indeed,<br /> I am right in thinking that it does fail. Neither<br /> has the present age another mark which has been<br /> characteristic of previous ages of decadence. There<br /> have been periods when the love of literature was<br /> very widely spread through the community, when<br /> a knowledge of literature and a command of<br /> literary forms was prevalent among the educated<br /> classes ; but when, at the same time, the admira-<br /> tion of past works of genius was so overwhelming<br /> that it seemed almost impossible to bring forth<br /> new works of genius in competition with them.<br /> The old forms, in fact, commanded and mastered<br /> whatever imaginative and original genius there<br /> may have been at the time of which I am<br /> speaking. I do not believe that that is the case<br /> now. My own conviction is that at this moment,<br /> not only is there no dislike of novelty, not only is<br /> there no prejudice in favour of ancient models,<br /> but any new thing of any merit whatever is likely<br /> to be accepted and welcomed at least at its true<br /> value. (Hear, hear.) I recollect an artist friend<br /> of mine, who had studied for some time in the<br /> cosmopolitan studios of Paris, saying that in his<br /> Opinion we were on the very verge of a great<br /> artistic revival. He said that he found among<br /> the students with whom he associated such a zeal<br /> for art and such a knowledge of art, so great a<br /> desire to bring forth some new thing which should<br /> be worthy of the everlasting admiration of man-<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> kind, that in his judgment it was absolutely<br /> impossible that so much talent, so much zeal, and<br /> so much readiness to accept new ideas, should not<br /> ultimately issue in the formation of a great and<br /> original school of painting. (Hear, hear.) What<br /> he said of painting we may surely say at the<br /> present day of literature. (Hear, hear.) It only<br /> requires the rise of some great man of genius to<br /> mould the forces which exist in plenty around us,<br /> to utilise the instruction which we have almost in<br /> superabundance, and to make the coming age of<br /> literature as glorious or even more glorious than<br /> any of those which have preceded it. (Cheers. )<br /> Whether that genius will arise or not I cannot<br /> say. ‘The wind bloweth where it listeth, and no<br /> man knoweth whence it cometh or whither it<br /> goeth.” So it is with genius; and no man can<br /> prophesy what is to be the literary future of the<br /> world. “My friend Lord Kelvin has often talked<br /> to me of the future of science, and he has said<br /> words to me about the future of science, which are<br /> parallel with the words I have quoted to you<br /> about the future of art and with the hope which<br /> I have expressed to you with respect to literature.<br /> He has told me that, to the men of science of to-<br /> day, it appears as if we were trembling upon the<br /> brink of some great scientific discovery which<br /> should give to us a new view of the great forces<br /> of nature among which and in the midst of which<br /> we move. If this prophecy be right, and if the<br /> other forecasts to which I have alluded be right,<br /> then, indeed, it is true that we live in an<br /> interesting age; then, indeed, it is true that we<br /> may look forward to a time full of fruit for the<br /> human race—to an age which cannot be sterilised<br /> or rendered barren even by politics.<br /> <br /> THE THEFT.<br /> <br /> <br /> <br /> The Little God upon a day was sleeping<br /> Among the roses in a garden fair,<br /> <br /> The wand’ring winds of June were softly sweeping<br /> The tangled mazes of his golden hair ;<br /> <br /> Beside him lay his quiver and his bow,<br /> <br /> But he was dreaming in the noontide summer glow.<br /> <br /> Then, Friendship came from roaming by the river,<br /> And, gently creeping to the sleeper’s side,<br /> Stole his bright bow, and eke his dainty quiver,<br /> And like the wind to Flora’s bower hied !<br /> There, through the leaves that hid her place of rest,<br /> He lodged an arrow in her milk-white breast.<br /> <br /> The maiden woke, her bosom newly riven,<br /> But, after all, it was delicious pain,<br /> Whilst the old wound the Rosy God had given<br /> Full well she knew would never smart again.<br /> The birds—the blooms—the cloudless skies above,<br /> All knew that Friendship had been turned to Love.<br /> <br /> Easter. F, B, DovEeron.<br /> <br /> VOL. IIl.<br /> <br /> AUTHOR. aes<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> T will be seen, by reference to p. 452, that<br /> the Congress of Authors fixed for next<br /> July, at Chicago, is assuming an impor-<br /> <br /> tance which may produce very serious results.<br /> The head of the Chicago Committee is Mr. F. F.<br /> Browne, editor of the Chicago Dial. A com-<br /> mittee of co-operation has been formed in New<br /> York, whose chairman is Oliver Wendell Holmes,<br /> and its members are Edmund C. Stedman,<br /> Charles Eliot Norton, Charles Dudley Warner,<br /> William Dean Howells, Colonel Higginson, H. H.<br /> Furness, Richard Watson Gilder, Thomas Bailey<br /> Aldrich, George W. Cable, Maurice Thompson,<br /> Thomas Nelson Page, Frank Sherman, and<br /> Hjalmar Boryesen. That is to say, most of the<br /> leading American writers are lending their<br /> active co-operation to the Congress.<br /> <br /> <br /> <br /> The topics for discussion are announced gene-<br /> rally in the preliminary circular.. To this has<br /> since been added a section on American Litera-<br /> ture. Under the head of “ Aspects of Literature”<br /> are now included new sub-divisions, such as<br /> “Standards of Literary Criticism,” ‘ Moral<br /> Purpose in Literature,” ‘“ Realism,” &amp;c. I hope<br /> to be entrusted with a sheaf of papers and<br /> opinions to take out with me. Mr, Sprigge will<br /> read a paper on the “ Methods of Publishing ”—<br /> no one is more competent or has had greater<br /> opportunities of studying the subject. Mr.<br /> Hodges, Hon. Sec. of our Copyright Comunittee,<br /> will send a paper on the present condition of<br /> Copyright. There will be, I believe, a paper on<br /> the History of Publishing, another on the<br /> History of Copyright in Literary Property, one<br /> on the present and the future relations of Author<br /> and Publisher. Mr. Gosse will send a paper on<br /> the Present Position and Prospects of Poetry.<br /> I have ready, and will send out, at once, a short<br /> paper stating the points under discussion as<br /> regards the relations of Author and Publisher.<br /> As regards the points mentioned above, and other<br /> points connected with the Pursuit or Calling of<br /> Letters which may suggest themselves, I invite<br /> our members to consider them. It may be, if the<br /> response to this invitation proves as real and as<br /> wide as I hope, that our contributions to the<br /> Congress may amount to a volume of far reaching<br /> and lasting importance.<br /> <br /> <br /> <br /> Elsewhere will be found part of Mr. Balfour’s<br /> speech at the Royal Literary Fund Dinner—that<br /> part which concerns Literature. It was not in<br /> <br /> nn 2<br /> <br /> pecans<br /> <br /> <br />  <br /> <br /> 436<br /> <br /> his happiest vein; nor did it show much know-<br /> ledge of, or sympathy with, modern literature<br /> It is a commonplace in every age to say that it<br /> has no great men in this branch or in that. Yet<br /> the speaker would not admit the outward signs<br /> of decadence, especially the continual com-<br /> parison with the past, and he congratulated<br /> his hearers on the fact that our living writers<br /> are not overburdened with the past. It is a<br /> mark—a sign of the vitality—of English litera-<br /> ture, that we have never been burdened with<br /> the past; that we leave it behind us, and that<br /> we turn to it when we will, but do not live<br /> in it; that we still press on. The ideas that<br /> were new when Tennyson and Carlyle first gave<br /> them utterance are commonplace now—hence Mr.<br /> Balfour—who had inherited them, not received<br /> them—spoke of these great men failing wholly to<br /> satisfy him. As for the Art of the present day,<br /> in whatever form expressed, it seems to lack<br /> greatness. | When an artist draws a picture<br /> charged with the strong passions which formerly<br /> appealed to everybody, he is too often hooted—<br /> eg., Hardy with Tess, the strength and truth<br /> of which made the ordinary reader angry. Our<br /> poetry is lovely work, without much meaning ;<br /> it is little work; and so with every other kind<br /> of work. It must not be strong if it would wish<br /> to win the popularity of the cultured class. And<br /> there is every sign that it will become more and<br /> more beautiful and less and less human. And<br /> then? Perhaps there has already risen and is<br /> growing up beside it, and is going to overshadow<br /> and kill it—the Art that has once more gone back<br /> to Earth and once more represents humanity.<br /> <br /> <br /> <br /> <br /> <br /> Professor Jebb, who also spoke, is reported to<br /> have said that English literature had always been<br /> free from the trammels of an Academy, and that<br /> he had but one wish for its future—that it should<br /> always remain free from those trammels. I con-<br /> fess that my principal reason for desiring an<br /> English Academy—not a slavish copy of the<br /> French—is (1) a desire for the national recog-<br /> nition of literature as a thing worthy of all the<br /> honour that the country can give. At present<br /> literature has no such recognition. And (2) a<br /> desire that men of letters should have a recog-<br /> nised centre, and recognised distinctions. This<br /> does not mean—as it has been assumed to mean—<br /> a desire that all good writers should be made<br /> knights bachelor. Not at all; such a distinction<br /> should neither be offered to them, nor accepted<br /> by them. But an Academy seems to me such an<br /> institution as might serve the purpose. I must<br /> <br /> not argue the question here; but I desire to place<br /> my Opinion once more on record.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Question. How far was Professor Jebb justi-<br /> fied in using the word ‘“trammels?’’ How far<br /> has French literature been “trammelled ” by the<br /> French Academy? What influence has the<br /> Academy had on the great French writers—say,<br /> Voltaire, Diderot, Béranger, Alfred de Musset,<br /> Victor Hugo?<br /> <br /> An American correspondent presents me with<br /> <br /> <br /> <br /> . a pretty little volume well printed in a pale green<br /> <br /> wrapper, with a lovely picture of a cavalier temp.<br /> Charles II., and a maiden—nay, a goddess—<br /> dressed in fourteenth century costume. On<br /> turning over the pages I become aware that the<br /> work is a translation from the French, a novel<br /> by one of those foreigners who always, as we are<br /> so often told, beat the English novelists out of the<br /> field. The title-page, however, says that it is<br /> called “The Chaplain’s Secret,” and that it is my<br /> work—* by Walter Besant.” The firm which<br /> issues this work is called the “N. C. Smith Pub-<br /> lishing Company” of Chicago. I wonder how<br /> many more works have been published over my<br /> name by this enterprising firm. I wonder how<br /> many are published over other names. The foreign<br /> field is large. I expect, if I go to Chicago, to<br /> find something like the following, all in a series :—<br /> “The Sorrows of Werther,” by Rudyard Kipling.<br /> “The Count of Monte Christo,” by Rider Haggard.<br /> “The Miserables,’ by Louis Stevenson. ‘ Tar-<br /> tarin of Tarascon,” by J. M. Barrie. “The<br /> Wandering Jew,” by Charlotte Young. “ Miss de<br /> Maupin,” by George Macdonald. “ Sa’ammbo,”’<br /> by Thomas Hardy. ‘Telemachus,” by Conan<br /> Doyle. There is, in short, going to be, Iam pretty<br /> certain, a splendid boom in Chicago for English<br /> novelists.<br /> <br /> The ‘Decay of Fiction”? appeared as usual<br /> among the “thoughtful” papers of April. This<br /> time it is the work of Mr. Frederic Harrison. There<br /> is no necessity to argue with Mr. Harrison. I<br /> maintain that, while we have certain distinguished<br /> novelists living amongst us, it is absurd to speak<br /> of} English fiction as otherwise than in a most<br /> vigorous and healthy condition. But it is too<br /> true that to all of us there comes a time when we<br /> no longer care so much for the newer forms of<br /> fiction as we did for those which were practised<br /> is our youth. Hence the complaint that the<br /> characters of the present day are not so vivid as<br /> they were, the fault being in the decay of our<br /> own imagination. It is pleasant, however, to<br /> find that the condition of modern fiction is a sub-<br /> ject of such deep concern to men whom the world<br /> is accustomed to consider as intellectual leaders.<br /> <br /> oes<br /> <br /> As a general rule, one should inquire before<br /> reading any paper by anybody on the Condition<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE. AUTHOR. 437<br /> <br /> of Fiction, (1) Is the writer old? (2) Is the<br /> writer young ?—in the first case he has probably<br /> read too much; in the second he has probably<br /> read too little; (3) Has he essayed the Art of<br /> Fiction, and, if so, with what success? and<br /> lastly, what proofs he has given by previous<br /> critical papers or otherwise that he understands<br /> any theory of the Art of Fiction ?<br /> <br /> <br /> <br /> The sketch portrait of Washington Irving is<br /> reproduced from the New York Critic, which<br /> found it at a print<br /> shop some years<br /> ago. Mr. Chirles<br /> Dudley Warner<br /> has been lectur-<br /> ing on Washing-<br /> ton Irving at the<br /> Brooklyn — Insti-<br /> tute. It is strange<br /> that a personalty<br /> so distinct and<br /> attractive has not<br /> drawn English<br /> lecturers and<br /> writers. The<br /> popularity of the<br /> author of “ Knick-<br /> erbocker’s New<br /> York” and the<br /> “ Sketch - book ”<br /> cannot surely be<br /> on the wane in<br /> this country any<br /> more than in<br /> America.<br /> <br /> <br /> <br /> The following<br /> is an advertise-<br /> ment from the<br /> Times :—<br /> <br /> TO BEGINNING<br /> NOVEL WRITERS<br /> and others. A suc-<br /> cessful novelist and author can take a few more PUPILS<br /> to train. References to a successful lady pupil. Advice on,<br /> and revision of, MSS.—Address Aleph, ——<br /> <br /> The conventional mind which cannot be got out<br /> of grooves, and must think as it is accustomed,<br /> and has been told to think, makes such an advertise-<br /> ment as this the occasion for elephantine wit.<br /> Now, I do not advise anybody to answer<br /> “ Aleph’s” advertisement. ‘“ Aleph ” may be a<br /> most judicious coach, or “ Aleph ” may be a most<br /> arrant quack—one does not know, The point to<br /> remark is this. It has been at last found out, (1)<br /> <br /> <br /> <br /> that a good deal may be taught to the aspirant in<br /> the Art of Fiction, just as a good deal may be<br /> taught to the aspirant in the Art of Painting ; and<br /> (2) that money may be made by teaching these<br /> elements. Givena really good teacher, the imme-<br /> diate result would be a great lessening of the<br /> output, because the pupil would be speedily made<br /> to understand whether he “had it” in hin or<br /> not, and because he would understand the paying<br /> for the cost of publication. As for the com-<br /> petence of the teacher, that must be proved by<br /> success, and as only about one in a hundred<br /> candidates can<br /> achieve success,<br /> it will be a very<br /> difficult thing<br /> indeed to prove<br /> competence.<br /> <br /> Some months<br /> ago there ap-<br /> peared in these<br /> columns an esti-<br /> mate of the pro-<br /> portion occupied<br /> by purely literary<br /> papers compared<br /> with others on all<br /> other subjects in<br /> the magazines.<br /> An examination<br /> by means of the<br /> Review of Re-<br /> views which pub-<br /> lishes lists of the<br /> contents of all the<br /> principal maga-<br /> zines, yields re-<br /> sults of some<br /> interest. In the<br /> April number<br /> there are enume-<br /> rated rather over<br /> 400 titles of arti-<br /> cles. These are<br /> taken from the English and American magazines,<br /> not including those devoted to special objects in<br /> which literary articles could not find a place. There<br /> are 400 articles to be provided every month for<br /> these open mouths! A great many of these are, as<br /> would be expected, by known wr.ters, many are<br /> anonymous, many record a single experience, and<br /> are written by “outsiders.” In order to find<br /> these 400 papers every month, or 4800 every year,<br /> isit too much to estimate the number of writers<br /> at 10,000? That is to say, there are 10,000<br /> people at this moment in Great Britain and Ire-<br /> <br /> nae mE<br /> <br /> eee ae<br /> <br /> sais<br /> <br /> <br />  <br /> <br /> 438<br /> <br /> <br /> <br /> land and the States and the Colonies who are able<br /> to reach the standard of writing in the magazines.<br /> The standard varies, it is true, but the average is<br /> pretty high. To this consideration add that men-<br /> tioned in last month’s Author of the number of<br /> books published during the last five or six years,<br /> and it will not seem too much to estimate the<br /> number of living writers in English on all sub-<br /> jects as 40,000, not counting journalists. Not<br /> that these are all dependent on their pen. The<br /> vast majority, fortunately, write on professional,<br /> scientific, and theological subjects. To these their<br /> pen is either a help or perhaps no help at all.<br /> <br /> As regards the subjects treated in the month<br /> of April, there are 50, i.e., one in every eight,<br /> devoted to criticism or literary biography. That<br /> is a very fair proportion out of all the subjects<br /> which occupy man’s mind. There are, for instance,<br /> more lawyers than writers, hut how many papers<br /> are devoted to them? None at all. There are<br /> musicians, artists, preachers—for all of them an<br /> article or two. But for literature, fifty articles.<br /> The subjects are enumerated below, and some are<br /> treated in more than one paper. Thus, there are<br /> three on Tennyson and six or seven on Taine,<br /> Brooks, Phillips. Moulton, Louise Chandler.<br /> Carlyle. Novel, The Historical.<br /> Colonna Vittoria. Novelists, Women.<br /> <br /> Daudet, Alphonse. Pater, Walter.<br /> <br /> Doyle, Conan. Paton, Sir Noel.<br /> Dilke, Lady. Poets, Architecture among<br /> <br /> Fiction, the Decadence of. the.<br /> » EnglishCharactersin Poets, Five English.<br /> French. Plato.<br /> Fuller, Margaret. Plays, Some.<br /> Fairchild Family, The. Podenoskeff,<br /> Hazlitt, Reading of the Working<br /> Ibsen. Classes.<br /> Kemble, Frances. Sand, George.<br /> Lamb, Charles. Sappho.<br /> Literary London. Shakespeare.<br /> &amp; Some Literary Folk ‘Son of the Marshes,” A.<br /> in. Spinoza.<br /> ny Forgeries. Taine.<br /> Marx, Karl. Tennyson.<br /> Meredith, George. Wives of well-known men.<br /> Milton’s Cottage. Whittier.<br /> <br /> The death of John Addington Symonds leaves<br /> vacant a place in modern literature that it will<br /> be difficult to fill up. Crowded as are all the<br /> ranks of scholarship and all the avenues to dis-<br /> tinction, one knows not any scholar and writer<br /> capable of taking his place and carrying on his<br /> work. Various and many-sided as he was, he<br /> will be remembered—and studied—chiefly for his<br /> Renaissance work, the seven volumes of which<br /> form his real monument. Other men of the time<br /> have written finer verse; other men, perhaps,<br /> have written finer essays ; but no English writer<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> is his rival in the rich and previously little<br /> explored field of the Renaissance. Those who<br /> were privileged to call themselves his friends can<br /> bear testimony to the charm of his manner, the<br /> kindliness of his heart, and the vivacity of his<br /> conversation, That such a man was one of our<br /> Society goes without saying.<br /> <br /> + =—- +.<br /> <br /> The book of the month is Mr. Dykes Camp-<br /> bell’s new edition of Coleridge (Macmillan and<br /> Co.). It is not only important as containing a<br /> considerable number of poems hitherto unknown<br /> and unpublished, but as being enriched by a<br /> so-called Introduction, which is, in reality, the<br /> most complete biography of Coleridge which has<br /> hitherto been written. Although modestly ap-<br /> pearing only as an Introduction, it is a great<br /> deal longer than, for instance, many of the books<br /> in Maecmillan’s Red Series. It is a work, indeed,<br /> which ought to be—which must be—issued sepa-<br /> rately. To the accumulation of the materials alone<br /> necessary for its production, a vast amount of<br /> industry and patience must have been bestowed.<br /> <br /> eae<br /> <br /> The book is a happy illustration of our con-<br /> tention that it is impossible to measure literature<br /> by money. Here is a work which will place its<br /> author as the greatest authority on Coleridge for<br /> the rest of his life; yet it appears only as an<br /> Introduction ; it is only part of a cheap series;<br /> Again, it represents years of research and reading ;<br /> before it could be commenced books had to be<br /> accumulated, journeys taken, inquiries prose-<br /> cuted. Yet it is absolutely certain that whatever<br /> honorarium will come to the author it has,<br /> like Panurge’s harvests, been spent long before<br /> it was due. And while all this trouble was being<br /> taken, a popular novelist would be making<br /> thousands. This is not asneer. For why not ?<br /> A good novel is good literature as well as<br /> a good biography. But literature and its com-<br /> mercial value are not commensurate. Let no<br /> man hold up his hands in disgust because a good<br /> writer in one branch gets half a crown while a<br /> good, or evena bad writer in another branch makes<br /> a million. The former has his reward and the latter<br /> has, in addition, his vogue. But there is no con-<br /> nection between the former and the latter; nor is<br /> the latter a rival of the former; nor should his<br /> success cause the former the least jealousy. Let<br /> us never say that such and such a writer gets<br /> more or less than he deserves. In Literature<br /> there is no such thing as commercial desert.<br /> There is commercial value, which represents<br /> popular culture, and the demand of the day,<br /> but not necessarily the literary value of any<br /> work. It seems to me that we cannot too often<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 439<br /> <br /> repeat this truth. Day after day, in almost every<br /> paper, we see the confusion of thought which mixes<br /> literary with commercial value, especially in the<br /> sham indignation of the paragraphist (whose pro-<br /> ductions probably have neither literary nor com-<br /> mercial value) at the commercial success of this<br /> or that book—this or that magazine—which has<br /> somehow attracted the world, and is being read<br /> by everybody.<br /> <br /> <br /> <br /> What Mr. Dykes Campbell has done for<br /> Coleridge, Mr. John Underhill has done for Gay :<br /> with the difference that the latter subject is less<br /> important, and the poems collected are far less<br /> worth preservation. The Life, however, tells us<br /> everything that we want to know about Gay—<br /> everything there is to tell about him. The notes<br /> are useful, and not too long. It must also be<br /> observed that the dress and outward appearance<br /> of the Gay book are very far superior to those of<br /> the Coleridge. The design and the binding are<br /> beautiful, and the paper and type are excellent.<br /> The publishers — Lawrence and Bullen — are<br /> setting an example in beauty and carefulness of<br /> binding and designs which is highly to be com-<br /> mended, and should produce its effect in the<br /> appearance of new books issued by old publishers.<br /> <br /> ———<br /> <br /> The following has been sent to me, taken from<br /> I know not where. I wonder if it is an invention,<br /> or whether women in Germany, or in any other<br /> country, are so credulous :—<br /> <br /> The publishers of a German novel recently did a neat<br /> thing in the way of advertising. They caused to be inserted<br /> in most of the newspapers a notice to the effect that a<br /> certain nobleman of wealth and high position, desirous of<br /> finding a wife, wanted one who resembled the heroine in the<br /> novel named. Thereupon every marriageable woman who<br /> saw the notice bought the book in order to see what the<br /> heroine was like, and the work had an immense sale.<br /> <br /> <br /> <br /> In the Notes and News of last month’s Author<br /> was a paragraph from the Law Quarterly Review<br /> which was reprinted by inadvertence, without the<br /> proper acknowledgment. We hasten to acknow-<br /> ledge our obligati n. The paragraph was the last<br /> on p. 407.<br /> <br /> <br /> <br /> The following lines are found in Mr. William<br /> Watson’s “ Vita Nuova,” a poem in the Spectator<br /> of April 15. The hosts of friends of the poet<br /> are all re‘oicing at bis rest ration to health.<br /> <br /> Lo, I too<br /> With yours would mingle somewhat of glad song.<br /> I too have come through wintry terrors,—yea,<br /> Through tempest and through cataclysm of soul<br /> Have come, and am delivered. Me the Spring,<br /> Me also, dimly with new life hath touched,<br /> And with regenerate hope. the salt, of life.<br /> <br /> “How far,’ writes C. C., “is it moral and<br /> fair for an author to write for any magazine<br /> furthering objects in which he is interested<br /> under the price which he can elsewhere com-<br /> mand? ”<br /> <br /> <br /> <br /> The following very bad lines appeared in a<br /> journal of 1773, “occasioned,” we are informed,<br /> “ by a Gentleman’s lamenting that Want of<br /> Candour which unhappily prevails among men of<br /> letters” :<br /> <br /> Authors, like wives, are jealous and il-natured,<br /> ‘All faces but their own are strangely featured :<br /> Genius and beauty hurt their peace of mind;<br /> And thus both live at variance with mankind.<br /> <br /> <br /> <br /> We are requested by Mr. H. Anthony Salmoné<br /> (21, Furnival-street, E.C.) to state that the story<br /> called “The Painter’s Daughter,” referred to in<br /> the last number of the Author, did not appear in<br /> the Eastern and Western Gazette, but in the<br /> Eastern and Western Review, of which he is the<br /> editor. Water Besant.<br /> <br /> ec<br /> <br /> AUGUSTINE.<br /> <br /> (From “ Poems Old and New,” by Charles D. Bell, DD.,<br /> Rector of Cheltenham.)<br /> Augustine, Scholar, Father, holy Saint,<br /> Walked by the sounding ocean on the shore,<br /> Turning in thought grave problems o’er and o’er,<br /> To which he gave his soul without restraint,<br /> Until it grew with musing sick and faint,<br /> And as his baffled heart fell sad and sore,<br /> A child he saw that rose-lipped sea-shell bore,<br /> And filled it from the sea with motion quaint.<br /> Then, taking it when full into his hand,<br /> He carried it in happy childish bliss,<br /> And emptied it in hole scooped in the sand.<br /> “J mean,” he said, “to pour the deep in this,”<br /> “Thus,” thought the Saint, “ God, infinite and grand,<br /> My finite mind would hold and understand.”<br /> <br /> —— ee<br /> <br /> FEUILLETON.<br /> <br /> sou<br /> Tur PEOPLE OF THE PAGEs.<br /> <br /> HE old bookseller’s shop was in the most<br /> crowded part of the most crowded and the<br /> noisiest street in the whole of the City. It<br /> <br /> consisted of an outer and an inner shop. In the<br /> outer shop sat the assistant, always making cata-<br /> logues. It was also his duty to watch the cus-<br /> tomers, for those who buy secondhand books are<br /> known to practise tricks; when no one is looking<br /> a book may be slipped into a greatcoat pocket ; or<br /> a “ wanted” volume may be purloined by substi-<br /> <br /> <br />  <br /> <br /> 440<br /> <br /> <br /> <br /> tuting another like it in appearance; or a picture<br /> may be torn out. Oh! the craft and subtlety of<br /> those who haunt the second hand booksellers’<br /> shops are beyond all telling! Every assistant<br /> could make an honest man’s hair stand on end<br /> only by relating the half of what he knows.<br /> Respectable elderly gentlemen even—whisper—<br /> Divines—even N-bl-m-n—will come into a shop,<br /> and with the most inn: cent look »n the world<br /> ‘ and presently you find your shop ruined,<br /> The bookseller himself sat in the smaller shop<br /> behind; the window looked out on a cheerful<br /> churchyard planted with limes; books covered<br /> the walls and the table. The bookseller sat all<br /> day long, working among his books; he called<br /> it working, but it was mostly reading. He read<br /> everything. No one knew more than this<br /> omnivorous old reader about the in-ides of books,<br /> On the shelves in his own room stood the authors<br /> which he loved ; he could not bear them to be in the<br /> other shop—that did very well for the small fry,<br /> but the great writers— the leaders—he must<br /> have them under his own eye.<br /> <br /> He hardly ever went outside his shop, except,<br /> sometimes, to call upon some other brother of the<br /> craft to see how his business was conducted. He<br /> wore an old frock coat, shiny and seamy, which had<br /> now assumed the figure of the old man, following<br /> the curves of him as he sat in his armchair.<br /> <br /> A clock ticked on the mantelshelf, standing<br /> among a heap of books. There was a bust of<br /> Shakespeare on a pile of books, and over the<br /> clock was a portrait of Carlyle. Outside, the<br /> waggons rumbled, the carts and the cabs clattered<br /> past, the people talked; there was always the<br /> roll and the roar of the City. But none of it<br /> came into the shop; the sunshine—for it had a<br /> southern aspect—lay on it whenever there was any<br /> sun, and the motes danced in the sunshine; but<br /> there was never any noise. Neither the bookseller<br /> nor his assistant spoke much to each other; and<br /> when any customers came they spoke in a whisper.<br /> Why? Idonot know. But if you were to go<br /> into that shop you would instinctively close the<br /> door very softly behind you, and take off your<br /> hat, and, catching a glimpse of the grey-headed<br /> old man in the room behind, you would whisper<br /> your wants to the assistant.<br /> <br /> If it was quiet here in the daytime, it was still<br /> more quiet in the evening after the shop was<br /> closed. Then the old man sat alone, secure of<br /> interruption. After supper he came back to his<br /> chair, having a pipe and a glass of something<br /> wrong with wat r, and here he sat, a book before<br /> 7 till midnight. when he got up and went to<br /> <br /> ed.<br /> <br /> Now he had done this every night, Sunday in-<br /> cluded, for thirty years. He desired nothing<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> better than to spend his evenings in this fashion.<br /> Nobody ever invited him to spend an evening in<br /> any other way; for a bookish man is rarely a<br /> clubable man He had done this, I say, every<br /> night for thirty years at least. Supper at nine,<br /> after the shop was shut; a pipe and the cup of<br /> wickedness among his books till twelve ; and then<br /> to bed. Anda very good way, too, of spending<br /> the evening !<br /> <br /> One evening, however, contrary to his usual<br /> custom of feeling sleepy at midnight and going<br /> to bed at that hour, the old man found himself<br /> quite wakeful and even restless. He laid down<br /> his book, wondering what had happened to him—<br /> men at seventy-five do not like anything unusual<br /> because Well — everybody knows<br /> why. So he sat up and waited. Presently he<br /> grew so restless that he was fain to get up and<br /> pace the little room. But he only became more<br /> wakeful every moment. The intense silence of<br /> the hour, instead of soothing him, made him more<br /> restless still, until his restlessness became anxiety,<br /> and anxiety became a kind of terror. Words of<br /> dead writers called to him from his own brain, but<br /> aloud. Snatches of verse were quoted aloud by<br /> his own brain. ‘“ My days among the dead are<br /> past. . . . . My thoughts are with the dead.<br /> <br /> With them I live in long past years.<br /> ; My hopes are with the dead, anon<br /> my place with them will be;” and so on. The<br /> library steps were standing against the shelves.<br /> Mechanically he mounted them and took down<br /> a book at random. Then he sat down on the<br /> top step and began mechanically to read. It<br /> was the “Seven Champions of Christendom.”<br /> I do not know how long he continued to read<br /> —say an hour or two hours. It mattered<br /> nothing, because he read on and on without think-<br /> iny or noting or remembering the words. After a<br /> while he lifted his head. What had happened ?<br /> The room, with all its shelves, books, pamphlets,<br /> papers, everything, had vanished. He himself was<br /> sitting under the shade of a tree in a vast garden,<br /> with lawns, riding grounds, flowers, sundialy,<br /> streams, fountains, swans, doves, and peacocks.<br /> On the grass were walking about crowds of people:<br /> He knew everyone; they nodded and smiled<br /> when he looked up. Oh! it was wonderful.<br /> There were knights—George, Denys, James,<br /> Amadis, Paladin, Lancelot, Galahad, and all of<br /> them in splendid armour; and there were kings<br /> and heroes, Arthur, Karl, Frederick, also in gilt<br /> armour, with crowns of gold. There were fair<br /> ladies—queens and princesses—in robes of silk<br /> and white samite, mystic, wonderful ; and besides<br /> all these there were plenty of people not so<br /> beautifully dressed, but much happier to look at.<br /> Why, there was Mr. Pickwick laughing and<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &#039; f 7 ¥e<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 441<br /> <br /> talking to Colonel Newcome; and Tess of the<br /> Durbervilles was conversing on an equal footing<br /> with Clarissa Harlowe, and they were both gay<br /> and merry, though so unfortunate ; and Sam<br /> Weller was taking a pot of half-and-half with the<br /> Soldiers Three. The old gentleman rubbed his<br /> eyes; his brain reeled; he thought he must be<br /> dreaming. Yet there were all the people, and<br /> there was the garden—and—and—<br /> <br /> “Where am I?” he asked aloud, ‘‘ And what<br /> are you all doing here? ”<br /> <br /> One of them—a lady—stepped forward. Who<br /> was it? Ah! he recognised the speaker. It was<br /> none other than Diana Vernon.<br /> <br /> “ir,” she said, courteously, ‘‘ know that life<br /> is dull on those shelves of yours. We want<br /> society. If we areread, that satisfies all our wants.<br /> The most desirable form of society is to be read<br /> often. We cannot, in fact, be read too much. We<br /> confess that we are greedy of admiration. We<br /> only live for praise. You must confess, how-<br /> ever, that you give us very little of that kind of<br /> society. We therefore sometimes adjourn to<br /> this garden, this ancient medieval garden, the<br /> Jardin de Déduit, after you have gone to bed,<br /> in order to dissipate the ennuis of loneliness and<br /> neglect.”<br /> <br /> The looker-on was a kindly man, but he had<br /> his little limitations. He was, after all, only a<br /> second-hand bookseller; he understood none of<br /> the natural longings, either of gentlefolk or the<br /> others for intercourse and conversation. Henever<br /> wanted any society, why should they? Besides<br /> and here a horrid and an unworthy suspicion<br /> crossed his mind—they were his property—his<br /> own. They belonged to his shelves. What busi-<br /> ness had they to run away? Why, they might<br /> never return; they might be kidnapped; he<br /> might lose them all.<br /> <br /> He jumped up. ‘Come back, all of you,” he<br /> cried roughly, “ Come back, I say, every man—<br /> come back to your own books. And at once.<br /> How dare you leave my shelves r”<br /> <br /> Instantly the garden vanished; the room<br /> reappeared with all the shelves, and the books in<br /> their bindings upon the shelves. And the figures<br /> he had seen in the garden were now climbing,<br /> scampering, hurrying, rushing back, head over<br /> heels, trampling on each other, to their own<br /> places — kings and knights and_ lords and<br /> ladies, in confusion and undignified scramble.<br /> Who would have though that Rowena—the<br /> stately Rowena—could climb the bookshelves in<br /> such unseemly haste ?<br /> <br /> “Stop! he cried again, wringing his hands,<br /> “Stop! for Heaven’s sake stop! You are all<br /> getting into the wrong books! Stop! Stop! 1<br /> say.”<br /> <br /> vou. III.<br /> <br /> <br /> <br /> But it was too late. They had all scurried back<br /> again somewhere or other, all safely hid within<br /> some binding, right or wrong. Then the silence of<br /> mid-night fell upon him again. Nothing left, not<br /> a single solitary figure; all gone back again, and<br /> all to the wrong books. And once more the<br /> words arose in his brain ‘‘My days among the<br /> dead are past—my thoughts are with the deac a<br /> <br /> When the clock struck seven he found himself<br /> in his armchair. Apparently he had been asleep<br /> all night in his back shop, and that morning he<br /> sat upright without reading, but gazed about<br /> him with troubled brain and anxious eyes.<br /> <br /> In the afternoon one of his oldest customers<br /> called. “I have thought over,” he said, “ what<br /> we were talking about the other day—that first<br /> edition of the Pickwick Papers, you know. It is<br /> a stiffish price, but I have made up my mind to<br /> give it.”<br /> <br /> The bookseller shook his head. ‘I am afraid,”<br /> he whispered, “that I can’t sell it. Yesterday it<br /> was a flawless copy. Now, I fear, you&#039;d find it<br /> all gone wrong.”<br /> <br /> «How can it be wrong? ”’<br /> <br /> “The characters are mixed up. In all these<br /> shelves they are hopelessly mixed. Sir, I am a<br /> ruined bookseller. My reputation is ruined.<br /> Last night I saw King Arthur, St. George, and<br /> St. Denys, and Peregrine Pickle, and Barry<br /> Lyndon, and Mr. Barlow, and Mrs. Keith with<br /> her child, and the Daughter of Heth, and Elsie<br /> Venner, and Roxana, and Rebecca, all rushing<br /> into the Pickwick Papers together. What became<br /> of the proper set of people I don’t know. But I<br /> fear that Mr. Pickwick has got into Sir Charles<br /> Grandison, and Alfred Jingle, 1 know, has run<br /> into the Heir of Redclyffe. I am afraid to look<br /> into any of the books. Oh! it’s a terrible<br /> disaster.”<br /> <br /> “[ don’t understand one word. But you look<br /> disturbed.”<br /> <br /> The bookseller sat down and groaned.<br /> <br /> He sold no more books. He said he could<br /> not, as a Christian man, sell books with the<br /> characters mixed up in such confusion. No one<br /> could tell how they would act. Things quite<br /> terrible might happen. There they were together,<br /> with no one to control them. Oh! it would be<br /> a fraud on his customers. Therefore he sat up<br /> every night, waiting for them to come down<br /> again. He thought that if he could meet them<br /> all together again in the garden he might repre-<br /> sent, gently, the confusion caused by their panic,<br /> and for their own good persuade them to return<br /> each to his own book:<br /> <br /> Strange to say, he has never seen that garden<br /> since. 1 think he must have frightened the<br /> people of his books. That harsh voice—that<br /> <br /> MM<br /> <br /> <br />  <br /> <br /> 442<br /> <br /> threatening command—was more than they could<br /> bear. We must remember that all their lives had<br /> been spent in an atmosphere of pride and kind-<br /> liness and affection and praise. This arbitrary<br /> language was too much for them, But nobody<br /> ever explained to the bookseller that he had<br /> brought everything on himself,<br /> <br /> Marcaret GAnuertt,<br /> <br /> aes<br /> <br /> GOODBYE TO APRIL.<br /> <br /> <br /> <br /> Goodbye, sweet Mistress, and then shed a tear,<br /> Thy tear, good sooth, unto a smile is nigh ;<br /> For it distilleth from a laughing eye.<br /> <br /> I shall not weep, my maid, tho’ time be near<br /> <br /> To leave thee; yea, for tho’ thy love be dear,<br /> Light laughter trips behind thy softest sigh.<br /> I doff my bonnet ; “ Moppet, go!” I cry;<br /> <br /> “For, lo! my new love standeth laughing here.”<br /> <br /> Goodbye, fair April; can I mourn thy fall<br /> Now May is mine? in parting, say, what pain<br /> Since thy best blooms must deck her festival ?<br /> Nay, weep thy last, sweetheart; for of the twain<br /> The fairer she ; perchance, when she and all<br /> The rest are gone, I’ll sue to thee again.<br /> Lewis Brockman.<br /> <br /> eee<br /> <br /> PSYCHOLOGICAL SENTIMENTS,<br /> <br /> <br /> <br /> 1. There need be no more mystery in evil than<br /> in gravity.<br /> <br /> 2. The ideal man has sufficient self-reliance,<br /> self-respect, self-restraint.<br /> <br /> 3. When the body is bad, the mind is mad.<br /> <br /> 4. The manliest and the womanliest never lose<br /> their temper.<br /> <br /> 5. Heat of temper is too easily mistaken for<br /> warmth of heart.<br /> <br /> 6. Obstinacy and pliability are both phases of<br /> similar weakness.<br /> <br /> 7. The highest animals can suffer most, and<br /> will endure best.<br /> <br /> 8. Anger differs from fear, in phase rather than<br /> principle.<br /> <br /> g. Memory is a clear consciousness of the<br /> presence of the past.<br /> <br /> 10. The senile mind loves to live in the past.<br /> <br /> 11. The virile soul lives and loves in the<br /> present.<br /> <br /> 12. The hopeful live in the future, the helpful<br /> live in the present.<br /> <br /> 13. The insanity of jealousy may be cured by<br /> the imbecility of indifference.<br /> <br /> 14. The sane feel and see truth, the strong will<br /> it, the virile work it out.<br /> <br /> THE AUTHOR.<br /> <br /> 15. Genius and madness have one principle in<br /> common—uncommonness,<br /> <br /> 16. The main difference between liberty and<br /> licence is selfishness.<br /> <br /> 17. Reliability is far rarer than responsibility,<br /> <br /> 18, The sane soul is strong, sure, sympathetic,<br /> <br /> 19. Genius seems often odd, but is never mad.<br /> <br /> 20 Man persistently demarcates, while nature<br /> perpetually differentiates.<br /> <br /> 21. The mind of man daily dies and lives<br /> again.<br /> <br /> 22. In dreams lies insanity ; in dreamlessness,<br /> imbecility,<br /> <br /> 23. The unconscious humorist is a mystical<br /> personage.<br /> <br /> 24. Next to wisdom, humour is essential to<br /> just judgment.<br /> <br /> 25. A bad man makes a bad judge, for virtue<br /> is the soul of wisdom.<br /> <br /> 26. Self conceit readily does duty for self-<br /> respect. :<br /> <br /> 27. Jealousy is a phase of vanity, where the<br /> animal defeats the angel.<br /> <br /> 28. Nobility lies in silent suffering ; rises in<br /> soundly working,<br /> <br /> 29. Ignobility and immaturity feel least and<br /> endure worst.<br /> <br /> 30. Divorced from opportunity, capacity is<br /> childless.<br /> <br /> 31. That phase of head called “heart” makes<br /> the best part of all art.<br /> <br /> 32. Science saves shells; sympathy saves<br /> souls, PHINLAY GLENELG.<br /> <br /> — ae<br /> <br /> REMINISCENCES OF TAINE.<br /> <br /> <br /> <br /> HE biographical notices of M. Taine, which<br /> <br /> ‘Ty allude to his resentment against M.<br /> <br /> Edmond Scherer, the celebrated writer,<br /> <br /> and at one time his dear friend, on account of<br /> <br /> some severe criticisms on “Les Origines de la<br /> <br /> France Contemporaine,” reminds me of an inci-<br /> dent I witnessed illustrative of this assertion.<br /> <br /> In 1878 it was my good fortune to pass some<br /> months in Paris, on a visit to my old friend<br /> Madame Mohl, once so famous for her salon.<br /> Taine’s “ Revolution ”—the 2nd volume of “Les<br /> Origines ”—had just appeared, the 1st volume on<br /> “PAncien Régime” having previously been<br /> <br /> severely handled in the Temps—M. Scherer’s<br /> paper—though greatly praised in others. Reading<br /> them on the spot made both works doubly inte-<br /> resting, and, to give me a rare treat, Madame<br /> Mohl offered to make me acquainted with their<br /> renowned author. She was then about eighty-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> t<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> a<br /> a<br /> <br /> <br /> <br /> THE AUTHOR. 443<br /> <br /> eight, but singularly fresh, and keen to all her<br /> lifelong interests, showing her salon talent in a<br /> thousand subtle ways. Moreover, the numberless<br /> literary and scientific men who had been devoted<br /> to her and M. Mohl for half a century and<br /> upwards, gladly responded to her invitations.<br /> Hence, whenever she chose, they came, to large or<br /> small dinners, all through that summer, and her<br /> fortunate visitors thus saw noted celebrities in<br /> intimacy, and, usually, at their best. But, beside<br /> her patriarchal age, grief for her husband, who<br /> died soon after the Franco-Prussian war, occa-<br /> sionally dimmed her memory as to recent events.<br /> <br /> On the day in question, M. and Madame Taine<br /> promised to come and dine, “en tout petit comité.”<br /> A young Englishman was also invited ; and then,<br /> mindful of the old friendship, Madame Mohl like-<br /> wise asked M. Scherer. To none, however, did<br /> she mention the other guests, though, from the<br /> excited party feelings of France, she had almost<br /> invariably made a rule of so doing. The Taines<br /> arrived first, on foot, coming from the Rue Cas-<br /> sette hard by, where he has now died, and I well<br /> remember the overshoes, cloaks, and mufflers<br /> deposited, Carlyle-like, in the small hall. M.<br /> Taine was a tall, bulky man, dogmatic, and<br /> evidently aware of his own importance. Next<br /> came the young Englishman, who ruffled Madame<br /> Mohl by wearing his morning coat, probably sup-<br /> posing he would meet no one but us two ladies.<br /> Tt was one of her most “ fixed ideas” that, ‘“ even<br /> if a man had to live on herrings, he should<br /> possess a tail-coat, and never appear in the<br /> presence of ladies otherwise dressed of an<br /> evening.” It had been the rule at Madame<br /> Récamier’s, her oldest friend, and she often<br /> expatiated on the advantages to young men of<br /> keeping to these habits, and thus frequenting<br /> the society of ladies—a word she understood in<br /> the strict, old-fashioned sense. She had not<br /> recovered her annoyance when M. Scherer<br /> appeared—the exact opposite of M. Taine, slight, of<br /> medium height, quiet, and unassertive. I thought<br /> it strange these “old friends” did not seem to<br /> recognise each other, but Madame Mohl’s face at<br /> once fixed my gaze. Like a flash she had recol-<br /> lected the recent enmity, realised the situation,<br /> and somehow communicated it to me. What<br /> could be done? Positively nothing. It was<br /> irremediable.<br /> <br /> Our “petit diner” can easily be imagined.<br /> The number was too small for anything but<br /> general conversation, therefore here were the two<br /> antagonists face to face, we ladies alone acting as<br /> a sort of buffers, for the young Englishman spoke<br /> little, and that badly. Indeed, poor Madame Mohl<br /> did not count either, for her presence of mind<br /> completely forsook her, and she could scarcely<br /> <br /> utter a word. It certainly was a dreadful predica-<br /> ment—to have thus planted two enemies opposite<br /> each other at what was intended to have been<br /> such a hospitable board, and to have them so con-<br /> fronted for many hours. Most certainly in olden<br /> days she was the last person who could have com-<br /> mitted such a mistake, or, had it occurred, she<br /> would quickly have risen to the occasion. M.<br /> Scherer seemed at once to understand this, and<br /> to be willing to help her. But, after all, he was<br /> the offender—the caustic author of the reviews.<br /> M. Taine sulked, talked “away from” M.<br /> Scherer, and, finally, neither looked at the other.<br /> However, Frenchmen cannot be silent long, and<br /> by degrees, without becoming disputatious, a<br /> certain amount of interesting talk went on,<br /> though languidly, nevertheless, from the awkward-<br /> ness of the position, which we all felt acutely.<br /> Nothing of it remains on my mind, save a never-<br /> ceasing refrain on “les nouvelles couches<br /> sociales,” that M. Taine then had more or less<br /> “on the brain,” and frequently brought forward,<br /> as if throwing down a gauntlet to his adversary,<br /> though the latter prudently did not take it up,<br /> pretending not to see it.<br /> <br /> Never cau I forget our relief when M. Scherer<br /> beat his retreat early, pleading the necessity of<br /> catching a train to Versailles, where he then<br /> resided, leaving us to enjoy the historian’s con-<br /> versation, which instantly rose to the brillant<br /> level of his reputation. But the “incident” had<br /> not ended, for when the overshoes, cloaks, and.<br /> mufflers were resumed, M. Taine’s hat could no-<br /> where be found. Another was there, it is true,<br /> but not his. At last, rushing back to the sitting-<br /> room, he angrily and most contemptuously ex-<br /> claimed, “ Ce monsieur has taken it, and left his<br /> own worn out old one in its stead! It could not<br /> have been in mistake. No! no!” And nothing<br /> would pacify him. No! not even when poor M.<br /> Scherer returned the “ stolen goods”’ next morn-<br /> ing, explaining how, in the hurry for his train<br /> and the dark, he had run off with the wrong hat.<br /> In one sense it proved a happy mistake, as it<br /> brought a comic element to the drama, and made<br /> us moralise on the susceptibilities of great and<br /> learned minds. They are now all gone to their<br /> long home, but the memory of the “rencontre”<br /> still lingers behind them.<br /> <br /> WINIFREDE M. WYSE.<br /> <br /> ee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 444<br /> <br /> <br /> <br /> LIBRARIES—NEW AND OLD.<br /> <br /> <br /> <br /> HE Encyclopedia Britannica gives a list of<br /> TT all the public libraries in Great Britain<br /> and Ireland up to the year when the<br /> article ‘“TLibraries”: appearea. Mr. Thomas<br /> Greenwood’s book on Public Libraries (Cassell :<br /> 1891) gives a list of all the libraries which have<br /> been opened under the Acts provided. Some<br /> have been added since that book appeared.<br /> <br /> These lists, considered with reference to the<br /> demand for good literature, will be found rather<br /> surprising. The Encyclopedia gives a total of<br /> 402 libraries in the three kingdoms. Of these<br /> some are college libraries, e.g., most of the<br /> colleges at Oxford and Cambridge have their own<br /> libraries, which may be neglected ; there are<br /> libraries—they are not generally growing collec-<br /> tions—at all the medical, legal, and theological<br /> institutions. Some are cathedral libraries which<br /> seem to have stopped growing for 200 years at<br /> least. Some are technical libraries, as that of<br /> the telegraph engineers,<br /> <br /> Since the Encyclopedia article appeared there<br /> are shown in Mr. Greenwood’s book to be 1 52<br /> new libraries under the Act up to 1891. It is<br /> not unreasonable to suppose that there are now<br /> 50 more started, and the number is increasing<br /> every year.<br /> <br /> There are therefore 604 libraries, including the<br /> technical, special, and dead libraries, in this<br /> country.<br /> <br /> But there is another consideration. Many of<br /> these libraries have affiliated to them branches.<br /> Thus Leeds is entered in the list as having one<br /> library ; but there are 33 branches. At Notting-<br /> ham there are 8; at Birmingham 6. Taking<br /> all the libraries together there are altogether<br /> 118 branches, so that the total number of<br /> libraries at the present moment is 722, or deduct-<br /> ing the dead libraries and the technical libraries<br /> —say, 150—there remain 572 public libraries<br /> of books which are called general literature, new<br /> and old. There are, again, the school libraries,<br /> many of them large and growing collections ;<br /> Polytechnic libraries, also large and growing ;<br /> village libraries, generally small and too often<br /> controlled by the clergy; and there are the<br /> small collections found on board steamers,<br /> Still more remarkable are the returns from<br /> Australia and New Zealand. In the colony of<br /> Victoria alone there is one public library for<br /> every 4800 of population as against one in<br /> every 277,000 in the United Kingdom. Thus<br /> there are—<br /> <br /> In Victoria 314 public libraries, athenzeums,<br /> and mechanics’ institutes; in South Australia,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 135; in New South Wales, 150; in New Zealand,<br /> 303; in Tasmania, 33; in South Africa, 64.<br /> <br /> In India there appear to be about six public<br /> libraries.<br /> <br /> In Canada there are six large public libraries, one<br /> with five branches, and a great number of small<br /> collections. That is, there are 1o11 public<br /> libraries in our colonies, without counting the<br /> small collections.<br /> <br /> But, if we include, as we must, the libraries of<br /> the United States of America, we must add 1686<br /> to our list.<br /> <br /> These libraries, deductions made as estimated<br /> above, are all growing, and all increasing their col-<br /> lections by yearly subsidies or rates. They are also<br /> yearly increasing in number, and in the number<br /> of their branches, and in activity. If, as seems<br /> probable, we shall before long equal Victoria in<br /> our proportion of libraries to population, or<br /> even if we get no nearer than to have one library<br /> for every 10,000 people, there will be 3700<br /> libraries in Great Britain and Ireland alone.<br /> To repeat, at the present moment there are<br /> in this country 722 libraries; in the colonies,<br /> IOII; or 1733 libraries in the British Empire.<br /> Taking in all the English-speaking countries, we<br /> have 3419 libraries, and the number is yearly and<br /> rapidly increasing.<br /> <br /> I said, speaking five or six years ago, that in<br /> fifty years’ time a popular edition in the English<br /> language would have such an audience as no<br /> writer in the world has ever before been able to<br /> command. A good deal of derision was poured<br /> upon this statement, which I have since repeated at<br /> every possible opportunity. The chief reasons of<br /> this derision are (1) the total ignorance in which<br /> many people live as to the extent—the vast<br /> extent—of the English-speaking race; (2) their<br /> inability to understand that London—the club<br /> end of London—is not the Empire, nor does it<br /> cover the whole area of the English-speaking race ;<br /> and (3) the mystery which has been kept up by<br /> interested persons as to the extent and nature of<br /> literary property. That extension of popularity<br /> which I predieted would come in fifty years has<br /> actually come upon us. If there exists at this<br /> moment a single man whose works are wanted by<br /> all the English-speaking people, there are more<br /> than 3400 libraries, all of whom will take his<br /> books, and many of them will take his books by<br /> the dozen.<br /> <br /> But it will be said, these are all novels. Not<br /> so. The following one day’s list is given by Mr.<br /> Greenwood—* Public Libraries,” p. 307 :—<br /> <br /> Taking the books somewhat in the order in which they<br /> are classified in the library, we find that in the department<br /> of philosophy, Spencer’s “ First Principles ” had been asked<br /> for three times on that particular day, while the same<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 445<br /> <br /> author’s “Ecclesiastical Institutions” had been consulted<br /> twice, and Aristotle’s “Moral Philosophy,” Spinoza’s<br /> Works, Martineau’s “Types of Ethical Theory,” and<br /> Lenormant’s “ Chaldean Magic ” were given out to students<br /> once.<br /> <br /> In religion, the only book consulted was Sayce’s “ Fresh<br /> Lights from the Ancient Monuments,” but this perhaps<br /> should be classed with Keighley’s “ Mythology of Ancient<br /> Greece’’ as antiquities.<br /> <br /> In politics and sociology, the books consulted were very<br /> varied. Sir C. Dilke’s ‘Present Position of European<br /> Politics” and the second volume of the same author’s<br /> “Problems of Greater Britain” were applied for, as well as<br /> Blount’s “‘ Ancient Tenures of Land,” Birkbeck’s “ Distribu-<br /> tion of Land in England,’ Smith’s “ Wealth of Nations,”<br /> and “ Five Years’ Penal Servitude, by one who endured it.”<br /> <br /> Books treating on languages, and educational works, were<br /> also sought after, as the following list will show—Craik’s<br /> “Manual of the English Language,” Hewitt’s “ Our Mother<br /> Tongue,’ Smith’s “French Principia,” Cassell’s ‘“ New<br /> Popular Educator ”’ (vol. 3), Colenso’s “ Arithmetic,” Tod-<br /> hunter’s “ Elements of Euclid” (twice), Pitman’s ‘‘ Manual of<br /> Phonography,”’ and Kingston’s “ Phonography in the Office.”<br /> <br /> The scientific works perused included Ganot’s “ Physics,”<br /> Quain’s “ Dictionary of Medicine,” Flower’s ‘‘ Nerves of the<br /> Human Body,’ Hospitalier’s “ Electricity,’ Urbanitzky’s<br /> “ Blectricity,”’ and “ Domestic Electricity for Amateurs.”<br /> <br /> The books dealing with useful arts consulted, were “ Notes<br /> on Building Construction ” (3 vols.), Tredgold’s “ Carpentry,”<br /> Barter’s “ Engineers’ Sketch Book,’ lLeno’s “ Boot and<br /> Shoemaking,” Cassell’s “Household Guide,” ‘‘ Amateur<br /> Work ” (2 vols.), and a volume of Cassell’s “ Work.”<br /> <br /> Only three art books were asked for on the day, these being<br /> Ruskin’s “ Stones of Venice,” Perrot and Chipiez’s “ Art in<br /> Ancient Egypt,” and Bishop’s “ Architecture of Greece and<br /> Italy.”<br /> <br /> The list of books consulted in the department of history<br /> and literature is somewhat longer, and contains Burke&#039;s<br /> Essays, “ Carlyle’s “ Critical Essays,” Adams’ “ Dictionary<br /> of English Literature,” Goethe and Schiller’s “ Correspon-<br /> dence” (2 vols.), Mrs. Browning’s Poems, Thomson’s (B.Y.)<br /> Poems (selections), Carlyle’s “ French Revolution ”’ (vol. 3),<br /> Lecky’s “ England” (vols. 7 and 8), Allen’s “ Battles of the<br /> British Navy,” Russell’s ‘“ Franco-German War.”<br /> <br /> In biography, Carlyle’s “‘ Oliver Cromwell’s Letters and<br /> Speeches,” Froude’s “Carlyle in London,” and Molloy’s<br /> “Peg Woffington”’ were needed.<br /> <br /> In travels, Caine’s ‘ Trip Round the World” and Baker’s<br /> Rifle and Hound in Ceylon” were the only two books asked<br /> for.<br /> <br /> In topography, Rye’s “History of Norfolk,” Philip’s<br /> “ Cyclist’s Map of Essex,” Cape’s “ Churches of London,’<br /> Dickens’s “Dictionary of Paris,’ the Rev. R. H. Davies’<br /> “ Chelsea Old Church,” and G. C. Davies, “ Norfolk Broads ”<br /> were sought after.<br /> <br /> In addition to the above fifty-eight works, the following<br /> were also consulted :—‘‘ Encyclopedia Britannica ” (vol. 24),<br /> “Portnightly Review” (2 vols.), Nineteenth Century ” (2<br /> vols.), ‘“ The Argosy” (2 vols.), Thackeray&#039;s “ Paris Sketch<br /> Book,” Barham’s “ Ingoldsby Legends,” Jackson’s “ History<br /> of the “Pictorial Press,” Reade’s ‘“ Literary Success,”<br /> Horwitz’s “Chess Studies,” and Blakston’s “ Tlustrated<br /> Book of the Canary.”<br /> <br /> I have elsewhere stated as my opinion that<br /> people—the mass of the people—those whom<br /> we regard as having no taste and no cultiva-<br /> tion, will always prefer good literature to<br /> bad. This opinion has also been derided, because<br /> <br /> it is not the conventional position. I have formed<br /> this opinion, however, not by taking other people’s<br /> opinions, but from observation, as close as<br /> possible, of the books asked for and read at a<br /> public library. The people will not read trash. If<br /> they ask for fiction it is good fiction—Marryatt,<br /> Scott, Dickens can hardly be called trash. They<br /> prefer fiction that has a good strong story, and<br /> for the sake of a good strong story they will not<br /> inquire too curiously into style. Still the fact<br /> remains that their favourites are for the most<br /> part the favourites of the more cultured class.<br /> But consider in the above list the books that are<br /> not fiction. Is there one bad book—one rubbishy<br /> book—one book that can be called “‘ trash” in the<br /> whole list? And if such a list is an average and<br /> a representative one, what are we to conclude,<br /> except that the demand of the people—the<br /> common people—for literature shows an eminently<br /> satisfactory standard ?<br /> <br /> Another point presents itself in this connection :<br /> that of the “risk” of which we hear so much.<br /> It is quite certain that every good book on every<br /> subject must find its way, sooner or later, to these<br /> libraries. The list which we have quoted shows<br /> this. Itisa list taken on a day chosen at hap-<br /> hazard in Chelsea Library. Every good book on<br /> every conceivable subject, except, perhaps, the<br /> higher mathematics and certain technical books,<br /> must find its way to these libraries. Every novel<br /> good enough to go into a cheap edition ; every poet<br /> who has made his voice heard and felt; every<br /> historian of any note; every biographer who has<br /> a life of interest to relate; every scientific man<br /> who can treat his science adequately ; writers on<br /> the medicines, art, physics, political and social<br /> economy, archeology, languages, education, every-<br /> thing.<br /> <br /> One branch is conspicuous for its absence<br /> from the list. It is the branch of criticism. The<br /> people do not care for critics. I think that the<br /> field open to the critics will always be small,<br /> because it is essentially occupied by men<br /> of the higher education only. Their work will<br /> also be ephemeral, because the subjects treated<br /> are necessarily themselves for the most part<br /> ephemeral. Therefore, while one does not expect<br /> critics to decrease in numbers, they will not very<br /> largely increase in popularity.<br /> <br /> Meantime, the main point is, that every good<br /> book can now command a circulation which<br /> ought, practically, to prohibit the danger of loss.<br /> Given the good book, there should be no risk.<br /> Given the readers able to distinguish a good<br /> book, there is a certain market open. And it<br /> would seem from the above, that the good reader<br /> is not so hard to find as the good — 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> 446<br /> <br /> <br /> <br /> AN AUTHOR&#039;S EXPERIENCES.<br /> <br /> <br /> <br /> E have received from one of our members,<br /> copies of all the correspondence that has<br /> passed between himself and his pub-<br /> <br /> lishers throughout some half-a-dozen or more<br /> publishing transactions. The papers have been<br /> sent by him to the Society in no complaining<br /> spirit, but in response to our standing invitation<br /> to our members to supply us with information<br /> derived from their own experiences. The more<br /> such information that we receive the more<br /> practically useful we are able to be. If we learn<br /> new things from any cases sent for our-considera-<br /> tion, our gain, as a Society—one of whose chief<br /> aims has always been “to learn the facts ”—is<br /> clear; but, if all the points of importance should<br /> be perfectly familiar to us—and we are proud to be<br /> able to say that this is becoming every day a<br /> more usual occurrence—it still strengthens our<br /> hand to have a multiplicity of evidence to the<br /> correctness of our statements and inferences. May<br /> we again impress on our readers that they will<br /> greatly oblige our executive officers, and greatly<br /> help to render the Society more useful to others<br /> and themselves, if they will take us as fully as<br /> possible into their confidence concerning their<br /> publishing transactions ?<br /> <br /> We propose to briefly narrate this author&#039;s<br /> experiences, as they are revealed in his communi-<br /> cation and his publishers’ letters, and to briefly<br /> comment upon them for the instruction of any<br /> Moe may happen to be in a similar position to<br /> <br /> im.<br /> <br /> (1) In the first place the publishers sent him an<br /> ink-sketch, and asked him to do them a small book,<br /> with the drawing as a text. They had some small<br /> experience of his work, and were not quite in the<br /> dark when they offered him £2 2s. for the MS.<br /> and £5 5s. if it was published. He accepted the<br /> offer and wrote the book, and the result from the<br /> pecuniary point of view should have been satis-<br /> factory to him to this extent, that he received at<br /> one time and another £14 14s., or exactly double<br /> the sum to which he was legally entitled. The<br /> aggregate of £14 14s. was made up in this way :—<br /> <br /> ommission, £2 2s,; cheques on account,<br /> respectively, for £3 3s., £3 38., £5 58., and £1 1s,<br /> There was no formal agreement, further than<br /> what was implied in the letters making and<br /> accepting the offer of £7 7s., and the terms of<br /> this implied contract were, as we see, and much<br /> to the author’s benefit, not kept. This was<br /> unbusinesslike, but perusal of the letters accom-<br /> panying the varions cheques on account reveals<br /> the curious fact that the publishers, who had<br /> <br /> THE AUTHOR.<br /> <br /> offered him commission, believed themselves to<br /> be issuing the book on the half-profit system,<br /> “Should there be any more little profit,” their<br /> manager writes to him, “TI shall, as before, gladly<br /> send you half.” And in another letter he says,<br /> “On ‘ *Isend you £2, and on ‘ ” there<br /> is up to date a final profit of £y, and of this, as<br /> before, I am glad to send you half.” * On the<br /> transaction we have nothing to say that is not<br /> complimentary to the publishers, who clearly<br /> performed a work of supererogation in trans-<br /> mitting the last £7 7s. to their client ; while, if<br /> the original commission was a small one, it was<br /> properly made, before that work was undertaken,<br /> and the author need not have accepted it. But<br /> the matter shows the attitude of both author and ‘<br /> publisher towards a piece of literary property to<br /> be very comic, although the sums concerned are<br /> so small that the comicality of their casual<br /> behaviour hardly appears with proper distinctness.<br /> <br /> (2) The next transaction was a small book,<br /> written at the same publishers’ request, containing<br /> about 30,000 words. For this the author re.<br /> ceived £5 5s. some few months after publication,<br /> because the publishers did “ not like him to go<br /> any longer without any remuneration ” (their own<br /> way of putting it), and rather less than a year<br /> later an intimation was received by the author.<br /> that the sales had closed. It does not exactly<br /> appear that the author knew what sum he was<br /> going to receive, and the publishers’ words almost<br /> imply that they had no very clear idea what they<br /> had intended to give. It turned out to be, as we<br /> have said, £5 5s. This can never be good pay—<br /> can, indeed, never be anything but very bad pay—<br /> for a MS. of 30,000 words, and it seems to us<br /> that the author might have thought twice about<br /> undertaking the work, if he had known exactly<br /> how little he was going to get out of it. That he<br /> knew he was going to be paid a sum for the task<br /> is certain, but the sum does not appear from the<br /> letters ever to have been mentioned. And he<br /> might have reasonably expected more, relying first<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ‘upon the precedent of having previously received<br /> <br /> £14 148. for a book of the same size, and, second,<br /> upon such hopeful words as these which we<br /> extract from the publishers’ letters. “I think<br /> ” will move well, in fact that series is<br /> established in favour at the present; ” and again,<br /> in the same week, “ Up to a certain point they<br /> <br /> <br /> <br /> <br /> <br /> * These references in the publishers’ letters to some<br /> publication on the half-profit system may have reference<br /> not to this book but to one we speak of later [vide infra<br /> paragraph (3)]. In that case, being unable to explain the<br /> generosity of the publishers by the theory that they had<br /> forgotten that their own terms were “ commission,” and<br /> believed themselves to have published on the half-profit<br /> system, we frankly own that the matter is too hard for us,<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 447<br /> <br /> (the books of the series, that is,) will pay their<br /> way simply because they come in this series.”<br /> Here again this treatment of a piece of literary<br /> property by its owner is very comical, and would<br /> appear to all men as very comical if applied to<br /> any more tangible form of goods. The author<br /> simply transferred his book to the publishers to<br /> issue it on what terms they chose, and pay for it<br /> in the same irresponsible manner. Incidentally<br /> we learn, also, that the publishers’ risk in the<br /> matter is slender, as they can count upon a<br /> certain minimum sale. That this is usually the<br /> case is so obvious that we should not mention it,<br /> were it not that denial of the fact constitutes the<br /> chief argument in favour of the theory that the<br /> publishers’ business is nothing if not wildly<br /> speculative.<br /> <br /> (3) The author’s next venture, also, was under-<br /> taken without any definite agreement. His own<br /> words are, “I made no arrangements with the<br /> publishers, because they published on their own<br /> account.” The publishers’ explicit expressions<br /> with regard to their idea of the arrange-<br /> ment are as follows: ‘As the sale of ‘- :<br /> seems practically to have ceased for the present,<br /> I have thought it better to make up the account<br /> for the copies that may fairly be taken as sold<br /> up to date, and I am glad to find that there is a<br /> balance on the right side, the exact amount of<br /> profit being £9 2s. 6d. As this book was not<br /> undertaken for us in any way as a commission,<br /> we had better send you one-half this amount.<br /> So we accordingly inclose a cheque for<br /> £4 11s. 3d.” No compulsion in this matter, be it<br /> observed. They had “better send it” for con-<br /> science sake, or in equity—but there is no contract<br /> and the words would imply no legal obligation to<br /> send anything. Two further cheques arrived in<br /> the course of a twelve-month, for £2 5s. and<br /> £3 1s. 3d. respectively, the latter cheque being<br /> described as half the “up to date profit,’ and<br /> being arrived at by deducting the sum of £1 18s.<br /> from £4 19s. 3d., the admitted half share (to<br /> which little subtraction sum we shall have reason<br /> to refer later).<br /> <br /> This transaction is one that calls for most<br /> uncomplimentary observation, so that it is neces-<br /> sary to point out again that the author has<br /> communicated with us with no animus whatever,<br /> and that we do not for a moment believe, or in<br /> the least insinuate, that he has not received fair<br /> treatment. Our strictures are simply dictated<br /> by our knowledge that such loose methods of<br /> dealing with literary property as this case<br /> exhibits, have been and are the cause of all the<br /> serious troubles between author and publisher.<br /> First, why was the book published without some<br /> mutual arrangement as to the system under<br /> <br /> <br /> <br /> which it was to be published ? There can be no<br /> satisfactory answer to this question; but to<br /> reduce the position to its patent absurdity, we<br /> will fall back on the illustration with which<br /> readers of The Author must be familiar. If the<br /> author possessed a house, would he allow some-<br /> one else to occupy it, without inquiring if that<br /> person was going to buy it, or take it on a lease,<br /> or rent it only fora short term. More; would<br /> he not, having made certain of the system under<br /> which someone else was going to enjoy his pro-<br /> perty, ascertain exactly the price that he was to<br /> receive as owner of the property, be it for purchase<br /> of the freehold, for purchase of the lease, or as an<br /> annual consideration? Would he not be con-<br /> sidered culpably careless if he neglected such<br /> obvious procedure? Second, let us suppose that<br /> the author had gone through the form of saying<br /> “ Before I transfer my property, I should like to<br /> know what consideration I am going to obtain,”<br /> and that the publishers had suggested, in answer<br /> to his queries, that the book should be issued on<br /> the half-profit system, instead of assuming, as<br /> they did in this case, that whatever sum good<br /> enough for them was good enough for the author ;<br /> supposing all this, there would still remain the<br /> fact that every objection that can be urged<br /> against the highly objectionable half-profit system<br /> in general, can be urged against the particular<br /> method in which this book was published. The<br /> agreement consists of the publishers’ words<br /> “we had better send you one half,” not “we<br /> owe one half, and so we send it.” How can<br /> the author know that he has received his<br /> share, in consideration for which he has never<br /> contracted to hand over his book? What<br /> did the book cost to produce? How many<br /> copies were printed? How many were bound ?<br /> How many were sold? How many remain<br /> on sale or return? How much did the ad-<br /> vertisements cost? Until the author knows<br /> —knows by the demonstration of vouchers, not<br /> by the assertion of an interested party—all these<br /> things, he cannot know that he has received his<br /> share, for which, as we must again repeat, he has<br /> never offered to hand over his book. It is, we<br /> know, often very difficult for an author to under-<br /> stand these business details, and it is because there<br /> are some few legitimate and many illegitimate<br /> objections, from the publisher’s point of view, to<br /> making them clear to him, that the half-profit<br /> system stands revealed as a bad one, well meriting<br /> the disuse into which it has fallen. Hither it<br /> leaves in the hands of one partner the power to<br /> cheat the other without reserve and without fear<br /> of detection, or it compels the other to double<br /> the part of author and publisher, that he may<br /> know that he has not been cheated. What tittle<br /> <br /> SS<br /> <br /> <br />  <br /> <br /> 448<br /> <br /> <br /> <br /> of proof has the author had, in the transaction<br /> that we are considering, that the net profits were<br /> double, exactly double, and no more than double,<br /> the sum that he has received ? None, of course ;<br /> and there is the fault of the system. But when<br /> the system is thrust upon the author, without his<br /> being invited to say whether he likes it or no, his<br /> self-constituted partners should be very careful<br /> to furnish every proof of their probity.<br /> <br /> (4) Then came a little plunge into verse. It<br /> was a very little plunge, and was taken upon “ the<br /> profit and loss system,’ defined as follows by the<br /> publishers, in a letter :—‘‘ Have you enough faith<br /> in it (your work) to go equal shares, whether<br /> profit or loss? If so, we will with pleasure do the<br /> same,” say they. And they inform him that the<br /> total risk of loss will be limited to £5—£2 ros.<br /> his, and £2 10s. theirs. Incidentally we learn<br /> that the resulting loss was £3 16s.—£1 18s. each,<br /> because, in sending a cheque for the last and<br /> final half of the profit of the book alluded to in<br /> paragraph (3), £1 18s. is deducted from it, for<br /> loss on the production of the verse. Here, again,<br /> though the affair isa very small matter, we are<br /> bound to make severe observations upon it. The<br /> publisher who writes for the firm says: “So far<br /> as my experience goes, I think it extremely pro-<br /> bable that there will be a loss upon the verses,<br /> but I think they ought to appear in print, irre-<br /> spective of pecuniary considerations.” That is<br /> very handsome indeed. The publisher seems to<br /> have known that he was going to lose his money,<br /> yet he advises that the issue shall take place. It<br /> is not usual for business men, for publishers any<br /> more than for others, to voluntarily enter upon a<br /> transaction, believing that it will entail loss; so<br /> that the necessity under which the publisher lies<br /> of proving that he has lost his money is urgent,<br /> not only because his partner ought to be as well<br /> informed as himself of the right to deduct that<br /> £1 18s., but because the publisher’s position<br /> requires explanation before it can be understood<br /> upon ordinary commercial principles. That<br /> explanation should take the following form :—<br /> (a) He must show exactly how much he expended<br /> upon production and advertisement. (6) He<br /> must show exactly how many copies he has sold,<br /> arrived at by deducting the number of copies in<br /> stock from the number originally printed. (c)<br /> . If any copies are out on sale or return, or have<br /> been given away for review purposes, he must<br /> mention the exact number, if he wishes to be<br /> exempted from paying upon them. (d)-It would<br /> strengthen his position if he could show that he<br /> expected to make a large profit on his outlay, if<br /> he made anything at all; for there would be a<br /> good commercial reason for his behaviour. He<br /> <br /> would then become evident as having gone into<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the matter as a little “ flutter,” risking his 50s. and<br /> expecting to lose it, but seeing his way to make<br /> fifty pounds—say—if he pulled off a twenty-to-one<br /> chance. This point should be made clear by<br /> consideration of the cost of production in relation<br /> to the number of copies printed and their sellin<br /> price; but, so far from being made clear, the<br /> publisher’s account shrouds the affair in mystery.<br /> There are 250 copies only mentioned as having<br /> been composed, worked, pressed, stitched, and<br /> advertised, at a cost of £3 13s. 6d.; the selling<br /> price is put down as 14d., and the loss, sales<br /> being very scanty, at £3 10s. gd. So that we<br /> have this position under the publisher’s state-<br /> ment: If the whole edition printed (less seventeen<br /> copies stated in the account to have been sent to<br /> author and reviews) had sold, it would only haye<br /> realised £1 os. g3d. That is to say—the best<br /> possible result for author and publisher, supposing<br /> the cost of production to have been really<br /> £3 138. 6d., would be a joint loss of £2 12s. 81d.—<br /> the cost of production less the result of a complete<br /> sale. Can these figures be right? If so, we find<br /> a business man investing £1 16s. gd. (and ex-<br /> pressing his belief that he will lose it), on the<br /> chance of only losing £1 6s. 44d., and with no<br /> possible chance of gaining anything whatever!<br /> The author might do this, for he might consider<br /> the sight of his verses in print a fair equivalent<br /> for his outlay, but what is the publisher doing in<br /> such a galley? It is incumbent upon the<br /> publisher to show that £3 13s. 6d was spent<br /> upon producing the verses, and not some much<br /> less sum. For consider the intolerable position<br /> in which his firm is placed, if it should be<br /> suggested that the production only cost them<br /> £1, while they have received £1 18s. as their<br /> share of the joint loss. Also, how can £1 18s.<br /> be due to them? Their own figures give<br /> £3 10s. gd. as the loss, and the half of this is<br /> £1 15s. 43d. We must repeat that the account<br /> is very mysterious.<br /> <br /> The rest of the author’s transactions with these<br /> publishers call for no further comment. They<br /> were all commission work, aud the pay, if small,<br /> seems to have been fairly offered beforehand ‘on<br /> the “ take it or leave it” principle, and the author<br /> elected to take it.<br /> <br /> The next and last of his experiences has also<br /> points worthy of consideration.<br /> <br /> (5}. A new publisher accepted the author’s<br /> MS., offering him at once a royalty of 2d. in the<br /> shilling «n all copies sold,* which, under the<br /> circumstances, was by no means a bad offer. It<br /> <br /> <br /> <br /> * That is to say of a royalty of a little over 16 per cent.<br /> For the real meaning of these terms vide— The Methods<br /> of Publishing,” 2nd edit., p 60, and The Author, vol. IL.,<br /> p. 162.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 449<br /> <br /> was qualified immediately afterwards, however,<br /> to enable the publisher, at less risk to himself, to<br /> “try an experiment with the book and illustrate<br /> it with silhouettes. ‘ What I propose,”<br /> he says, ‘is that I should about pay myself for<br /> the production ot these, before I pay you your<br /> commission. If you agree therefore that I should<br /> have a sale of 3000 before paying anything to you<br /> I shall be quite satisfied.” Two things will strike<br /> everyone at once: First, that as it was the pub-<br /> lisher’s “ experiment,” and was made presumably<br /> from the rational point of view of increasing the<br /> chances of sale, the publisher should have taken<br /> the risk of its failure, and not the author: Second,<br /> that no proof is given of the j ustice of selling<br /> 3000 copies commission free. Why 3000? Why<br /> not 30,000F Why not 3007 3000 copies of a<br /> book selling at the nominal price of one shilling<br /> would bring in £100. Does the publisher mean<br /> that it will cost him £100 to reproduce the<br /> silhouettes? Or that they will cost him the £25<br /> of which he proposes to maulct the author by<br /> suppressing the royalty on 3000 copies? Or does<br /> be mean that £100 will publish the book; be-<br /> cause that is perhaps the truth of the matter.<br /> He says “ about pay myself for the production of<br /> these (meaning the silhouettes),” but in reality<br /> the proposal is to recoup himself entirely for the<br /> production of the whole book before paying the<br /> author anytbing. This principle of deferred<br /> royalties not only spoils the merit of a royalty<br /> offer, but imports into the royalty system all the<br /> evils of the half-profit system, to which we have<br /> alluded above. How can an author judge of the<br /> fairness of a proposal to withhold the commission<br /> until a certain number of copies be sold, unless he<br /> knows the expense to which the publisher is going<br /> to be put—unless, that is, he can double the part<br /> of author and publisher?<br /> <br /> The author, in this particular case, made no<br /> money at all out of the book, which did not sell.<br /> He can comfort himself, if he is a selfish man, by<br /> the thought that the comparative failure of the<br /> book concerns not him chiefly, but the publisher.<br /> He never could have made much money out of the<br /> book, A sale of 3000 copies about marks the<br /> limit of the success to which such a book attains,<br /> and on the first 3000 copies he was, by arrange-<br /> ment, to get nothing. If his book had achieved w<br /> success equivalent to some 30 per cent. higher<br /> than what he could fairly anticipate, and 4000<br /> copies had been sold, he would theu only have got<br /> out of it £8 6s.8d. In this connection we should<br /> much like to know how many copies were printed.<br /> Tt seems to us possible that no more than 3000<br /> were ever prepared, that is, that from the first it<br /> was intended that the author should get nothing<br /> at all<br /> <br /> <br /> <br /> The merits of the half-profit system have<br /> received frequent attention in these pages, and<br /> the advisability of having an agreement before<br /> publishing and of understanding its terms have<br /> been sufficiently insisted upon. We have ex-<br /> plained in the ‘Author and in the Society’s hand-<br /> books the true meaning of a royalty of 2d. in the<br /> shilling; and arithmetic, coupled with the know-<br /> ledge that 3000 copies is a very respectable circu-<br /> lation for a still unknown author, will enable any-<br /> one to see how very uusatisfactory to such man the<br /> result of deferring the payment of his royalties<br /> till 3000 copies have been sold, is likely to be.<br /> We need therefore make but one more comment<br /> upon this author’s experiences. It will be noticed<br /> that in each case the sums involved are very<br /> small. It is probable that this may make our<br /> serious tone towards the irregularities that have<br /> occurred appear misplaced, and possible that it<br /> may have been the cause of the disrespectful<br /> behaviour of both author and publishers towards<br /> the author’s property. But, to judge of the<br /> sanctity of property by its size would not be con-<br /> sidered wise in other walks of life. Does a man<br /> consider his collar-stud less his own than his<br /> watch? Is it permitted to us to remove our<br /> neighbours’ landmark a foot or two and remain<br /> venial offenders? Must we annex an acre before<br /> we fall under the ban of the Commination<br /> Service P<br /> <br /> <br /> <br /> pe<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> =<br /> <br /> E<br /> New AUTHORS.<br /> <br /> N reply to your remarks on my letter con-<br /> | cerning “the publication of new books by<br /> new and unknown authors,” I meant it to<br /> be inferred from the 8th paragraph of my letter,<br /> that the method would be supported by subscrip-<br /> tions from the publishers, instead of each paying<br /> <br /> his own reader.<br /> <br /> The publisher would in this case have no<br /> reader of his own, so that what you suggest as<br /> possible, at the end of your note, could not<br /> happen.<br /> <br /> T meant also that, under this plan, the author<br /> should pay no fee for having a work read, for 5<br /> had in mind only the getting an admittedly meri-<br /> torious work published—a quick means of a good<br /> work finding a publisher, instead of wandering<br /> round and round after one. a<br /> <br /> Should an author want an instructive opinion,<br /> such as he now obtains from the Society, let him<br /> still have to pay a guinea for it.<br /> <br /> Seat Sa<br /> <br /> ssa eames<br /> <br /> <br />  <br /> <br /> 450 THE<br /> <br /> <br /> <br /> The criticism of an author’s MS. is a depart-<br /> ment of work entirely distinct from that which I<br /> suggested that the Society should initiate, but so<br /> intimately connected with it that I look upon the<br /> reading branch of the Society—because it had its<br /> origin in the Society of Authors—as simply a first<br /> step, which must inevitably lead to the accom-<br /> plishment of the other scheme.<br /> <br /> Husert Hass,<br /> <br /> 28, Bassett-road, North Kensington,<br /> <br /> London, W.<br /> <br /> <br /> <br /> <br /> <br /> I,<br /> ATTACK AND DEFENCE.<br /> <br /> In the dispute under the above heading in the<br /> April number of the Author, the critic certainly<br /> seems to make out the better case ; but I defy the<br /> reviewer of the Academy to justify in the same<br /> fashion most of his remarks on my last book.<br /> <br /> This gentleman says: “A young lady spends<br /> the night on a snowy mountain top in company<br /> with an injured gentleman. The heroism she<br /> displays prompts him to make an immediate<br /> proposal of marriage, but no sooner has the<br /> ceremony taken place than the bridegroom dies.”<br /> <br /> In the book the gentleman here spoken of does<br /> not propose to the young lady at any time, being<br /> a most respectable member of the community,<br /> provided already with a wife and grown up<br /> family of his own. When the lady does marry,<br /> her husband survives the ceremony by two years<br /> and a half.<br /> <br /> The reviewer says: “These two gentlemen<br /> have borne a by no means faultless character ;<br /> for while the younger has knowingly married<br /> somebody else’s wife. 2<br /> <br /> In the book the gentleman alluded to knows<br /> nothing of his wife’s previous marriage until<br /> after the birth of their child.<br /> <br /> The reviewer says : ‘“ Besides (sic) these two the<br /> villain of the piece shines comparatively brightly.<br /> His only fault was having deceived a girl in<br /> India ”+—there is no mention in the book of a girl<br /> in India—“ who, when she found him out, poisoned<br /> herself, though he offered her marriage.”<br /> <br /> This is the cruellest lie of all; because it is<br /> built up on a substratum of truth. “The<br /> villain’s” offer of marriage is made, but to the<br /> girl’s father ; and she poisons herself before her<br /> father’s return from the interview with her<br /> seducer, while she is yet in ignorance of his offer<br /> to marry her.<br /> <br /> Under these circumstances what ground has the<br /> reviewer for the implied sarcasm in the sentence<br /> —‘poisoned herself though he offered her<br /> marriage ”’ ?<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> In very truth we minor novelists commit, and<br /> have to answer for, quite enough blunders of our<br /> own without being also made responsible for the<br /> feeble aberrations of such a one as this—a person<br /> who is too indifferent or too incompetent, or—as<br /> you, Mr. Editor, point out—too ill-paid, to dis-<br /> charge the duties of his calling with fairness<br /> either to his employer or to us. Unfortunately,<br /> from whatever cause his inaccuracies proceed, the<br /> result to me is the same—a review by so many<br /> specified items worse than the book deserves.<br /> <br /> While reviewers are under discussion, I have<br /> something to add on the subject of contradictory<br /> reviews. Do not all, or nearly all, authors go<br /> through this experience, with almost every book<br /> they put before the public ?<br /> <br /> Here are three specimens of flat contradiction<br /> taken from first-class papers :<br /> <br /> “The tone of the book is “ The author has a healthy<br /> scarcely a healthy one.” belief in human nature, which<br /> <br /> contrasts pleasantly with<br /> the pessimistic views more<br /> <br /> general with present day<br /> novelists.”<br /> <br /> “There is a deep pathos<br /> here and there, and a truly<br /> touching human interest at<br /> every turn.”<br /> <br /> “The story is as devoid<br /> of expression as a plank of<br /> timber.”’<br /> <br /> “Has no feature to dis-<br /> tinguish it from the ordinary<br /> fourth-rate novel, unless,<br /> indeed, its extraordinary<br /> confusion may count for<br /> one.”<br /> <br /> After this, one is almost driven to believe that<br /> these gentlemen are continually engaged among<br /> themselves in a sly game of intellectual skittles,<br /> in which the ninepins are represented by the<br /> rank and file of the literary fraternity—set up in<br /> fair order by the fellows at one end. to be bowled<br /> over by the players at the other. A delightful<br /> pastime for everybody concerned—barring the<br /> ninepins. C. L.<br /> <br /> “ The plot is intricate yet<br /> never obscure The<br /> work of a competent writer.”<br /> <br /> <br /> <br /> III.<br /> A COINCIDENCE.<br /> <br /> My attention has just been called to the fol-<br /> lowing paragraph in the April number of the<br /> Author :—“ Here is a case of coincidence. Inthe<br /> Author of last monthappeareda story of a daughter<br /> bringing by her own efforts and genius success to<br /> the father who could not command it. It was a<br /> literary success. In June of last year there<br /> <br /> appeared in the Lastern and Western Gazette a<br /> story by Mrs. Edmonds called ‘The Painter’s<br /> Daughter,’ in which the daughter gives secretly<br /> to her father’s picture the touches and the colour<br /> which transform it from a failure to a success<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 451<br /> <br /> The treatment of the two stories is different;<br /> there is nothing similar except the motif, and that<br /> ig the same in both. The author of ‘The<br /> Painter’s Daughter’ is anxious to say that she<br /> does not for one moment insinuate or suspect any<br /> plagiarism. It is a coincidence, and, as such, it<br /> deserves to be recorded.”<br /> <br /> While agreeing with your remarks as to the<br /> “eoincidence,” I am constrained to ask you to<br /> be kind enough to correct an error.<br /> <br /> The story referred to, “ A Painser’s Daughter,”<br /> by Mrs. Edmonds, appeared in the June number<br /> of the Eastern and Western Review, which,<br /> doubtless by some inadvertence, you have referred<br /> to as the Eastern and Western Gazette. I think<br /> it right to call attention to this, and to ask you<br /> to do me the favour of inserting this letter in the<br /> next issue of the Author.<br /> <br /> I have the honour to be,<br /> Your faithful servant,<br /> H. AntHony SALOME<br /> (Editor Eastern and Western Review.)<br /> LN<br /> Prompt PaYMENT.<br /> <br /> Whilst on this subject, would it not be well<br /> to discuss publisher’s methods of payment ?<br /> <br /> I have had considerable experience in_ this<br /> matter, having published with eleven different<br /> firms—and with almost all, there has been a<br /> difficulty as to the date of payment—the most<br /> favourable terms (with one exception), being one<br /> half the amount paid on receipt of the MS, and<br /> the other half on publication—which I know, to<br /> my cost, may be postponed indefinitely.<br /> <br /> The one exception is ‘‘ The Leadenhall Press,”<br /> whose cheque for the whole amount agreed on, is,<br /> I have always found (and I believe it is their<br /> rule), ready on the MS. being finished and handed<br /> over. A ScriBBLER.<br /> <br /> ————— =<br /> <br /> V.<br /> <br /> Tar VALUE or Criticism TO BEGINNERS.<br /> <br /> Some time ago I wrote an essay called<br /> “ Doctors: by a Pessimist,’’ and sent it, with<br /> others, to the Secretary of the Society, for criti-<br /> cisim. Tle reply came in due course, and to my<br /> horror I found that what I considered to be a<br /> smart piece of writing was scathingly condemned.<br /> My critic, however, did not stop short at con-<br /> demnation, but took some trouble to indicate<br /> lines for alteration and amendment. I laid the<br /> advice to heart, pondered over the reproof, and<br /> re-wrote the paper ab initio. In its original form<br /> it had been “returned with thanks” several<br /> <br /> times; but now, at the first attempt, second<br /> series, I rejoice to say, it has found favour—<br /> with—mirabile dictu—the editor of a medical<br /> journal !<br /> <br /> I believe some people question the advantage<br /> of belonging to the Society of Authors; but here<br /> is a proof positive that, in my case at least, the<br /> value, in a pecuniary sense, is very great indeed.<br /> I could easily adduce other instances in which I<br /> have derived benefit from my membership, but<br /> this one will suffice. Hk. G.<br /> <br /> <br /> <br /> VI.<br /> Youna WRITERS.<br /> <br /> The Author wants to know how it can help<br /> young writers. There is a way. Is it practic-<br /> able? Not long ago an Idler said that whenever<br /> he wanted to feel warm he looked at his old<br /> MSS. He found there certain heat-giving<br /> properties. Many young writers would lke to<br /> know what these properties are. More than<br /> that, where the successful writer stumbled.<br /> Could not this be done in a series of paragraphs<br /> appearing each month in the Author? There<br /> are numerous pit-falls; would it be too much to<br /> ask well-known members of the society to lay<br /> some of them bare? ‘Those that they are<br /> personally acquainted with. A paragraph a<br /> month would not be a great call on a writer’s<br /> time. It would be—if practicable—an unselfish<br /> act, and these paragraphs would become to the<br /> young writer an invaluable literary chart. There<br /> is no map of the country at present. The pars<br /> could be headed ‘‘ Where I was Wrong.”<br /> <br /> A MEMBER.<br /> <br /> VII.<br /> DrEAMS.<br /> <br /> Coleridge and others are said to have com-<br /> posed poems in their sleep. This, very likely,<br /> is true, but let not everyone who may dream he is<br /> a poet expect to find confirmation thereof when<br /> he awakes. I myself do not remember ever having<br /> dreamt in verse, but it has frequently occurred<br /> to me to imagine in my sleep that I was giving<br /> expression to sentiments and ideas that, if<br /> collated, should astonish the world by reason of<br /> their depth and lucidity. . Last night I suddenly<br /> awoke with a distinct recollection of a sentence<br /> that seemed to me so majestic and full of mean-<br /> ing that I reached forth my hand in the dark,<br /> found a pencil, and then and there wrote it down.<br /> Here it is:—<br /> <br /> “ Tt was found that the bottom was dry. Talk was talk.”<br /> <br /> Tenclose the original for your edification ; and<br /> regret to add that I have not the remotest idea of<br /> <br /> ssc<br /> <br /> <br />  <br /> <br /> 452<br /> <br /> <br /> <br /> what the context of this dreamland sentence was.<br /> As it stands, sermons might be preached on it,<br /> or essays written; but intrinsically I fear it can<br /> <br /> <br /> <br /> <br /> <br /> only be classed as—nonsense. H. RB. G.<br /> — —<br /> FROM THE PAPERS.<br /> i :<br /> LItERATURE AT THE CoLuMBIAN ExposiITion.<br /> I<br /> <br /> ITERATURE will be represented at the<br /> Columbian Exposition in two distinct<br /> ways. First there will be the exhibit of<br /> <br /> books and libraries in the Liberal Arts Depart-<br /> ment of the Exposition proper at Jackson Park—<br /> an exhibit to be made up chiefly of consignments<br /> from the various publishers, whose applications<br /> for space evince a very general interest in the<br /> matter, and give promise of an attractive and<br /> worthy display. Of far greater importance to<br /> the interests of literature, however, will be the<br /> series of conferences, or congresses, to be held in<br /> July in the Memorial Art Building near the<br /> heart of the city, as a part of the programme<br /> planned by the World’s Congress Auxiliary, an<br /> outline of whose grand and comprehensive work<br /> was given in the Dial for Dec. 16 last. It is the<br /> present intention to have these literary con-<br /> gresses begin on July 10, one week in advance of<br /> the educational congresses, as many visitors may<br /> wish to attend meetings in both of these depart-<br /> ments. By using the several audience-rooms<br /> that will be provided in the Art Building, the<br /> meetings of different sections may be held<br /> simultaneously, and thus the work of the con-<br /> gresses be greatly expedited.<br /> <br /> The general department of literature, as we<br /> have already explained, has been made to include,<br /> besides literature proper as represented by<br /> authors and their interests, sections devoted to<br /> philology and history, and to libraries. In each<br /> of the three last-named sections plans are to<br /> be formed and programmes provided, as far as<br /> possible, in cooperation with existing national<br /> organisations—such as the Modern Language and<br /> Oriental Societies, the Historical Society, and the<br /> Librarians’ Association—some or all of which<br /> have already decided to hold their annual<br /> meetings for this year in Chicago, as a part of<br /> the proceedings of the auxiliary congresses. In<br /> the plans for a congress of authors, the same<br /> policy will, as far as practicable, be pursued,<br /> and the work carried on by the local c mmittees<br /> in conjunction with, or at least in consultation<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> with, the representative societies of men of<br /> letters, such as the American Copyright League,<br /> the Authors’ Club of New York, and the London<br /> Society of Authors. The drift of discussion will<br /> thus naturally tend, at least in the beginning,<br /> towards those subjects most nearly related to the<br /> interests of authors in their profession: the<br /> rights of literary property, copyright laws,<br /> national and international, the relations between<br /> authors and publishers, &amp;c. An international<br /> conference on the laws of literary property is<br /> among the probabilities of the Authors’ Congress,<br /> and may be an occasion of very great interest<br /> and tenefit. A number of prominent authors, at<br /> home and abroad, have cordially approved the<br /> general purposes of the congress, and, in response<br /> to the request of the local committee, have offered<br /> valuable suggestions as to the practical measures<br /> to be adopted. Mr. Walter Besant, late chairman<br /> of the London Society of Authors, has written<br /> that he will attend the congress as the delegate<br /> of his society, and will submit a paper by himself<br /> on some of the questions raised, from an English<br /> point of view. The Hon. James Bryce, M.P.,<br /> has given some timely counsel and furnished<br /> some excellent additions to the list of topics to be<br /> discussed. Royalty, in the person of King Oscar<br /> of Sweden-Norway, acknowledges recognition as<br /> a man of letters by expressing through his<br /> secietary his “warmest wishes for the Congress<br /> of Authors and for the results of its labours, as<br /> everything that will forward the dignity and<br /> welfare of the literary calling deeply interests<br /> His Majesty.” In this country much valuable<br /> assistance has been rendered by Mr. E. C.<br /> Stedman, the president of the American Copy-<br /> right League, and by Mr. R. U. Johnson, its<br /> secretary ; also by Mr. R. W. Gilder and others.<br /> <br /> While the plans thus far formed for the<br /> Congress of Authors relate principally to subjects<br /> of professional rather than of general literary<br /> interest, the latter should not and need not be<br /> lost sight of. Such topics as the relation of<br /> dramatic and musical copyright to literary copy-<br /> right, the teaching of literature in the schools<br /> and colleges, current modes and standards of<br /> literary criticism, literature and the newspapers,<br /> perhaps even the moral purpose in literature,<br /> might be discussed with profit not only to the<br /> writers of books but to the readers of them, and<br /> with the result of greatly broadening the interest<br /> and influence of the literary congresses.—The<br /> Chicago Dial.<br /> <br /> II.<br /> The plans for the Literary Congress, which<br /> will begin on July 10, have not yet assumed<br /> definite shape, but the prospect for an interesting<br /> week is encouraging. The subjects suggested<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 459<br /> <br /> for discussion are divided into four classes—<br /> aspects of literature, problems of the literary<br /> calling, the rights of literary property, and<br /> American literature. Under the first head are<br /> included such subdivisions as “Standards of<br /> Literary Criticism,” “ Literature and the News-<br /> papers,” “ Realism” and “ The Moral Purpose in<br /> Literature”; the second deals mainly with<br /> methods of publishing, and the third with<br /> different aspects of-copynght. There are also<br /> schemes afloat for authors’ readings in connec-<br /> tion with this Congress. The members of the<br /> Chicago committee of organisation are Francis F.<br /> Browne, editor of the Dial, who is chairman ;<br /> George E. Woodberry, Franklin H. Head, Joseph<br /> Kirkland, and David Swing. A committee of<br /> co-operation, with headquarters in New York,<br /> was also appointed, and of this Dr. Oliver<br /> Wendell Holmes is chairman, and George EK.<br /> Woodberry secretary. It members are Edmund<br /> C. Stedman, Charles Eliot Norton, Charles<br /> Dudley Warner, William Dean Howells, Col.<br /> 1’. W. Higginson, Dr. H. H. Furness, Richard<br /> Watson Gilder, Thomas Bailey Aldrich, George<br /> W. Gable, Maurice Thompson, Thomas Nelson<br /> Page, Frank Dempster Sherman, and Prof.<br /> Hjalmar H. Boyesen. With such men enlisted<br /> in its service, the literary congress should cer-<br /> tainly evolve something original and vital in the<br /> way of discussions.—New York Critic.<br /> <br /> ————<br /> <br /> EL<br /> Tur Rotiep MS.<br /> <br /> “Tye read,” said an editor toa writer in the<br /> New York Times, ‘ hundreds of rolled manu-<br /> scripts, and I never yet have found one that I<br /> cared to print. I have decided that the stupidity<br /> which rolls a manuscript cannot produce anything<br /> worth reading.” A rolled MS. is a desperate<br /> thing, but there is another that is almost worse—<br /> the one that comes to you with the last page on<br /> top and the first page at the bottom. A MS. was<br /> once sent to me arranged in this careless manner.<br /> There were five or six hundred pages of it. Do<br /> you know what I did with it? I sent it back to<br /> the author with a note in which I advised him<br /> before he sent that MS. further on its travels to<br /> show sufficient interest in it to arrange the pages<br /> properly. I hope for his sake that he acted upon<br /> my advice. If he did not, I doubt that his tale<br /> ever got a hearing. Life is too short for the<br /> important things to be done as they should be,<br /> and it never could be long enough for one not<br /> only to do his own work properly, but to rectify<br /> the careless work of others. A rolled MS. shows<br /> a thoughtless writer, but a MS. arranged back-<br /> wards shows a carelessness that is insulting to the<br /> <br /> person to whom it is sent, and argues ill for the<br /> intelligence of the writer. An attractive-looking<br /> manuscript goes a long way towards winning the<br /> favour of the “reader.” Even if refused, it is<br /> refused with genuine regret; but a “ reader’’ is<br /> only too glad to find the carelessly-prepared<br /> MS. as worthless as it looks. I have always<br /> admired the patience that induced Mr. George<br /> Haven Putnam to read the MS. of “The Leaven-<br /> worth Case,” for it was carelessly written in lead-<br /> pencil on common paper, and by an author then<br /> unknown. But he had his reward.—New York<br /> Critic.<br /> <br /> SS<br /> <br /> TLE.<br /> An AMERICAN PATERNOSTER Row.<br /> <br /> Fifth Avenue below Twenty -third-street in<br /> New York is rapidly becoming the American<br /> Paternoster-row. Beginning at the lower end<br /> we find Macmillan and Co., laying the founda-<br /> tion stone of a fine building on the avenue<br /> just below Thirteenth-street; C. L. Webster<br /> and Co., W. B. Harison, Brandus and Co.,<br /> and the New York offices of Ginn and Co.,<br /> and Leach, Shewell, and Sanborn are in the<br /> same neighbourhood. Further up, at No. 112,<br /> near Sixteenth-street, we find the New York<br /> offices and warerooms of Fleming H. Revell and<br /> Company, who have just removed to that point ;<br /> at No. 114, the handsome new store of James<br /> Pott and Co.; at No. 150, on the corner of<br /> Twentieth-street, the handsome building of the<br /> Methodist Book Concern with Hunt and Eaton’s<br /> handsome book store, and the Tnternational Bible<br /> Company, and at No. 182, near Twenty-third-<br /> street, the publishing-house of Anson D. F.<br /> Randolph and Co., with its attractive and well-<br /> stocked retail department.<br /> <br /> On the side streets of the avenue, running<br /> across to Union-square, we find on Tenth-street<br /> William Wood and Co., A. CG. Armstrong and<br /> Son, John Wiley and Son, the University Pub-<br /> lishing Company, Lovell, Coryell, and_ Co., the<br /> New York office of L. Prang and Co., Maynard,<br /> Merrill, and Co., and Fords, Howard, and Hulbert.<br /> On Twelfth-street, Ward, Lock, Bowden, and<br /> Co. On Fourteenth-street Thomas Y. Crowell<br /> and Co., A. Lovell and Co., J. A. Boll: and Co.,<br /> J. W. Shermerhorn and Co., D. C. Heath and<br /> Co., and Isaac Pitman and Son. On Sixteenth-<br /> street, Longmans, Green, and Co. the United<br /> States Book Company, and the New York office<br /> of the John Church Company. On Seventeenth-<br /> street, the Century Company, Thomas Nelson<br /> and Sons, Tait, Sons, and Co., Brentano’s (who<br /> will be at the corner of Sixteenth-street and<br /> Union-square, West, in a couple of weeks),<br /> <br /> ee<br /> <br /> <br /> 454<br /> <br /> Breitkopf and Hartel, Novello, Ewer, and Co.,<br /> the New York office of Houghton, Mifflin, and<br /> Co., the Catholic Publication Society, and Rich-<br /> mond and Croscup. On _ Eighteenth-street,<br /> McLoughlin Brothers. On Nineteenth-street,<br /> Dodd, Mead, and Co. On Twenty-first-street,<br /> Fowler and Wells Company, M. L. Holbrook,<br /> and George M. Allen and Co. On Twenty-second-<br /> street, the Reformed Church Board, and on<br /> Twenty-third-street, west of the avenue, Geo. P.<br /> Putnam’s Sons, Henry Holt and Co., E. P. Dutton<br /> and Co., Fred. A. Stokes Co., G. W. Dillingham,<br /> Wm. J. Kelly, Town Topics Publishing Company,<br /> and H. 8. Werner. Several other houses are now<br /> looking for quarters in this circle, and additions<br /> to the above list may be expected about the first<br /> of May next.<br /> <br /> Besides those mentioned are the publishing<br /> offices of The Judge, Frank Leslie&#039;s, &amp;c., and<br /> Mrs. Leslie’s own publications, The Forum. North<br /> American Review, Town Topics, Truth, and The<br /> Cosmopolitan. On Union-square, West, or one<br /> block from Fifth Avenue, are the publishing-<br /> offices and retail stores of Wm. A. Pond and Co.,<br /> G. Schirmer, R. A. Saalfield, and Edward<br /> Schuberth and Co., publishers and importers of<br /> music. Art is represented by Charles Klackner,<br /> George M. Allen Company, Jellineck and Jacob-<br /> son, Geo. F. Kelly and Co., and Radtke,<br /> Lauckner, and Co.— Publishers’ Weekly.<br /> <br /> <br /> <br /> IV.<br /> DepIcatTions.<br /> <br /> A writer in the Author lately exhorted modern<br /> authors to revert to the ancient custom of<br /> dedications. Mr. Watson did not need the<br /> exhortation. His present, like his former volumes,<br /> have dedications. “To Arthur Christopher<br /> Benson I commend this prince-errant of my<br /> half-fledged fancy, with full confidence in the<br /> hospitality of heart which will refuse kindly<br /> shelter to no wayfarer, how perplexed and mis-<br /> guided soever, in the bewildering world.” That<br /> is of “The Prince’s Quest.” “To Grant Allen,<br /> an only too generous appreciator of my verse, I<br /> dedicate this poem, knowing that he will recog-<br /> nise beneath its somewhat hazardous levity a<br /> spirit not wholly flippant such as can alone justify<br /> its inscription to a serious lover of the Muse.”<br /> That is of “The loping Angels.” And the<br /> ‘Excursions in Criticism ” (from which a certain<br /> “ excursion”’ on “ Fiction Plethoric and Anzwmic”’<br /> was wisely excluded) is dedicated, “ with apologies<br /> for so poor an offering,” to “ George Meredith,<br /> that this little volume may be graced with the<br /> vame of one of the truest of poets and most mag-<br /> <br /> THE AUTHOR.<br /> <br /> nanimous of men.” This is not the first tribute<br /> of the kind Mr. Meredith has received. ;<br /> Many dedications have been in grateful recogni-<br /> tion of care in nursing to literary maturity, dedi-<br /> cations to encouraging editors, and so forth; Mr.<br /> William Watson’s dedication, for example, of<br /> “Lacryme Musarum” to the editors of the<br /> Spectator; Mr. Barrie’s dedication of “Auld<br /> Licht Idylls” to Mr. Greenwood; and there is<br /> surely somewhere a similar tribute of Mr. Louis<br /> Stevenson to Mr. Leslie Stephen, who opened to<br /> him the pages of the Cornhill. Mr, Meredith<br /> himself, itis curious and interesting to remember,<br /> dedicated “Shagpat,” of all books in the world,<br /> to an editor of the Morning Post! He had been<br /> one of Sir William Hardman’s contributors.<br /> <br /> Mr. Meredith’s own first dedication, the<br /> dedication of the “ Poems” of 1851, now a book<br /> collector’s prize, was, it is interesting to recollect,<br /> to his father-in-law, Thomas Love Peacock, “in<br /> profound admiration and. affectionate respect.”<br /> ‘Modern Love” was “ affectionately inscribed to<br /> Captain Maxse, R.N.”; the new reprint—the<br /> second edition in thirty years !—is still dedicated<br /> “to Admiral Maxse in constant friendship.” The<br /> “Poems and Lyrics” of 1883 were dedicated to<br /> Cotter Morison, and “ Diana of the Crossways ”<br /> to Sir Frederick Pollock.<br /> <br /> Is there not a suggestive contrast between the<br /> “dedicatees” of Tennyson and Browning? The<br /> Queen, the Prince Consort, Robert Browning<br /> himself, and Lord Selborne—of such was the<br /> Laureate’s company; while Robert Browning’s<br /> chosen were Talfourd, Macready, Kenyon and<br /> Forster, Barry Cornwall, Landor, and M. Milsand.<br /> Talfourd had “ Pickwick” dedicated to him, and<br /> Barry Cornwall “ Vanity Fair” ; while “ Atalanta<br /> in Calydon” was an offering well worthy of<br /> Landor’s memory. Let us not forget Tennyson’s<br /> dedications to his wife, his grandson, Alfred<br /> Tennyson, and Henry Lushington (Old Fitz has<br /> not, we think, a formal dedication), and, above<br /> all, the more than dedication to Henry Hallam.<br /> Still less let us forget Browning’s “One Word<br /> More,” and the later invocation to his “ Lyric<br /> Love, half angel and half bird.” But no poet of<br /> them all, not even Browning, ever rivalled the<br /> fervour of John Mill’s dedication of his<br /> “ Liberty” to his wife. The palm for adoration<br /> rests with the economist and logician.— St.<br /> James&#039;s Gazette, April 8, 1893.<br /> <br /> <br /> <br /> V.<br /> Firing CopyricguHt.<br /> <br /> It is understood that the librarian of the<br /> Congressional Library has found it impossible to<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 455<br /> <br /> keep up with the applications for copyright filed<br /> at his office since the new copyright law went<br /> into effect. Additional clerks are sorely needed<br /> to assist Mr. Spofford in his labours.—New York<br /> Critic.<br /> <br /> <br /> <br /> VE.<br /> Tue Current ADJECTIVE.<br /> <br /> THERE are certain words that are good enough<br /> words in themselves, but which used in unusual<br /> connections become conspicuous and __ finally<br /> odious. Some time ago the favourite slang word<br /> of literature was “certain.” Every heroine had<br /> a “certain nameless charm,” &amp;c., and every hero<br /> a “certain air of distinction” about him, until<br /> you longed for one whose qualities were more<br /> uncertain in their nature or degree. “Certain ”<br /> seems to have had its day ; and now the favourite<br /> slang word of literature is “ distinctly.” Heroines<br /> are now “distinctly regal” in their bearing,<br /> and there is about the heroes a manner that is<br /> “ distinctly fine,” or whatever the adjective may<br /> be. In a book that I read not many days ago,<br /> the word “ distinctly” used in this way appeared<br /> three times on one page, until I was distinctly<br /> bored, and laid it down in disgust. ‘‘ Precious”<br /> used to be one of the tortured vocables, and<br /> there was a class of art-critics that went so far as<br /> to describe the paintings of their favourites as<br /> “distinctly precious”; but I think they have<br /> been laughed into a more material vocabulary by<br /> this time. I do not object to an original use<br /> of words, but I do hate affectation. in their<br /> use. There are two authors I could mention<br /> whose stories give the impression of long hours<br /> spent in hunting up obsolete words in the dic-<br /> tionary, who, so it seems to me, would rather have<br /> their readers say, ‘Where do you suppose he<br /> found sucha word?” rather than ‘“‘ How well he<br /> tells a story!” They seek to attract attention as<br /> jugglers of words, rather than legitimate users of<br /> them. Give mea writer whose aim is to tell a<br /> story well, rather than one whose aim is to startle<br /> his readers into attention by outré phrases.<br /> New York Critic.<br /> <br /> <br /> <br /> So<br /> <br /> Vit<br /> Auas! Poor Yoricx !<br /> <br /> Yorick made Duke of York !—The Professor of<br /> English in a Western college sends me the fol-<br /> lowing note, which T cannot forbear printing for<br /> the amusement of the Critic’s readers :<br /> <br /> “ Perhaps youare familiar with the advertising<br /> enterprise shown by the proprietors of &quot;8<br /> soap ; well, during the past few days an imported<br /> French or Italian artist, a ‘ Professor’ Leoni, has<br /> <br /> <br /> <br /> been occupying a large display window down<br /> town, carving or modelling out of bars of a<br /> soap, a scene from‘ Hamlet.’ There is the grave-<br /> yard with its enclosing wall, the trees, the birds,<br /> fallen headstones, the funeral monuments—all of<br /> the same soapy material; while the grave-diggers<br /> lounge around watching Hamlet and Horatio who<br /> stand by the open grave. Hamlet holds the skull,<br /> and is evidently apostrophising it. It is done<br /> with remarkable skill and some degree of artistic<br /> taste; but the funny thing about it is that the<br /> scene is labelled ‘ Hamlet discovering the skull of<br /> the Duke of York /and on the miniature tablet at<br /> the head of the grave the artist has carved so that<br /> he who runs may read—<br /> <br /> <br /> <br /> —____—<br /> <br /> DUKE<br /> <br /> “ Now was it not dismal humiliation enough to<br /> put the melancholy Dane into soap, without con-<br /> verting that mad rogue Yorick into His Grace<br /> the Duke of York?<br /> <br /> ‘To what base uses may we turn, Horatio !<br /> <br /> “Tn faith, if this sort of thing be allowed to<br /> run ov, what theories of corrupted text and what<br /> plausible emendation of unfamiliar names may<br /> we not expect in the days to come? Might not<br /> one come eventually to interpret poor Yorick asa<br /> solar myth, or something of that sort, at last ?”<br /> —New York Critic.<br /> <br /> ——-—e<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> R. GEORGE MEREDITH is busy upon<br /> a serial story for the Pall Mall Maga-<br /> zine, and has also undertaken to write a<br /> serial for Scribner&#039;s.<br /> <br /> Mr. Joseph Hatton’s new novel, “ Under the<br /> Great Seal,” will be published on May 1 by<br /> Messrs. Hutchinson, and in New York by the<br /> Cassell Publishing Company.<br /> <br /> Mr. Eden Phillpotts has almost completed his<br /> new story, which will bear the title “Some Every-<br /> day Folks.” Mr. Phillpotts has written the next<br /> volume of the “ Breezy Library.” It will bear the<br /> title “Summer Clouds,” and will be published by<br /> Messrs. Raphael Tuck and Co.<br /> <br /> Mr. Philip H. Bagenal has written a mono-<br /> graph on the politico-ecclesiastical aspects of the<br /> Trish question which bears the title “ The Priest<br /> <br /> ser rt<br /> <br /> a ES SY a A EE<br /> <br /> <br />  <br /> <br /> 450<br /> <br /> in Politics.” Messrs. Hutchinson are the pub-<br /> <br /> lishers.<br /> <br /> Mrs. Simmons (V. Schallenberger), the author<br /> of “Green Tea,” has written a new story entitled<br /> “Men and Men,” which will be published at<br /> once by Messrs. J. R. Osgood, Mcllvaine, and<br /> Co.<br /> <br /> Mrs. Abraham Dixon has prepared a new and<br /> revised edition of ‘Chronicles of Columbus,”<br /> a propos of the Columbus Centenary Celebrations,<br /> Messrs. G. P. Putnam’s Sons are the pub-<br /> lishers, and they will publish the volume simul-<br /> taneously in London and New York.<br /> <br /> It has been arranged through the Author’s<br /> Syndicate that Mrs. Campbell Praed’s new story,<br /> “Christina Chard,” should run serially through<br /> the Queen.<br /> <br /> Mr. Frederic Breton has wri!ten a story entitled<br /> “The Crime of Maunsell Grange,” which will be<br /> published immediately by Messrs. J. R. Osgood,<br /> Mellvaine, and Co.<br /> <br /> “Rita” has completed a new three-volume<br /> novel entitled ‘The Ending of My Day,” which<br /> will, through the Authors’ Syndicate, be published<br /> in a number of newspapers in the early summer.<br /> <br /> Mr. W. Morris Colles has written an article for<br /> the May number of the New Review entitled<br /> “The Future of English Letters.”’<br /> <br /> “ Utterly Mistaken,” a novel by Annie Thomas ;<br /> “Witness to the Deed,’ by George Manville<br /> Fenn; ‘Prince Hermann, Regent,’ by Jules<br /> Lemaitre, translated from the French by Miss<br /> B. M. Sherman, and Mark Rutherford’s Deliver-<br /> rance,”’ uniform with the ‘ Autobiography of<br /> Mark Rutherford,” are published by the Cassell<br /> Company, New York.<br /> <br /> The Finns are joining the civilised world—of<br /> fiction. A Finnish novel named “ Squire Helman,”<br /> has been translated by Mr. R. N. Bain, and will<br /> be published by Fisher Unwin.<br /> <br /> Mr. W. M. Conway’s work on his expedition<br /> to the Himalayas, is making progress; it will be<br /> illustrated from drawings made on the spot, and<br /> by maps from surveys and observations conducted<br /> by Mr. Conway himself.<br /> <br /> John Strange Winter has a new story in the<br /> press called “ That Mrs. Smith.” (F. W. White<br /> and Co.)<br /> <br /> Annie Thomas (Mrs. Pender Cudlip) is bring-<br /> ing out a new novel called ‘ Utterly Unknown.”<br /> (F. V. White and Co.)<br /> <br /> A new edition of John Addington Symonds’<br /> “Introduction to the Study of Dante,” is in<br /> preparation (Messrs. A. and C. Black). It was<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> nearly ready at the moment of the lamented<br /> author’s death.<br /> <br /> Mr. Robert Louis Stevenson’s new work<br /> “Island Nights’ Entertainments,” will be pub-<br /> lished by Cassell and Co.<br /> <br /> Mr. Rudyard Kipling contributes a“ National<br /> Poem, to celebrate the opening of the Imperial<br /> Institute,” to the English Illustrated.<br /> <br /> Mr. Charles Brookfield makes his first appear-<br /> ance immediately as an author with a volume of<br /> four stories. (Ward and Downey.)<br /> <br /> Dr. Verrall is bringing out in the Classical<br /> Library of Macmillan and Co., an edition of the<br /> Choephore of Aischylus, with a commentary,<br /> translation, and notes.<br /> <br /> Mr. Dykes Campbell’s new edition of Coleridge’s<br /> works, with his introduction and life is now ready<br /> <br /> (Macmillan and Co.)<br /> <br /> Prof. Minto has left behind him an unpublished<br /> “Manual of Logic.” The proofs, however, were<br /> all corrected, and the work will be published by<br /> Mr. Murray.<br /> <br /> Mr. Cosmo Monkhouse has added a “ Life of<br /> Leigh Hunt” to Mr. Walter Scott&#039;s “Great<br /> Writers.”<br /> <br /> The first Book Sale in England, it took place<br /> in the year 1676. And those who want to learn<br /> what it was like, may read a most interest-<br /> ing account of it in Longman’s Magazine for<br /> April.<br /> <br /> It is understood, says the New York Critic,<br /> that the Librarian of the Congressional Library<br /> has found it impossible to keep up with the<br /> applications for copyright filed at his office since<br /> the new copyright law went into effect. Addi-<br /> tional clerks are sorely needed to assist Mr.<br /> Spofford in his labours. |<br /> <br /> Lady Burton has completed arrangements for<br /> the issue of a complete and uniform edition of<br /> all Sir Richard Burton’s works, beginning with<br /> “The Pilgrimage to Mecca and Medinah.”<br /> <br /> “Dan’l’s Delight,”’ by Archie Armstrong, has<br /> met with a very good reception at the “ German<br /> Reeds.”<br /> <br /> Mr. Luther J. B. Lincoln’s entertainment,<br /> which goes by the name of “Uncut Leaves,” is<br /> said to be enjoying great popularity in America.<br /> Among the authors who read from their own<br /> works at the last one, the other day, were Prof.<br /> A. S Hardy, William Henry Bishop and Col.<br /> Richard Malcolm Johnston. Miss Laura Sedg-<br /> wick Collins delivered a new monologue by<br /> Charles Barnard, and Augustus Thomas gave a<br /> talk on the drama.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 457<br /> <br /> Mrs. Edith E. Cuthell, author of “Only a<br /> Guardroom Dog,” is editing Mrs. R. H. Tyache’s<br /> book of travel and sport in the Central Hima-<br /> layas, ‘How I Shot my Bears; or Two Years’<br /> Tent Life in Kullu and Lahoul.” .The book is to<br /> be published very shortly by Messrs. Sampson<br /> and Marston, illustrated by photos taken on the<br /> spot.<br /> <br /> Messrs. Bentley are bringing out Mrs. Edith<br /> E. Quthell’s new book “Indian Memories,” of<br /> various phases of life in different parts of India.<br /> <br /> Lieut.-Col. Cuthell has compiled a useful and<br /> much-needed “ Sailing Guide to the Solent and<br /> Poole Harbour; with Practical Hints on Living<br /> and Working on a Small Yacht,” to be published<br /> by Upeott Gill directly.<br /> <br /> “By a Himalayan Lake,” a one-volume novel<br /> by the author of the collection of Indian stories<br /> called “In Tent and Bungalow,” is just published<br /> by Messrs. Ward and Downey.<br /> <br /> The London Letter of the New York Critic<br /> will be written for the present by Mr. Arthur<br /> Waugh, the author of the “ Biography of Tenny-<br /> son.” He takes the place of Mrs. L. A. Walford,<br /> who in her turn succeeded Mr. W. E. Henley.<br /> The Critic is a paper which might in many of<br /> its features be imitated by our own literary<br /> journals.<br /> <br /> The Monthly Packet (A. D. Innes and Co.)<br /> for July will contain a serisl story by Dorothea<br /> Gerard, called “Lot 13,” and also papers by<br /> Miss Brande on “Thinkers of the Middle<br /> Ages.”<br /> <br /> Christabel Coleridge has ready a new novel<br /> called “ Waynflete.” 2 vols. A. D. Innes and Co.<br /> are the publishers.<br /> <br /> The same writer has ready “ Strolling Players.”<br /> 1 vol. (Macmillan and Co.)<br /> <br /> A series of unpublished letters by S. T. Cole-<br /> ridge, edited by his grandson, Ernest Hartly Cole-<br /> ridge, are running through the Illustrated London<br /> News. A volume of letters will probably follow<br /> them in the autumn.<br /> <br /> Mr. John Bloundelle-Burton, author of “lEhe<br /> Desert Ship,” ‘The Silent Shore,” “ His Own<br /> Enemy,” &amp;c., will shortly contribute a serial stury<br /> of adventure to Young England. “The Desert<br /> Ship” will be produced in volume form (with<br /> the original illustrations and four extra ones, by<br /> Mr. Hume Nesbit) in the autumn, by Messrs.<br /> Hutchinson and Co.<br /> <br /> Mr. Bertram Mitford’s new novel, “ The Gun-<br /> runners: A Tale of Zululand,” will be published<br /> immediately by Messrs. Chatto and Windus,<br /> <br /> Mrs. Oliphant will shortly produce a “ Bio-<br /> graphy of Thomas Chalmers” (Methuen and<br /> Co.).<br /> <br /> Mr. H. D. Rawnsley will publish, before long,<br /> a volume of poems called “ Valete.” They are<br /> principally In Memoriam verses on Tennyson<br /> and others. The publishers are Messrs. James<br /> Maclehose and Sons, Glasgow.<br /> <br /> Early in May Mr. Fitzgerald Molloy will<br /> produce a new novel, “ His Wife’s Soul.”<br /> (Hutchinson and Co.)<br /> <br /> Pes<br /> <br /> <br /> <br /> THE AUTHOR&#039;S BOOK EXCHANGE.<br /> <br /> (Names of books wanted, books for sale, and books for exchange,<br /> to be sent to the “Book Exchange,” Society of Authors,<br /> 4, Portugal-street. All correspondence on this subject to<br /> be addressed in the same way.)<br /> <br /> —————<br /> <br /> Books Wanted.<br /> <br /> The attention of secondhand booksellers is particularly<br /> invited to the following list. Books in the list remain<br /> till they are found or until the applicant desires their<br /> removal.<br /> <br /> The price, post free, and the condition of the book to be<br /> named in reply.<br /> <br /> Rowlandson’s Adventures of Johnny Newcome in the Navy,<br /> 1818; Military Adventures of Johnny Newcome, 1818.<br /> <br /> Shadwell’s Dramatic Works, 4 vols., 1720.<br /> <br /> Alexander’s History of Women.<br /> <br /> Hazlitt’s Liber Amoris, 1823.<br /> <br /> The World: any vols., 1753, et seq.<br /> <br /> Appeal to the Men of Great Britain in behalf of Women,<br /> 1798.<br /> <br /> Capper’s Port and Trade of London, 1862.<br /> <br /> Bissett, Andrew’s Notes on the Anti-Corn Law Struggle,<br /> 1884.<br /> <br /> Barnes’s New Discovery of Pigmies.<br /> <br /> Beloe’s Sexagenarian, 1st edition, 1817.<br /> <br /> Hackluyt’s Voyages.<br /> <br /> Kit Kat Club, Memoirs of, with the portraits, 1821.<br /> <br /> Tavern Anecdotes, 1825.<br /> <br /> Murray’s Chronicles of St. Dunstan’s in the East, 1859.<br /> <br /> Memorials of Fleet-street. By a Barrister.<br /> <br /> Meiner’s History of the Female Sex, 1808.<br /> <br /> Reader’s Handbook of Illusions, &amp;c. By Dr. Brewer.<br /> <br /> Windsor’s Ethica, 1840.<br /> <br /> Urquhart’s Tracts.<br /> <br /> Mitchell’s Christian Mythology.<br /> <br /> Cunningham’s Story of Nell Gwynne.<br /> <br /> Dunton’s Young Student’s Library.<br /> <br /> Howell’s Epistol, 1688.<br /> <br /> Sharpe’s Coventry Pageants.<br /> <br /> Stirling’s Old Drury-lane.<br /> <br /> Grosley’s Tour to London, 2 vols., 1772.<br /> <br /> Hogarth’s Frolic (any edition).<br /> <br /> Rabelais: W. F. Smith’s New Translation.<br /> <br /> —Office of the Author.<br /> <br /> Beckford’s Vathek.<br /> <br /> Somerville’s The Chase.<br /> <br /> Tusher’s Five Hundred Points of Good Husbandry.<br /> <br /> —_J. E. Tayuer, Leavesden, Herts.<br /> <br /> sea EES<br /> <br /> ee<br /> <br /> <br />  <br /> <br /> 458<br /> <br /> <br /> <br /> Larwood’s History of Signboards.<br /> Andrew’s Old Times Punishments.<br /> Any Works of Cobbett.<br /> —E. Wotrerstan, Arts Club, Hanover-square.<br /> History of Paddington.<br /> Dr. Syntax: Life of Napoleon.<br /> —J. Batcomp, 14, Paddington-green.<br /> Captain Conyngham’s Services of the Irish Brigade in the<br /> Great American War.<br /> —HeEnry Brown, 4, Lorn-road, Brixton.<br /> Grant Allen: Physiological Asthetics.<br /> <br /> —F. H. P. Costs, Fowkes - buildings, Great<br /> Tower-street, E.C.<br /> <br /> Books Offered.<br /> Glazebrook’s Physical Optics.<br /> Smith’s Sacred Animals.<br /> Sinclair: a novel. By Mrs. Pilkington, 4 vols., published<br /> 1809.<br /> <br /> The Family Estate; or Lost and Won. By Mrs. Ross,<br /> 3 vols., 1815.<br /> Ellesmere. By Mrs. Meeke, 4 vols., 1799. Minerva Press,<br /> <br /> Leadenhall-street.<br /> Fitzroy. By Maria Hunter, 2 vols., 1792.<br /> Leadenhall-street.<br /> Lord Walford. By L. L., Esq., 2 vols., 1789.<br /> Chesterfield Letters. 2 vols., calf, 1777.<br /> mall.<br /> Oakwood Hall. 3 vols. A novel by Catherine Hutton,<br /> including description of the Lakes.<br /> Hugh Trevor. By Thomas Holcroft, 2 vols., 1794.<br /> —Office of the Author.<br /> <br /> sop’s Fables, 1760. Ilustrated by Z. Lister.<br /> <br /> Aisop’s Fables, 1810. Illustrated by Nesbit.<br /> <br /> Cary’s Atlas of English County Maps, 1787.<br /> <br /> Glass’s Contemplations, 1799, 4 vols., calf.<br /> <br /> Faber on Prophecy, 1806, 2 vols.<br /> <br /> Les Pseaumes de David, 1727, Amsterdam, with music.<br /> Goethe’s Schiller, 1820.<br /> <br /> Goethe’s Schiller, 1824.<br /> <br /> Schiller’s Fridolin.<br /> <br /> Minerva Press,<br /> <br /> Dodsley, Pall-<br /> <br /> =-8. ¢. B.<br /> <br /> Shakespeare Quarto Facsimiles, photo-lithographed. Edited<br /> by Dr. F. J. Furnivall, 43 vols. ei<br /> <br /> Cowley’s Works, 1688.<br /> <br /> Anacreon and Sappho, translated by Addison, with the<br /> Greek opposite, 1755. —G. B. G.<br /> <br /> <br /> <br /> Se.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology,<br /> <br /> ADENEY,WALTERF. Ezra, Nehemiah, and Esther. Hodder<br /> and Stoughton. 7s. 6d.<br /> <br /> Benson, Rev. R. M. The Final Passover: a series of<br /> meditations upon the Passion. Vol. III. The Divine<br /> Exodus. Part I. Longmans. 5s.<br /> <br /> CARNEGIE, W. H. Through Conversation to the Creed; a<br /> brief account of the reasonable character of religious<br /> conviction. Longmans. 3s.<br /> <br /> Cox, Rev. J. Cuarugs. The Gardens of Scripture. Six<br /> meditations, together with a sermon on Christianity<br /> and Archeology. Sampson Low.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Duke, Davip. Synchronism of the Passion Days, with<br /> charts. Published by him at Great Easton, Leicester-<br /> shire. Paper covers, 1s. 6d.<br /> <br /> Farmer, JouN. Hymns and Chorales for Schools and<br /> <br /> - Colleges. Edited by. Words only. Clarendon Press,<br /> Oxford. Henry Frowde. 2s.<br /> <br /> GILBERT, Josran. Nature, the Supernataral and the<br /> Religion of Israel. Hodder and Stoughton. 9s.<br /> <br /> Hearp, Rey. J. B. Alexandrian and Carthaginian<br /> Theology Contrasted. The Hulsean Lectures, 1892-93.<br /> T. and T. Clark, Edinburgh. 6s.<br /> <br /> Momeriz, Rev. A. W. The Religion of the Future, and<br /> other essays. W. Blackwood and Sons.<br /> <br /> Ryuz, Rr. Rey. J. C. Thoughts about Sunday, its insti-<br /> tution, privileges, and due observance. W. Hunt and<br /> Co., Paternoster-row. Paper covers, 3d.<br /> <br /> SoLty, Henry S. The Gospel according to Mark: a Study<br /> in the Earliest Records of the Life of Jesus. The<br /> Sunday School Association, Essex Hall, Essex-street,<br /> W.C. 3s. 6d.<br /> <br /> THOROLD, ANTHONY W., D.D. The Gospel of Work.<br /> “Preachers of the Day” Series. Sampson Low.<br /> Wittiam Law’s Derence or CuuRcH PRINCIPLES.<br /> Three letters to the Bishop of Bangor, 1717-1719.<br /> Edited by J.O. Nash, M.A., and Charles Gore, M.A.<br /> <br /> Griffith, Farren. 2s. 6d. net.<br /> <br /> Woopeatr, W. B. A Modern Layman’s Faith (Nova<br /> religio laict) concerning the Creed and Breed of the<br /> “Thoroughbred Man.” Chapman and Hall. 14s.<br /> <br /> History and Biography.<br /> <br /> An EXAMINATION oF THE Home RULE Brut oF 1893,<br /> with an appendix containing the full text of the measure<br /> itself. 3d. Dublin: Hodges, Figgis, and Co. Wm.<br /> M‘Gee. The Liberal Union of Ireland.<br /> <br /> ARGYLL, DuxKE or, K.G. Irish Nationalism: an Appeal to<br /> History. John Murray.<br /> <br /> Brieut, Rey. Mynors. The Diary of Samuel Pepys<br /> M.A., F.R.S. Transcribed from the Shorthand Manu-<br /> script in the Pepysian Library, Magdalene College,<br /> Cambridge. With Lord Braybrooke’s Notes. Edited,<br /> with additions, by Henry B. Wheatley, F.S.A. Vol. I.<br /> Price to subscribers £8 8s. net per set. London: George<br /> Bell and Son ; Cambridge : Deighton, Bell, and Co.<br /> <br /> Brink, BERNHARD Ten. History of English Literature<br /> (Wyclif, Chaucer, Earliest Drama, Renaissance).<br /> Translated from the German by Wm. Clarke Robinson,<br /> Ph.D. Revised by the Author. Vol. I. George Bell<br /> and Sons. 3s. 6d.<br /> <br /> Butter, ARTHUR Joun. The Memoirs of Baron de<br /> Marbot, late Lieutenant-General in the French Army.<br /> Translated from the French. With portrait. Fourth<br /> edition. Slightly abridged. Longman. 7s. 6d.<br /> <br /> CurisTiz, Rev. James. Northumberland: its History, its<br /> Features, and its People. Presbyterian Publication<br /> Committee, Paternoster-square.<br /> <br /> CLAYDEN, P. W. England Under the Coalition. Supple-<br /> mentary chapter and index. Fisher Unwin. Paper<br /> covers, 1s. 6d.<br /> <br /> Couiimr, W. FREDERICK. Tales and Sayings of William<br /> Robert Hicks, of Bodmin, with portrait and memoir.<br /> Third edition, enlarged. London: Simpkin, Marshall,<br /> and Co.; Plymouth: William Brendon and Son.<br /> <br /> Forp, Cnuarencr. The Life and Letters of Mme. de<br /> Krudener. A.and C. Black. 15s.<br /> <br /> Gasquet, F. A. Henry VIII. and the English Monasteries.<br /> New edition, with Ilustration. Part XII. ls. net.<br /> <br /> John Hodges, Agar-street, Charing-cross.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 459<br /> <br /> HARRISON, FREDERIC. Annals of an Old Manor-house—<br /> Sutton Place, Guildford. Illustrated. Macmillan.<br /> £2 2s. net.<br /> <br /> Jackson, T. G. Wadham College, Oxford : its Foundation,<br /> Architecture, and History, with an account of the<br /> family of Wadham and their seats in Somerset and<br /> Devon. (Limited to 150 copies.) Clarendon Press,<br /> Oxford. £2.2s.<br /> <br /> Krycston, ALFRED. Fragments of Two Centuries. Glimpses<br /> of country life when George III. was King. Illustrated.<br /> Warren Brothers, Royston. 2s.<br /> <br /> Lex, Sipney. Dictionary of National Biography. Edited<br /> by. Vol. 34—Llwyd-Macartney. Smith, Elder, and<br /> Co.<br /> <br /> Lirp oF THE LATE GENERAL F. R. CHESNEY, THe. By<br /> his wife and daughter. Edited by Stanley Lane- Poole.<br /> Second edition. Eden, Remington, and Co. 12s.<br /> <br /> M‘Kwieut, Rev. W. H. E. Lydiard Manor, its history—<br /> “Our Worshop and our Work.” Mitchell and Hughes,<br /> Wardour-street, W. 7s. 6d.<br /> <br /> MitTrz, GENERAL Don Barrotomé. 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Eyre and Spottiswoode.<br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols.,<br /> crown 8vo, cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> ise<br /> <br /> [oF et as PFPAY DH.<br /> <br /> OPINIONS OF THE PRESS<br /> <br /> THE TIMES:<br /> <br /> ‘“Mr. James Payn’s pleasant story contains a startling<br /> novelty.<br /> undergraduates of Cambridge University. Mr. Payn’s<br /> picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘nice little college’ of<br /> St. Neot’s. Cambridge men will have little difficulty in<br /> recognising this snug refuge of the ‘ ploughed.’<br /> <br /> An ingenious plot, clever characters, and, above all, a/|<br /> <br /> plentiful seasoning of genial wit. The uxorious<br /> master of St. Neot’s is charmingly conceived. If only for<br /> his reminiscences of his deceased wives, ‘A Stumble on<br /> the Threshold’ deserves to be treasured. . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue. =<br /> <br /> DaILy NEWS:<br /> <br /> “The dramatic story is told with an excellent wit. It<br /> abounds in lively presentation of character and in shrewd<br /> sayings concerning life and manners. That study of<br /> mankind which is ‘man’ has furnished a liberal educa-<br /> tion to this genial humorist. The men and women he<br /> pourtrays move before us, as do our friends and<br /> acquaintances, distinct individualities, yet each possessed<br /> of that reserve of mystery a touch of which in the<br /> delineation of human nature, is more convincing than<br /> pages of analysis. Needham, Fellow of St.<br /> Neot’s, Cambridge—simple, loyal, gently independent—is<br /> a beautiful study. The story alternates in its setting<br /> between Bournemouth, Cambridge, and some charming<br /> spots near the Thames. The description of life in the<br /> Alma Mater on the banks of the Cam gives Mr. Payn<br /> opportunities for humorous sketches of professors and<br /> students, and he shows himself in the light of an excellent<br /> raconteur. This part of the narrative furnishes some<br /> delightful reading; we seem to be listening to the best<br /> talk, incisive, racy, and to the point. Space will not<br /> allow us to quote some of the wise and witty sayings,<br /> tinged it may be with cynicism, which are the outcome of<br /> Mr. Payn’s philosophy of life, and which are not the least<br /> entertaining art of this attractive novel.”<br /> <br /> DAILY CHRONICLE:<br /> <br /> ‘Mr. James Payn is here quite at his usual level all<br /> through, and that level is quite high enough to please<br /> most people. The character drawing is good.<br /> The story of the master sounds strangely like truth.<br /> <br /> : A book to read distinctly.”<br /> <br /> DAILy GRAPHIC:<br /> + | . | The dramatic unity of time, place, and cir-<br /> cumstance has never had a more novel setting. oe<br /> <br /> |<br /> <br /> SATURDAY REVIEW:<br /> ‘\A very interesting story, and one that excels in clever<br /> <br /> he leading actors are a group of| contrast of character and close study of individualism.<br /> <br /> : The characters make the impression of reality on<br /> <br /> the reader. . Extremely pleasant are the sketches<br /> <br /> of University life.”<br /> THE WORLD:<br /> <br /> ‘‘The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE.<br /> <br /> BE ceive Ingenious and Original. Mr. Payn knows<br /> <br /> how to invent and lead up to a mystery.”<br /> <br /> LEEDS MERCURY:<br /> <br /> ‘““Three more distinctive characters have, perhaps,<br /> never been drawn by Mr. James Payn than in Walter<br /> Blythe, Robert Grey, and George Needham, Cambridge<br /> undergraduates, who figure prominently in ‘A Stumble<br /> on the Threshold.’”<br /> <br /> GuLAsagow HERALD:<br /> ae Mr. Payn’s latest invention in sensational<br /> episode; but wild horses will not drag from us a<br /> statement of the mystery. It is new and thoroughly<br /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <br /> BATLEY REPORTER:<br /> Is most attractive reading.”<br /> <br /> ay<br /> <br /> HAMPSHIRE TELEGRAPH AND CHRONICLE:<br /> <br /> ‘““Mr. James Payn’s latest story, ‘A Stumble on the<br /> Threshold,’ which has been the chief attraction in the<br /> ‘Queen’ during the last few months—where, by the way,<br /> it was most admirably illustrated—has just been issued<br /> in two handsome vols. by Mr. Horace Cox. The story is<br /> written in Mr. Payn’s happiest vein: it sparkles with wit,<br /> the characters are most unconventional, and the old, old<br /> theme is worked out on quite novel lines.”<br /> <br /> HEREFORD TIMES<br /> <br /> ‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br /> would not be complete without the dread Nemesis,<br /> mysterious in operation, and casting suspicion for a<br /> time on every side but the right one. The novel is<br /> thoroughly attractive, and a credit to the practised hand<br /> which penned it.”<br /> <br /> THE OBSERVER:<br /> <br /> «| . . Is a characteristic story, remarkably<br /> quietly told, always pleasing and satisfying, and pro-<br /> viding a startling incident at a moment when everything<br /> seems serene.”<br /> <br /> <br /> <br /> <br /> <br /> London:<br /> <br /> HORACE COX, Windsor House,<br /> <br /> Bream’s E.C.<br /> <br /> Buildings,<br /> <br /> <br /> <br /> *CHEAP JACK ZITA”<br /> <br /> <br /> <br /> NEW SERIAL STORY<br /> my S&amp;S BARING-GoOuULD.<br /> <br /> ENTITLED<br /> <br /> “CHEAP<br /> <br /> JACK ZITA,”<br /> <br /> With Illustrations by a Prominent Artist, commenced in the ‘‘ Queen” on Jan. 7.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> of MSS. copied with care.<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> (eet REVISED and CORRECTED on Mode-<br /> / rate Terms by the Author of “The Queen’s English<br /> up to Date” (see Press Opinions), price 2s.<br /> <br /> Address “ Anglophil,” Literary Revision Office,<br /> Strand, W.C.<br /> <br /> <br /> <br /> 342,<br /> <br /> Miss R. V. GILL,<br /> <br /> TYPE-WRITING OFFICES,<br /> 6, Adam-street, Strand, W.C.<br /> <br /> ee:<br /> Authors’ and dramatists’ Work a Speciality. All kinds<br /> Extra attention given to difficult<br /> hand-writing and to papers or lectures on scientific subjects.<br /> Type-writing from dictation. Shorthand Notes taken<br /> and transcribed.<br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. Gib,<br /> TYP#-WRITING OFFICE,<br /> <br /> 35. 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The<br /> <br /> Reports of the Law Times are now recognised as the most complete<br /> and efficient series published.<br /> <br /> Offices: Windsor House, Bream’s-buildings, E.C.<br /> <br /> TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> HOF.<br /> <br /> 1893<br /> <br /> Being a Statistical Book of Reference for Facts relating to. the Clergy in England,<br /> <br /> Wales, Scotland<br /> <br /> Ireland and the Colonies,<br /> <br /> WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY EVER YET<br /> <br /> GIVEN TO THE PUBLIC.<br /> <br /> <br /> <br /> LONDON: HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.0C.<br /> <br /> <br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> <br /> BY THE LATHE Me.<br /> <br /> SHRIDAN ET Cox.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND).<br /> <br /> PRICE 7s. 6d.<br /> <br /> <br /> <br /> LONDON: HORACE COX, “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/450/1893-05-01-The-Author-3-12.pdf	publications, The Author